Baren Digest Sunday, 19 November 2000 Volume 13 : Number 1219 ---------------------------------------------------------------------- From: B Mason Date: Sat, 18 Nov 2000 06:46:57 -0800 Subject: [Baren 12145] tigers Cate, Did you use black or is the dark a mixture of yellow, red and blue? Outstanding print. good job. I think you are on the right track. Nice energy in the lines and background. You get a gold star. Barbara ------------------------------ From: Graham Scholes Date: Sat, 18 Nov 2000 07:31:36 -0800 Subject: [Baren 12146] State of your Print In the recent discussion regard editioning of prints no one brought up the "State" form of a printed edition. This must be worthy of a few pages.... What say ye! Graham/Victoria BC An Island in the Pacific Home of the Boot Camp ------------------------------ From: B Mason Date: Sat, 18 Nov 2000 07:32:41 -0800 Subject: [Baren 12147] memory lane I just took a little side trip through all six of the exchanges at the site. We should pat ourselves on the back, this was pretty good work and sure interesting. If you have a few minutes, you should take this little memory trip. Reminds us how far we have come and how good our work as a group is!!! Barbara ------------------------------ From: amanda yopp Date: Sat, 18 Nov 2000 08:35:19 -0800 (PST) Subject: [Baren 12149] Re: Baren Digest V13 #1218 Is there anyone doing Japanese woodblocks in Madison, WI who would be willing to teach a small group of students? Please email me directly at bellayopp@yahoo.com Thanks Oh and I wanted to say that http://www.estograph.ee/pildid.shtml is a great site! - -Amanda Yopp ------------------------------ From: Wanda Date: Sat, 18 Nov 2000 09:23:18 -0700 Subject: [Baren 12150] Re: First Print Wow! Cate, really nice Tiger print! I know what you mean about having someone to actually show you the steps. Especially with hanga - there are so many little things to be aware of. Thanks for letting us all go along on your trip. Isn't Baren great? So many friendships stretching all over the world. Just one of the *best* things about the internet! Wanda ------------------------------ From: "Daniel L. Dew" Date: Sat, 18 Nov 2000 17:11:43 -0500 Subject: [Baren 12151] Hope its O.K. As many of you might know, my 11 year old daughter is an apprentice printer. She loves monkeys and is willing to do private swaps with anyone interested. Once again, off list reply's only. thanks :-) dan dew ------------------------------ From: Vollmer/Yamaguchi Date: Sat, 18 Nov 2000 19:10:20 -0400 Subject: [Baren 12152] BB Barens I thought it was Michael from Austria who wrote an article about making a ball bearing baren. I thought it had been posted in the encyclopedia. I read it last year, and decided that it was probably cheaper for me to just buy one from McClain's for $270 than go to the trouble of making one, even with Michael's helpful instructions. But then I'm not as handy as Michael from Austria. I do love mine, it is harder than a hon/real baren, and can squash the paper fibers if you press too hard, but it never needs to be recovered with a new bamboo sheath, a blessing in dry winter NYC. Oil lightly with mineral oil. April Vollmer 174 Eldridge St, NYC 10002, 212-677-5691 http://www.aprilvollmer.com - --------------------- Editor's note: The page April mentions is at: http://www.t0.or.at/~mikasch/ballen/ballbaren.htm ------------------------------ From: Artsmadis@aol.com Date: Sat, 18 Nov 2000 19:48:41 EST Subject: [Baren 12153] Re: State of your Print gscholes@home.com writes: << In the recent discussion regard editioning of prints no one brought up the "State" form of a printed edition. This must be worthy of a few pages.... >> In "Printmaking, History and Process" by Saff and Sacilotto they say: "There may be any number of state proofs. These involve substantial changes made before the final edition is pulled, and often show major stages in the development of the image. The difference between states is sometimes so great that separate editions are pulled from individual state proofs." They say trial proofs are proofs with minor variations in the image, pulled as the artist refines the work. Darrell ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Sat, 18 Nov 2000 19:03:23 -0600 Subject: [Baren 12154] Re: First Print Congratulations Cate, that's a fantastic print, your very first hanga ? Congrats also to JD for his winning submissions, "Indian Corn" is one of my favorite prints in the exchange. I think one of the things that is not always apparent for new comers here at Baren is the wonderful give and take that occurs between the seasoned pros and the "newbies"....sometimes in reading the posts is hard to tell the pros from the rookies.....but from day one for me (and that was a very long time ago !) they have always been there to help out and jump in with the tips and suggestions that are so rewarding for someone starting out. The "teaching" staff here at Baren is unsurpassed anywhere else....we are forever indebted to people like April, Graham, Roxanne, Bea, Ruth, James, Carol, Sarah, Dave and all the many others who willingly give of themselves and help pass on this wonderful art form. Thanks. Julio ------------------------------ From: "Jean Eger" Date: Sat, 18 Nov 2000 17:53:34 -0800 Subject: [Baren 12155] safety charset="iso-8859-1" Have you been following the discussion about the Parson's School of Design in New York at http://www.electroetch.com/dontstrike.htm on the possible closure of the printmaking facility? Safety in printmaking has been a big issue, although they did not state that as a reason for conversion of the printmaking studio to a Starbuck's coffee shop. That is one reasonwe like water-based woodcut prints. The recent issue of Art In America showed pictures of several water-based woodcuts of Arthur Wesley Dow. Possibly the general public is smarter than we think, and don't want to buy products made with chemicals they think are hurting the printmakers. Well, for one thing, you can't drink and work on intaglio, it's too dangerous. Jean Eger-Womack http://users.lanminds.com/~jeaneger ------------------------------ From: Legreenart@cs.com Date: Sun, 19 Nov 2000 00:15:51 EST Subject: [Baren 12156] Re: Baren Digest V13 #1217/ slide entries I think that If we offered $4,000, we would do that out of the accepted prints after the actual work for the show was recieved! But If we gave Hand-Pulled Prints pieces prizes after the work was recieved, we wouldn't be able to recognize the prizes in the catalogue, and we wanted to be able to do that. So, anyway...Another reason for the slide entries, and the reason Hnd-Pulled Prints is juried by slides, is the shipping cost for the artist. Kathleen and I were unable to afford to enter our own work in competitions that called for submission of ready to hang, actual work. Not only was the cost of shipping prohibitive, framing was also a major cost consideration. Most of the artists who are chosen for Hand Pulled Prints only frame their work after it is selected, because they can't afford to frame "on Speculation" either. The planning of the show started with the question "How can we offer a good exhibition opportunity for printmakers, " and worked it's way from their. Even our shipping instructions/restrictions came out of problems that made problems for the artists as well as ourselves. Good slides do make a difference, but so does the experience of the jurors. Our jurors have a high level of expertise in all areas of printmaking, and their familiarity with printmaking techniques informs their choices amazingly well. The margin of error is covered by "If work differs from slide" disclaimers in the slide entry prospectus. We have only had about three or four surprises in 8 years, some of them related to scale, and none of them that the juror felt warrented withdrawing the piece from exhibition. I confess that I have wondered about the jurors choice from time to time when reviewing the accepted slides for making the cataloge, but the jurors have been clear in their explanations for why they feel the work excellent, and a clear idea of the processes used and to what success. By the way, none of our jurors has shown any obvious preference based on style, media or subject matter. The show are varied in those repects, but excellent execution is the defining quality. The professionalism of the hanging is also important. I have seen shows hung in such a way that good art looks bad, and shows with diversity of image and process are very difficult to hang well. Luckily, we have excellent advisors for the hanging, also, and our shows look good. Bothered more by the single example of a work rather than by slides vs actual piece, last year's juror pointed out that he would like to be able to jury from an artists body of work, slides that represented the development and focus of the artist, a bio, an artist resume, an artist's statement. That might be enough to warrent a $4,000 prize! I would not be willing to put a package like that together every time I entered a show. We are thinking, however, that web entries may make that more feasable in the future. Perhaps this question should be answered offline, but,......, Bareners, How much work and money are you willing to invest to enter an exhibition competition? Have we underestimated the extent to which we should keep your hassels and cost down. By the way, we have yet to make a profit form the shoe in spite of the hundreds of hours Kathleen and I volunteer and the donations and the support of many people including the gallery owners. Yours, Le Green Stonemetal Press Email: legreenart@cs.com Website: www.stonemetalpress.homepage.com ------------------------------ From: Lawrence Date: Sun, 19 Nov 2000 17:07:11 +1100 Subject: [Baren 12157] Re: safety >Well, for one thing, you can't drink and work on intaglio, it's too dangerous. You definitely want to avoid milk at any cost. It becomes a toxic reservoir, grabbing all the free floating toxins out of the air. ------------------------------ End of Baren Digest V13 #1219 *****************************