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

Baren Digest             Saturday, 16 October 1999     Volume 09 : Number 745

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From: Josephine Severn <severn@acay.com.au>
Date: Fri, 15 Oct 1999 23:04:32 +1000
Subject: [Baren 6287] Julio's print exchange 

Did I miss something here?

If there are plans for a print exchange count me in. I think I missed
this comment, can you mail me direct Julio? Have you got a theme? How
about dogs.

My new second hand press arrives on Sunday, then out comes the handmade
paper I made and maybe I'll carve a new block. Trouble is I've been at
the computer for so long I've forgotton where the studio is. I know its
around here somewhere?

BTW I've used the computer to assist when I've made photo etchings and
solar plates. If you put your drawings through photoshop and print them
at 300dpi it makes the most realistic 'aquatint' effects and avoids the
need to dot screen the images. Will post some on the site for you to
see. Yes I know its not woodblock but it is printing.

josephine

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From: Vollmer/Yamaguchi <jy6@columbia.edu>
Date: Fri, 15 Oct 1999 10:40:08 -0400 (EDT)
Subject: [Baren 6288] Paper snob 

Wow, I havn't checked my mail for a few days, and got a pile of baren mail!

I still havn't developed my photos from the Manhattan Graphics opening, but
will message board them next week. I forgot to mention that Julio's seemed
to be the hit of the evening, as everyone was trying to figure out how we
were all related, and what a baren was. His print says it all, a world
baren with computers attached all around.

We used my set of First Baren Portfolio prints for the exhibition, and
framed them simply with foam core behind, and plexiglass in front, nailed
to the wall with four little L-nails. Twenty artists participated from the
original group of thirty. They were required to join Manhattan Graphics for
the special low fee of $20, and the money was used to pay for the
exhibition expenses, the card, some of the framing, the opening, etc, etc.

The exhibition area is at one side of Manhattan Graphics Center, which is
an active printmaking studio, with many printmakers in and out, so it will
be seen by more printmakers over the next month.

Bea, congratulations on your edition of 50 with seven colors! I am happy
you remember my lessons fondly! Relax and breathe deeply is the advice I
keep giving myself, too. 50 x 7 = 350 places for mistakes, but the more
colors you build up the less you notice small errors in each one. I look
forward to seeing your new prints.

And Andrea, congrats on a successful open studio, wish I was there! I think
the longer you keep at it the more your audience grows. I suppose the good
economic climate is a help, too. (not to mention your dedication and hard
work!)

You can't argue with success, Matt, whatever works for paper! I am so
impressed with how you've figured out how to sell prints, if Rives sells,
why not. The first thing people notice is the color, not the subtle texture
of washi. I do find that as I become more experienced, I have become more
sensitive to papers. In fact, I've become a real paper snob, and use only
good washi for printing. I fear that often people don't notice the
difference, but I think more experienced collectors will be interested in
prints on better paper.

April Vollmer, NYC

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From: John Ryrie <j.ryrie@pgrad.unimelb.edu.au>
Date: Sat, 16 Oct 1999 00:42:19 +1000
Subject: [Baren 6289] my strange frends 

Gary said
> What were the results?    Were these experimental prints or are these the
>materials these artists normally use?

I  think that these where experiments except for Michele with the masonite and
the 4" nail this is his proffered method and he sells more prints than any
artist I know.
I can't speak for Frank Stela.

I should also mention that wen I was just starting out on woodblocks I did a
print in the style of Roy Liechtenstein.  For the dot screen effect I printed
from the rubber off a table tennis bat.

Julio
I know both these books, I have just found two that I can recommend 
<The Artistic Revival of the Woodcut in France 1850-1900 > This goes into
Gauguin's methods of cutting and printing.   As well as a lot of other
interesting stuff.  Also a book on Vladimir Favorsky who did woodcut and wood
engraving he's a Russian with a lot in common with Eric Gill.

John

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From: Julio.Rodriguez@walgreens.com
Date: Fri, 15 Oct 1999 11:59:59 -0500
Subject: [Baren 6291] Re: Julio's print exchange 

Thanks to all the positive replies & input toward a Baren exhibit. I will wait a
few days and probably go see the person in command to inquire about possible
open dates for a show. I will show both exchanges and see what kind of response
I get from the library staff.  Leaning toward #2 because....a- #1 has already
being exhibited in at least two events, b- prints are smaller in size and
probably more manageable for setup.......c- I like the animals & landscape
themes that dominates #2.....

If I can get dates for both exchanges I will do #1 first and then #2 at a later
date...........that's assuming the works are accepted.
Will keep you posted.

Julio

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sat, 16 Oct 1999 03:05:01 +0900
Subject: [Baren 6295] Date: Fri, 15 Oct 1999 10:55:01 -0700 charset="iso-8859-1" 

Fellow bare-ners,
Here it is October 15 and exchange #4 has been fully subscribed for quite
awhile.  But we haven't yet started signing up for #5.  Have we not been
able to agree on the form a collaboration woud take?  Perhaps we should
jettison the collaboration idea, or put it on hold until #6?
Jean Eger
http://users.lanminds.com/~jeaneger

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From: Julio.Rodriguez@walgreens.com
Date: Fri, 15 Oct 1999 17:47:19 -0500
Subject: [Baren 6296] re: future Baren Exhibits 

It looks like the show/exhibition might be a go for sure!

 Got a call from the library today indicating they are very excited about the
idea and would like to get together with me sometime next month to preview the
exchange folios and arrange all the details. They are looking at April, 2000
since that's National Library something or other....Month ?....and they feel we
would fit right in with their  idea of promoting communication, internet,
library, etc.  They are already booked all the way thru early spring.  They
would also like to display the artist's comments next to their prints if
possible. I am excited about this opportunity for Baren.

There are some things we will need to think about. By April 2000, Baren members
would have finished exchange #4 and possibly even #5. So which exchange should
we exhibit ? Can we break up the exchanges that don't have a theme and
pick a few prints from each to include as many members as possible ? Or just
settle on one exchange ?  I think 30 works is about average for the shows I seen
exhibited at the library. Or do we keep each exchange intact and perhaps ask for
additional future dates....

Once I meet and get a commitment from the library I was thinking to do the
rounds and ask some of the local frame shops around here for donations in lieu
of free advertising at the show......"mats donated by....plexiglass donated
by..."
I don't know if this will fly...but it's worth a try...specially for a public
place like the library where they will get thousands of people walking by in a
month's time.

Comments ? Suggestions ?

as always......thanks.....Julio

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From: John and Jan Telfer <jtelfer@iinet.net.au>
Date: Sat, 16 Oct 99 21:15:17 -0000
Subject: [Baren 6297] 

>I asked, days ago, if anyone else had tried using craft wood as a wood
>alternative, you must hvae missed it.

No, I didn't miss it.  Yes, I have used craft wood and they are also 
using it in our TAFE Colleges here...I prefer the laminated wooden boards 
because I like to see the natural warmth of the grain of the wood in my 
prints...craft wood gives a "flat" colour impression.

I have also used perspex with an engraving tool and printed them as both 
intaglio (etching) and relief prints...both work extremely well for a 
little variety, but a little caution here when printing both techniques 
using people...the result = suntanned or no suntan!
Cheers, Jan

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End of Baren Digest V9 #745
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