[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Tuesday, 11 January 2000 Volume 10 : Number 855 ---------------------------------------------------------------------- From: "Rich" Date: Mon, 10 Jan 2000 09:52:27 -0800 Subject: [Baren 7607] Gary's digitals Gary, I enjoyed your digital drawings. They look to me to be excellent studies for prints. I wonder if the color I saw on my computer screen are the exact colors you plan to use. The carving should be strait forward from this point and with such clear compositions you will have the technique down in no time. Andrea ------------------------------ From: Wanda Date: Mon, 10 Jan 2000 10:39:57 -0800 Subject: [Baren 7609] Re: inks Well, Lezle, it is time to come over to the Hanga side. You can lay colors over colors for almost infinite shades - completely non-toxic - no need for a press - what say? I can see your style of work in Hanga, easily. Actually, even if you're not using Hanga style, I'll bet the Aqua-kolors would suit your process really well. They are made specifically for monotype - slow drying and very well suited to roll-ups. I don't have their little brochure handy - but April will have the addy. Wanda ------------------------------ From: Graham Scholes Date: Mon, 10 Jan 2000 10:44:23 -0800 Subject: [Baren 7610] Boot Camp 2000 We have a couple of spaces open for this years Hanga workshop. We have only space for one male and one female....gees I don't like that word.....so I will use 'sweetheart' instead. We have one other person who is coming but will be camping with here husband. We must have done something right last year. All five bods that were here last year are back for a repeat preformance. Is this goin'a be a party or what. Just so you know the deal..... Marnie can accommodate eight B&Bs We have two rooms with twin beds - 4 persons (Men) We have one room with 3 beds Queen and 2 pull outScholes - 3/4 and full bed. We have one room .... a single, now called David's room. The workshop/studio 1000sq ft can accommodate 10 tables....2' x 8' ....one for each person. lots of room and space to work. You can this these at.... http://members.home.net/woodblocks/Workspace.html Dwight asked about ....... 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? If you go to http://members.home.net/woodblocks/Materials.html you will see the first list detailing what is required at the wookshop. Please note the green and red dots. A lot of material and items are supplied. Below that is the list of tools etc with prices. I help you with this based on your pocket book. Below that is a list of pigments. You get a sample of each colour at the workshop. These are generous and will probably be enough to do several prints when you get back to your studio. Now about skill level. The most important is some drawing ability but more important than all that is to have 'fire of desire' to learn this wonderful hands on (absolutely non computer fluff) medium. There are other thingies that should be related but will not bore the bareners in this writing. Sincerely, Graham ------------------------------ From: "Daniel Dew" Date: Mon, 10 Jan 2000 14:48:29 -0500 Subject: [Baren 7611] Dazed and Confused Again All right, I looked in the dictionary (on-line), techniques section, etc.... and can't find anything on what "hanga" is. Is there a real brief definition? Just curious. I'm finding that even though the styles are different and the techniques sometimes unique, we can still share in the joy of it all and possibly learn a thing or two. It's like we all speak different languages, but somehow understand what the others are saying. It's cool. Dan Dew ------------------------------ From: "Jeanne Norman Chase" Date: Mon, 10 Jan 2000 16:46:13 -0500 Subject: [Baren 7613] Re: Some "New" Work Gary Just took a very long peek at your digital artwork. They are so beautiful, I simply cannot imagine how you did them on the computer. I am so glad that you let us see them and I urge everyone to take a look, you will be amazed!!! http://ourworld.compuserve.com/homepages/GLuedtke What fantastic woodblocks they would make. Jeanne N. ------------------------------ From: Gary Luedtke Date: Mon, 10 Jan 2000 17:21:29 -0500 Subject: [Baren 7614] Re: Some "New" Work Thanks, Jeanne, for your flattering comments. Thanks also to John, down under, whose dragon showed up in formal dinner jacket and requested a Martini, "stirred, not shaken." I think he's headed over to Baren After Five right now, looking for olives. Thanks again, John. Gary ------------------------------ From: Gary Luedtke Date: Mon, 10 Jan 2000 17:30:45 -0500 Subject: [Baren 7615] Bea's gathering / Gary's digitals >I enjoyed your digital drawings. Thanks, Andrea. The colors are pretty close. The jpegs are somewhat degraded in quality however, I 'm not the computer wiz that some of the Baren members are with nicely done sites, with somewhat clearer images. I've got more work to do in that area, for sure. Gary ------------------------------ From: CHRISTY BLANK Date: Mon, 10 Jan 2000 14:47:54 -0800 (PST) Subject: [Baren 7617] Re: New Printmaking Books? I used to have a copy of the Prints and Printmaking By Anthony Griffiths. It was one of those sad casualties in my fire two years ago, but I'd still get another copy. (Priorities...) It is mostly a history of western printing, but it had a lot of really good information on the three major printing schools in western europe and how they effect printing's place in the art world and how different techniques have evolved. They have more types of information on eastern Europen (Slavic) printing than I have seen before. I really enjoyed it. Christina ------------------------------ From: "Bea Gold" Date: Mon, 10 Jan 2000 14:55:26 -0800 Subject: [Baren 7618] another admirer Gary - I think you digital prints are beautiful - I scanned a black and white woodcut and then used the software program to color it. I sorry to say it was much more exciting than my color print. something to strive for. Good luck, Bea ------------------------------ From: Graham Scholes Date: Mon, 10 Jan 2000 17:08:52 -0800 Subject: [Baren 7621] Re: Some "New" Work Jeanne wrote.... >Just took a very long peek at your digital artwork. They are so beautiful, I >simply cannot imagine how you did them on the computer. I am so glad that >you let us see them and I urge everyone to take a look, you will be >amazed!!! Jeanne. Don't be dazzled by something that is a Vector drawing. To put it simply it is like joining the numbered dots. with lines. If you don't like the shape .... grab a dot which moves the line and drag it to a new location. When all the lines are joined up you take a colour palette and a tool called the paint bucket and pour colour into the given shape. If you want a shading change take another tool "spray tool" and squirt colour where you want it. If you don't like it press the delete key and try again. Easy as one to three. I have done hundreds of this fluff for commercial destination. Graham ------------------------------ From: Silvrpoynt@aol.com Date: Mon, 10 Jan 2000 20:55:43 EST Subject: [Baren 7623] Re: Some "New" Work > Don't be dazzled by something that is a Vector drawing. Why not? If it's a good image, it can be appreciated on its own grounds... I haven't seen the pictures myself, but I've worked with vector-based drawing software, and it's not always a walk in the park. I realize that there's a lot more artisanry in a hand-cut, hand-printed piece, but a good picture is a good picture. We were introduced to these pieces with the caveat that they are NOT woodcuts, but rather designs.... good designs can still be dazzling. I've heard similar criticism applied to acrylic paintings, by oil painters... "Well, it looks really good, but it's just acrylic..." and by painters to photographs... "It's not like it's a painting... they just have to point and push a button." I think that although it's important to honor the talent and craftsmanship which goes into traditional artwork in all its forms (I'm here learning about woodcutting, but I've been an artist for years - burned charcoal, ground paint - I'm very in touch with tradition), it's also important to recognize skills on the road to that goal - such as drawing, design, composition, etc. I agree that everyone should understand exactly what they're looking at, because it totally changes the appreciation we have for an image. In my mind, there is sort of a sliding scale between "whole cloth" artwork, made from scratch, with the eyes and the hands, and only minimal tools, and "machined" artwork, where the tools become more and more of a substitute for the eye and the hand. A mass reproduction of a print by a computerized press is more machined than a hand-printed version, which is still more machined than the original drawing. But they can all be beautiful... Just my two cents worth, Michael ------------------------------ From: amoss@mindspring.com (John Amoss) Date: Mon, 10 Jan 2000 22:58:58 -0500 (EST) Subject: [Baren 7624] re: shin hanga Dave politely asked showing a preliminary sketch for the mill print. If you are interested, please see: I for one fit Dave's description of being captivated by the Shin Hanga landscapes- was absolutely bowled over when I saw my first Yoshida print. Visual poetry I guess is how I would best describe it. I have a little picture of him (Hiroshi Yoshida) on my studio wall. His eyes follow me around the room. When I work on blockprints, he seems to smile. Right now, since I am on the computer, he is looking "concerned"... Anyway, if you are unfamiliar with his work, see the Hanga Gallery's Yoshida page: - --- I have to admit, Dave has offered us a lot to think about. What to take from the past, what to add from the present. It's nice to hear that one may not be in an historical cul-de-sac. Either way, its a blast to see Dave so excited! - -John ------------------------------ From: Gary Luedtke Date: Mon, 10 Jan 2000 23:33:39 -0500 Subject: [Baren 7627] re: shin hanga John, Very nice "sketch"! Very powerful and dynamic image. Darn near romantic! Very nicely done. Gary ------------------------------ From: Wanda Date: Mon, 10 Jan 2000 22:07:12 -0800 Subject: [Baren 7628] Re: shin hanga Well, it *is* pretty - but I like the print better! The print shows me the mill in it's reality. Not just pretty stuff emanating out into the starry sky - but spewing forth with all kinds of gaseous toxic gross stuff. Yeah, probably an overstatement (of course). Also, the print is better composition-wise. The addition of the water/stream/fog at the bottom brings more interest to the whole thing. Nice to see the beginnings of a great print, though. My .o2 worth. And I like to see Dave excited, too. :-) Wanda ------------------------------ From: Graham Scholes Date: Mon, 10 Jan 2000 22:12:50 -0800 Subject: [Baren 7629] John Amoss' print. >Dave politely asked showing a preliminary sketch for the mill print. >If you are interested, please >see: Most interesting indeed. Apart from colour the most striking variance is the flopping of the design..... I find the left to right lead in stronger compositionally. Interesting how that works. Moving from the cold colours to the warm colour in the print is a let down for me. The subject is facinating and this subject matter was a theme energetically persue in the 50 and 60 by 4 or 5 Canadian Artist in Toronto. Tom Roberts, Adrien Dingle are the ones that come to mind as well and works by some of the Group of Seven. It is sort of what goes around come around. But never the less, the subject is quite wonderful and speaks volumns. It certainly makes you think, not allowing you to put your mind in part as is the case with pretty picture type images. Dave wrote.... >when foreigners flooded Japan, the shin-hanga makers lost all sense >of their own direction, and simply churned out what the tourists wanted. Ah......The cutsy pretty picture fluff stuff. No this is not a failure, it is a work in progress. and if I may suggest, that State II be undertaken and that you should: 1. Adopt the colours in the sketch. 2. Use Hosho paper. The stuff you printed on (Shin Torinoko) is acceptable for verifying plates and colours but will not allow you to achieve the best result that this image deserves. The following suggestions may be to much me and not what you perceived 3. Increase the bokashi in the lower sky. This is critically important to develop a dimension in the otherwise flat plane. Using a bokashi on the lineal forms towards the far end of the building may be important to the reinforcement of the lineal perspective. Oh..... and keep the sun in the smoke..... it speaks volumns. This is one heck of a design. Moving back to your sketch and adopting the intuitive quality could give it its rightful place in the art world. Sincerely, Graham So John, what software program did you use to create the sketch. I'm kidding I'm kidding An after thought..... I saw some of the quick little sketches John did at last years Boot Camp. They were magical bordering on masterful. Beautiful little gems... ------------------------------ End of Baren Digest V10 #855 ****************************