Delivery-Agent: @(#)$Id: local.c,v 1.54 1998/10/30 06:30:53 akira1 Exp $ on trader Received: by j.xx.or.jp (ATSON-1) ; 27 Jan 2000 22:02:56 +0900 Return-Path: Received: from lancer.xx.or.jp (lancer.xx.or.jp [202.224.39.3]) by trantula.xx.or.jp (8.8.8/3.7W) with ESMTP id WAA08035 for ; Thu, 27 Jan 2000 22:02:55 +0900 (JST) Received: from ml.xx.or.jp (ml.xx.or.jp [202.224.39.111]) by lancer.xx.or.jp (Postfix) with ESMTP id F2F9D48F4 for ; Thu, 27 Jan 2000 22:02:54 +0900 (JST) Received: from localhost (daemon@localhost) by ml.xx.or.jp (8.8.8/3.7W) with SMTP id WAA51828; Thu, 27 Jan 2000 22:00:19 +0900 Received: by ml.xx.or.jp; Thu, 27 Jan 2000 22:00:18 +0900 Received: (from ml@localhost) by ml.xx.or.jp (8.8.8/3.7W) id WAA39042 for baren-digest-outgoing; Thu, 27 Jan 2000 22:00:18 +0900 Date: Thu, 27 Jan 2000 22:00:18 +0900 Message-Id: <200001271300.WAA39042@ml.xx.or.jp> From: owner-baren@ml.xx.or.jp To: baren@ml.xx.or.jp Subject: Baren Digest V10 #876 Reply-To: baren@ml.xx.or.jp Errors-To: owner-baren@ml.xx.or.jp Precedence: bulk [Baren]: The mailing list / discussion forum for woodblock printmaking. Sender: owner-baren-digest@ml.xx.or.jp X-Mozilla-Status: 0000 Baren Digest Thursday, 27 January 2000 Volume 10 : Number 876 ---------------------------------------------------------------------- From: "Lezle Williams" Date: Wed, 26 Jan 2000 08:42:11 -0600 Subject: [Baren 7955] Re: Baren Digest V10 #875 charset="iso-8859-1" Just looked at the self-portraits--- great work! Now those of you who didn't supply artist comments, please do. It is interesting to know the different processes, techniques, and ideas behind the prints. I recently bought Andy Goldsworthy- "Collaborations With Nature" It is amazing what he does with items that are seen daily (wood, leaves, rocks, ice) and the art that he turns them into. Such imagination, such creativity- very inspiring. Also, I received my copy of the Caxton/Barry Moser bible yesterday. It is great- I just love the pure black and white engravings, the clean lines. I think the "moodiness" or darkness that some reviewers are criticizing is fitting- all part of the artist's interpretation. Lezle Williams www.laughingcrow.org > Anyone looking for a flat out visual treat, go to the library or bookstore > and pick up this book: > "WOOD" by Andy Goldsworthy. The imagery, ideas, colors, ------------------------------ From: Ruth Leaf Date: Wed, 26 Jan 2000 08:19:20 -0700 Subject: [Baren 7956] Re: Baren Digest V10 #875 What a treat the self portraits are magnificent. I am so impressed. Ruth - -- http://www.ruthleaf.com ------------------------------ From: "Meredith Hoar" Date: Wed, 26 Jan 2000 14:13:53 -0500 Subject: [Baren 7957] Woodblock printing on Textiles - History charset="iso-8859-1" Hello! My name is Meredith and I have a question about the history of woodblock printing. My sister and I have a fashion company in which my sister is the designer and I do the marketing. Her niche in the market is her uniquely designed textiles. This season she designed her fabrics using woodblock printing with pigments on textiles. All of the printing is done in India. Anywho...I am working on our marketing materials and would like to include some history of the woodblock technique. I asked my sister but she does not know about the history. I have done some searching on the internet but this is the only site I was able to find. Now, I know that this sight focuses on printmaking and not textile printing but I am really at a loss. If anyone could help point me in the right direction I would REALLY appreciate it. Meredith Hoar Jennifer Hoar Designs ------------------------------ From: Arye Saar Date: Wed, 26 Jan 2000 21:45:28 +0200 Subject: [Baren 7958] Re: Woodblock printing on Textiles - History Hello Meredith, Here is a book that might answer your questions: Textile Printing By Joyce Storey Edited by Thames and Hudson ltd, London Reprinted 1979 Arye Meredith Hoar wrote: > Hello! My name is Meredith and I have a question about the history of > woodblock printing. My sister and I have a fashion company in which my > sister is the designer and I do the marketing. Her niche in the market is > her uniquely designed textiles. This season she designed her fabrics using > woodblock printing with pigments on textiles. All of the printing is done in > India. Anywho...I am working on our marketing materials and would like to > include some history of the woodblock technique. I asked my sister but she > does not know about the history. I have done some searching on the internet > but this is the only site I was able to find. Now, I know that this sight > focuses on printmaking and not textile printing but I am really at a loss. > If anyone could help point me in the right direction I would REALLY > appreciate it. > > Meredith Hoar > Jennifer Hoar Designs ------------------------------ From: Maria Arango Date: Wed, 26 Jan 2000 12:02:22 -0800 Subject: [Baren 7959] Re: Woodblock printing on Textiles - History Meredith, Try http://www.w.com and click on the library. There are many downloadable books that contain the info you want. If you feel like a trip to an actual library, http://www.printmakingstudio.com/library.html will give you some ideas of reference books to check out. Hope this helps, Maria - -- <><><><><><><><><><><><><><><><><> Maria Arango, Printmaker The Printmaking Studio http://www.printmakingstudio.com <><><><><><><><><><><><><><><><><> ------------------------------ From: "Daniel Dew" Date: Wed, 26 Jan 2000 15:37:16 -0500 Subject: [Baren 7960] Re: Woodblock printing on Textiles - History Your local library should have books on the history of printmaking. In looking at many books at the library, I have found some do spend a small amount of time on textile printing. One in particular was, I think, "The history and texhniques of relief printmaking". It had a large,colorful rooster print on the cover. Hope this helps. Dan Dew USA P.S. Ought to ask any Baren members if they would be interested in submitting design patterns. Especially if we can get paid too! - ---------- >From: "Meredith Hoar" >To: >Subject: [Baren 7957] Woodblock printing on Textiles - History >Date: Wed, Jan 26, 2000, 2:13 PM > > Hello! My name is Meredith and I have a question about the history of > woodblock printing. My sister and I have a fashion company in which my > sister is the designer and I do the marketing. Her niche in the market is > her uniquely designed textiles. This season she designed her fabrics using > woodblock printing with pigments on textiles. All of the printing is done in > India. Anywho...I am working on our marketing materials and would like to > include some history of the woodblock technique. I asked my sister but she > does not know about the history. I have done some searching on the internet > but this is the only site I was able to find. Now, I know that this sight > focuses on printmaking and not textile printing but I am really at a loss. > If anyone could help point me in the right direction I would REALLY > appreciate it. > > Meredith Hoar > Jennifer Hoar Designs > ------------------------------ From: =?iso-8859-1?q?dimitris=20grammatikopulos?= Date: Wed, 26 Jan 2000 12:33:06 -0800 (PST) Subject: [Baren 7961] Re: Woodblock printing on Textiles - History Hello,Meredith! I would gladly help.If it is text you need I could prepair it ina week-10 days time.As for pictures,give me a bit more.Let me know if you're interested. I heard about your problem through Baren regards, Dimitris ===== Dimitris Grammatikopulos Th. Sofuli 4 , Ampelokipi Ioannina , Greece 454 45 aenaonartst@yahoo.com __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ From: Studio Dalwood Date: Thu, 27 Jan 2000 07:43:00 +1100 Subject: [Baren 7962] Goldsworthy and other inspirations/ Exchange #4/Asian Art Dan said "Anyone looking for a flat out visual treat, go to the library or bookstore and pick up this book: "WOOD" by Andy Goldsworthy. The imagery, ideas, colors, imagination,,,,truly awesome and awe inspiring." Dan. I own this book plus STONE one of his other ones. I first discovered his work through the first monograph which summarised all his work to that point. If you like Goldsworthy then you need to go look for Richard Long and Graham Nash work too. There is one of Long's drawings in one of the Sydney galleries where he uses his thumb dipped in mud to print his circles on paper. That's about as close to printmaking as these guys get but the work _is_ truly inspiring. Long and Goldsworthy are two of my favourite o/seas artists. I'm reading a book called "Building a Picture - Interviews with Australian Artists" By Gary Catalano. McGraw Hill 1997 ISBN 0 07 470446 X I'm finding it both informative and inspiring. It features several printmakers and artists whose work I admire. I'm not saying go out and buy it but if you see at the library, have a browse. Been in the studio printing all afternoon. I guess this is what its all about. Will share when they are dry enough to scan. Its dragon number two, the aus version. An Australian eastern water dragon lizard type beasty who kindly posed for me when we last visited the reptile park. Browsing through number four I am first struck by how yet again the variety possible from a shared theme can reveal itself through the eyes of the participating artists. Not in the least repetitive or boring, each print a fresh view of the subject. Some real honesty in self portrayal too. Of interest is the number of unfamiliar names. A set like this would be an excellent teaching aid. A collection to be proud of. Is this the Asian Arts Magazine you were discussing? http://www.artsofasianet.com/ Josephine ------------------------------ From: Studio Dalwood Date: Thu, 27 Jan 2000 07:59:29 +1100 Subject: [Baren 7963] Re: Monsters, Language and Trees Dear Curtis The exchange details posted on Print Australia have changed. Paper size is now 11 x 15ins. I have you down as being in the exchange. Can you confirm this? And if so can you join the onelist group so i can keep you up to date. Thanks Josephine Chloe T LeMay wrote: > > Dear Josephine, > > I, also, think that the sacred tree theme is an excellent one. I have an > idea for it and I would like to enter. I am new to the group, so I am not > sure how I am obligating myself. What kind of time-line are we talking > about? > > Curtis > ----- Original Message ----- > From: Studio Dalwood > To: barenmlxxorjp > Sent: Sunday, January 16, 2000 3:49 PM > Subject: [Baren 7761] Monsters, Language and Trees > > > Hi all > > > > Maria, thanks for your answers re the monster prints, it is a lot > > clearer now. I wondered if you had experimented with different layouts > > for the printing. I was curious whether you had laid the paper on the > > carpet and placed the inked plate face down on the paper (the > > 'orientation' I mentioned meant face up or face down). I thought this > > method may have allowed some slight embossing from the carpet and > > protected the plate more. I also wanted to be sure how you did it ready > > for next time someone asks me if I know how it can be done, which is > > what happened to me last year. I told them then to use a car but could > > not provide any details how it was done, I can now. > > > > As for language, I am english born and as far as possible use english > > spellings such as colour and cheque. Australian english uses english > > english with some american bastardisations and some australian ones, > > plus a lot of migrant contributions from everywhere else. American > > corruptions are creeping into australian text even more these days due > > to the usage of microsoft word which has the spell checker default set > > to an american dictionary and most people do not have the wit to realise > > this or to change the default. *sigh* > > Where possible I use the oxford english dictionary for correct usage as > > I am a pedant. On e-mail I just type away but mostly I hope it is > > correct english occasionally coloured with Australian slang. I enjoy > > JR's flirtations with postmodern english and find it is catching > > sometimes which amuses me. > > > > By first major solo I meant that this is my personal first major > > non-group show featuring a specific body of mine own art works to a > > theme. This represents two years development on my part. Adding baren > > collaborations would effectively make this a non-solo show to a pedant > > like me. But as I still hold sole curatorial control this does not worry > > me. Does this help clarify things? I found your question equally > > confusing. > > > > I find the internet a marvelous opportunity to disseminate information > > across cultures. But I also find that communications are not always as > > clear or direct as we think they are merely through anomolies in > > language usage. Semiotics again. We can only keep trying. > > > > There have been a lot of positive responses to my idea for sacred trees > > which pleases me. I was in trouble again from the boss for sharing the > > foundation of my latest body of (two years) work with you. He is worried > > that someone may 'steal' my idea and thus undermine the originality of > > my work when I show it later in the year. I would be upset if this > > happened but I also assured him that [baren] members would not stoop so > > low, that you are more noble than that. I believe this, otherwise I > > would not have shared with you. > > > > So far, 14 people including myself have expressed favour with this idea. > > Jean, jeanne, brad, maria, julio, johnR, wanda, christy, jandi, gayle, > > jan (offlist) georga and sarah. I think thats right? Is that enough to > > go with the theme? > > > > Josephine ------------------------------ From: Studio Dalwood Date: Thu, 27 Jan 2000 08:31:47 +1100 Subject: [Baren 7964] Sacred trees As you can see from my last (accidental) post I am doing housekeeping this morning too. And like Dave I would like to nag. I am mailing individually all the people who wanted 'in' the exchange who have not yet joined the mailing list. I cant join you, you have to do it yourselves. Besides giving me the job of mailing you individually it leaves you in the position of not knowing what is going on as I am trying to respect David's wishes in keeping this mainly off-list. Exchange details are on Studio Dalwood at http://www.acay.com.au/~severn/sacred.htm >From here you can see who is in and take the link to the mailing list. It is difficult to finalise details without you all there guys, please help. Josephine ------------------------------ From: Wanda Date: Wed, 26 Jan 2000 16:47:17 -0800 Subject: [Baren 7965] #4 up close and personal Dear Bareners, I received my Exch.#4 case today! I opened the box with my car key in the Post Office parking lot - I couldn't even wait until I got home! The exchange #4 prints are really wonderful! Even better than on the web...if that's possible. I am going to go put up some personal messages for those of you involved in the exchange, but just wanted to give all of you a pat on the back for all the hard work & inspiration! And thank you Maria, for such a good job on the collating and mailing! Wanda ------------------------------ From: "Jean Eger" Date: Wed, 26 Jan 2000 17:39:53 -0800 Subject: [Baren 7966] Portrait exchange charset="iso-8859-1" James, Your portrait print is a knockout. How did you cut that cross hatching? Did you use two blocks? The whole exchange is just gorgeous. Jean Eger http://users.lanminds.com/~jeaneger ------------------------------ From: "Cynthia RR. Wilson" Date: Wed, 26 Jan 2000 18:01:39 -0800 Subject: [Baren 7967] Re: Portrait exchange > The whole exchange is just gorgeous. > Jean Eger I'm echoing Jean! What a great group of images! I am really sorry that I wasn't in this exchange. Wonderful stuff! Cyndy Wilson ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 27 Jan 2000 01:48:15 -0600 Subject: [Baren 7968] discussing #4 Dave writes regarding exchange # 4: "Now let's hear some _real_ discussion about printmaking! " For some reason we just don't seem to generate much discusssion regarding our own exchanges. Other than the usual "Great", " the best so far", "magnificent prints" & other congratulatory postings....not much real discussion goes on regarding the making of these prints. WHY IS THAT ? After spending 2-3 months working on a project....(I guess some of us work faster than that!) it would seem reasonable that we would want to share with others about our motivation, inspiration, technique & problems encountered during the making of these prints. But not many Bareners stand up to bat....and not many ask about the others trials & tribulations. Since this is a forum for learning about woodblock printmaking....it would seem to be an acceptable practice to share this information without fear of others opinions. Perhaps we are too set in our ways..."that the art should stand on it's own"....and that "the message is there for each to interpret to it's own"...."I, the artist, will just stand back and let the print speak for itself". I am not talking about critiques here ....just a simple...."how did you do that ?...or "what's the source of inspiration ?"...or... A few days ago I posted some info about my own #3 print in response to a private email with the idea of encouraging others to follow suit and discuss their prints pubicly. No other #3 postings have occurred, at least not in the public forum. Perhaps each one of us is waiting for others to ask us about our own prints........but after four exchanges....I tell you.....not many questions will pop in the forum......WHY IS THAT ? With such a diverse range of techniques and styles as that shown in #3 and now in this fantastic set of #4 portraits....there is a great wealth of hidden information enclosed within these prints....that would benefit all.....newbies and pro's. Julio ------------------------------ From: David Bull Date: Thu, 27 Jan 2000 17:09:52 +0900 Subject: [Baren 7969] Re: discussing #4 Julio wrote: > No other #3 postings have occurred, at least not in the public > forum. Perhaps each one of us is waiting for others to ask us about our own > prints........but after four exchanges....I tell you.....not many questions will > pop in the forum......WHY IS THAT ? Actually Julio, part of the reason for this is the way I set up those 'critique' forms on the print pages. In the weeks immediately following the public posting of the Exchange #3 images, _hundreds_ of emails went back and forth between members with exactly the kind of discussion you are asking for. Some of the critique forms are set for 'private critique', and those comments I didn't see, but for the ones that are set for 'public' copies come to me ... I intended to post the most interesting ones up on the print pages for all to share. Intended ... And now the same thing is happening with #4. So it seems that I have shot myself in the foot. By attempting to set up an easy way for critiques and feedback to take place, I have inadvertently created a cone of _public_ silence around the Exchange images. I'm not sure about the best way to handle this. Perhaps each of us could publicly share the most interesting and useful critiques that come in, by reposting them here. But publicly posting private emails from people is not such a good habit to get into ... Any suggestions on how to handle this will be greatly appreciated. Maybe without mentioning the name of the 'critiquer'? That might work. To get things started, I'll post one that I myself received last night. In case the sender is embarrassed, I'll leave off the n ame (He/she can 'own up' if they so wish! :-) *** Re, Dave's #4 Self-portrait: >Praise: Goodness me... Dave has melted! I haven't seen this print in >person yet, Dave, but I will say that is surprisingly more inventive >than I was expecting after your "flock of sheep" analogy. And yes, >if I do get back a bit from the screen and unfocus eyes slightly... >there you are! Clear as a bell in all your hirsute glory. Bravo. >Suggestions: It's difficult to say with just this electronic version >in front of me, but I would like to see a few lighter touches in the >eyes. From what I can see now, the eyes look a bit too dark and >spelunky -- if you get my meaning (if not, ignore my rambling). >Comments: Baaah. This may not sound like much of a compliment, but >here goes: "A much better print than I was expecting." How's _that_ >for a pat on the back?! My reply: Actually, I chickened out. Playing with the eyes would have really meant careful drawing, in order not to end up with some bizarre expression on the face. I chose just to leave them vague and blurry. And with a reduction print, getting the light highlights has to come _first_, so I just didn't dare ... Did turn out to be a bit too much like Rasputin, though! > "A much better print than I was expecting." Reminds me of the time in high school when one of the teachers said something like "Nice to see your face is clearing up!" But yeah, for a beginner, maybe it's not so bad ... Thanks for writing - I see a zillion of these critique messages going back and forth, but not many people try and offer _me_ any real comments ... *** OK, Julio? ------------------------------ From: Studio Dalwood Date: Thu, 27 Jan 2000 20:08:10 +1100 Subject: [Baren 7970] Discussing number four I see the problem Dave. I can understand why someone might like the comments left private, I chose that option myself. I thought about sending individual mails to the participants but that's roughly 60 mails, and they were all great prints. All have indicators of the technical developmental stage of the printer. Some have some work to do on drawing skills. Some need to think about what they are saying and why. That 'content' soapbox I keep standing on. Some need to develop their printing or carving skills. Some their composition and treatment of space. Heck, I need to do _all_ of the above *grin*. The best critique sessions take place in an open discussion session with all present and willing to be honest about what they think and receivers being prepared to be publically shown their flaws. A hard ask, and something that needs to be done in the flesh. Bringing the discussion back onto the forum would be one solution, but I'm not sure its the best, or one that you should go with. In the meantime, its that synchronicity thing again Julio, I spent this arvo scanning images for #5 and writing about how I went about it and what the print means. I still get the idea that the done thing is to keep the image a secret till the box arrives, so I wont be posting it on the net yet. But its written Julio and it does just what you ask, I hope. I also updated the dragon page with two only new cards plus my new one on a page on its own with preliminary sketches. Will upload tommorrow probably. Noticed on the news that you are having really bad weather over there in the states. Is everyone OK? Josephine Flu-ridden here in rainy Australia ------------------------------ End of Baren Digest V10 #876 ****************************