Baren Digest Friday, 24 November 2000 Volume 13 : Number 1224 ---------------------------------------------------------------------- From: David Bull Date: Thu, 23 Nov 2000 22:41:18 +0900 Subject: [Baren 12218] Time for another feast from Japan ... Yes, it's time for the annual 'Ban-Ban' Exhibition from Japan. For those of you who weren't here last year, Ban-Ban is the name of the printmaking 'circle' at a Culture Center near my home in Tokyo. The group is made up mostly of housewives and retired people, and every year they put on an exhibition of their colour woodblock prints. This year's show is nearly twice as large as last year's ... http://woodblock.com Look for the 'Exhibitions' link down near the bottom of the page, and follow to 'Amateur Printmaking in Japan', and then to the pages for Ban-Ban Exhibition 2000 (Part one and two ...) If you like what you see, send them a message letting them know! (You will find a mail link on one of the pages ...) Dave ------------------------------ From: Cucamongie@aol.com Date: Thu, 23 Nov 2000 08:40:50 EST Subject: [Baren 12219] postcard prints Michelle wrote: << How were the dragon exchange prints done for margins? I asked about a month ago whether the 4x6 was image size or paper size for the snake print, and no one had an answer. Seeing that so many hanga printers had barely a margin at all, I figured I'd go with the 4x6 image size. The "4x6 or thereabouts" doesn't leave much of a margin, and although I'm over half thru with the printing portion, I'm not too happy with the margins. >> Hi, I assumed the paper was to be 4" x 6", standard postcard size. I sent mine out in envelopes with a little piece of cardboard inside as it was on very thin paper. However, since you've started, I don't think it really matters TOO much one way or the other! :) Sarah ------------------------------ From: Graham Scholes Date: Thu, 23 Nov 2000 06:36:51 -0800 Subject: [Baren 12220] Dampening Paper. >Stack: >-formica (or heavy wood) board >-sheet of plastic (like a trash bag) >-paper stack >-sheet of plastic - -formica board ????? You do not want to put weight on the paper when you dampen it. This will prevent it from moving as it expands..... and that is one of the important factors of dampening paper. If it expands after you print it you will have major register problems. You don't need anything but the plastic cover which preforms the function of holding in the dampness. Graham/Victoria BC An Island in the Pacific Home of the Boot Camp ------------------------------ From: Date: Thu, 23 Nov 2000 11:52:09 -0500 Subject: [Baren 12221] Re: paper charset="iso-8859-1" thank you Maria for your help, just one more thing, do you fine spray your paper only on one side or on both sides of it? and have a happy thansgiving :-) Maria. ------------------------------ From: Carolyn Pflederer Date: Thu, 23 Nov 2000 11:22:58 -0600 Subject: [Baren 12222] hand coloring prints I sent baren a question about hand coloring prints...the prints are done with oil based ink and water colors are used to color them. This is an old method I came across in books and have now seen done by artist Mary Azarian in Vermont. If anyone knows what you do to do this correctly (type of paper, stretching the paper or not, etc...) please let me know. I use both wood and lino for prints. ------------------------------ From: Wanda Date: Thu, 23 Nov 2000 09:21:31 -0700 Subject: [Baren 12223] Ray's collage block Oops! "Mr. Bear Visits the First Grade" is the title of the top print on this page. And "The Fox in the Village" is the collage of blocks, right Ray? What are the sizes of these pieces? Both the "Bear" print and the collage of blocks. Wanda http://www.ucsd.net/Virtual_Museum/pages/ray_hudson%20+.htm ------------------------------ From: barbara patera Date: Thu, 23 Nov 2000 09:32:42 Pacific Daylight Time Subject: [Baren 12224] Re : Paper for postcards Michelle, The only card exchange I participated in was for a different group. I used a heavy paper torn to 4x6 size.... my woodblock was slightly smaller.... just enough room to title and sign the print. However, others in that group used a variety of paper sizes and weights .... all were minature but many required envelopes. I sent mine in envelopes as well.... a friend who works at the post office told me that some of their new sorting equipment has been scraping the designs right off of postcards. Anyway, best of luck with the project..... you are way ahead of me... my "Snake" is still on the drawing board. Barbara P. ------------------------------ From: Graham Scholes Date: Thu, 23 Nov 2000 15:54:46 -0800 Subject: [Baren 12225] Re: paper >thank you Maria for your help, just one more thing, do you fine spray >your paper only on one side or on both sides of it? and have a happy >thansgiving :-) You only have to moisten one side. The moisture trapped in the damping envelop will soon find its way to both/all sides of the paper. Graham/Victoria BC An Island in the Pacific Home of the Boot Camp http://members.home.net/woodblocks/ ------------------------------ From: Ray Hudson Date: Thu, 23 Nov 2000 18:38:31 -0500 Subject: [Baren 12226] Re: Ray's collage block > Wanda: Mr Bear Visits the First Grade is 11 inches by 24 inches. It was > printed back in the days I used oil inks and then Mr. Bear was washed in with > watercolors. It depicts my wife's first grade classroom with Mrs. Matsumoto > whose uncle was the illustrator of a series of Mr. Bear books in Japan that > she gave to the school. The Fox in the Village is about 2 1/2 feet by 3 feet or so. Ray http://www.ucsd.net/Virtual_Museum/pages/ray_hudson%20+.htm ------------------------------ From: Mike Lyon Date: Thu, 23 Nov 2000 12:03:39 -0600 Subject: [Baren 12227] Re: Baren Digest V13 #1223 Maria wrote: >Looked perfect, seemed good on the first and second, about the third >print, spit spit blah, here came the wood filler and my crater reappeared, >even after thouroughly cleaning the crack so the filler would stick. I >printed with a press and had no trouble in the past, but I suspect the >pressure was the culprit. >I'm finished now, but any ideas what went wrong? I'm baffled, confused, in a >state of dazed incomprehension...wait, that's normal for me. Suggestions >appreciated. Hi, Maria... Next time you have to fill a crack, try using your little carving tools to make the inside of the crack a little bigger than the opening -- and, if it's a big crack, fill with several thin layers, not all at once -- and are you using that filler that shrinks? I hate that stuff! Mike Lyon ------------------------------ From: "Maria Arango" Date: Thu, 23 Nov 2000 18:37:19 -0800 Subject: [Baren 12229] Re: conferencing charset="iso-8859-1" Greg wrote: >>My comments are not specifically addressed to SGC but any time a number of >>people get together drawn by a specific interest but come from different >>backgrounds and experience. It seems that there are different ways that >>people respond in those situations. So right you are. I have in the past attended several conferences in other disciplines and my experience has been exactly that. Conferences are a unique and wonderful experience. The variety and abundance of experiences, practicums, discussions, open sessions and presentations is unequaled as a medium to share ideas and keep the pulse on what's happening in the discipline. Yes, there are those that attend to preach or to attack the research/technical efforts of others, but they are a minority and subordinate to those of us who feel like the proverbial child in a candy-store. I have found that the best way to enjoy these is to keep an open mind and attempt to digest the banquets of new knowledge that all the hard working presenters have to offer. Participating in workshops and demonstrations, of course, is an incredible bonus. This will be my first printmaking conference and I cannot wait to meet fellow printmakers, see what's happening in academia as well as in the many organizations, meet my fellow/ess Bareners... But MOST OF ALL, I want to see that relief/monotype printmaking session on Saturday morning which entails the use of a STEAMROLLER. Woooooooooooo-eeeeeeeeeeeeeeee!!! Health to...oh, who am I kidding, I grossly overate and have a bellyache--I'm taking the wolves for a walk in the moonlight. Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><> ------------------------------ From: "Maria Arango" Date: Thu, 23 Nov 2000 17:11:03 -0800 Subject: [Baren 12230] Re: paper charset="iso-8859-1" > thank you Maria for your help, just one more thing, do you fine spray > your paper only on one side or on both sides of it? and have a happy > thansgiving :-) I fine spray on just one side, the purpose of the stacking is to let the moisture crawl evenly throughout the entire sheet. The purpose of the weight, as I understand it, is to keep the paper flat during this crawling process; without the board weight, the paper would curl as moisture escapes from it, at least in my climate. Here is a quote from the Yoshida book in the Encyclopedia (from the first section of Chapter 4) which explains the process much better than I ever could: *** For dampening the paper, water should be applied with a broad hake (Japanese paste brush) to every alternate sheet of paper, thus giving sufficient moisture to each sheet. Then a wooden board is placed on top of the pile of paper and upon this a weight, and everything left in this condition for one or two hours to allow the moisture to permeate all the paper. Sometimes it is better to wet the paper the second time in order to give the right amount of moisture. In that case the alternate sheets which were not directly dampened before should be the ones to be wet this time. Such extra moistening is necessary depending upon the quality of the paper or the kind of print to be made. But the paper should not be wringing wet. The weight should again be placed on top of the pile to allow the moisture to permeate. Then the pile should be rearranged by slightly sliding each sheet, placing a certain number in one direction and another set on top of this in a different direction. Thus the pile will be spread out on a few sheets of wet paper and finally the whole must be covered by a sheet of thick paper, on top of which more water should be applied with a brush and then all covered with a sheet of wet flannel and left in this condition over night. This will equalize the moisture in the paper. Such a process is known as otosu (let down) or hawasu (let crawl), suggested by the way the paper is arranged, namely one sheet receding slightly from another. This will allow the paper to expand, for it is necessary to keep paper in this condition until the final impression is given to the prints. ****** Thank you, oh mysterious guardian angel of printmaking, for dropping this quote my way and thus allowing me to help out. Health (burp!) to all, Maria ps does turkey make everyone sleepy, or just me? <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><> ------------------------------ From: B Mason Date: Thu, 23 Nov 2000 20:01:31 -0800 Subject: [Baren 12231] Ban Ban Prints Dave, Thanks for sharing these with us, I really enjoyed them. I sent a short message to the center. I especially liked the ones of the coliseum. Strong images and nice printing. Barbara ------------------------------ From: "eli griggs" Date: Fri, 24 Nov 2000 00:02:36 -0500 Subject: [Baren 12232] Re: hand coloring prints charset="iso-8859-1" > I sent baren a question about hand coloring prints...the prints are done > with oil based ink and water colors are used to color them. This is an > old method I came across in books and have now seen done by artist Mary > Azarian in Vermont. If anyone knows what you do to do this correctly > (type of paper, stretching the paper or not, etc...) please let me > know. I use both wood and lino for prints. Hi there: I have had some luck with colouring oil prints with watercolour on Kitakata paper. I print the oil image first and allow it to dry in the normal fashion, then apply colour with brushes from the back side of the paper. As long as the area being coloured is not too large and is enclosed on all sides by inked borders to contain the wash, everything is fine. Just remember to keep the wash fairly dry, and use plenty of pigment (Kitakata is a waterleaf) and be aware that your brush strokes may be discernible (just like a regular watercolour) when the wash dries. Getting it right the first time is important. Hope this helps, Eli Griggs Charlotte N.C. USA ------------------------------ From: ArtfulCarol@aol.com Date: Fri, 24 Nov 2000 00:27:54 EST Subject: [Baren 12233] Re: Baren Digest V13 #1223 For filling in a mistake I have used correction fluid ---really! But how acceptable this is to you I dont know. If it works.... Carol Lyons rst-art.com/artfulcarol.htm ------------------------------ From: Graham Scholes Date: Thu, 23 Nov 2000 22:21:46 -0800 Subject: [Baren 12234] another feast from Japan ... >Look for the 'Exhibitions' link down near the bottom of the page, and >follow to 'Amateur Printmaking in Japan', and then to the pages for >Ban-Ban Exhibition 2000 (Part one and two ...) > >If you like what you see, send them a message letting them know! (You >will find a mail link on one of the pages ...) I looked in on the work and find generally very good indeed. 'Amateur Printmaking in Japan' !!!! It is interesting the use of words in different regions and countries. The use of the word "Amateur" here, has a negative connotation, and you seldom if ever hear it or see it written when describing a group. The term that is more politically correct is "Leisure Time". Use "Amateur" and you will get drummed out of town. Graham ------------------------------ End of Baren Digest V13 #1224 *****************************