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

Baren Digest               Tuesday, 29 June 1999       Volume 07 : Number 612

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From: Barbara Mason <bemason@concentric.net>
Date: Mon, 28 Jun 1999 21:56:01 -0700
Subject: [Baren 4802] Graham's workshop, report #2 

My head is still swimming with all I learned and I have signed up for
exchange #3 so will really make use of the information. This Bakashi
(did I spell that right?) stuff is not as hard as it sounds, the
important thing is not to have the air too dry (not a problem for those
of you in humid climates) so your block doesn't dry out too fast. We
dropped our dollop of rice paste on the block, then added a couple of
splashes of ink and proceeded to scrub it into the block with round
strokes. We printed the first six or so on newsprint to prime the block
and get it damp, then we proceeded to the real paper. For the bakashi we
put rice paste only on with one brush where we wanted it the lightest,
then inked with the second brush on the rest of the area. With the third
brush we drug the inked area into the rice paste area with light
strokes, wiping the brush between each stroke on a damp cotton cloth. We
brushed at opposite 45 degree angles, first left, then right, then with
the rice paste only brush  straight back into the ink, very lightly.
This seemed to smooth everything out and then we printed. The results
were great. We have got it! Well, maybe, time will tell. This is very
different from oil based pigments, you have to work fast, keeping
everything moist and use an even rhythm. 

Graham had us use a piece of
corrugated plastic (what I would call gator board but he called it
something else) on each side of our printing block. We taped it down to
the table with a couple of pieces of duct tape so it would lift on the
edge closest to the block, like leaves of a book. We put our damp paper
under this plastic cover and moved our paper from one side to the other,
one sheet at a time as we printed. This kept it at the right dampness
for printing. We had previously dampened the paper with water and
layered it in a plastic pack with a damp blotter on the top and bottom.
We let the shin torinoko paper set about three hours after wetting it
with a large brush, sort of like a wallpaper brush. I always throw my
paper in a water bath, so this was a little more scientific, getting the
paper just right. Actually the last day I did soak paper and wound up
blotting it on towels, exactly like I do at home and it worked (more or
less), but I am not sure what was the paper or what was the soaking as I
was trying so many types of paper. 

Graham stacked the dry paper 4-6
sheets at a time to cut the kento marks, using a metal ruler to hold it
down and cutting with a sharp utility knife. (one of the ones with the
break away blades) I didn't understand the importance of these marks at
first, but now realize that your work only registers correctly if these
marks are very evenly cut, so you can line up the paper exactly with the
kento. Graham held the paper on the edge or corner between his thumb and
first finger, using his other fingers to support the paper farther up.
as soon as he dropped the corner, he held it down with his thumb so it
would not shift while he dropped the other mark into place. It sounds
awkward, but worked well. Maybe we need more pictures of this, Graham,
for us beginners. 

To lay down larger sheets of paper, Graham used a
slightly smaller dry sheet on top of the damp sheet holding both papers
together. This gave the large damp paper support and allowed him to drop
the kento marks into the proper locations without dropping the large
sheet onto the block prematurely. He then discarded the dry sheet, put
the tracing or parchment paper over the printing paper and burnished the
block. Too easy. Unless I think of more, I will spend the next few days
getting a drawing ready, I am thinking more graphically, I am looking at
everything in small color compartments now. I have my image in mind, so
here goes!

Welcome to all new people, hope you don't mind the info from a total
woodblock beginner, possibly I will say it more clearly than someone who
has done it for a while, you never know. John had done a lot of
printing, but had many frustrating times. Marco as well, so this class
was better than gold for both of them. I really started to appreciate it
as I heard more and more stories of their difficulties trying to learn
from oil based printers and from books.

This is almost a lost art, so lets keep it going!
Barbara

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From: Cucamongie@aol.com
Date: Tue, 29 Jun 1999 08:24:28 EDT
Subject: [Baren 4803] stuff 

thanks all for your kind words re my McClain's dog, print show, etc. - 
Last night I went over to Graham's website to look at the workshop stuff 
again - looking forward to seeing the sharpening pictures, etc!  
Later this week I'm going to the Met to see Dr. Gachet's collection - I'll 
let you know what it's like!
best to all & keep cool,
Sarah

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From: April Vollmer/John Yamaguchi <jy6@columbia.edu>
Date: Mon, 28 Jun 1999 22:08:26 -0400
Subject: [Baren 4804] Massachusetts is beautiful 

Glad to hear Bea's knees are on the mend. Thank you Barbara and Wanda for
your vivid descriptions. Yes, indeed, the Graham and Marnie show will be
hard to beat, but we'll do our best! , too, and the folks at Horizons are
extremely nice. I'll be bringing some extra barens if Bea has any trouble
getting one from Daniel Smith.

April Vollmer

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End of Baren Digest V7 #612
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