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

Baren Digest              Sunday, 5 September 1999      Volume 08 : Number 691

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Sat, 4 Sep 1999 09:05:29 -0400
Subject: [Baren 5623] Re:Bea's Prints 

Dear Bea

Just took a look at your page and enjoyed the prints.
I take it that you do a watercolor, then print a key block on top of the
painting, right?
I like the effect, especially the simplicity of Jamaica.

Reduction Printing
 I never seem to know if I am going to do a reduction until the key block is
finished. Sometimes I just carve away at another block of color then realize
that the key block is too restricted and have to carve some of that away.  I
think woodblock printmaking to me is more of a painting, in the way that i
do it. I just completed a woodblock and it is on my site. If you stroll over
to;  http://www.jeannenormanchase-art.com
You will find it on the woodblock page, called Red Hot, a part of my
musician series. Let me know what you think. I was playing a Santana album
when I did this one. Maybe all of you are too young to remember that
fantastic group.

Jeanne

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From: Wanda Robertson <robertson@canby.com>
Date: Sat, 04 Sep 1999 09:48:13 -0700
Subject: [Baren 5625] Re: Reductions

BellaYopp wrote:
>> down and run through press several times.
>> It takes several tries to get the hang of it.  The white of the Xerox will be
>> toned... you really can't get a true white so expect that to transfer.

Brad wrote:
>Basically the oil based in sticks to the toner?
>Then are you transferring the ink that was laid out on the color copy to a
>separate sheet of paper/woodblock?

Interesting printing procedure, I'll have to try that someday. I'm
wondering if it would work with waterbase ink (to soak into the paper)
and if the toner would repel the waterbase?

Brad, I'm in the process of working on a reduction print. I've only done
4 or 5, so I'm sure not an expert, but I enjoy doing them.  I aim for a
small final number, 10 or so, and plan some extra for making mistakes.
The one I'm working on right now is oil base ink. I fiddle around with
my design until I have it all worked out in my head, then I trace or
transfer the whole design onto my block & outline in magic marker so the
lines will stay. Then I carve & print, carve & print, carve & print -
until practically nothing is left of that block. Starting with the
lightest color & mostly translucent ink mixes. So far I've only done
reduction prints with one block, so registration is pretty
straight-forward.

Andrea Rich has an illustration of how she does her reduction prints on
the web. But I can't find the URL for it. I think you could do them in
many ways. And come up with many interesting results.

Wanda

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sun, 5 Sep 1999 05:55:38 +0900
Subject: [Baren 5627] Date: Sat, 4 Sep 1999 

Amanda,
I think you are describing paper plate lithography.
Jeann EGer

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From: Graham Scholes <gscholes@home.com>
Date: Sat, 4 Sep 1999 14:50:41 -0700
Subject: [Baren 5628] ] Re: shark skin

Go to
http://www.members.home.net/gscholes/Shark.html

Here you will see a closeup of the Dog Fish skin.

On my way to the exhibition we dropped by to visit Noboru Sawai and got
talking about skins. He showed me his and it was very large indeed.  about
18" x 7" and the tooth (scales) were about 5 cm across.  The size in the
image on my site are about .25mm is the best I can figure.....very small.
Does the job though. Would like to get the real thing some day.
Noboru did say that when working in a new brush he always does a lot of the
bull work with a belt sander with medium grit paper.  I take that the mean
80 grit.

Cheers,

Graham

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From: John Ryrie <j.ryrie@pgrad.unimelb.edu.au>
Date: Sun, 05 Sep 1999 11:04:15 +1000
Subject: [Baren 5629] Re:transfer

Amanda,
This sounds like an interesting proses,  I described a process a wile
back that used Wintergreen oil.  I found the proses described much better
since in the Baren Encyclopedia.  Wintergreen oil doesn't have the problems of
being toxic though it dose have a strong smell that stays in the studio for
days.  I've found it gives very good results.
John Ryrie

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From: arafat alnaim <ar_alnaim@yahoo.com>
Date: Sun, 5 Sep 1999 00:52:11 -0700 (PDT)
Subject: [Baren 5630] ART TRIENNALES and  BIENNALE

Hi Julio and all,
This is the information I promised to pass to you hope you find it
useful.
Greetings
Arafat Al-Naim

1. VI INTERNATIONAL MAJDANEK 2000

Organizers: the organizing Committee of the International Art Triennial
Majdanek 2000 appointed by The Union of Polish Artists and Designers,
Area Office in Lublin, The State Museum at Majdanek.

Terms of Participation:
The VI International Art Triennial Majdanek 2000 is a competition
designed for tow dimensional works of art created in any form of
graphic art, drawing or photography produced in 1997-1999, owned by the
author and never presented before.

Each artist may submit up to 4 works of art, unframed and without
glass. The size may not exceed 100x70 cm. Packed works can weigh up to
5 kg. All packages should be marked with a notice " for the
exhibition".

Deadline:
The works of art together with the participation coupon should be
submitted by 15 September at the address given below:
VI INTERNATIONAL ART TRIENNALE MAJDANEK 2000
DROGA MECZENNIKOW MAJDANKA 67,
20325 LUBLIN, POLSKA

Queries concerning the competition shall be submitted to the
Secretariat of the exhibition at the following address:
SEKRETARIAT VI MIEDZYNARODOWEGO TRIENNALE SZTUKIMAJDANEK 2000
DROGA MECZENNIKOW MAJDANKA 67,
20325 LUBLIN, POLSKA
Tel. + 48-81-7442647. Fax +48-81-7440526

2. 3ed  EGYPTIAN INTERNATIONAL PRINT TRIENNALE 1999

Egypt
Ministry of Culture
 National Center of Fine Arts:
1 Kafour St.
Orman Post Office
Giza
Tel.: (202) 3482156-76 Fax: 3362359- 3482156
Deadline:
For application form 30th of September 1999
For receiving art works 30th of October 1999

3. SAPPORO INTERNATIONAL PRINT BIENNALE
Osawa Bldg. Nishi 1-chome, Minami 1-jo, Chuo-ku, Sapporo 060 Japan
Phone 011-205-2225 Fax 011-210-8112

Application period:
From August 23- September 23, 1999

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From: arafat alnaim <ar_alnaim@yahoo.com>
Date: Sun, 5 Sep 1999 01:15:34 -0700 (PDT)
Subject: [Baren 5631] Re:transfer

For further information about transfer,USING DRY COPIER TONERS and
copies to transfer images to the printing surface see
http://duke.usask.ca/~semenoff/
and click toner or toner paper. This material can be used in all
printmaking media
as a new drawing technique developed by Nik Semenoff in 1985.
cheers
Arafat Al-Naim

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From: John Ryrie <j.ryrie@pgrad.unimelb.edu.au>
Date: Sun, 05 Sep 1999 19:00:01 +1000
Subject: [Baren 5633] Re: ART TRIENNALE

Just a warning about the exhabition in Giza.  I have sent work off to this one
on two occasions to have it disappear without trace.  The Egyptian postal
service is not very reliable and unfortunately art work has a slim chance of
reaching it's destination.

John Ryrie

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End of Baren Digest V8 #691
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