Date: Wed, 22 Nov 2000 22:00:15 +0900
From: owner-baren@ml.asahi-net.or.jp
To: baren@ml.asahi-net.or.jp
Subject:   Baren Digest V13 #1222
Reply-To: baren@ml.asahi-net.or.jp
Precedence: bulk
Baren: The mailing list / discussion forum for woodblock printmaking.

Baren Digest            Wednesday, 22 November 2000    Volume 13 : Number 1222


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From: "john ryrie" <jryrie@one.net.au>
Date: Tue, 21 Nov 2000 23:54:57 +1100
Subject: [Baren 12183] Re: 8 arts writers charset="iso-8859-1" 

Hi all
I received this email from a friend in New Zealand today and I thought it
may be of interest.

John

..................................
> I am writing to you as sometime in the past we have exchanged email, and I
> believe you are interested in worldwide art, heritage and culture issues.
> www.art-themagazine.com <http://www.art-themagazine.com>  is currently
> looking for eight writers to provide content, and one internet development
> manager. Payment (in the first twelve months) is honorarium based. The
> positions suit those who have a specific interest in arts writing for web
> based readership. All applications will be considered.
>
> We seek one writer for each of four editorial sections - new art (initial
> focus on digital and multimedia developments), old art (human cultural
> timeline, archaeological issues, heritage issues), insite (reviews of
> websites on guided and initiated subjects) and news (important world news,
> compilations from other news/arts website offerings and art award
> information) - all except the news editor will each update their content
> once per month (the news editor updates twice a month).
>
> In addition four letter writers covering four global regions - Europe,
> Africa, the Pacific, the Americas - will cover developments, issues and
> contrasting perspectives in their region, again updating their content once
> per month. The updating of the eight sections is staggered so that each
> week, two sections of the online magazine are updated.
>
> I am simply asking that you forward this message to any colleagues or
> friends who you feel might be interested in the opportunity. Full details
> of the jobs can be found at the www.art-themagazine.com
> <http://www.art-themagazine.com>
>
> Thanks for the time taken to read this.
>
> Regards,
>
> Ian Clothier
> Editor
> i.clothier@auckland.ac.nz
> Barb Niles
> Director of Sales and Marketing
> www.art-themagazine.com





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From: Graham Scholes <gscholes@home.com>
Date: Tue, 21 Nov 2000 05:24:30 -0800
Subject: [Baren 12184] Margin size and Hand colouring 

>Ina all the books, etc... I have looked in I have not found any
>defiinitive answer to this question:  what is the minimum number of
>inches of unprinted paper to leave aroung your woodcut print?

Hi Carolyn,

Came down for a warm glass of milk and found your enquiry....

There is no definitive rule on the border width of prints...
Generally a wider margin is preferred and when viewed without a mat, 
sets the image up nicely for the view..... and hopefully the buyer. 
I have always gone with a generous width...  paper being the cheapest 
proportion of our work.
A skimpy margin looks just that..... skimpy and for me looks like the 
producer is cutting corners on cost.  All of my prints have margins 
of 1 1/8" plus
http://members.home.net/gscholes/

There is again no definite rule on hand colouring a print. If this is 
necessary to make your statement then so be it.  The method will 
depend greatly on the kind of paper. You are in the experimental mode 
re the stretching, taping down, and type weight of paper. The answer 
to this really depend on the size of the hand printed area and the 
number of prints involved. You should inch ..... and least inch and 
one eighth .... around this to find what best suits your creative 
flair.

I have never seen the need to colour a print in the Hanga method as 
superb results are achieved with another plate..... except if I 
screwed up and had to touch a spot where the colour did not get 
printed.

Graham/Victoria BC
An Island in the Pacific
Home of the Boot Camp
http://members.home.net/woodblocks/BootCamp2.html



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

From: Shireen Holman <shireenh@earthlink.net>
Date: Tue, 21 Nov 2000 10:41:34 -0500
Subject: [Baren 12185] Re: searching for info 

>Ina all the books, etc... I have looked in I have not found any
>defiinitive answer to this question:  what is the minimum number of
>inches of unprinted paper to leave aroung your woodcut print?

There are no rules here, but I agree with Graham that a skimpy margin 
doesn't look good. I often print with no margin (bleed print), which looks 
good, but if you are going to have a margin it looks better not to have a 
small one.
Shireen


***********************************************
Shireen Holman, Printmaker and Book Artist
email: shireenh@earthlink.net
http://home.earthlink.net/~shireenh/
***********************************************





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From: B Mason <bemason@concentric.net>
Date: Tue, 21 Nov 2000 08:19:13 -0800
Subject: [Baren 12186] margins 

Carolyn,
I think larger margins hold the work in a mat better, but there is no
rule. I think it is determined by the size of the paper. 22x30, 22x15,
11x15, these are standard sizes and tears of the 22x30 paper we see in
the US. I think artists work in these sixes or smaller to save paper. No
point in doing a 16x22" print and having 14 inches left unless you are
planning a 14" print. So we think in these sizes and what plates can
work in them. We are also somewhat driven by standard frame and glass
sizes. If you do a lot of framing, it is pretty economical to work from
standard size glass that comes in 60# boxes and work backward. So 16x20
glass generates a nice size framed work that has a 9x13 image size or
smaller. This is my own theory and I admit to thinking of the final
frame when planning the size of a work. Also when we order plates we
tend to get a bunch at once and this also determines how we work. It
seems the dollar generates my size and I am sure I am not alone in this,
it just seems sensible to me.
Barbara

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

From: Jim Bryant <Jim.Bryant@enmu.edu>
Date: Tue, 21 Nov 2000 10:20:20 -0700
Subject: [Baren 12187] Re: new subject: graduate credit 

>I need three graduate hours in studio fine art to qualify for a job. Does
>anyone know of any courses that are available without being enrolled in in a
>mmmMFA program. I"m interested in all studio art areas.

I can't speak for them all--but where i teach in new mexico, as well 
as the schools that i attended, you never need to be in a grad 
program to enroll in a graduate level course. You do need to have 
completed a four year degree, but that is often the only requirement 
(some schools will require you to meet other graduate requirements, 
like a certain undergraduate GPA). Remember, university's are 
businesses too (even when they don't like to admit it). If you want 
(or need) to take a class, they will take your money. Check with your 
local university.

I doubt it will help with your "studio" requirement--but several 
schools are offering art history/criticism as online courses as well, 
if you are not located near a university. For example, our school 
offers a history of photography course through the web.

jim-

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

From: barebonesart <barebonesart@home.com>
Date: Tue, 21 Nov 2000 11:06:56 -0800
Subject: [Baren 12188] Re: Baren Digest V13 #1221 

Maria,

    I have done the same with my blocks. They can be entered in 2D
competitions, too! I didn't mount mine, but the one I saw in the exhibition
just had a hanger on the back.
Sharri


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

From: "DRAGO G KISIC" <kisic@PRODIGY.NET>
Date: Tue, 21 Nov 2000 14:49:15 -0500
Subject: [Baren 12189] Re: Margin size and Hand colouring charset="iso-8859-1" 

Do you know  what's the best paper for the reductive technique in woodcut
when you have from 8 layers up?, 

Maria Kisic.


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

From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Tue, 21 Nov 2000 17:39:27 -0500
Subject: [Baren 12191] Re: Margin size and Hand colouring 

> Do you know  what's the best paper for the reductive technique in woodcut
> when you have from 8 layers up?,
> 
> Maria Kisic.

I have found MASA to work quite well.

dan dew



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

From: Greg Carter <artfool@bulloch.net>
Date: Tue, 21 Nov 2000 19:17:09 -0500
Subject: [Baren 12192] Re: Bleed prints 

I really like bleed prints were the paper is smaller than the block.  It
looks great with a really pronounced deckel or torn edge and then the print
is put in a float mat.

A great way to color a key image is monoprint your colors down first and
then print your key image on top.  It really keeps the different layers
unified.  Of course you see why I like bleed prints because it is easy  to
regester the colors with a T&Bar

Greg






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

From: "Maria Arango" <maria@mariarango.com>
Date: Tue, 21 Nov 2000 16:23:14 -0800
Subject: [Baren 12193] Re: paper charset="iso-8859-1" 

> > Do you know  what's the best paper for the reductive technique in
> > woodcut when you have from 8 layers up?,
> >
> > Maria Kisic.
>
> I have found MASA to work quite well.
>
> dan dew

And Dan is the KING of multiple layer reductive woodcuts. Also try Arches
88, it will drink ink like a sponge and withstand severe punishment; I have
also found that it expands and shrinks very evenly, which is helpful if you
dampen your paper. If you want a buff paper, BFK lightweight buff is very
good, although not as beefy as the Arches 88. My other favorite paper that
takes punishment and ink very well is Mangani Pescia, comes in a delicous
light blue and light cream; its half-brother Mangani Incisioni comes in
white, although I still find Arches 88 to be better for woodcuts.
my .02c
Maria

PS  The John Root/Graham Scholes baren information has been posted on the
4sale page, in case anyone missed it
http://www.1000woodcuts.com/4sale.html


<><><><><><><><><><><><>
Maria Arango, Printmaker
Las Vegas  Nevada  USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><>




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

From: Graham Scholes <gscholes@home.com>
Date: Tue, 21 Nov 2000 17:08:32 -0800
Subject: [Baren 12194] Re: Margin size and Hand colouring 

>Do you know  what's the best paper for the reductive technique in woodcut
>when you have from 8 layers up?,
>
>Maria Kisic.

There are those that use any kind of paper as long as it is archival.
Then there is guys like Scholes that use nothing but Hosho regardless 
of the cost.
It is expensive... I have paid up to $22 per sheet  21" x 28" approx



>PS  The John Root/Graham Scholes baren information has been posted on the
>4sale page, in case anyone missed it
>http://www.1000woodcuts.com/4sale.html
>

That good.
However I cannot take any credit.... this is John's invention.
I'm just the test pilot.... saying ah, yes or no.

Graham




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

From: B Mason <bemason@concentric.net>
Date: Tue, 21 Nov 2000 17:29:16 -0800
Subject: [Baren 12195] bleed prints and stuff 

Greg,
I have sure done my share of bleed prints and I do like the ease of
registration, but if you are doing multiple layers that have to
register, it is pretty hard to line up, unless you use the edge of the
block and then you lose the printing on your one deckle, needing a
smooth edge at this point. T and bar is a really good registration
method, lithographers have been using it almost forever.

I recommend the kento method also, it is practically foolproof. That's
why the Japanese used it for 300 years or so. Directions are in the
encyclopedia and I think also on Graham's site for anyone who is not
familiar with it. Maria has a good registration page on her site for
printing with a press. Also Ruth Leaf has good registration ideas in the
encyclopedia for using a press.

I have been printing linoblock lately and found I needed so much more
ink it wasn't even funny. I have printed with very transparent ink in
very thin layers for years but always off a plexiglas or metal plate and
always used damp paper. This linoblock was a horse of a different color.
I needed about twice the amount of ink I would have used for wood to get
a good dense print with lino. So somehow the difference of dry paper and
the linoleum certainly changed the way I rolled up a block. I can see
why people moving from lino to wood have trouble...probably using too
much ink on the wood. It has been very interesting! I will scan the
print and put it on the message board in a day or two. I like the way
the linoblock cuts, but not so sure I like the way it prints. Guess we
can't have everything, where is the challenge if it was just easy!!??
Barbara M






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

From: Wanda <robertson@canby.com>
Date: Tue, 21 Nov 2000 17:57:26 -0700
Subject: [Baren 12196] Re: Margin size and Hand colouring 

Maria wrote: 
> > Do you know  what's the best paper for the reductive technique in woodcut
> > when you have from 8 layers up?,

Oil ink or waterbase? If oil ink Arches 88 can't be beat.IMHO of course.

Wanda



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

From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Tue, 21 Nov 2000 21:42:23 -0500
Subject: [Baren 12197] Re: paper charset=ISO-8859-1 

Maria posted,
> PS  The John Root/Graham Scholes baren information has been posted on the
> 4sale page, in case anyone missed it
> http://www.1000woodcuts.com/4sale.html<<

Do you have a picture of this baren, John / Graham,  that could be posted
with the ad?   Sure like to see what it looks like.


Gary






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

From: Andrea Cuchetto (Dega) <andreadega@ureach.com>
Date: Tue, 21 Nov 2000 22:20:05 -0500
Subject: [Baren 12198] Re: old wood block uses 

> I've made three large pieces out of old wood blocks by pegging and
> glueing them together (and cutting them to fit). 

Ray, what a wonderful idea! I have a few points to make.... You 
mentioned that it is not possible to see the grain texture--
neither is it possible to see the roughly worked quality I get 
the impression would come from working and re-working the 
blocks. I don't get the impression the blocks are all separate 
blocks pulled together to form another, since the picture is 
singular. (Okay, so my point is that your description sounded 
one way--very interesting--and the image depicts something else-
- -also interesting, but not fitting the description you offered.)
best,
Andrea
http://www.absolutearts.com/portfolios/a/andreadegastudios/




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

From: Graham Scholes <gscholes@home.com>
Date: Tue, 21 Nov 2000 20:54:01 -0800
Subject: [Baren 12199] Re: bleed prints and stuff 

>I recommend the kento method also, it is practically foolproof.

Barbara Barbara Barbara  .... it is absolutely, unequivocally, for 
sure, without doubt, 100%,unquestionably, absolutely, doubtlessly, 
positively, assuredly, clearly, undoubtedly, truly, ..... foolproof. 
Gees I hope I don't get censored for using the f word....

>That's why the Japanese used it for 300 years or so.
>I think also on Graham's site for anyone who is not familiar with it.

You thinkin' right http://members.home.net/woodblocks/kento.html
It only shows the corner kento not the straight line bottom kento.
You will have to go elsewhere to see how it is used.  Someday I will 
update the site.

But ...... advertising coming ..... Have two exhibitions  First is 
woodblocks.... days away and the next one week latter first weekend 
in Dec.  This is unrelated to woodblocks..... as it is a show called 
Figuratively Speaking..... Life Drawings some going back 25 years 
with one piece 49 years old.


Graham

If it's true that we are here to help others,
then what exactly are the others here for?







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

From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Tue, 21 Nov 2000 23:29:00 -0800
Subject: [Baren 12200] Re:   Baren Digest V13 #1221 charset="iso-8859-1" 

The Southern Graphics Council (SGC) was a great experience for me last year.
I suggest that anyone going for the first time should just watch and listen
and attempt some hands-on printmaking, if the opportunity arises.  There are
limitless opportunities for catching foot-in-mouth disease.  I try to think
of the closed-mouth African statue aesthetic, while attempting to
participate in the activities of higher education academics.  I don't say
that I acheived that goal last year, but luckily, I had a few Bareners there
to remind me.

Bravo for your approach to selling your art work, Maria.  With the attitude
of everything in the store is for sale, you will succeed in your goal of
making a living from printmaking.  I am slowly creating a system of print
records, so that I can keep track of what I have made and sold, or given
away, or exchanged, or committed to the on-line galleries (so it will be
available if anyone wants to buy it).

Jean Eger-Womack
http://users.lanminds.com/~jeaneger




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

From: Ray Hudson <rhudson@together.net>
Date: Wed, 22 Nov 2000 06:45:30 -0500
Subject: [Baren 12201] Re: old wood block uses 

Andrea--Now I'm confused!  (Not an unusual event)  After I pegged the
boards together I did not make a print; merely a "woodblock
collage"--weighed a ton.  Ray

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End of Baren Digest V13 #1222
*****************************