[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest              Wednesday, 10 March 1999      Volume 06 : Number 482

----------------------------------------------------------------------

From: Cucamongie@aol.com
Date: Tue, 9 Mar 1999 08:07:25 EST
Subject: [Baren 3470] Sculpey printmaking 

I'm also interested to find out more details about how to do the Sculpey
printmaking - do tell!
Best regards,

Sarah

------------------------------

From: April Vollmer/John Yamaguchi <jy6@columbia.edu>
Date: Tue, 9 Mar 1999 10:39:00 -0400
Subject: [Baren 3471] Saints and Martyrs 

Gregory and Ray, are you trying to get me to join BA5??? I adore your
drunken postings. But I can hardly keep up with the mail I get from regular
Baren!

And talk about envy, Grahm's workshop is going to be great. I love it when
Baren spills out into the "real" world. I know my weekend class in NY won't
have the natural beauty of BC, or the glory of Marney's cooking. But with
Bea and Sarah and the exchange portfolio, Baren will be present at my
workshop, too!

Jack and Maria, I'm very interested in your information about gluing prints
to silk. Always looking for alternatives to western style framing. By the
way, I did look at the prints in natural sideways light, as Dave
recommends. It's true, the color does glow. Still, I must frame a lot of
work for exhibitions in gallery spaces.

And Jeanne, I put your name on the video list. (Kim wants it but no address
yet.) Sarah lives only blocks from me and I borrowed it from her to view
before sending it on. (Promise to send it on within the original
timeframe!) Lynita is next, should have it by the end of the week. That is
one huge shark, Dave!

April Vollmer

------------------------------

From: "Ray Esposito" <brassring@brassring.org>
Date: Tue, 9 Mar 1999 09:21:48 -0500
Subject: [Baren 3472] Re: Wood warping

Graham wrote:
>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.

You can't resist, can you.  When I get up there you and I have to sit down
and have a heart to heart.  :-))

Your friendly bartender.

Cheers
Ray

------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Tue, 9 Mar 1999 08:02:06 -0800
Subject: [Baren 3473] Re: Saints and Martyrs 

April wrote....
>And talk about envy, Grahm's workshop is going to be great. I love it when
>Baren spills out into the "real" world. I know my weekend class in NY won't
>have the natural beauty of BC, or the glory of Marney's cooking.

Well it is true that we have the natural beauty here.....but .... NYC is
really something.
When I lived near Toronto we would take long weekend excursions (fill a
bus) and do up the town.
Take in a show and visit every gallery possible.  Oh how I yearn for more
of that. Those were fixes beyond coffee breaks.
I'm sure you girls will have a great session.

Graham

------------------------------

From: "Ray Esposito" <brassring@brassring.org>
Date: Tue, 9 Mar 1999 11:19:13 -0500
Subject: [Baren 3474] Re: Saints and Martyrs

>I'm sure "you girls"?????? will have a great session.

Ohhhhhh.  You are walking the fine edge my friend.  No PC.  Tut tut.  :-O)

Cheers
Ray

------------------------------

From: "Roger A. Ball" <beckorro@inquo.net>
Date: Tue, 09 Mar 1999 09:37:12 -0700
Subject: [Baren 3475] exchange prints 

Must comment now that I have spent hours looking at them with the wife and
kids; shown them to several friends, etc.  I won't comment individually for
fear of leaving someone out.  However, what a great set!  Isn't it amazing
(and several people have commented on this) that none of us are really
doing close to the same thing?  We all have different ideas or techniques
or approaches or skill levels and it shows--and therein lies the real value
to me.  True, there are probably monetarily valuable prints there, but I
see inspiration, blood, spirit, truth, joy, yadda, yadda, yammer, *gasp*.
Wow.  Some blow me away with professionalism; some with technique, some
with ?bizarreness (which I would say is mostly good...:o))  Cheers to you
all!  More later.  Must dash.  

- -Roger

------------------------------

From: Don Furst <furstd@uncwil.edu>
Date: Tue, 09 Mar 1999 12:05:52 -0500
Subject: [Baren 3476] Re: Presses 

Maria wrote:
>I would welcome some info on etching vs combination presses. Does a
>combination press get its name because you can switch off from a roller to a
>scraper bar? 	

Yes, you can remove the upper roller and replace it with a
scraper bar.  To switch the press takes about 20 minutes.  This is the way
to go if you can't acquire separate presses for etching and litho.
- --Don

------------------------------

From: Wanda Robertson <robertson@canby.com>
Date: Tue, 09 Mar 1999 09:13:23 -0700
Subject: [Baren 3477] Re: Saints and Martyrs 

April, I do wish I could attend your workshop as well. I got to go to
New York City last May and scurried through museums, went to a play,
rode the subway, etc. We even stayed at the Holiday Inn down near Canal
Street and walked to the Soho museum in that part of town. I didn't make
it to Pearl Paints, however. And had no idea of many of the things that
were right under my nose. Maybe next year! I *love* New York!

Lets see, if we are all Martyrs now, will we be elevated to Saints some
day? And yes, you should come over to BA5 - you will have fun!

Wanda

------------------------------

From: Don Furst <furstd@uncwil.edu>
Date: Tue, 09 Mar 1999 12:14:34 -0500
Subject: [Baren 3478] Re: printing with an etching press; that smell of oil 

James wrote:
>Question:  how do you etching press users keep the blankets from causing
>a deep embossment on the paper?  I'm assuming you remove at least one of
>the blankets and insert something like a tympan sheet between to create a
>soft but stiff barrier between block and roller.

Good deduction, James.  Yes, you want one felt under the roller for
cushioning, but something harder and smoother above the paper.  I put one
sheet of poster paper or blotter above my kitakata editioning paper,
followed by a piece of clear plexi (mine is about .075"--yours could be
thinner or thicker), then the single wool pusher blanket.  This arrangement
gives you rich, full ink transfer but does not create much embossment.

Don Furst

------------------------------

From: "Ray Esposito" <brassring@brassring.org>
Date: Tue, 9 Mar 1999 12:05:29 -0500
Subject: [Baren 3479] Re:   Baren Digest V6 #480

Jean wrote:
>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. 

Well said.

Cheers
Ray

------------------------------

From: dean brink <interpoetics@earthlink.net>
Date: Tue, 09 Mar 1999 09:23:01 -0800
Subject: [Baren 3480] exchange prints 

I'm still waiting for the prints in the mail, but since there is already
discussion I thought I'd share my process for "body chart" on a web page.
If anyone is interested, it's at
http://home.earthlink.net/~interpoetics/db/notes_on_baren_exchange_print.htm
deanb

------------------------------

From: <hudson@panther.middlebury.edu>
Date: Tue, 9 Mar 1999 12:51:17 -0500 (EST)
Subject: [Baren 3481] exchange prints 

(This is from Ray H in Vermont).    The prints arrrived today and first I
want to just say again many thanks to James for putting this all together
and to David for providing such a fine intro.   It's an amazing set of
prints and will give us endless opportunities (once they're in BAREN) for
questions on technique, relationships of thought to object & all those
splendid things that happen when paper touches wood with a little ink
inbetween.   
Thanks, Dean, for the info on "body chart"--am facinated by the print &
look forward to reading about the process.   I'll hold off on questions
until the prints are available to all.

------------------------------

From: Gayle Wohlken <blueman@pantek.com>
Date: Tue, 09 Mar 1999 13:38:50 -0500
Subject: [Baren 3482] Re: Baren Digest V6 #481 

Hey, I just found my Ruth Leaf book in with all
my artbooks.  It was the textbook for our printmaking 
class at Lakeland College!  

Gayle Wohlken

------------------------------

From: Julio.Rodriguez@walgreens.com
Date: Tue, 9 Mar 1999 12:36:39 -0600
Subject: [Baren 3483] Re: exchange prints & Applet code for pics 

Hi Ray H. & Dean B, just a little note to say that your prints were among my
wife's favorites. She wants to put them up in our house and I won't let
her.........not yet anyways.......I am still slobbering over all of them.....

Great work from everyone..........!

If you want to see what I did with Dave's applet code from the Baren slide
show.... check out my kids baseball site at:

www.skokienet.org/bandits

The first time you load all the pics are the same....but after you click on a
link and return to the main page everything is really up for grabs...........let
me know your comments.....it only takes about 5 seconds to load all the pics
with a T1 line...

JULIO   {:-)

------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Tue, 9 Mar 1999 12:12:31 -0800
Subject: [Baren 3484] Re: exchange prints 

> I see inspiration, blood, spirit, truth, joy, yadda, yadda, yammer, *gasp*.

What happened to sweat and tears??

Graham

------------------------------

From: Julio.Rodriguez@walgreens.com
Date: Tue, 9 Mar 1999 16:52:41 -0600
Subject: [Baren 3485] Re: exchange prints 

Hi Bill, I have visited your site many times and seen your great work.
Question....(you can wait to answer till all have received the folio and Dave's
put up the show...)...or you can send me a private....

Am I suppose to do something to your print ?  I am trying to understand your
concept of a "living" print.......and I remember
visiting your Esmeralda web-site with many interactive (is that the right word?)
ideas .....

JULIO    {:-(

------------------------------

From: "Ramsey Household" <cjramsey@mind.net>
Date: Tue, 9 Mar 1999 18:06:01 -0800
Subject: [Baren 3486] Re: printing with an etching press; that smell of oil 

Don wrote:
>  This arrangement gives you rich, full ink transfer but does not create
> much embossment.

But what is wrong with embossment anyway?  I think it adds texture to the
print and becomes another element. 

I have ( in a black and white print) put the paper on the press and the
block on top of it.  There is no embossment that way.  Also have used a
thick (like 3-4 inches) foam blanket from an upolstory shop.  Much less
expensive than felts and lasted a long time.  That way you don't cut your
felts ( I use 1/4 inch birch plywood and don't have to block it). I have
had no problem with warping.

Carolyn

------------------------------

From: David Bull <davebull@woodblock.com>
Date: Wed, 10 Mar 1999 21:16:27 +0900
Subject: [Baren 3487] One-Point Lesson ... (remember those?) 

Here is this week's 'One-point' lesson 

Another in an infinite series: 'How _not_ to do it ...' (contributed by
Dave Bull)

********** ********** **********

(#34)  Avoiding block shrinkage problems ...

This is the 'weekly' (hah!) One-Point Lesson.  Or I should say - this is
the place where the One-Point lesson _should_ appear.  But because this
week's lesson is meaningless without the accompanying illustrations -
rather than put it here in this email message,  I put it directly into
the Encyclopedia ... here:

http://www.woodblock.com/encyclopedia/entries/onepoint/018_34/018_34.html

********** ********** **********

Next week -  TBA  ...

These 'One-point' lessons are being collected into a section in the
[Baren] Encyclopedia of Woodblock Printmaking.
http://www.woodblock.com/encyclopedia/updates.html

Contributions from experienced printmakers for future 'One-pointers' 
are eagerly solicited.

------------------------------

End of Baren Digest V6 #482
***************************