Baren Digest               Monday, 9 October 2000       Volume 13 : Number 1171


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From: "Andy English" <a.english@virgin.net>
Date: Sun, 8 Oct 2000 18:37:43 +0100
Subject: [Baren 11585] lino with waterbased inks? charset="iso-8859-1" 


 I used to use water-based inks with lino - I don't know the manufacturer of
the inks but they were very cheap artshop inks - nothing special. I used to
wipe over the block with "methylated spirit" to make the ink adhere more
easily but when I stopped doing that I didn't actually notice any
difference.

Andy E


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From: Sharri LaPierre <barebone@pacifier.com>
Date: Sun, 08 Oct 2000 11:29:41 -0700
Subject: [Baren 11586] Re: Baren Digest V13 #1170 

From: Sharri LaPierre <barebonesart@home.com)
Date: Sun. Oct. 8, 2000
Subject: Baren 11577 Lino

Dear Bareners:
Here I am a day late, as usual. Barbara, I've used every water base ink
known to man, I think, and they all work on lino. Each one needs to be
modified a little, but not much. I've even used the water base etching inks
from Green Drop Ink  www.safeink.com and they work really well with their
tack reducer.  Have fun!
Sharri



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From: Vollmer/Yamaguchi <jy6@columbia.edu>
Date: Sun, 8 Oct 2000 14:54:34 -0400
Subject: [Baren 11587] Hideshi 

Carolyn, Akua color is a resoluble monoprint ink that works for Japanese
woodcut, brushing on the color. It has a lot of glycerine in it. It is
possible to roll it up if you leave it out to dry some to thicken, but
tends to be rather transparent.

Hey, everybody, I met Hideshi! We had a wonderful day doing galleries in
Chelsea, then a quick studio visit.

Hideshi is a wonderful guy, very polite and reserved, but enthusiastic
about art, and serious about his printmaking. His English is excellent, he
has been studying with a Canadian teacher in Tokyo.

We met at the DIA Center on 22nd Street in New York's Chelsea neignborhood,
where many galleries have moved. They have a large bookstore on the ground
floor with couches. We were able to sit there and get acquainted. Hideshi
showed me his portfolio of work which included samples of small prints and
photographis of larger ones. They are very detailed woodcuts inspired by
the irrational spaces of the Dutch artist M.C. Escher.

Brigit Riley was the artist shown at DIA, and we both enjoyed the show very
much. Her huge optical vibrations were especially interesting for HIdeshi,
whose work shares some of the feeling, though on quite a different scale.

From there we moved on to Damien Hirst, the artist we love to hate. I hate
him, too, but it was a fun show, fish swiming around these doctor's office
sets. Alan Shields is always good, and Peter Hujar's photographs of NYC in
the good old drug-y 80's. Art Resources Transfer is a crazy place with it's
usual miscelany, and my favorite was at Bound and Unbound, a book arts
gallery.  Fabulous pop-up books by Sjoert Hofstra, one sticks in my mind
that was typical: a book with a text from nuclear physics ( his brother is
a physicist), with illustrations from his mother's dress patterns. They
seemed to go together so well!

Finally, tired and hungry, we took the subway to my house for a quick
studio tour. Hideshi examined my tools carefully, apologizing for finding
one of my u-gouges rather dull. What struck me was that he thought all my
tools were normal. Any American would have found my tool kit very special
and of excellent quality! Ditto my water stones. Hideshi told me that real
stones are better than my synthetic stones. I do know that, but you can't
get real water stones in the US!

We had drinks on the roof deck, and Hideshi had a chance to meet John, who
looks Japanese, but is strictly a New Yorker. We talked about the
differences between New York and Tokyo.

A delightful afternoon. Thank you, HIdeshi, it was a pleasure to share some
cross-cultural art and print talk. I wonder how it is all settling down now
that you are safely back in Tokyo. What do you think of the New York art
scene? Was it quite different from what you expected?

best to all,

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



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From: "eli griggs" <eli.griggs@worldnet.att.net>
Date: Sun, 8 Oct 2000 16:05:17 -0400
Subject: [Baren 11588] Re: Hideshi charset="iso-8859-1" 

Hi there:

You can buy natural waterstones from The Japan Woodworker and  Toshiros'
(I'm not sure of the spelling.)

Before you go out and buy new stones, I recommend you check out Leonard
Lees' "The Complete Guide to Sharpening."

Leonard Lee is the president  of Veritas and Lee Valley and has written the
one book on sharpening edge tools that should be in every artists library.

While I recommend Mr. Lees' book and think his Veritas brand tools and
accessories are tops for woodworking, I must also admit disappointment with
the Veritas 1000/4000 combination waterstone.  I have found it less than
adequate and suggest King Brand stones to anyone looking to buy man-made
stones.

Eli Griggs
Charlotte N.C.
USA

April wrote;
>Ditto my water stones. Hideshi told me that real
> stones are better than my synthetic stones. I do know that, but you can't
> get real water stones in the US!



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From: Graham Scholes <gscholes@home.com>
Date: Sun, 8 Oct 2000 13:20:07 -0700
Subject: [Baren 11589] Re: Hideshi 


If you are talking about Japanese wet stones ..... you can get them 
from Lee Valley

In Canada..... http://www.leevalley.com/

In the States....  1-800-267-8735

Lee Valley Tools Ltd.
Mail Order Center
12 East River Street
P.O. Box 1780, Ogdensburg, N.Y. 13669-6780
USA


  Graham

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From: Studio Dalwood <severn@acay.com.au>
Date: Mon, 09 Oct 2000 09:46:39 +1000
Subject: [Baren 11590] Master Status 

Jeanne said

"I thought the only way to get Master status and lasting
fame was to
be
"French and Dead". at least that is what my instuctor told
the class
in
school. He was an encouraging sort."

You left out being male. These terms are not very PC are
they? Then again who would want a Mistress of Fine Arts? Or
a Spinster degree? 

There must be a better way?
Josephine

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From: David Bull <davebull@woodblock.com>
Date: Mon, 09 Oct 2000 08:36:47 +0900
Subject: [Baren 11593] Exchange Update ... 

Just to let everybody know that general sign-up for Exchange #8 has been
under way for some hours now.  The roster is filling up quickly, and as
I write, there are only two spots left.

Info and the sign-up sheet are at:
http://woodblock.com/forum/exchange/exchange_sign-up.html

***

People asked:
> Was there an earthquake in Japan?

Most definitely ... but nowhere near any of the local [Baren] members.
Dave Stones might have felt it as a 'distant' shake I think. Those of us
living in Tokyo are too far away.  (This is a _big_ country!)

Thanks for the concern ...

Dave


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From: David Bull <davebull@woodblock.com>
Date: Mon, 09 Oct 2000 09:25:22 +0900
Subject: [Baren 11594] Re: Exchange Update ... 

> http://woodblock.com/forum/exchange/exchange_sign-up.html

Exchange #8 has now filled up with the maximum of 30 participants.  We
_would_ though, like to have a couple more names on the Waiting List, in
case of early drop-outs.

The coordinator for this exchange will be Ray Hudson in Vermont. Contact
information is now being collated and organized for him, and
participants will receive his welcoming email message in a few days.

Thanks for getting this off to such a good strong start!

(Next Exchange sign-up - for Exchange #9 - will be in early January, and
a theme will have to be decided for that one.  But I think we can safely
wait a while before tackling that ...)

Dave


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From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Sun, 08 Oct 2000 20:56:15 -0400
Subject: [Baren 11595] Re: Lino 

Hi all, sorry for the absence.  I've been suffering from one of my "on again
off again" migranes for about a week.
Boy, have I experimented in this arena!
It really comes down to:  the paper you are printing on (I prefer dry Masa).
I have found Speedball inks to work quite well, adding extender as I need
to.  It covers well, it rolls out nice and even (I use a brayer exclusively)
and dries relatively quick.  It gets difficult when you start doing many
colors over other colors if you don't thin it out though, unless you like
that Van Gogh look.
I usually prepare the block initially with a lite sanding (600grit) and
mineral spirits.
I clean the block with a de-greaser prior to printing to remove the grease
the fingers and hand eventually leave.
I roll out with a brayer (Not tooo thick, build it up on the block slowly,
but not too much).
Use the gray lino, not the tan stuff.

Hope this helps.

dan dew


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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sun, 8 Oct 2000 20:44:20 -0700
Subject: [Baren 11597] Re:   Baren Digest V13 #1170 charset="iso-8859-1" 

Regarding water-based inks on linoleum:  the old stand-by Speedball Ink
works very reliably on battleship linoleum even if it isn't roughed-up, like
they tell us to do.  If I get roughed-up anymore, they will have to take me
to the hospital  again.  My son is in some crazy army unit whose slogan is
Shoot Them In The Face.  I think they are holding him hostage.  Some people
around here have fun hurting people.  They are a bunch of sadists.

I put some new work on my web site today.

Jean Eger Womack

http://users.lanminds.com/~jeaneger


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From: Herry Dim <hdim@melsa.net.id>
Date: Mon, 09 Oct 2000 13:12:37 +0700
Subject: [Baren 11598] market 

Hi Everybody,

As a member of Baren, I'd like to know about the market for prints.
Yes, I want to sell a several of my work. Does anybody know about it?

Please check out my print works at:
http://www.geocities.com/pohaci2000/grafis.htm
http://www.geocities.com/pohaci2000/grafis2.htm
http://www.geocities.com/pohaci2000/grafis3.htm
http://www.geocities.com/pohaci2000/grafis4.htm

Herry Dim 

Studio Pohaci
Komp. Cibolerang K57
Bandung 40224
Indonesia

P: 062 22 5402298
F: 062 22 6031423

E-mail: hdim@melsa.net.id
Homepage:
http://www.geocities.com/pohaci2000

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End of Baren Digest V13 #1171
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