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

Baren Digest               Wednesday, 5 May 1999       Volume 07 : Number 553

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From: "David Stones" <stones@mb.i-chubu.ne.jp>
Date: Tue, 4 May 1999 22:23:30 +0900
Subject: [Baren 4304] RE: Types of Wood... 

Dear Brad,
I cannot be any help with the Walnut but I wonder if you can get 18" x 24"
boards of Cherry? That size is (now) very large (for real Cherry here,
although my teacher Tokuriki had/used such blocks) but the biggest problem
I see is handling the weight! If such a block is cut to say, 2.5 cm (1")
thick, you'll need some muscle power plus something across the ends 
to stop warp (which will further add to the weight). Just my few Yen on 
this one... 18" wide Cherry? Check how old it is and see if the grain 
is close or not  - maybe we here should import some from you - if it's 
close-grained!

My largest Cherry blocks are (about) 12" wide x 18" deep - and I've left
the bark  on some edges to squeeze this size from logs donated by
the local water works when they felled some trees for a pipeline...

Dave S

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From: amoss@mindspring.com (John Amoss)
Date: Tue, 4 May 1999 10:03:46 -0400 (EDT)
Subject: [Baren 4305] re:types of wood 

Dave Stones wrote:
>maybe we here should import some from you - if it's close-grained!

Don't take your offers lightly, Dave. You may be flooded with orders!

I think that anyone in Japan connected with good woodblock printing
supplies should consider going into the import/export business! I for one
would love to try Japanese mountain cherry and have access to the tools,
paper, etc. that are so difficult to come by here in the states...

- -John

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From: "Brad A. Schwartz" <brads@iea.com>
Date: Tue, 4 May 1999 07:31:23 -0700 (PDT)
Subject: [Baren 4306] Re: Types of Wood... 

David Stones wrote:
>I cannot be any help with the Walnut but I wonder if you can get 18" x 24"
>boards of Cherry? That size is (now) very large (for real Cherry here,

I'm not able to get a board that large, but I was contemplating taking 3
or 4 eight foot boards to a woodworking shop and having them make some
18x24" baords for me...

>although my teacher Tokuriki had/used such blocks) but the biggest problem
>I see is handling the weight! If such a block is cut to say, 2.5 cm (1")
>thick, you'll need some muscle power plus something across the ends 
>to stop warp (which will further add to the weight). Just my few Yen on 

I'm not sure what you mean about putting something across the ends to stop
warping... please explain...

>this one... 18" wide Cherry? Check how old it is and see if the grain 
>is close or not  - maybe we here should import some from you - if it's 
>close-grained!

The boards are between 8 and 10" wide and 8 to 10 feet long... thus the
grain runs paralell to the longest dimension. It isn't really tight
graint, but it is very clear and planes down very nicely. 
The person I bought it from gets the wood from Arkansas where it is kiln
dried, etc...

He also has hickory, ash, maple, walnut, etc...

Brad A. Schwartz

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From: ed <ewa@gis.net>
Date: Tue, 04 May 1999 10:49:30 -0500
Subject: [Baren 4307] No subject was specified. 

I don't know if Gayle's question about the missing metal hoop
was answered?
I beleive it functions to keep the chisel's wooden end from
mushrooming   too
much when being hit with a mallet. I don't know how important
this would be
unless your really bashing it?
Edo

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From: Elizabeth Atwood <elizuno@midcoast.com>
Date: Tue, 4 May 1999 11:45:43 -0400
Subject: [Baren 4308] Blank posts 

My message was to Jean Eger:.......Sorry to hear about the contrary health
news. Hang tight!
Also......applause for the prints recently put up. You are at your very
best in the nasturtium work. And "Leaving Koto Varos" is powerful. I envy
the dramatic use of color........as a "line" artist, I have to struggle.
More amd more flowers, Jean......

ElizA

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From: "David Stones" <stones@mb.i-chubu.ne.jp>
Date: Wed, 5 May 1999 02:27:26 +0900
Subject: [Baren 4309] Re: Types of Wood... 

Dear Brad,
Re the joined boards: I can imagine there may be problems in join those
boards you mention - but that doesn't mean don't try! You will get a
variety of problems but the main one will be breaks in your carved lines
etc. at the joints... the two (different) boards may not "move together"
(if you use water-based pigments - but you're going to use oil-based) and
could even buckle in the centre of each plank. I've never attempted joining
like this so just treat my comments as... well comments!

>I'm not sure what you mean about putting something across the ends to stop
>warping... please explain...

This means to attach (usually with screws) a baton of wood across the end
of the block to (try) to prevent warping. It works most times and also will
slow down shrinkage a bit. The batons should be stable enough not to be
pulled out of shape by the block itself. I've no idea of the humidity etc.
where you are but this greatly effects your wood storage so you need to
experiment. I put screws in about every 3" or so. If the block has any
signs of the "shakes" (or splitting) you can use a steel plate, at the
split point, under the baton. A more complex method is to cut a groove in
the end and to slot in a (sometimes T-shaped) section but this is a lot of
work and more than I think is usually needed. Although I often use batons
for Cherry blocks I always use them for Magnolia - which tends to warp and
shrink a lot more. Hope this helps...

Dave S

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 4 May 1999 12:47:29 -0700
Subject: [Baren 4310] Sharpening a bull nose. 

I sent the information below and realize last night that the subject was
bull nose gouges.

I addressed the sharpening of Asamarunomi (Half-Round Shallow U-gouge)
which is more difficult to sharpen.  However you sharpen the bull nose the
same motion except the back of the chisel is flat and this just requires
pulling it across a flat wet stone.

Trust all is clear......

Oh..... The ring on the top of the wooden handle is to prevent the handle
from splitting when you use a mallet a lot and hard.  Usually high quality
gouges have these and usually on the large sizes.....say 3/8" and up.  Bull
noses, Aisuki don't..... Asamarunomi do.

The figure 8 motion has little nothing to do with the sharpening....It is
done so as not to cause groves in the carborundum stone.  moving back and
forth in the same track and you will soon ware the stone which would then
need flattening.

Roll the wrist when sharpening the outside curve of the stone.  Make sure
you do not change the angle.....tough to do but with practice you will get
on to it. Practice on a piece of carbon paper to see that you are hitting
all parts of the surface with you roll of the wrist and that you are hold
it at the correct angle.   For the inside you need a honing stone that as a
round on one edge.  Drag the back of the chisel layed flat on the curve of
the stone just a couple of times lightly to remove the burr.

Graham

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Tue, 4 May 1999 16:33:23 -0400
Subject: [Baren 4311] Re: Boston Museum Show

Bea

The Mary Cassatt show is over this coming weekend and will move on to the
National Art Gallery in DC. I am not sure when it will be opening but I
believe the first part of June. I will let you know if I find out. It takes
quite awhile to assemble and hang.
It is really worth the trip.

Jeanne

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From: Phil Bivins <pbivins@mindspring.com>
Date: Tue, 04 May 1999 20:21:51 -0400
Subject: [none]

Gayle,  back to the Kurosaki video. For certain types of tools you want to 
form a groove or track. You can actually purchase sharpening stones with 
already made tracks. Kurosaki was using a "Blue Stone". I have seen them 
for sale in the "Japanese Woodworker" catalog.
Anyway he showed two methods, the figure eight in conjunction with the 
rocking motion. The second was more of a circular motion. Keeping the 
handle in the right hand, with the angle of the blade held in place, on the 
stone, with the left index finger.  I know there are people in Baren that 
have forgotten more about sharpening a tool than I will ever know. Just 
sharing what I have observed, hope if haven't confused you. The bottom line 
its gonna take practice, so go for it!

Phil

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From: David Bull <davebull@woodblock.com>
Date: Wed, 05 May 1999 16:49:24 +0900
Subject: [Baren 4313] Re: wide boards ... 

Dave S. wrote: 
> something across the ends to stop warp 

Brad replied: 
> I'm not sure what you mean about putting something across the ends to stop
> warping... please explain...

They are called 'hashibame' in Japanese, and there are a couple of
images in the Encyclopedia that show them (in slightly different forms):

John Amoss:
http://woodblock.com/encyclopedia/entries/000_08/images/hashibame.gif

F. Morley Fletcher:
http://woodblock.com/encyclopedia/entries/011_03/images/fig_02.jpg

***

Gayle asked something about using a mallet with bull-nosed chisels ...

If these are the small bull-nosed chisels known as 'aisuki'

http://woodblock.com/encyclopedia/entries/014_01/images/aisuki.jpg

... then they are never used with a mallet, but pushed by hand.  Any
chisel designed for use with a mallet will have a heavy and hard handle,
a ring or other protection at the end of the handle, and probably a
'socket' into which the handle is connected to the blade.  

http://woodblock.com/encyclopedia/entries/014_01/images/soainomi.jpg

***

I've started putting process photos of my third 'surimono' print up on
my own web site ... changing them every couple of days ...

http://woodblock.com/surimono/1999/1999album.html

Dave

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End of Baren Digest V7 #553
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