[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Tuesday, 9 March 1999 Volume 06 : Number 481 ---------------------------------------------------------------------- From: "Ray Esposito" Date: Mon, 8 Mar 1999 17:18:24 -0500 Subject: [Baren 3458] slide show Dave I see you added Gayle and Lynita to the slide show since I last checked it out. I hope some day we will see everyone represented. It really is a fun site to visit and yet if you want to see additional examples of members work you can visit Who Is Baren. What a site. I recommend it to everyone. Cheers Ray ------------------------------ From: Jeanne Date: Tue, 09 Mar 1999 08:45:28 +0900 Subject: [Baren 3459] Sarah; I'd also like to see Dave's video; Jeanne Norman Chase 1602 Bay Road, Sarasota, Fl. 34239 Thanks Ray'; In answer to ; "if you breath deep when you put your nose to my print, you might find yourself in the 60's. Did you smell something other than oil in the print? April; Yes, that oil on my print was much too thick and I have solved that problem; no more oil paint. I am now using the woodblocking ink from Daniel Smith and it really makes a difference. Now Ray will not get a "thrill" when he sniffs my next print! Ruth; Welcome to the group. Yesterday I found you great book; Etching Engraving and Other Intaglio Printmaking Techniques at my local bookstore. I have not had a chance to read it as yet, but it looks very informative. James; Glad you clarified that remark about my print; that it smells but does not stink!!!! I like this quote by Frances Bacon; "The job of the artist is always to deepen the mystery." Jeanne ------------------------------ From: Graham Scholes Date: Mon, 8 Mar 1999 17:15:15 -0800 Subject: [Baren 3460] Re: Name-calling >"Rat wrote.... >>Welcome to Baren. >Hey Ray........are you going to let Graham get away with calling you a >RAT ? or was that just a slip of the finger ? Opps a fingeroidian slip..... Sorry Ray.... Graham ------------------------------ From: Graham Scholes Date: Mon, 8 Mar 1999 17:12:41 -0800 Subject: [Baren 3461] Re: Wood warping Ruth wrote.... > I found another little trick when using pine wood for cutting. If you >get boiled linseed oil and coat the pine wood, both sides top and bottom >and leave it for 6 weeks or so. It will drive out all the water . It >makes the wood crisp and nice to cut. Now isn't that a good Idea. That boiled linseed oil all so sets up a really tough surface which has to help with giving the wood more durability. By the by I would think that Tung Oil will work even better. You get a harder finish with it and it does not take but 2 maybe 3 weeks to dry. Two coats would be in order. I will be trying it.... I have used both for finishing furniture and Tung Oil is much better. Great suggestion Ruth.... Regards, Graham ------------------------------ From: Graham Scholes Date: Mon, 8 Mar 1999 17:25:31 -0800 Subject: [Baren 3462] Re: From Jeanne ... >I like this quote by Frances Bacon; "The job of the artist is always to >deepen the mystery." Jeanne..thanks for this..... I like this kind of thinking Graham ------------------------------ From: "Daniel Kelly" Date: Tue, 09 Mar 1999 12:45:38 +0900 Subject: [Baren 3463] Re: Wood warping Hi woodprinters, Upon reading the linseed or other oil idea I wonder if the loss of some of the absorption of water based inks will not make printing more difficult. Here in Japan the printers don't ink each time they print while editioning if the color has sufficiently soaked in. The soft sponginess the wood gets is sort of a bonus I think. Also I wonder why worry about boards when we have plywood which cross grain and don't tend to warp. D ------------------------------ From: Mariten@aol.com Date: Tue, 9 Mar 1999 00:21:11 EST Subject: [Baren 3464] Re: web site From Maria in Las Vagas Sorry Gayle, I copied and pasted and goofed. Try: http://www.tophosts.com/ Welcome all to the wonderful world of Baren. Name of Ruth Leaf's book is: "Etching, Engraving, and Other Intaglio Printmaking Techniques" Ruth, I use linseed oil with birch also and it also prevents the wood from drying out too much and splitting as you cut (a necessity in the desert). Makes it more foregiving to dull tools and, I too would use the term crisp to define its feel. Health to all, Maria ------------------------------ From: Graham Scholes Date: Mon, 8 Mar 1999 21:35:12 -0800 Subject: [Baren 3465] Re: Wood warping Daniel wrote >Also I wonder why worry about boards when we have plywood which cross grain >and don't tend to warp. True enough but.... the looks of a piece of cherry or basswood, or what ever wood has a wonderful appearance before & after the printing...... a work of art..... the plywood wood, well, its like digital printouts. Yuk.....if you know what I mean. There are times that size requires the shina and one has to be content with YUK. Graham ------------------------------ From: "Jean Eger" Date: Mon, 8 Mar 1999 21:58:44 -0800 Subject: [Baren 3466] Re: Baren Digest V6 #480 Elizabeth, I would like to learn more about your Sculpy printmaking. Do you print it relief or intaglio? Do you make a flat block from Sculpy and then incise? The San Jose Museum of art recently showed a contemporary relief print from Vietnam that was done on clay. All, When you consider the international gods of relief printmaking, remember, God is within you. You would become religious too, if you could have seen the beautiful collection of prints that was waiting for me when I got home today. I am staggered by their sheer beauty, wit, and sensitivity, not to mention the flat-out joy jumping off the paper. They are definitely graven images worthy of worship. And to think that I am in the company of these great artists! Ray Hudson's mountain and Mary Krieger's fields will bless my spring landscape drawing class efforts. Ray Esposito's redemptive dancers practically leap with happiness. The unapologetic love of our animal brothers shown in John Amoss' cat portrait, April's fish, David's crow, Roger's bumblebee, Sarah's dogs, and Hideshi's birds, resonates and liberates the viewer. There's no problem decoding those pictures! And for me who loves to learn, it is definitely a guide on how to do it right. Thank you! (I only looked at them for an hour this time.) Jean Eger ------------------------------ From: David Bull Date: Tue, 09 Mar 1999 15:20:23 +0900 Subject: [Baren 3467] Re: exchange feedback ... Greg wrote, about being left out of the exchange: > Oh, the pain ... One by one, the folios are opened up by the eager trembling hands ... I still haven't got mine yet here in Tokyo, but unlike Greg, feel no pain when I read messages like the one Jean just sent. Have you noticed a common thread in all these messages: not one, not one single person, not even remotely hinted at the slightest mention of 'value', of what these things are 'worth'. Some of the participants sell their work for quite considerable sums of money ... but _nobody_ is the slightest bit interested in that aspect of this folio. Success! If this isn't the closest thing to 'pure art' that you'll ever see, then I'll eat my baren! (skin) Dave ------------------------------ From: "Jean Eger" Date: Mon, 8 Mar 1999 22:30:12 -0800 Subject: [Baren 3468] Re: Baren Digest V6 #480 I can't forget to mention Andrea Rich's deer in my list of favorite animals prints from Baren. Anyway, you'll see them all when David gets them scanned. Jean Eger ------------------------------ From: Cucamongie@aol.com Date: Tue, 9 Mar 1999 07:48:34 EST Subject: [Baren 3469] Re: new here Kim wrote: > I, too, would like to view the video if it veers anywhere near southern > California. Kim, if you could send me your snail-mail address, you can be added to the video list - Sarah (Cucamongie@aol.com) ------------------------------ End of Baren Digest V6 #481 ***************************