[Baren] the mailing list / discussion forum for woodblock printmaking Baren Digest Friday, 28 July 2000 Volume 12 : Number1093 ---------------------------------------------------------------------- From: Graham Scholes Date: Thu, 27 Jul 2000 13:14:28 -0700 Subject: [Baren 10676] Re: prints Julio wrote..... >Maria, I think you are been a bit rough and unjust on Dave. I do believe he >uses a sharkskin and softens his own >brushes.........so that's not the out for him..... Actually Dave has mounted the shark onto a wheel attached to an electric motor so that does not count...... See ya. Graham ------------------------------ From: Jack Reisland Date: Thu, 27 Jul 2000 10:36:26 -1000 Subject: [Baren 10677] Re:--mortar and pestle Gayle Wohlken wrote: > ... regarding the mortar and pestle used to > grind up the dry pigments. I bought one for $10 as I did not want to > use the food one I have in my kitchen. Will the cool colors and warm > colors stain the bowl so that I will need more than one? With a bit of scrubbing, the color will all come out, but it may be worth the expense to buy a few to not have to scrub them all the time. Inexpensive mortar and pestles can often be found at import stores like Pier One or Cost-Plus Imports. Jack Aiea, Hawaii ------------------------------ From: "Rudolf Stalder" Date: Thu, 27 Jul 2000 19:07:42 -0700 Subject: [Baren 10678] prints vs what ? prints vs what ? to many: I think the set up of this discussion is a little bit unlucky. Artistic printing evokes a distinct optical impression, very different e.g. from artistic painting, and it is the exploration of this effect which is at the base of artistic printing. That this technic allows reproduction, or that artistic printing has developed out of reproductive printing, has no relation with the basic reason of doing it. To me the question is not, what-is-a-print and what-is-not-a-print, but rather why do a print rather than a painting, an ink-drawing or a mosaic. to Wanda: "Also, many of you are including the whole message you are responding to in your reply. This is not necessary, just a line or two is sufficient to remind us of the other message. And, preferably, at the beginning of your post, rather than at the end. So we know what you are referring to at the beginning of your post, rather than at the end. :-0" * This post is *way* too serious to be in the contest - sorry! ** Thanks Wanda for doing the archive. * I agree. Also this messages are very time consuming for all participants of the forum, and once in the archive they are again an annoyance too. ** But I would vote for it as your joker Rudolf (http://www.rst-art.com) ------------------------------ From: "Bill H. Ritchie, Jr" Date: Thu, 27 Jul 2000 17:32:07 -0700 Subject: [Baren 10680] RE: prints vs what ? I think print is a verb that produces a noun. And when people see the noun form, it makes them want to do it. And printmakers do it better, IMHO. ------------------------------ From: "janet" Date: Thu, 27 Jul 2000 21:03:08 -0400 Subject: [Baren 10681] Re: CPC To: Graham Scholes From: Janet Stahle-Fraser Thanks for mentioning Nik Semenoff at U. Saskatchewan. He sent me notes on waterless lithography and they are quite useful. I would recommend them to B. Mason. By the way Graham, we have a mutual friend, Marjory Earl from Huntsville - remember her? She bought one of your prints about 5 years ago when she was out west. Enough of this smalltown talk. I may have given you the impression that I work alot in lithography. Actually, the majority of my printmaking is with the reduction woodblock method. You can check out my site: www.tapawingostudio.on.ca. Today I got 54 emails! This is culture shock in Baysville!. Janet ------------------------------ From: "pwalls1234" Date: Thu, 27 Jul 2000 21:43:55 -0500 Subject: [Baren 10682] Re: ideas >Sorry I don't have wild visions to report, just same old thinking that we >do during the day! >Barbara M No wild visions needed Barbara! Dreams are a wonderful way to explore aspects of your work, and more importantly life. I have always incorporated dream imagery and dreamed art making, as you talked about, but it is as you said, to some extent, learned. One of the joys of being an artist is to explore, sense, and experience that which others may not have. To look beyond the initial sensation and into a whole new world of meaning. Making art is in a sense meditation, a way of sensing the whole. The beauty of Printmaking (woodblocks in particular) is that it incorporates all of this plus process, the use of tactile materials. Keeps us as young! pete baton rouge ------------------------------ From: Legreenart@cs.com Date: Thu, 27 Jul 2000 23:21:53 EDT Subject: [Baren 10683] Re: Repro vs print Any definition will always have difficulty covering the many creative processes artists may create, but I found the defining of print that my college instructor gave us very useful and simple. "An artist makes a print when the piece of artwork is conceived as a print." When a work is originally concieved in another medium, such as oil, and then an image of that work is reproduced, it is a reproduction. We struggled alot with the definition and words to describe the area of printmaking we wanted to promote when starting our exhibition "Hand-Pulled Prints." We are a studio committed to creating opportunities for artists to produce their own work in a medium of printmaking, and not master printers who execute an artists print for them or publishers of any kind. We wanted the competition to showcase artists who did their own printmaking using hands on methods, so what we want are "artist produced hand-pulled prints." This isn't a matter of snobbery, but just reflects our personal interest niche. Le Green ------------------------------ From: Mike Lyon Date: Thu, 27 Jul 2000 22:41:33 -0500 Subject: [Baren 10684] Re: Baren Digest V12 #1092 At 04:56 AM 07/28/2000 +0900, you wrote: >Using the term "hand-pulled prints" or "press-pulled" seems to be the >way to solve the problem between those Graham is calling reproductions, >and what we all do. No, that won't help -- the reproductions are also hand pulled prints, and can be incredibly beautiful. I normally avoid reproductions or later printings, but I recently purchased two ~1924 Goyo reproductions of Utamaro ~1800 portraits, because they are just SO beautiful. Goyo did print his own work, but I believe these were produced under his 'supervision' -- just wonderful. It can be hard for the novice (or even for the 'expert' sometimes) to determine which are 'first-run' of popular Japanese prints, which are later run, which state of a print was published earlier or later, and which are reproductions. There are even completely spurious examples floating around for sale. Usually reproductions are called just that, but sometimes the words 'later printing' or 'posthumously printed' are used and the prints are attributed to the original artist, even when they have been pulled 100 or more years later. Dave Bull should be the current expert ------------------------------ From: "Dr. Rectangle" Date: Fri, 28 Jul 2000 02:40:05 -0400 (EDT) Subject: [Baren 10685] RE: Baren Digest V12 #1089 Julio, Hey, I immediately recognized the "waterless lithography instructor from Tamarind"... Jeff Sippel. I just saw him at Frogman's Print and Paper Workshop in Vermillion, SD--less than two weeks ago. I attended his slide lecture there, and he seemed like a good guy. :) As for the fee for "waterless lithography" at the CPC--looks a bit steep compared to South Dakota's (but doesn't everything?). Kat Pukas http://www.u.arizona.edu/~katherip/art.html Tucson, AZ ------------------------------ From: Caz Bentley Date: 28 Jul 00 03:35:21 EDT Subject: [Baren 10686] Re: X-Mailer: USANET web-mailer (34WB1.4.03) Legreenart@cs.com wrote: >Any definition will always have difficulty covering the many creative >processes artists may create, but I found the defining of print that my >college instructor gave us very useful and simple. "An artist makes a print >when the piece of artwork is conceived as a print." When a work is originally It is a real pleasure to catch posts about printmaking issues I have been interested in the work of Durer for some time. In reading why he made prints, it seems from his letters to his patrons, that the print was a "bread and butter" source of income to his family. Certainly Durer died with money and to spare in the bank. I think that some of his motivation may also have been his desire for exposure. A painting can only be in one home, a print can be in a hundred or a thousand homes. Given the survival rate of medieval and renaissance art, it also serves as a means to posterity. The point of this is that as a form, printmaking has some distinct advantages over other media in terms of accessability to the people. Those same advantages are also present in the aspect of survival of the art beyond the maker's lifetime. I make prints because I inherited a press for proofing type, and a set of engraving burins. I make wood engravings in end grain because the size I can print is 8 1/2 by 11 without borrowing someone else's press. After fussing with it for some time the results are beginning to make mehappy. I hope that the results of your work also make you happy. ------------------------------ End of Baren Digest V12 #1093 *****************************