[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Monday, 10 January 2000 Volume 10 : Number 853 ---------------------------------------------------------------------- From: michael schneider Date: Sun, 09 Jan 2000 15:22:06 +0100 Subject: [Baren 7578] Lindwurm I would have loved to participate at the dragon exchange, but as I am doing new year greeting cards every year, the edition now stands at around 200. A lot of work as you all can imagine. Therefor I did not find the time for the exchange. Now, I do have a bit spear time. That means, all members of baren, who would like to get a original, please mail a posting address to me and I will send you a dragon. (this offer lasts as long as I have sized paper left, the original edition is sent already all over the world, so I have to print a new set for baren.)) I am working on a new studio in the moment, and do not have the possibility to prepare new paper for another month or so. I did a scan of a test print, (the only one left) for you to see and help you make a decision whether you want one or not. To view at: http://www.t0.or.at/~mikasch/ballen/dragon.htm michael (ps.: "Lindwurm" is a dragon like creature known in austrian legends. It has a snake like body and a dragon head. Sometimes it is described having wings.) ------------------------------ From: Gayle Wohlken Date: Sun, 09 Jan 2000 10:37:48 -0500 Subject: [Baren 7580] Re: Baren Digest V10 #852 (regarding cutting lines) > Sure would be nice to have a good photo essay on this in the > Encyclopedia! (One day ...) Dave, if you ever do it I for one will be most grateful. I have sat with my fists getting rather twisted as I followed your description. I had to translate everything backwards since I, like you, am left handed. Now I have a couple questions. Are we drawing the knife toward ourselves? Also, do you find a sharp angle at the wrist joint and fist which might not be good for the hand? Also, the pressure and counter pressure of the two hands is unclear. The fist is holding the knife and the fingers of that fist are pulling the knife toward you? Then the other finger from the other hand is sliding underneath the knife hand, and while being pulled by the knife hand, that finger is pushing the opposite direction? Am I making myself clear on this? So if the knife hand is pulling toward you as it rests on the north side of the knife, the finger under the fist is touching the back or the south of the knife and offering resistance? Gayle ------------------------------ From: mmflavio Date: Sun, 09 Jan 2000 08:42:05 +0000 Subject: [Baren 7581] Re: Baren Digest V10 #852 Thank you to you all for the support of my work on nextmonet.com and yes, they are done in a water based process hanga style. Thank you again, Marco Flavio ------------------------------ From: Vollmer/Yamaguchi Date: Sun, 9 Jan 2000 12:02:32 -0500 (EST) Subject: [Baren 7582] Baldness no excuse >I object to your instructions on oiling the new baren. (with hair oil) The hair thing was Graham's advice, not mine! I use mineral oil! April Vollmer ------------------------------ From: Gary Luedtke Date: Sun, 9 Jan 2000 13:05:06 -0500 Subject: [Baren 7584] Some "New" Work Well, at last I think I have a few things in the way of "digital" art to show you. This is what I've been working on the last few years, and for those of you not too entrenched to go look at it, you are most welcome to do so. My apologies for the poor qualities of the jpeg images, but I also have not had any training in Web-site development, so these are the best I can do for now. My defense for showing them on Baren is simply this: they were created as studies to be made into woodblock prints, but since I have not yet learned the carving and printing aspects of this art, and in the past have had someone else do the carving and printing, they are only artist's designs for that medium. As the computer and the web media lends itself for the display of this type of art work, I don't think it's totally inappropriate here. That, aside from the dragons arriving in the mail, is the only way I have to see any of _your_ work, so turn about is fair play, eh? The URL for a visit is: http://ourworld.compuserve.com/homepages/GLuedtke ------------------------------ From: Pedrobot@aol.com Date: Sun, 9 Jan 2000 13:45:32 EST Subject: [Baren 7586] Re: Some "New" Work I think it's a great idea, Gary. Interesting, but in a way very traditional. I mean, you're the designer for the prints, so why not show the designs? Specifically, I thought the landscapes were beautiful. I'm not normally a fan of landcapes in art. Usually I find them too boring- always the same composition, colors, etc... I thnk yours definately break out of that mold. I am insanely curious to know how the colors would translate into prints on paper. - --Pete ------------------------------ From: Graham Scholes Date: Sun, 9 Jan 2000 11:18:07 -0800 Subject: [Baren 7587] Boot Camp 2000 We have a couple of spaces open for this years Hanga workshop. The dates will be 7 days June 17th through until Friday June 23nd Arrive here on June 16th ready to start next day and you leave on Saturday June 24th. David Bull will be attending this years Boot Camp. He will be in BC at a family reunion at that time and so is going to stay over and be available He does not want to teach but to do some of his own work and is more than willing to answer questions and be involved with the group. The arrangements are, that I will be conducting the workshop and David will be on hand, fielding any and all questions put to him. A truely wonderful arrangements and fabulous learning opportunity. Location. Victoria (Sidney) BC. Workshop: 7 days of Instruction Studio open 24hrs. $490.00 Maxiumum 8 (eight) students. This does not include supplies. Accommodation: 8 nights On Site includes breakfast and lunch. $490.00 Dinners and transportation not included. Total package...... $970.00 Can$ That will be $630.00 US$ You can peruse the accommodations at: http://members.home.net/3eagles/ This is the same as last year but a new name. You can peruse the happenings at last years boot camp http://members.home.net/woodblocks/wksp.html Marnie and Graham 11435 Hawthorne Pl., Sidney, BC. V8L 5J7 250 655 0600 gscholes@home.com ------------------------------ From: Jack Reisland Date: Sun, 09 Jan 2000 22:57:29 -1000 Subject: [Baren 7588] Re: Some "New" Work > I am insanely curious to know how the colors would translate into prints on > paper. Me too! Very nice on screen, but, as I have seen some of your earlier prints in person, I know how well they can look on paper. So that's what Hawaii looks like? Looks nice, I have to get outside more often ;-) Jack ------------------------------ From: Gary Luedtke Date: Sun, 9 Jan 2000 16:13:46 -0500 Subject: [Baren 7589] Re: Some "New" Work Thanks for your comments, Pete. >I am insanely curious to know how the colors would translate into > prints on paper. Me too! Gary ------------------------------ From: "DShack" Date: Sun, 9 Jan 2000 14:51:40 -0800 Subject: [Baren 7592] Re: New Printmaking Books? I have "The Best Of Printmaking". Its not a technique book. It is a selection of many works in many printmaking genres from around the world. There is minimal discussion by the artists on how they executed their work. The only thing bad about it is the stupid faux philosophical statements some of the artists write about themselves in the third person. But that could be in any book, and the statements are kept short in this book. If you just want something to stimulate your imagination, its not a bad book. I keep pulling it out to review it. ------------------------------ From: "Lezle Williams" Date: Sun, 9 Jan 2000 17:04:44 -0600 Subject: [Baren 7593] inks A question for those of you working Western- style: What brand inks do you use? Have you found any satisfactory water-based inks? I have been using a combination of Graphic-Chemical water-based and the Speedball inks. Now, that I am doing relief prints more frequently and in editions- they are driving me crazy. They dry too quickly, are too opaque (even with extender) fill in the woodgrain, etc. As a non-toxic printmaker, I prefer to stay with the water-based inks- if possible. I tried the Green Drop Inks this past summer at a workshop and they seemed to work well, but now the site is down and someone told me they think they are out of business. Does any one have any info on this, either? Any input is appreciated. Thanks! Lezle Williams ------------------------------ From: Maria Arango Date: Sun, 09 Jan 2000 15:18:17 -0800 Subject: [Baren 7594] Re: Gary's "New" Work Nice images Gary! The views are full of light and peace, you did well in capturing the open skies and beauty. If I were a hanga printmaker I'd extend the offer, but I'm one of those oilyfolk. Don't think oil based inks would be suitable for the transparency needed to reproduce your images in a woodblock print. I have been experimenting with transparent oil-base and very little pigment, but the results are still--well, oily! Yum. The monster has been proofed and we pulled some successful prints last week. We'll finish this coming Tuesday and I will post all the images then. It is truly a Mobious print! Some nice effects on cloth, too. I'll keep you all hanging since my digital camera malfunction and I was forced to go with the old fashioned film/develop/scan process (how primitive, I know). Now, I'm in big trouble. The tip of my to broke off in a mysterious tight curve and I need advice. Should I regrind it to a fine tip? How, oh how can I do that? Will it ever be the same or should I just buy another? HELP!!! To-less in Vegas Maria ------------------------------ From: B Mason Date: Sun, 09 Jan 2000 15:28:20 -0800 Subject: [Baren 7595] to be or not Maria, I had the tip of the to break off at Graham's workshop and he just put it on a grinding wheel and ground it down and started sharpening. It took awhile. Needless to say I am very careful now. Barbara ------------------------------ From: "DShack" Date: Sun, 9 Jan 2000 18:16:11 -0800 Subject: [Baren 7598] newbie questions Slowly I am working on this 2' square piece I am doing on 1/4" birch ply. I am hewing it with a scorp, so everything is rough, but the subject matter lends itself to that. I'm likely to be printing this thing in oil, but I want to leave my options open. Do I need to seal the wood if I am to print with waterbased inks? If I do, with what? If I print it first in oil, then want to try water later, what problems am I letting myself in for (like the oil color contaminating the waterbased inks), and how do I prevent them? I am also contemplating the Boot Camp since my training to date is woefully inadequate (weekend workshop). What woods do you carve on at the Boot Camp? What tools will I need? What is provided? What skill level is assumed? After looking at eveyone's work, I'm quite impressed. I need to get off my but and start doing something. OK, well, maybe something finer than attacking this piece of ply. I'm contemplating a sushi series. Maybe I'm just hungry. thanks in advance. Dwight ------------------------------ From: David Bull Date: Mon, 10 Jan 2000 12:58:08 +0900 Subject: [Baren 7604] Re: New world ... Gayle wrote: > Now I have a couple questions. > Are we drawing the knife toward ourselves? Yes, and also 'sideways', as the line may curve and run all over the place. > Also, do you find a sharp > angle at the wrist joint and fist which might not be good for the hand? The angle of the wrist is a variable. I don't know how much detail I can get into in these little memos (it takes people many years to learn traditional cutting), but for now can just mention that the 'angle of attack' at which the blade goes into the wood (not the tilt angle we mentioned yesterday), varies with the kind of line being carved. If the line is fairly straight, and you want to help stay on it, then you pull you hand towards you, thus angling the blade in such a way that more metal is buried in the wood (horizontally, not deeper). This helps keep it from wandering. On the other hand, if the line is twisty and curvy, you angle your wrist the other way, so that there is less metal in the wood, and the blade can turn easier. Without photos this is becoming a ridiculous discussion, I'm sorry ... > The fist is holding the knife and the fingers of that fist are pulling > the knife toward you? Then the other finger from the other hand is > sliding underneath the knife hand, and while being pulled by the knife > hand, that finger is pushing the opposite direction? I think you've got it. The hands are actually working against each other, and most of your 'energy' is actually wasted. 'pull' 100 - 'push' 90 - and the knife will slowly move towards you ... *** Maria wrote: > Now, I'm in big trouble. The tip of my to broke off in a mysterious > tight curve and I need advice. Should I regrind it to a fine tip? How, > oh how can I do that? Will it ever be the same or should I just buy > another? Maria, this happens to me daily. Buy another? No way. Just turn to your sharpening stones, pull your 400 grit 'ara-to' out of the water, and grind the blade back as far as is necessary to re-create the shape. About 10 strokes back and forth usually does it. Then switch to the 'naka-to' (around a 1200 grit stone) and hone off the scratch marks from the rough stone. Then over to your finishing stone (maybe 4000X) and polish it up. Two minutes, and you're back at work. *** Gary posted some images of his recent work (work waiting to be 'born' as woodblock prints!). Seeing these pictures, and then seeing John's print in Exchange #3 the other day, really incites some thoughts about the direction and flow of printmaking traditions. No space for a history lesson here, but my thoughts pick up from where the 'shin-hanga' movement left off. The Japanese shin-hanga movement produced some absolutely incredible woodblock prints in the first half of the last century, but then ran out of steam around half-way through, and basically no longer exists. It ran down because of a few reasons. One main one was that the advent of WWII certainly didn't help the worldwide appreciation of things Japanese. Then after the war, when foreigners flooded Japan, the shin-hanga makers lost all sense of their own direction, and simply churned out what the tourists wanted - images of the quaint Japan they expected to see ... snow on temple roofs, etc. etc. Without any core 'philosophy' left to guide it (with Watanabe gone), and with all the attention focussed on the big names (Hasui, Yoshida, Shinsui, ...) the thing just faded from view once those men became too old to continue. But why is it though, that the images we have left continue to excite so much attention? The answer is simple - the genre is capable of such incredible beauty that we can't just let it go. Have you seen a collection of (good) Yoshida prints? Have you ever browsed through the 'Complete Woodblock Prints of Kawase Hasui'? Those of you who have, know what I'm talking about. This is a genre that is just sitting there, waiting for new life to be breathed into it. We saw the same thing happen time and time again during the 300 years of the ukiyo-e 'movement'. It became moribund a dozen times over, but each time it did, some new designers came along with exciting new images and kicked it back into life. Surely, the time is ripe for the same thing to happen with 'shin-hanga'. Snow on temple roofs. Forget it! What next, then? Well, how about a pulp mill in rural Georgia? Sound ridiculous? Far far from it. Looking at John's print in the Exchange, you may think "What's David got in his sandwich _today_?" (peanut butter bagel, actually) ... but I tell you, I can _see_ what John is trying to do. He has failed this time, and failed spectacularly, but that is irrelevant - he _has_ the image in his mind, and given enough time and practice, he will be able to get it down on paper so that the rest of us will be able to see his vision - the image that he saw one night driving along that road - a monstrous towering dark colossus, with the flickering lights of hell spewing from it. You will gasp in shock and delight when you see his (future) print, and _then_ you will understand what he is trying to do, and what I am talking about. (If we ask him politely, perhaps he will share with us one of his preliminary 'sketches' for the 'Milton' print ...) (Sorry Gary, I don't mean to ignore you in this, it is just that John's print makes my point more dramatically! And John, I hope everybody understands that I am in no way trying to put you down by using the word 'failure' here. I am filled with admiration at what you are trying to do, and what you have taken on.) So here we have the seeds of a possible regeneration and rebirth of the genre, and of a completely new and exciting type of image. I'm so excited about this I want to jump up and down and carve and carve and print and print ... But damn#$`"*& ... I've got to get my own stuff done ... and feel almost helpless here. Looking around the galleries and exhibitions of the world, one sees a zillion artists floundering around trying to find a new way to see things. Maybe they will, and maybe they won't. To my way of thinking, these images from Gary and John show us that there is still another way forward - not by falling off the edge of the cliff of art history and trying to found a new world, but by the sensible way of building a _new_ type of image on a strong established historical base. I _want_ some of these prints! Dave ------------------------------ End of Baren Digest V10 #853 ****************************