[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Wednesday, 14 June 2000 Volume 11 : Number 1044 ---------------------------------------------------------------------- From: "Jean Eger" Date: Mon, 12 Jun 2000 09:35:57 -0700 Subject: [Baren 10068] Re: Baren Digest V11 #1043 Barbara, It is my understanding that white line woodblock prints are occasionally made using a jigsaw to cut the pieces apart. Then the pieces are inked and put back in place like a jig saw puzzle. Jean Eger http://users.lanminds.com/~jeaneger ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Tue, 13 Jun 2000 11:58:22 -0500 Subject: [Baren 10069] Experimental or excremental ? Josephine writes : "Sometimes it seems its always been 'done before'. How often do we get a great idea for a work only to find someone else has already 'done' it?" I been told that my very first "print" was also of this sort/type of experimental nature. Must have been one or one and a half.......when I did my finger-printing all over my uncle's freshly painted white wall. The output was a three color work.....white for the background, brown.........and reddish-pink for the color of my butt after my uncle and my dad were both done with me. Julio ------------------------------ From: "Jeanne Norman Chase" Date: Tue, 13 Jun 2000 13:07:48 -0400 Subject: [Baren 10070] Re: Baren Digest V11 #1043 There has been much posted on white line woodcuts; If you go to the Baren Encylopedia and to Basic Process of Making a Colour woodcut, then to the Overview of the Printmaking Process, you will find an in depth article on the Provicetown woodblock printmakers with explanations and many illustrations. Of course this is only one way of doing this process. Jeanne N. ------------------------------ From: "Jeanne Norman Chase" Date: Tue, 13 Jun 2000 13:11:18 -0400 Subject: [Baren 10071] Re: Experimental Sure it has all been done before. But we bring ourselves into the mix. when I was painting I was told that my work looked like Alex Katz, then Edward Hopper. Now , can you imagine one work looking like both of these very diverse artists. ? I would like to think that my work looks like me. Jeanne N. ------------------------------ From: B Mason Date: Tue, 13 Jun 2000 10:00:14 -0700 Subject: [Baren 10072] Re: Baren Digest V11 #1043 Jean Eger wrote: It is my understanding that white line woodblock prints are occasionally made using a jigsaw to cut the pieces apart. Then the pieces are inked and put back in place like a jig saw puzzle. Jean, This sounds like a LOT of work...unless your image is pretty simple. Also there is the opportunity to loose a finger on the saw. I have a very healthy respect for saws. You don't get a second chance with them, at least with hand tools I probably couldn't do any permanent damage! Have you ever worked this way? I'll bet Maria has tried this. She is an experimenter after my own heart. I would love to see samples of work printed like this, has anyone done any on this list? If so, let us see the results. I couldn't find the white line info in the encyclopedia, and I gave up looking. I kept getting side tracked on other stuff, you all know that temptation. We are all getting very excited about boot camp, I am not ready but will just go anyway! Barbara M ------------------------------ From: Bella1yopp@aol.com Date: Tue, 13 Jun 2000 13:23:33 EDT Subject: [Baren 10073] No Subject Any Bareners in Tampa, FL or Madison, WI ? - -Amanda ------------------------------ From: ArtfulCarol@aol.com Date: Tue, 13 Jun 2000 14:01:05 EDT Subject: [Baren 10074] Re: Baren Digest V11 #1043/White Line There is a large photo of Norfeldt's white line woodcut, Putting to Sea, and an explanation in the book, Japonisme Comes to America by Julia Meech and Gabriel Weisberg pub., 1990. I like this book very much! Carol Lyons Irvington, NY USA ------------------------------ From: Pedrobot@aol.com Date: Tue, 13 Jun 2000 14:03:04 EDT Subject: [Baren 10075] Re: Baren Digest V11 #1043 >I would love to see samples of work printed like this, has anyone done >any on this list? If so, let us see the results. I've done a couple of jigsaw prints. One of them is at: http://www.geocities.com/pedrobot2000/rosso.html - --Pete ------------------------------ From: "Jeanne Norman Chase" Date: Tue, 13 Jun 2000 14:59:31 -0400 Subject: [Baren 10077] Re: No Subject Amanda Dan Dew is in Tampa and I am in Sarasota, Fl, one hour from Tampa. Jeanne N. ------------------------------ From: "eli griggs" Date: Tue, 13 Jun 2000 15:31:18 -0400 Subject: [Baren 10078] Re: Baren Digest V11 #1043 A better tool for cutting a block apart is a variable speed table scroll saw. You can pierce small sections (waste areas) with small drills and then "thread" the holes and use the small, tight turning blades to cut the block from the inside out, rather than leaving a large, ungainly track of cuts across your block. Jig saws and band saws do not have the ability to cut tight, smooth turns as well as the scroll saw, and unlike a band saw, you won't loose several fingers (or more) if you run your hand into the blade of a scroll saw. Blades for the scroll saw are easily changed and small sandpaper jigs are on the market for cleaning up cuts. Another nice feature of the scroll saw is that the table can tilt for small (or large) angled cuts. Because of the selection of small blades and table support, as well as the variable speeds on call, you can cut many materials that a jig and band saw can not handle: thick leather, gage metals, heavy papers, etc. That can lead to avenues of experimentation within a single block that the printer may have never seriously considered. Eli Griggs Charlotte N.C. USA ------------------------------ From: Andrew Stevens Date: Tue, 13 Jun 2000 17:03:50 -0500 Subject: [Baren 10079] Madison & Jigsaw prints Hi all, Frequent lurker, Drew Stevens here in Madison WI. I thought I'd mention that Edvard Munch's print called "The Kiss" also known as "The Vampire" is printed with litho and jigsawed blocks. There's a printmaker in town here, Bill Weege, who has made unusually elaborate scroll saw prints. I know of one that has at least 75 elements. They are, apparently, a serious chore to ink. He printed them using grease-based inks, which is probably necessary in order to get them assembled and printed before they dry out too much. Drew Andrew Stevens Curator of Prints, Drawings, and Photographs Elvehjem Museum of Art 800 University Avenue University of Wisconsin--Madison Madison, WI USA 608-263-7377 ------------------------------ From: Aqua4tis@aol.com Date: Tue, 13 Jun 2000 22:15:18 EDT Subject: [Baren 10080] Re: Baren Digest V11 #1043 pete and everyone with jigsaw prints ......... do you have trouble with the ink drying before you can print it? georga ------------------------------ From: B Mason Date: Tue, 13 Jun 2000 19:21:31 -0700 Subject: [Baren 10081] drying ink Georgia, I would think you would have to use spmething in the ink to keep it wet if it is water based. Oil based ink will stay ok for quite awhile if you modify it a bit. The Akua Kolor waterbased ink should work well, it will stay wet for hours. I think where you live and the amount of heat or humidity could affect this a lot. In Oregon it would be no problem except on the hottest days of the summer. Of course these are few in Oregon, so this is probably the place to do this kind of printing! Las Vegas would be tough! Barbara M ------------------------------ From: Pedrobot@aol.com Date: Tue, 13 Jun 2000 22:32:37 EDT Subject: [Baren 10082] Re: Baren Digest V11 #1043 I use lots of smelly oil-based ink, and it usually works fine- my buddy Shannon just throws a little miracle gel or some other extender into her ink, since she has a tendancy to work a lot thinner than I do. I've seen it done with water based ink, but you have to be fairly quick. - --Pete ------------------------------ From: "john ryrie" Date: Wed, 14 Jun 2000 11:22:14 +1000 Subject: [Baren 10083] Re: Baren Digest V11 #1041 Wanda said: > Thinking about doing a print with my sheep. Making them run through a > pan of ink & over a piece of paper. Now, if I make multiples of this - > would it be a monotype or a monoprint? A mono/quadra-ped print. John Melbourne ------------------------------ From: "Maria Arango" Date: Tue, 13 Jun 2000 20:06:19 -0700 Subject: [Baren 10084] Re: drying ink >Of course these are few in > Oregon, so this is probably the place to do this kind of printing! Las > Vegas would be tough! Chicken! chicken! Com'on I invite everyone to try and print hanga in 110 degrees with 6% humidity ;-) In fact, we are expecting one of the hottest summers in LV history, so come on down and test your man/womanhood in about mid-August or soish, when we are expecting 118 and up on a daily basis. Yeah, but it will be a DRY heat. Actually, oily inks are not a problem, they seem to flow rather well in this heat. Daryl and I had some trouble printing in the winter time, though. Ink was very stiff and would not flow and we kept getting roller marks. Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com <><><><><><><><><><><><> ------------------------------ From: "Philip Smith" Date: Wed, 14 Jun 2000 05:55:08 -0700 Subject: [Baren 10085] Pictures You might want to look at one of my favorite woodcuts,....a bit dated to be sure but I really like this picture. It's at Fine Arts Museums of San Francisco,..the fellows name is John Platt,..Dave and I have a copy of his book published in 1922 I think,...the picture is called "Brixham Town",..this sight lets you examine every square inch with multi-blowups,...nice way to spend a few minutes,...... Try www.famsf.com I think that's right. Philip ------------------------------ End of Baren Digest V11 #1044 *****************************