Delivery-Agent: @(#)$Id: local.c,v 1.54 1998/10/30 06:30:53 akira1 Exp $ on aardvark Received: by j.xx.or.jp (ATSON-1) ; 8 Feb 2000 22:03:02 +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 WAA01197 for ; Tue, 8 Feb 2000 22:03:01 +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 ABDB64881 for ; Tue, 8 Feb 2000 22:03:01 +0900 (JST) Received: from localhost (daemon@localhost) by ml.xx.or.jp (8.8.8/3.7W) with SMTP id WAA32894; Tue, 8 Feb 2000 22:00:18 +0900 Received: by ml.xx.or.jp; Tue, 8 Feb 2000 22:00:17 +0900 Received: (from ml@localhost) by ml.xx.or.jp (8.8.8/3.7W) id WAA18408 for baren-digest-outgoing; Tue, 8 Feb 2000 22:00:17 +0900 Date: Tue, 8 Feb 2000 22:00:17 +0900 Message-Id: <200002081300.WAA18408@ml.xx.or.jp> From: owner-baren@ml.xx.or.jp To: baren@ml.xx.or.jp Subject: Baren Digest V10 #896 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 Tuesday, 8 February 2000 Volume 10 : Number 896 ---------------------------------------------------------------------- From: "Daniel Dew" Date: Mon, 07 Feb 2000 10:48:04 -0500 Subject: [Baren 8280] Re: key block Do I understand you correctly? It doesn't matter if the ink gets down into the cut areas? If this is so, then maybe my fears of Hanga are misplaced. I presume though that the proper use of the baren is imperative? NOW I'M INTRIGUED ! Dan Dew USA - ---------- >From: Graham Scholes >To: baren@ml.xx.or.jp >Subject: [Baren 8268] Re: key block >Date: Sun, Feb 6, 2000, 11:00 PM > > >>HEEEEEELP! Where do I place the pigment and paste when the key block is >>lines and lines and nothing but lines? >>Thanks, > > > Congrats..... one small step for Maria..... > All that is required is to place a few "globs" of pigment anywhere and > equal amount of rice paste beside the pigment. With the Maru Bake brush, > (see http://members.home.net/woodblocks/Materials.html you swish it around > as Dave calls it until the pigment is spread evenly over all the relief > section of the plate. Matters not that it is in the valleys. Lay the > paper and burnish swish swish, Dave term again, and presto and impression. > > Inking with a brush is quite different than inking with a roller that > deposits ink on the relief only. > > Lotsaluck. > > Graham > > ps > The amount of paste can vary depending on the strength of colour and > weather you want texture and flat colours. Experimenting is the key. > > ------------------------------ From: "JoeS" Date: Mon, 7 Feb 2000 12:26:09 -0500 Subject: [Baren 8281] Re:keyblock Prigment delivery to lines I have used a technique which I found in some reference book to deliver pigment to a small area or a line. I use an old tile, on which I put some pigment then I add a bit of paste - I mix on the tile and then use my brush to bring the mixture to the block. I find it is a good technique when in a tight space (close to my margin -etc.) However too much paste will clog your brush - I hope this helps however. Joe - ----- Original Message ----- From: David Bull To: Sent: Monday, February 07, 2000 6:20 AM Subject: [Baren 8278] Re:keyblock > John added: > > When I don't have a large enough area on the block to plop a dab of pigment > > and paste on the printing area, I apply the ink and paste directly to the > > brush instead. > > Nothing wrong with that at all - it's a common technique when you only > want a small touch of pigment, and you're afraid that if you dab with > the tokibo, it will release too much fluid onto the wood. > > This technique is also used when you're just starting out on a printing > run and the block is still quite dry. Swabbing pigment onto a dryish > block can cause it to be quickly soaked up into the wood surface in only > that swabbed location, and the mark that results will be difficult to > brush out. Applying the pigment directly to the brush, and then the > brush to the wood can make this easier to control. > > Dave > ------------------------------ From: Wanda Date: Mon, 07 Feb 2000 09:51:21 -0800 Subject: [Baren 8282] Re: Linoleum formula......gravedigging. McClain's carries *the* best linoleum blocks you will ever have the pleasure to use. Yes, they look a little more spendy - but you don't have to do anything to them except carve & print. They are sanded as smooth as a babies' b***. I may be a little bit predujiced, but try one, you'll see what I mean! Dennis Cunningham (a block printer/college instructor/friend of mine) has a company called "Portland Linocut" that makes these to his specifications - and they are really good. They also will make custom sizes if you order $125 worth or more. No extra charges, just order that much worth. I made some of my own last year - and the savings in cost were used up by the amount of time it took to make the blocks and sand them down flat. I don't think you are going to be happy with the vinyl tile, Dwight. It just ain't the same stuff. Wanda DShack wrote: > > Utrecht Art stores have linoleum for $4/sf, which is the lowest price I've > seen, by a factor of 2.5. > > I too have been experimenting with the Vinyl tile ($0.80/sf). Needs to be > heated, its gritty (wonder what that does to the cutting surface), but its > cheap. > > dwight ------------------------------ From: Graham Scholes Date: Mon, 7 Feb 2000 09:59:38 -0800 Subject: [Baren 8283] Ink brush then apply >When I don't have a large enough area on the block to plop a dab of pigment >and paste on the printing area, I apply the ink and paste directly to the >brush instead. > >Before you listen to me, I'd like to ask the veterans: Is this a bad idea? > John A. wrote.... Good, actually beyond good, going all the way to gooder..... The little red beacons on top of the lighthouse are done this way. Take a medium bristle brush (1/2" even 3/4") which has been well used and the tips of the bristles are well tapered. Dip pigment onto a saucer, ad a little rice paste, swish around (mix it) and apply to the plate .. Works like a tin whistle. Graham ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Mon, 7 Feb 2000 13:08:55 -0600 Subject: [Baren 8284] Pigment & Paste Maria writes: "HEEEEEELP! Where do I place the pigment and paste when the key block is lines and lines and nothing but lines?" Just to add two cents to the good points others have already made. It took me a while to realize that it's not only how much stuff you put down on the block and swirl around for each new impression...but rather the buildup of pigment/paste on the brush itself that accomplishes the task after warming up. This warming me up period where the brush/pigment/paste come together while proofing many impressions....I think is key to maintaining consistency from print to print. Once the brush is "loaded" and working away... the little globs of pigment and paste you add to the block in between prints serve just to maintain a certain constant consistency in the equation. I think this is very important if you want to get consistent results and are working with large areas of color. I hope this makes sense and I explained it right........Julio ------------------------------ From: Karla Hackenmiller Date: Mon, 07 Feb 2000 13:20:01 -0600 Subject: [Baren 8285] Frogman's Print & Paper Workshops Hello All! Speaking of workshops and exchange portfolios: I want to update you on our summer workshops, Frogman's Print & Paper Workshops 2000. We've got a good crop of faculty again and already the registration ball is rolling. We have two woodcut artists teaching in separate weeks: Keiji Shinohara of Connecticut will be teaching "Japanese Woodcut" and Tom Huck of St. Louis will be teaching "Traditional Black-Line Woodcut" in the style of Durer and Baldung-Grien, etc. Our annual exchange portfolio will be juried this year by Wayne Kimball of Utah. To be eligible you must be a registered workshop participant and send three slides. No jury fee. For more information, please go to : http://www.bmtc.net/~frogmans The paper brochures will be out soon. Just waiting for the printer to finish up. If you have any questions, please contact me directly. Thanks! Karla Hackenmiller Assistant Director, Frogman's Press & Gallery Assistant Professor, University of Nebraska at Kearney ------------------------------ From: "Ittai Altshuler" Date: Sat, 29 Jan 2000 15:43:40 +0200 Subject: [Baren 8286] Re: registration charset="iso-8859-8-i" Dear Graham, Dear Barbara thank you deeply it is more then enough i understand and now i need time to practice Ittai - ----- Original Message ----- From: Graham Scholes To: Sent: Sunday, February 06, 2000 11:06 PM Subject: [Baren 8261] Re: registration > Ittai, > > Barbara posted the following and have looked at wonder if I need to > duplicate what has been stated. > Let me know how you make out. > > >Welcome to Baren > >There are many registration methods, one of the baren members, Maria > >Arango has a web site with good information on registration. You can > >find it at > >http://www.printmakingstudio.com/studionotes/registration/resgister1.html > > > ------------------------------ From: SKHeidel@aol.com Date: Mon, 7 Feb 2000 18:22:02 EST Subject: [Baren 8287] Check out "Traders of the Lost Arts - Garuda Woodblock" Click Here: Traders of the Lost Arts - Garuda Woodblock [Unable to display image] I came across this while looking for a site to buy some of those great brown Chinese teapots. I spoze most of you Bareners have this kind of skill. I have soooo much to learn. I will just sit here and contemplate my tree for a little while longer Sandy ------------------------------ From: "DShack" Date: Mon, 7 Feb 2000 15:46:52 -0800 Subject: [Baren 8288] Re: Linoleum formula......gravedigging. charset="iso-8859-1" > I don't think you are going to be happy with the vinyl tile, Dwight. It > just ain't the same stuff. > > Wanda I know. However, some of the stuff I'm doing is raw and simple, with a petroglyph type of sensibility, so the tile is not unworkable for this. The line is white, from what I remove, not a raised line. > > > > DShack wrote: > > > > Utrecht Art stores have linoleum for $4/sf, which is the lowest price I've > > seen, by a factor of 2.5. > > > > I too have been experimenting with the Vinyl tile ($0.80/sf). Needs to be > > heated, its gritty (wonder what that does to the cutting surface), but its > > cheap. > > > > dwight > ------------------------------ From: "John Ryrie" Date: Tue, 8 Feb 2000 10:56:18 +1100 Subject: [Baren 8289] lino charset="iso-8859-1" In Melbourne we have the annual Silk Cut Award for Linocut. Silk cut lino is made by Forbo Krommenie, Holland. It's only for Australian Artists unfortunately. The print for this award has to be done on silk cut lino and the prize is 7 days in Amsterdam with travel & accommodation. It's run by the Australian distributors and the manufactures. The next ones in October 2000. Lino is starting to be used again in Hospitals. There is something in it that kills off the Golden-Saff germ. So It is available in some floor covering shops for much less than you pay at art supply shops. John http://www.geocities.com/laddertree ------------------------------ From: Maria Arango Date: Mon, 07 Feb 2000 16:28:18 -0800 Subject: [Baren 8290] Opportunity This from the pigment folks that April Vollmer posted a while ago. April, add to this if you want to. According to their website, these waterbased inks can be used with all types of printmaking and also with monoprints/types. They are really more like liquid pigment than what I think of waterbased inks, very rich in color. They are also suitable for woodblock and other relief methods of course. You can read all about them in their website below. > PLEASE POST > We would appreciate receiving slides of your prints made with Akua-Kolor water-based inks to show at a panel discussion on New Safe > Methods at the Southern Graphic Council Conference at the University of Miami March 1-5, Also, we will be updating our web site gallery > so if you would like show your Akua-Kolor water-based prints online please email digital images to us at wb-inks@att.net or mail photo > copies or slides. > http://www.waterbasedinks.com > > Please mail slides to: > Rostow & Jung > Water-based Printshop > 219 East 4th Street > New York, New York > 10009 > > Please include a self addressed stamped envelope for return materials. > - -- <><><><><><><><><><><><><><><><><> Maria Arango, Printmaker The Printmaking Studio http://www.printmakingstudio.com <><><><><><><><><><><><><><><><><> ------------------------------ From: Maria Arango Date: Mon, 07 Feb 2000 16:34:02 -0800 Subject: [Baren 8291] Re: Check out "Traders of the Lost Arts - Garuda Woodblock" Sandy wrote: > I spoze most of you Bareners have this kind of skill. > Oh, yeah! looks just like one of my blocks...NOT!!! Sandy, you are giving _some of us_ waaaaaaay too much credit, I know you ain't talking about me in that category. Some of us are learning every day, just like you. I think the trick is to practice, practice, practice, practice, pra-- On the same note, I once saw at the Denver Museum a carved key block. It was a beautiful and rather large block by Hokusai, one of his more complex images, can't remember which. Anyway, to see up close and personal the minute fine lines of the hairs and other details was quite an experience. I think I just stood in that room for hours mesmerized, looking at all the intricate details of the block; I feel like I etched it in my head. Maria - -- <><><><><><><><><><><><><><><><><> Maria Arango, Printmaker The Printmaking Studio http://www.printmakingstudio.com <><><><><><><><><><><><><><><><><> ------------------------------ From: "Philip Smith" Date: Mon, 7 Feb 2000 18:56:54 -0800 Subject: [Baren 8292] Re: Opportunity charset="iso-8859-1" Speaking of inks, again,.....and waterbased,....has anyone tried Faust or Graphic Chemical's versions yet? Have you an opinion? Philip - ----- Original Message ----- From: "Maria Arango" To: "Baren" Sent: Monday, February 07, 2000 4:28 PM Subject: [Baren 8290] Opportunity > This from the pigment folks that April Vollmer posted a while ago. > April, add to this if you want to. According to their website, these > waterbased inks can be used with all types of printmaking and also with > monoprints/types. They are really more like liquid pigment than what I > think of waterbased inks, very rich in color. > They are also suitable for woodblock and other relief methods of course. > You can read all about them in their website below. > > > > PLEASE POST > > We would appreciate receiving slides of your prints made with Akua-Kolor water-based inks to show at a panel discussion on New Safe > > Methods at the Southern Graphic Council Conference at the University of Miami March 1-5, Also, we will be updating our web site gallery > > so if you would like show your Akua-Kolor water-based prints online please email digital images to us at wb-inks@att.net or mail photo > > copies or slides. > > http://www.waterbasedinks.com > > > > Please mail slides to: > > Rostow & Jung > > Water-based Printshop > > 219 East 4th Street > > New York, New York > > 10009 > > > > Please include a self addressed stamped envelope for return materials. > > > > > > -- > <><><><><><><><><><><><><><><><><> > Maria Arango, Printmaker > The Printmaking Studio > http://www.printmakingstudio.com > <><><><><><><><><><><><><><><><><> > > > ------------------------------ From: viscult@prodigy.net.mx Date: Mon, 07 Feb 2000 22:56:34 -0600 Subject: [Baren 8293] Re: Baren Digest V10 #894 Gary, I'm sure you can get your planes made in Japan, since people there is very friendly and helpfull. I was there thru a fellowship from Rotary International, exchanging experiences with young japanese art teachers. Also, this is the web page of Tama University, which have a printmaking Department and many programms: www.rotary.org www.tamabi.ac.jp/wsc/default/ Here is an adress of an artist (her name is Itsue Ito), who is currently working on ceramics but has a wide experience in programm exchanges. Im sure she can help you. You please writte directly to her at: mathew@mpu.ac.jp Finally, the following is a page of an organization wich arranges Artist-in-residence programms with many countries in the world: www.resartis.org/ Your programm should be there=A1=A1 I hope it works for you, Best regards, Juan Guerrero ------------------------------ From: "DShack" Date: Mon, 7 Feb 2000 22:12:38 -0800 Subject: [Baren 8294] Re: new image charset="iso-8859-1" Maria, Your "100 Miles" images reminds me of a scene around Death Valley, Ca. Actually after you leave Death Valley. I didn't get to look at othersy yet, but nice work. Dwight - ----- Original Message ----- From: Maria Arango To: Baren Sent: Wednesday, February 02, 2000 2:01 PM Subject: [Baren 8163] new image > A while ago I became fascinated with the beauty of the carved blocks. > Never mind the prints! Since I do reduction prints mostly, I usually > draw my images on the block with a permanent marker, which withstands > repeated stages of printing without fading. So there I was, looking at > my block, tinted with brown ink so I can see the cuts, with natural > highlights carved out, black marker defining the line--I wished I could > have a print just like that. > Well, here 'tis. The block is maple, my first on plank maple, paper is > Ingres in what they call Tobacco color, a pastel paper used on the > smooth side. It is a two stage reduction. The carving was a bit more > challenging than previous images. Let me know what you think, will ya? > Thanks, > Maria > http://www.printmakingstudio.com/fullsize/carvedmen.html > > -- > <><><><><><><><><><><><><><><><><> > Maria Arango, Printmaker > The Printmaking Studio > http://www.printmakingstudio.com > <><><><><><><><><><><><><><><><><> > > > ------------------------------ From: "DShack" Date: Mon, 7 Feb 2000 22:33:18 -0800 Subject: [Baren 8295] Re: surimono print charset="iso-8859-1" I really enjoyed that. When I got to plate 18, it was like a commercial coming on at a really good point in a TV movie. I'll stay tuned. Dwight - ----- Original Message ----- From: David Bull To: Sent: Saturday, February 05, 2000 10:45 PM Subject: [Baren 8247] Re: surimono print > Barbara wrote: > > Dave, > > How do you decide which colors to print first? Is it purely arbitrary or > > is there some rule about light to dark? > > Not easy to answer, as there is no set answer. On a print like this > with twenty impressions ... > > (http://w.com/surimono/process/process2_1.html) > > ... one has a lot of ways to choose the print order. I consider a lot > of things: > > - I avoid overprinting colours soon, but move to a different area of the > print for the next impression. > > - I like to alternate wide (wet) areas, with small drier ones, to help > keep the moisture balance level. > > - I'll do a small easy one when I don't have too much time left in the > day. > > - I'll do the big heavy tough ones when I've got the energy for them. > > - The tone/tint on a small colour will seem to change once it is > surrounded by other colours, so I sometimes like to do them early on in > the printing, where I can see the colour without my eyes being fooled by > the background. (I did the bodies of the two ducks before putting on the > blue water tone) > > > > Would you normally print the key block last but are showing it > > printed first for the photos of the birds to make it easier to > > understand? > > No No NO NO! Sorry for raising my voice ;-) but in this traditional > technique within which I work, the very idea you mention - printing the > key block _last_, leaves me shaking in fear. The registration is to > the nth part of a millimeter - there is simply no way that the key can > be done last. For both carving and printing, in this tradition, the key > block comes _first_ - and all else is based on it. > > > If you printed it last and your registration was off even a > > hair it would be bad...I can see myself running screaming from the room > > again with this! > > You got it! > > > > also when you printed the gradation on the water did you use > > the same color blue or is it a darker blue? > > Exactly the same pigment. Did you notice how bright and 'cheap' that > blue is when seen by itself (the middle panels), but how much warmer and > deeper it becomes when printed over the grey background? > > I'm running late today, because I took a bit of time out this morning to > make eleven prints for another little project, but there should be > another update this evening sometime ... > > Dave > > ------------------------------ From: =?iso-8859-1?q?andy=20english?= Date: Tue, 8 Feb 2000 04:36:43 -0800 (PST) Subject: [Baren 8296] Re: Linoleum formula......gravedigging. >I don't think you are going to be happy with the >vinyl tile, Dwight. It