Delivery-Agent: @(#)$Id: local.c,v 1.54 1998/10/30 06:30:53 akira1 Exp $ on starlifter
Received: by j.xx.or.jp (ATSON-1) ; 15 Feb 2000 12:51:07 +0900
Return-Path: <owner-baren-digest@ml.xx.or.jp>
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 MAA14290
	for <x>; Tue, 15 Feb 2000 12:51:06 +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 0544248B9
	for <davebull@xx.email.ne.jp>; Tue, 15 Feb 2000 12:51:05 +0900 (JST)
Received: from localhost (daemon@localhost)
	by ml.xx.or.jp (8.8.8/3.7W) with SMTP id MAA24776;
	Tue, 15 Feb 2000 12:48:17 +0900
Received: by ml.xx.or.jp; Tue, 15 Feb 2000 12:48:17 +0900
Received: (from ml@localhost)
	by ml.xx.or.jp (8.8.8/3.7W) id MAA39390
	for baren-digest-outgoing; Tue, 15 Feb 2000 12:48:17 +0900
Date: Tue, 15 Feb 2000 12:48:17 +0900
Message-Id: <200002150348.MAA39390@ml.xx.or.jp>
From: owner-baren@ml.xx.or.jp
To: baren@ml.xx.or.jp
Subject:   Baren Digest V10 #904
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, 15 February 2000     Volume 10 : Number 904


----------------------------------------------------------------------

From: SKHeidel@aol.com
Date: Mon, 14 Feb 2000 09:18:55 EST
Subject: [Baren 8400] Re: Blushing 

 

------------------------------

From: ArtfulCarol@aol.com
Date: Mon, 14 Feb 2000 09:43:56 EST
Subject: [Baren 8401] Re: Exchange and swapshop announcements 

Dan Dew,
I'm with you--
No coloring after printing, otherwise the whole concept of woodblock printing 
is changed.  Where's the skill in that?   Guess I'm a purist there.
    Carol  Lyons
     USA  ( Irvington, NY)

------------------------------

From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Mon, 14 Feb 2000 10:20:32 -0500
Subject: [Baren 8402] Hand coloring and stuff charset="iso-8859-1" 

Dan
i totally agree, hand coloring, while I really like it, is a mixed media
piece which is ok as long as an exchange accepts it as a mixed media but is
not a woodblock print.
Also really like the idea of including the area where you are from in your
post, thanks Dan. Nothing like reaching out all over the world and realizing
that it is a small world after all.

The committeee has really come up with great ideas. Having a sign up on all
four exchanges is good. Also limiting the sign up so that you can
participate in only 2 is reasonable. In the excitement of the exchanges
perhaps some people get carried away (like me), and bite off more than they
can chew. This might lessen the quality of the print expected of you.

James, the Swap shop sounds like a winner, and you are wonderful to accept
the trials and tribulations that will surely go with it.

Dave
I did not know that you were a comedian????? Your post between Ran Dather
and Barbara WaWa was hilarious.

Ps, Personal note to Dan
Where are you staying in Miami during the Conference. We Bareners should
meet. Holiday Inn is where at least 4 of us are staying and it is right
across the street from the University.

Jeanne N.
Florida
USA


------------------------------

From: elizuno <elizuno@midcoast.com>
Date: Mon, 14 Feb 2000 10:15:00 -0500
Subject: [Baren 8403] Icar 

Thanks, Graham.....you made my day!
What fun! Must send this to all the new iMac peole.
Loved all my VWs!
ElizA

------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Mon, 14 Feb 2000 07:37:22 -0800
Subject: [Baren 8404] Boot Camp 2000 

We have had a change with one of our participant which has made one space
available for a women at this years Hanga workshop.

Go to http://members.home.net/woodblocks/#workshop

Please contact us at
gscholes@home.com

Marnie Scholes



------------------------------

From: "David Stones" <stones@mb.i-chubu.ne.jp>
Date: Tue, 15 Feb 2000 00:40:28 +0900
Subject: [Baren 8405] Re: Colouring charset="iso-2022-jp" 

Dear Dan, Carol, and Jeanne,

I must agree with you, to a point, and that the idea of adding colour to a
woodblock after printing isn't my style... BUT I've a difficult task here
in Japan to say much about it. Munakata Shiko hand-coloured... and quite a
few fellow printers here cut a b/w block and then colour it in (mostly
from the back) and utilize the effects of very thin, hand-made papers that
have, of course, no need for a kento.

If we go to the U.K., you'll find that some across-the-grain cut prints
there are hand-coloured too. I guess a decision has to be made but... 
Who cuts out who and what?

Just a thought on the subject, for reference.

Ishita (Dave S)



------------------------------

From: "David Stones" <stones@mb.i-chubu.ne.jp>
Date: Tue, 15 Feb 2000 00:26:11 +0900
Subject: [Baren 8406] Re: Colouring charset="shift_jis" 

Dear Dan, and Carol,

I must agree with you, to a point, and that the idea of adding colour to a
woodblock after printing isn't my style... BUT I've a difficult task here
in Japan to say much about it. Munakata Shiko hand-coloured... and quite a
few fellow printers here cut a b/w block and then colour it in (mostly
from the back) and utilize the effects of very thin, hand-made papers that
have, of course, no need for a kento.

If we go to the U.K., you'll find that some across-the-grain cut prints
there are hand-coloured too. I guess a decision has to be made but... 
Who cuts out who and what?

Just a thought on the subject, for reference.

Ishita (Dave S)



------------------------------

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Mon, 14 Feb 2000 11:20:42 -0500
Subject: [Baren 8407] Re: Colouring 

You bring up some very good and interesting points.
#1. I agree that some of the add ons are quite beautiful, just shouldn't be
refred to as "woodblock" prints, but as a "woodblock prints that have been
hand colored".
#2. My initial question remains. What will the swap shop allow?

May I suggest a solution?  Whatever Mr. Mundie feels does not meet the
"guidelines" of a relief print for this group, simply be returned to sender
with a nice "sorry, doesn't meet guidelines".

Dan Dew
USA

P.S. Dave, a picture of myself would probably crash your system(and everyone
else's too), but I Loooooooove the copy of a print with the link posted.
Very neat and creative.
- --


- ----------
>From: "David Stones" <stones@mb.i-chubu.ne.jp>
>To: "Baren Forum" <Baren@ml.xx.or.jp>
>Subject: [Baren 8405] Re: Colouring
>Date: Tue, 15 Feb 2000 00:40:28 +0900
>

> Dear Dan, Carol, and Jeanne,
>
> I must agree with you, to a point, and that the idea of adding colour to a
> woodblock after printing isn't my style... BUT I've a difficult task here
> in Japan to say much about it. Munakata Shiko hand-coloured... and quite a
> few fellow printers here cut a b/w block and then colour it in (mostly
> from the back) and utilize the effects of very thin, hand-made papers that
> have, of course, no need for a kento.
>
> If we go to the U.K., you'll find that some across-the-grain cut prints
> there are hand-coloured too. I guess a decision has to be made but...
> Who cuts out who and what?
>
> Just a thought on the subject, for reference.
>
> Ishita (Dave S)
>
> 

------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 14 Feb 2000 08:20:47 -0800
Subject: [Baren 8408] limit on exchanges boundary="----=_NextPart_000_0041_01BF76C4.65969C20" 

This is a multi-part message in MIME format.

- ------=_NextPart_000_0041_01BF76C4.65969C20
Content-Type: text/plain;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<<<Four exchanges @ 30 prints is 120 prints or people. May I suggest a
limit of 2 exchanges per year per person for reasons of equity? Or
soemthing similar for an initial guideline. I am just wondering about
the growing size of the group and the growing demand to join in?>>>


Speaking strictly as a maniac, I don't agree with placing a limit on two =
exchanges per person. Equity is achieved by the current system of =
signing up, which will not change.
A new member, or one that has not participated before, can easily sign =
up for an upcoming exchange during the "restricted" period. From past =
experience, the initial 10-15 spots fill up very rapidly with members =
who have not signed up for the previous exchange. Once the sign-up list =
is open to everyone, the next 8-10 spots fill up steadily with more =
active members who participate often. There has been a week or more long =
lull after that (with the exception of the self-portrait exchange) where =
names trickle in and Dave has to encourage the membership several times =
before the last few spots fill up.
My point is, if we place a limit on 2 exchanges, some exchanges will =
never fill to 30 people. This would not be a tragedy, but it would =
prevent people who want to participate from doing so. With the exchanges =
open for an entire year, it is highly unlikely, make that "nearly =
impossible" that someone who wants to participate will not get a chance =
to do so. Participants that don't frequent their e-mail boxes as often =
can plan ahead of time to be ready for that "restricted" sign-up period =
and get their names in there.=20
And there is always the swap shop!
Anyway, I think this simple system works very well for now. Should the =
membership reach such numbers that getting into an exchange is a =
problem, we will go back to the virtual drawing board.
Health to all,
Maria

*******************************
Maria Arango, Printmaker
Las Vegas  Nevada  USA
http://www.printmakingstudio.com
maria@mariarango.com
mariten@lvcm.com
******************************

- ------=_NextPart_000_0041_01BF76C4.65969C20
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><EM><FONT face=3DArial size=3D2>&lt;&lt;&lt;Four exchanges @ 30 =
prints is 120=20
prints or people. May I suggest a<BR>limit of 2 exchanges per year per =
person=20
for reasons of equity? Or<BR>soemthing similar for an initial guideline. =
I am=20
just wondering about<BR>the growing size of the group and the growing =
demand to=20
join in?&gt;&gt;&gt;<BR><BR></FONT></EM></DIV>
<DIV><FONT face=3DArial size=3D2>Speaking strictly as&nbsp;a maniac, I =
don't agree=20
with placing a limit on two exchanges per person. Equity is achieved by =
the=20
current system of signing up, which will not change.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>A new member, or one that has not =
participated=20
before, can easily sign up for an upcoming exchange during the =
"restricted"=20
period. From past experience, the initial 10-15 spots fill up very =
rapidly with=20
members who have not signed up for the previous exchange.&nbsp;Once the =
sign-up=20
list is open to everyone, the next 8-10 spots fill up steadily with more =
active=20
members who participate often. There has been a week or more long lull =
after=20
that (with the exception of the self-portrait exchange) where names =
trickle in=20
and Dave has to encourage the membership several times before the last =
few spots=20
fill up.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>My point is, if we place a limit on 2 =
exchanges,=20
some exchanges will never fill to 30 people. This would not be a =
tragedy, but it=20
would prevent people who want to participate from doing so. With the =
exchanges=20
open for an entire year, it is highly unlikely, make that "nearly =
impossible"=20
that someone who wants to participate will not get a chance to do so.=20
Participants that don't frequent their e-mail boxes as often can plan =
ahead of=20
time to be ready for that "restricted" sign-up period and get their =
names in=20
there. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>And there is always the swap =
shop!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Anyway, I think this simple system =
works very well=20
for now. Should the membership reach such numbers that getting into an =
exchange=20
is a problem, we will go back to the virtual drawing board.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Health to all,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Maria</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial =
size=3D2>*******************************<BR>Maria Arango,=20
Printmaker<BR>Las Vegas&nbsp; Nevada&nbsp; USA<BR><A=20
href=3D"http://www.printmakingstudio.com">http://www.printmakingstudio.co=
m</A><BR><A=20
href=3D"mailto:maria@mariarango.com">maria@mariarango.com</A><BR><A=20
href=3D"mailto:mariten@lvcm.com">mariten@lvcm.com</A><BR>****************=
**************</FONT></DIV></BODY></HTML>

- ------=_NextPart_000_0041_01BF76C4.65969C20--


------------------------------

From: James G Mundie <jimandkatemundie@juno.com>
Date: Mon, 14 Feb 2000 12:18:28 -0500
Subject: [Baren 8409] SwapShop questions answered 

I have come down from my wall-depapering to respond to a few queries.

On the first I will merely offer an opinion.  Josephine said:

> Four exchanges @ 30 prints is 120 prints or people. May I suggest a
> limit of 2 exchanges per year per person for reasons of equity? 

I think that the system as it stands is adequate.  Anyone who has not
participated in the previous exchange has first crack at signing up for
the next.  If it should happen that the entire exchange is subscribed
during that period, so be it.   Even though the dates for the exchanges
are posted well ahead of time, one still needs to wait for the sign-up
period to begin for each exchange.  There are no advance registrations.

Limiting a particular person's participation would be counterproductive
as we would eliminate some of our more dedicated members from the
process.

***
Now, on to SwapShop:

> Will the prints be distributed on a first in - first out basis?

Yes and no.  We first need to have enough folders to put those prints
into!  Right now we only have one, so that folder is exchanging with
itself.  Once suitable numbers arrive, then the prints will be
distributed among those first folders.

Here is a hypothetical scenario:  Printer A sends in an envelope
containing the minimum five prints, Printer B sends ten, Printer C sends
twenty.  Assuming we have at least ten Printers total, Printers A's and
B's folders will fill up right away and go into the mail.  Printer C's
folder will sit there until another ten Printers send in prints.  Printer
A and Printer B cannot participate in the Swap again until they send in
another package of prints different from those they sent in the first
time.

> Will there be any attempt to sort them stylistically or otherwise?

No, unless there is a sufficient demand to start a "hanga only" corner in
the shop at some future point.
 
 
> My other query is that on 'hand pulled' and 'woodblock'.

Whether press or baren, so long as it is original work by your hand it is
fine.  The one thing we will not accept are reproductions of woodblocks
(i.e., giclee, scanned repros, photocopies, mass produced offset
lithographs, etc.).

Regarding linocut, Dave had previously ruled that as the process was
nearly identical, it would be acceptable for the exchanges.  I see no
reason to differ here.  Relief printing from wood, linoleum, Resingrave,
etc., is all admissible.

> And a third point has just occurred to me.  I assume reduction 
> prints are ok but what about hand applied colour? I believe this is a
> legitimate hanga technique or will you be requiring that all colour
must
> be applied through plate application and multiplates?

My feeling is that so long as the hand-colouring is identical in each
print (meaning that this is an _edition_, not a monoprint) it will be
accepted.  

I just hope that all those submitting for the SwapShop will exercise some
common sense -- these are to be woodblock prints, not multimedia affairs.
 Save your chine-colle-seri-intaglio-viscosity-litho-mezzo-collographs
for something else.  If you feel it is a woodblock print, send it in.  If
you have doubts, then do not send it in. 
 
 
Just a reminder that we here at SwapCentral reserve the right to reject a
print that we feel is "not up to snuff".  This is not meant to scare off
the newbies, but rather to encourage everyone to send in their best
efforts.  I like to think of it in karmic terms -- you get out what you
put in.

James Mundie
Philadelphia USA

------------------------------

From: "Charles G. Cecil" <charlescecil_2000@yahoo.com>
Date: Mon, 14 Feb 2000 10:01:44 -0800 (PST)
Subject: [Baren 8410] Re: Baren Digest V10 #899 

i think i requested the daily messages and really
wanted the e-mail to come in one daily message, but
can't figure out to change. help

- --- owner-baren@ml.xx.or.jp wrote:
> Baren Digest              Friday, 11 February 2000  
>    Volume 10 : Number 899
> 
> 
>
- ----------------------------------------------------------------------
> 
> From: "Daniel Dew" <ddew@tampabay.rr.com>
> Date: Thu, 10 Feb 2000 14:03:28 -0500
> Subject: [Baren 8317] Finally done 
> 
> I did it !.  I'm finally done with overly anal
> attempt at perfection.
> I decided that I wanted to do a lino reduction block
> print and try to make
> it look as photographic as possible.  Finally
> printed the 17th color at
> lunch.  No time anymore, have to set up in the
> morning, run home at lunch,
> print real fast and head back to work so as to keep
> a job i don't like.
> Ohg well, no use crying here.
> Hopefully will be able to share the print on-line
> soon.  I broke down and
> bought a scanner with slide capabilities, should be
> here Monday.
> 
> P.S. I love that people are using the country of
> origin on their e-mails.
> Maybe one day we can use snapshot photos?????
> 
> See ya,
> 
> Dan Dew
> USA
> - --
> 
> 
> ------------------------------
> 
> From: Wanda <robertson@canby.com>
> Date: Thu, 10 Feb 2000 11:30:54 -0800
> Subject: [Baren 8318] Re: key block 
> 
> barnaby.smith@immi.gov.au wrote:
> > 
> > Although you should watch out if you are using
> dampened thin kozo paper it can
> > sag into the inked valleys and get some unintended
> results - but some times
> > unintended is interesting!  I tend to have to blot
> the valleys with a rag.
> 
> Yes, but that usually tends to happen in the larger
> valleys - and with
> damper paper - and especially when you *don't* want
> it to happen. Yes,
> the rags help when you have a trouble spot, a wide
> open valley that the
> paper just won't stay out of!
> 
> > On the question of combining oil with water based
> hanga, you should see some of
> > Ken Tyler Graphics (USA) collaborations with
> artists like Frank Stella.  
> <snip>
> >  The block/plate assembly took up most of the
> > exhibition space and was far more interesting than
> the print.  
> <snip>
> 
> Do you think the block/plate assembly was more
> interesting than the
> print to *everyone* or just the printmakers who were
> viewing it? Sounds
> intriguing, although I hadn't thought of combining
> the two - seems an
> odd notion to me. But what do I know?
> 
> Welcome to Baren, Barnaby!
> 
> Wanda
> 
> ------------------------------
> 
> From: "Philip Smith" <smithart@pacifier.com>
> Date: Thu, 10 Feb 2000 11:57:43 -0800
> Subject: [Baren 8319] Re: key block
> charset="iso-8859-1" 
> 
> Wanda------There's a technique where you put a
> little square pad for support
> in those valleys,  i.e., a couple of squares of
> cardboard glued
> together,...paper won't sag!      Philip-Hammond,OR
> USA
> - ----- Original Message -----
> From: "Wanda" <robertson@canby.com>
> To: <baren@ml.xx.or.jp>
> Sent: Thursday, February 10, 2000 11:30 AM
> Subject: [Baren 8318] Re: key block
> 
> > barnaby.smith@immi.gov.au wrote:
> > >
> > > Although you should watch out if you are using
> dampened thin kozo paper
> it can
> > > sag into the inked valleys and get some
> unintended results - but some
> times
> > > unintended is interesting!  I tend to have to
> blot the valleys with a
> rag.
> >
> > Yes, but that usually tends to happen in the
> larger valleys - and with
> > damper paper - and especially when you *don't*
> want it to happen. Yes,
> > the rags help when you have a trouble spot, a wide
> open valley that the
> > paper just won't stay out of!
> >
> > > On the question of combining oil with water
> based hanga, you should see
> some of
> > > Ken Tyler Graphics (USA) collaborations with
> artists like Frank Stella.
> > <snip>
> > >  The block/plate assembly took up most of the
> > > exhibition space and was far more interesting
> than the print.
> > <snip>
> >
> > Do you think the block/plate assembly was more
> interesting than the
> > print to *everyone* or just the printmakers who
> were viewing it? Sounds
> > intriguing, although I hadn't thought of combining
> the two - seems an
> > odd notion to me. But what do I know?
> >
> > Welcome to Baren, Barnaby!
> >
> > Wanda
> >
> 
> 
> ------------------------------
> 
> From: "Daniel Dew" <ddew@tampabay.rr.com>
> Date: Thu, 10 Feb 2000 15:11:34 -0500
> Subject: [Baren 8320] Re: key block 
> 
> thank you, never thought of that.  you people are
> awesome.
> 
> Dan Dew
> USA
> - --
> 
> 
> - ----------
> >From: "Philip Smith" <smithart@pacifier.com>
> >To: <baren@ml.xx.or.jp>
> >Subject: [Baren 8319] Re: key block
> >Date: Thu, Feb 10, 2000, 2:57 PM
> >
> 
> > Wanda------There's a technique where you put a
> little square pad for support
> > in those valleys,  i.e., a couple of squares of
> cardboard glued
> > together,...paper won't sag!     
> Philip-Hammond,OR USA
> > ----- Original Message -----
> > From: "Wanda" <robertson@canby.com>
> > To: <baren@ml.xx.or.jp>
> > Sent: Thursday, February 10, 2000 11:30 AM
> > Subject: [Baren 8318] Re: key block
> >
> >
> >> barnaby.smith@immi.gov.au wrote:
> >> >
> >> > Although you should watch out if you are using
> dampened thin kozo paper
> > it can
> >> > sag into the inked valleys and get some
> unintended results - but some
> > times
> >> > unintended is interesting!  I tend to have to
> blot the valleys with a
> > rag.
> >>
> >> Yes, but that usually tends to happen in the
> larger valleys - and with
> >> damper paper - and especially when you *don't*
> want it to happen. Yes,
> >> the rags help when you have a trouble spot, a
> wide open valley that the
> >> paper just won't stay out of!
> >>
> >> > On the question of combining oil with water
> based 
=== message truncated ===
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

------------------------------

From: Wanda <robertson@canby.com>
Date: Mon, 14 Feb 2000 11:05:59 -0800
Subject: [Baren 8411] Re: Colouring 

Dan - what are you talking about here?

Daniel Dew wrote:
> 
> P.S. Dave, a picture of myself would probably crash your system(and everyone
> else's too), but I Loooooooove the copy of a print with the link posted.
> Very neat and creative.

Wanda

------------------------------

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Mon, 14 Feb 2000 15:22:40 -0500
Subject: [Baren 8412] Re-Coloring 

There's a difference between a kanish and a white fish, but not to a man 
without a nose.

Dan Dew
USA
- --


------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 14 Feb 2000 13:34:01 -0800
Subject: [Baren 8413] happy day! boundary="----=_NextPart_000_0093_01BF76F0.27894780" 

This is a multi-part message in MIME format.

- ------=_NextPart_000_0093_01BF76F0.27894780
Content-Type: text/plain;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Happy Barentines Day everyone!!!
Aren't we just a bunch of sweethearts?
I just receive notice that our beloved L.V. newspaper wants to do a =
story on woodblock printmaking and yours truly (well, I asked them last =
week). So primp up everyone, we're going to be slightly more known than =
before. The "hook" was something like: one of the oldest communications =
technologies alive today worldwide thanks to one of the newest =
communications technologies, i.e. woodblock printmaking alive and well =
through the internet.
I will let y'all know how it goes.
Is it customary to cut all your color blocks before beginning any =
printing in hanga? So if I have 7 color blocks and a key block, I cut =
all the blocks first and then I begin printing? Do you proof as you cut =
each block to make sure that registration will be good? By gollygee, is =
Maria _really_ trying this hanga stuff or just talking about it?



*******************************
Maria Arango, Printmaker
Las Vegas  Nevada  USA, bit to the right of the first rattlesnake, smack =
in the middle of the Mojave desert
http://www.printmakingstudio.com
maria@mariarango.com
mariten@lvcm.com
******************************

- ------=_NextPart_000_0093_01BF76F0.27894780
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Happy Barentines Day =
everyone!!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Aren't we just a bunch of =
sweethearts?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I just receive notice that our beloved =
L.V.=20
newspaper wants to do a story on woodblock printmaking and yours truly =
(well, I=20
asked them last week). So primp up everyone, we're going to be slightly =
more=20
known than before. The "hook" was something like: one of the oldest=20
communications technologies alive today worldwide thanks to one of the =
newest=20
communications technologies, i.e. woodblock printmaking alive and=20
well&nbsp;through the internet.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I will let y'all know how it =
goes.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Is it customary to cut all your color =
blocks before=20
beginning any printing in hanga? So if I have 7 color blocks and&nbsp;a =
key=20
block, I cut all the blocks first and then I begin printing? Do you =
proof as you=20
cut each block to make sure that registration will be good? By gollygee, =
is=20
Maria _really_ trying this hanga stuff or just talking about =
it?</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial =
size=3D2>*******************************<BR>Maria Arango,=20
Printmaker<BR>Las Vegas&nbsp; Nevada&nbsp; USA, bit to the right of the =
first=20
rattlesnake, smack in the middle of the Mojave desert<BR><A=20
href=3D"http://www.printmakingstudio.com">http://www.printmakingstudio.co=
m</A><BR><A=20
href=3D"mailto:maria@mariarango.com">maria@mariarango.com</A><BR><A=20
href=3D"mailto:mariten@lvcm.com">mariten@lvcm.com</A><BR>****************=
**************</FONT></DIV></BODY></HTML>

- ------=_NextPart_000_0093_01BF76F0.27894780--


------------------------------

From: Julio.Rodriguez@walgreens.com
Date: Mon, 14 Feb 2000 16:02:37 -0600
Subject: [Baren 8414] cutting your blocks 

Maria writes:

"Is it customary to cut all your color blocks before beginning any printing in
hanga?"

If your registration needs to be tight, then I believe the key is to cut your
keyblock first, take
as many proofs from that block as you need for color blocks and cut your color
blocks from the proofs
directly and not from the original design.

The media loves anything to do with the net.....that's great that you are
getting some local
pub.....congrats!.....do they know you are an editor for an international
magazine?


Julio
Skokie, Illinois, USA
(formerly from Habana, Cuba)




------------------------------

From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Mon, 14 Feb 2000 12:22:22 -1000
Subject: [Baren 8415] Re: happy day! boundary="------------8AF36DAD029C99019098C8EE" 

- --------------8AF36DAD029C99019098C8EE
Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 7bit

Maria Arango wrote:

> Is it customary to cut all your color blocks before beginning any
> printing in hanga? So if I have 7 color blocks and a key block, I cut
> all the blocks first and then I begin printing? Do you proof as you
> cut each block to make sure that registration will be good? By
> gollygee, is Maria _really_ trying this hanga stuff or just talking
> about it?

I'll start the answer on this one, since I got here first. The answer
is,...sometimes. In traditional hanga, with a keyblock, the colored
blocks are all carved before the printing is done. Any proofing would be
done by the printer (remember, the carver and printer were two different
guys), while printing. With the advent of Shin Hanga, some artists began
to make designs that didn't rely so much on key block lines in the
design, and they found it necessary to print some of the design before
they could continue with the carving of the next blocks. So it all
depends on the style that you are designing in, not the fact that you
are printing in hanga technique.

Jack
Aiea, warm, sunny Hawaii

- --------------8AF36DAD029C99019098C8EE
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
<body bgcolor="#FFFFFF">
&nbsp;
<p>Maria Arango wrote:
<blockquote TYPE=CITE><font face="Arial"><font size=-1>Is it customary
to cut all your color blocks before beginning any printing in hanga? So
if I have 7 color blocks and a key block, I cut all the blocks first and
then I begin printing? Do you proof as you cut each block to make sure
that registration will be good? By gollygee, is Maria _really_ trying this
hanga stuff or just talking about it?</font></font></blockquote>
I'll start the answer on this one, since I got here first. The answer is,...sometimes.
In traditional hanga, with a keyblock, the colored blocks are all carved
before the printing is done. Any proofing would be done by the printer
(remember, the carver and printer were two different guys), while printing.
With the advent of Shin Hanga, some artists began to make designs that
didn't rely so much on key block lines in the design, and they found it
necessary to print some of the design before they could continue with the
carving of the next blocks. So it all depends on the style that you are
designing in, not the fact that you are printing in hanga technique.
<p>Jack
<br>Aiea, warm, sunny Hawaii
</body>
</html>

- --------------8AF36DAD029C99019098C8EE--


------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Mon, 14 Feb 2000 17:10:48 -0800
Subject: [Baren 8416] Boot Camp 2000 

Earlier today I advised that there was one space for a gal in the Workshop
See  http://members.home.net/woodblocks/#workshop

As there is a number of new persons on the Baren who are not aware that
Dave Bull will be in attendence at this workshop.  He is going to be here
to help and will be a valued addition in the learning process that will be
available.

Thanks,
Marnie Scholes

Please contact us at
gscholes@home.com





------------------------------

From: Vollmer/Yamaguchi <jy6@columbia.edu>
Date: Mon, 14 Feb 2000 22:50:54 -0500 (EST)
Subject: [Baren 8417] ketchup 

Hard to catch up when you've been out of town for a week! I was in
California this past week and have some woodcut news from there.

First, I've been invited to teach a weekend hanga woodcut class at Kala
Institute April 8 and 9. Anybody who is interested please call them at
510-549-2977. It is a great print workshop, located in Berkeley, CA.

I had a great studio visit with Andrea Rich, enjoyed seeing her latest
print, a Racoon under a full moon. She has some great prints, I especially
liked her birds. Very nice to visit and talk shop. And don't think we
didn't gossip about some of you!!!

Then I also visited the Ren Brown Collection in Bodega Bay, Ca. He had an
exhibit of Hiroshi and Toshi Yoshida on display. A very nice gallery
specializing in contemporary Japanese prints. http:/www.renbrown.com

Finally, I spent a lot of time (especially when it rained!) working on
updating my website with my webmaster dad. I don't do HTML, but he was very
patient. Take a look!

The "News and Exhibitions" page has a list of the classes and exhibitions.
Please note special Baren content for "Patterned Behavior" show which
features myself and fellow baren member Sarah Hauser. A Baren extravaganza!

April Vollmer
174 Eldridge St, NYC 10002, 212-677-5691
http://www.aprilvollmer.com



------------------------------

End of Baren Digest V10 #904
****************************