Baren Digest             Tuesday, 12 December 2000     Volume 13 : Number 1242


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From: <aenaonartst@yahoo.com>
Date: Mon, 11 Dec 2000 00:45:14 -0800 (PST)
Subject: [Baren 12434] About #7 

Dear Baren,
I am writing this to apologize for the way I have (or have not...) handled
my participation in Exchange #7.
I was not able to send my prints until the 27th November and then I
received them back from the post office 7-9 days later as I had managed to
forget writing the country of destination.
In Friday 8th December, I sent them off again by DHL (cost me $60, serves
me right...) and I hope that it will all be OK this time.
As I realise that many of you prepaired your works a good 2 months ahead
and that all of you posted your works in time, I place myself at the
judgment of the Baren council to decide whether I may participate in
future exchanges or not.
If any of the council care to hear (read) my excuses please contact off
list.
I am very sorry,
Dimitris

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

From: kfoley@boo.net
Date: Mon, 11 Dec 2000 12:44:56 GMT
Subject: [Baren 12435] Re: inks for hanga 

> Hi Sarah,  I have been using the large (37 ML.) Da Vinci water colors very
> happily for a couple of years.  I used it with rice paste and gum arabic for

Hello Bea,

Could I bother you for a few more details about how you use the watercolors?  
I've been an ink-from-the-tube guy so far but would like to give the 
watercolors a try.  What consistency do you use to print?  How much rice paste 
and how much gum arabic?  Sounds like a perfect mix for snakes.

Thanks,
Kevin


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From: Cucamongie@aol.com
Date: Mon, 11 Dec 2000 08:44:36 EST
Subject: [Baren 12436] colors, etc 

bea asked:
In a message dated 00-12-11 08:07:10 EST, you write:
<< How and why do
 you use glycerin?   I know it's supposed to keep colors wet longer.  Is that
 why? >>

when using pure pigments (as opposed to using already processed watercolors 
in tubes) the gum arabic & glycerin are added as a binder & wetting agent, 
respectively.  These are things which I believe are present to some degree in 
watercolors.  When I took April's class, she had us using a 2 to 1 gum arabic 
to glycerin mixture which was added to the pure pigment.  However, some folks 
just use the pure pigment w/out this stuff, I guess the answer is 
experimenting to find out which works best for you.-
 and give the Akua Kolor a try, it's great-
best wishes

Sarah

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From: Vollmer/Yamaguchi <jy6@columbia.edu>
Date: Mon, 11 Dec 2000 10:39:21 -0400
Subject: [Baren 12437] Re: Baren Digest V13 #1241 

Marc, I can't believe you are using hanshita the first time you do a hanga
woodcut! I started simply using carbon paper. Now I use xerox transfer.

One of the big difficulties in translating the Japanese technique is not
having the same variety of washi papers available. There are special ones
that resist the puckering you mention when they hit the moist glue on the
block.

This is very specialized! As I remember the first paper should be
thin,lightly sized washi, laid face down. When it is mostly, but not
completely dry, the fibers are gently rubbed from the back, revealing your
initial sumi ink drawing as much as possible.

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

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From: GWohlken <blueman@pantek.com>
Date: Mon, 11 Dec 2000 10:00:40 -0500
Subject: [Baren 12438] Re: Baren Digest V13 #1241 

For touching up oil based prints that have small places where the wood
was "broken" because I didn't handle the knife well (heh heh, do we
admit that?) , I use a wooden skewer with a fine tip and press it into
the ink on the glass lightly and just impress that tiny tip onto the
spot that needs it.  After the ink is applied I blot it with an
absorbent paper.  This has worked very well.  

Sometimes no matter how deep I seem to carve, new areas get rolled up
with ink so sometimes after q-tipping the unwanted raised areas as well
as I can, the problem area might be covered with a piece of making tape.
 This doesn't happen too often, but it has worked when nothing else has.

Welcome, Marc.  

Gayle

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From: Wanda <robertson@canby.com>
Date: Mon, 11 Dec 2000 09:35:59 -0700
Subject: [Baren 12439] Touch-ups, hanshita, isolation 

Hi folks,

Several interesting things in the mail this morning. The thread on touch-ups in
interesting. How much touching up is just touching up? In other words, how far do
you go to repair a print before it becomes something else? I have the idea in my 
head that those little imperfections in an oil base print are part of the process
 - so I don't do any touch-ups. In hanga, touch-ups are pretty much impossible 
(for me, anyway)!
 
> This is very specialized! As I remember the first paper should be
> thin,lightly sized washi, laid face down. When it is mostly, but not
> completely dry, the fibers are gently rubbed from the back, revealing your
> initial sumi ink drawing as much as possible.

Any of you trying the traditional method of applying paper to woodblocks for your
cutting (in the US) - try the stuff sold in art stores for Sumi. Tablets of
inexpensive Japanese paper sold for drawing & sumi ink painting. It works really
well for me. Looks kind of messy when you first glue it down (with rice paste or
gum arabic) but as it dries, it tightens up nicely.  And, it washes off easily
when you are ready to begin printing. Also, Dave has a method of using the copy
machine and thin washi (for transfering) on his web site. http://woodblock.com 
Lots of other information there also, on lots of things pertaining to Japanese woodblock.

> Thanks, Thanks, Thanks for all the wonderful tips. I don't feel so isolated
> in this rural area of NC. Jerelee

Jerelee, you have spoken for a lot of us. Working far from the madding crowd -so
to speak. This forum is a link to all the other people out there who are making
their art in isolation. 

Good morning (or day or evening) to all of you!

Wanda

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

From: Wanda <robertson@canby.com>
Date: Mon, 11 Dec 2000 09:46:44 -0700
Subject: [Baren 12440] post from Mike Lyon 

[Hi folks, I can't seem to get the server to let this post go through. Until I
figure out what the problem is - I'll just post it directly.]

Date: Mon, 11 Dec 2000 08:21:40 -0600
To: baren@ml.asahi-net.or.jp
From: Mike Lyon <mikelyon@mlyon.com>
Subject: Re: Baren Digest V13 #1241

>
>Hi folks! Mike, you'd get a lot more mileage out of your colors if you were
>to use pure pigments mixed w/a little gum arabic & glycerin instead of the
>watercolor from tubes, you can get these pigments from Guerra or Kremer here
>in NYC, I'm not sure if they deliver but they probably do.  AkuaKolor, a
>waterbased printing ink (http://www.waterbasedinks.com, I think??), also
>works great for hanga as well as for monoprints and some other types of
>printing-
>just my 2cents
>Sarah

Thanks, Sarah...  pure pigments are on my list of 'to try it out 
someday'.  Prepared watercolor has been so readily available and 
consistent.  As for mileage... you mean economy?  If you can give me the 
phone, snail mail address, email or web contacts for Guerra or Kremer, I'll 
explore...  what ratio of gum to glycerin?  Add water to taste?

Have tried (am still trying) AkuaKolor and the jury is still out -- I much 
prefer litho inks for monotypes (so far), and for hanga, I haven't 
experimented a tremendous amount yet, but I'm unable to distinguish 
AkuaKolor from traditional watercolor results, except that at least some of 
the AkuaKolor pigments seem more opaque (weaker and less transparent) to me.

Mike Lyon
mikelyon@mlyon.com
http://www.mlyon.com

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

From: Sunnffunn@aol.com
Date: Mon, 11 Dec 2000 12:49:31 EST
Subject: [Baren 12441] Re: inks for hanga 

ahhh glycerin.  i talked with Susan Rothko at akua kolor about this and told 
her i was coating my plates with dish soap, which is glycerin.  The coating 
makes the ink release almost totally, giving you a stronger print. So she 
asked to use this among her methods and of course she can and is. Oh i should 
tell you these were monotype plates, not woodblock prints.  akua kolor is 
very vibrant releases beautiful color and is superior to watercolor for 
printmaking, at least for monotype prints it is.  
now my ignorance, i have been reading about hanga prints and i do not know 
exactly what they are???  i gather it is a method that uses water based 
supplies, please try and explain?
Marilynn

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

From: amoss@mindspring.com (John Amoss)
Date: Mon, 11 Dec 2000 14:33:51 -0500 (EST)
Subject: [Baren 12442] hanshita 

Wanda-
you wrote:

>Any of you trying the traditional method of applying paper to woodblocks
>for >your cutting (in the US) - try the stuff sold in art stores for Sumi.

Have you or anyone else been having trouble cutting through the Sumi paper
cleanly?
Mine has been tearing somewhat. I think I should either use thinner paper
or paper that some that can be peeled from the back. The sumi paper I use
won't rub off very well. Perhaps a mould-made paper might allow for the
layers to be seperated. Nay suggestions?

Anyway, to transfer drawings to the wood, I have been using a xerox
transfer with lacquer thinner burnished with a baren as was taught at
bootcamp. I then follow up with the kogyos (keyblock prints with kento
marks pasted face-down onto consecutive blocks) for my colors using a very
thin layer of YES paste. Dave uses gum arabic. The idea is that the paste
shouldn't buckle the dry paper.

And it is important to use dry paper when printing your kogyos. If you use
moistened paper, the prints might shrink after drying. On the other hand,
printing on thin dry paper can be tricky as it can buckle with the ink's
localized moisture. This buckling can be a pain both to paste it onto the
block and can result in registration problems. I try to minimize this by
making the ink pretty thick because of its lower moisture content and the
darker image that shows through the paper easier. Some people apply oil to
the back of the kogyos to make it more transparent.

Dave's hanshita technique is in the encyclopedia
<www.woodblock.com/encyclopedia/entries/019_01/019_01_frame.html>

Any additional thoughts?

- -John A.

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Mon, 11 Dec 2000 12:08:30 -0800
Subject: [Baren 12443] our leaders 

Dave, are you still there?  I hope you are adding these GREAT technical
discussions to the encyclopedia!  Wanda will be a wonderful moderator, but
she will never surpass OUR FOUNDER, the great Dave.

Graham, I can't believe that you are gone!  I miss you already.  Please come
back!  Everyone got used to you and we don't want to lose you, even if you
knock computer prints all the time.  I feel very comfortable and relaxed
when I hear a tirade about computer prints from Graham--I know you're still
alive and kicking.  Please just don't expect me to agree with you about
everything.

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

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From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 11 Dec 2000 12:34:18 -0800
Subject: [Baren 12444] Re: About #7 

Dimitris wrote:

> Dear Baren,
> I am writing this to apologize for the way I have (or have not...) handled
> my participation in Exchange #7 (snip)...

Dear dear dear Dimitris, and anyone else who gets beaten up by this
wonderful series of events we simply call "life:" your gesture is most
welcomed.
I, for one, appreciate your willingness to give it your best effort and to
go above
and beyond reasonable obligation to try to make amends. Thank you and
we will look forward to your future participation.

Maria (speaking for myself only, by the by)

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

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From: barbara patera <b.patera@worldnet.att.net>
Date: Mon, 11 Dec 100 13:06:49 Pacific Daylight Time
Subject: [Baren 12445] Welcome 

Hi Marc,

Welcome to our group.After looking at your site I am anxious to see your
traditional type prints....let us know 
when they have been posted.
By the way, looks like you have a lovely family.

Barbara P.

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From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Mon, 11 Dec 2000 17:01:30 -0500
Subject: [Baren 12446] Re; late for Exchange 7 

Golly, I did not think Dimitris would feel so bad.
We have been posting back and forth and believe me, he has had some very
rough breaks via the exchange and a few other matters.
 I knew he would be late, but had not expected his latest very bad luck.
The old chestnut "to err is human, to forgive divine".
I am sure that he will be readily accepted in any further exchanges, not to
worry!!!!!
So Exchange 7 will be late. But , hey, folks, it is worth the wait!!

Your friendly Coordinators; Jeanne and Dan

Great postings lately on transfers and mending mistakes.

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From: barebonesart <barebonesart@home.com>
Date: Mon, 11 Dec 2000 14:06:58 -0800
Subject: [Baren 12447] Re: Baren Digest V13 #1241 

Daniel's snake slithered its beautiful body into my studio a few minutes
ago. It is a lovely print, Daniel, very Celtic in feeling. Please be patient
folks, mine is just not going to happen until after Christmas and my house
is clear of guests & visiting family. Meanwhile, it certainly is wonderful
to open the little critter's envelopes and let them out to mingle with one
another - so far they are all extremely tolerant of one anothers personality
differences. Maybe its the Season.
Sharri LaPierre

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From: Wanda <robertson@canby.com>
Date: Mon, 11 DEC 2000 15:15:01 -0500EST
Subject: [none]

John Amoss wrote:
> 
> Wanda-
> you wrote:
> 
> >Any of you trying the traditional method of applying paper to woodblocks
> >for >your cutting (in the US) - try the stuff sold in art stores for Sumi.
> 
> Have you or anyone else been having trouble cutting through the Sumi paper
> cleanly?
> Mine has been tearing somewhat. I think I should either use thinner paper

Nope, I haven't had any trouble with tearing. I am using old sumi paper that I 
have had for a long time, though. Maybe the ingredients have changed a little,
(or a lot). I've heard & seen paper being split - but I'm too chicken to try
it. I started doing the traditional method as I couldn't stand the fumes from
the lacquer thinner method. I know that works well for a lot of people, but 
not me. 

Very nice explanation of your methods, John!

Jean Eger wrote:
> 
> Dave, are you still there?  I hope you are adding these GREAT technical
> discussions to the encyclopedia!  Wanda will be a wonderful moderator, but
> she will never surpass OUR FOUNDER, the great Dave.

Nope, I can't hold a candle to Dave! He's the best! Besides, he is too far
away - the candle would go out before I could get there. Joking, joking.
.. Thanks Jean, I quite agree. And yes, Dave is still here - but printing 
madly to get ready for his big January show.

Maria Arango wrote:
 
> Dear dear dear Dimitris, and anyone else who gets beaten up by this
> wonderful series of events we simply call "life:" your gesture is most
> welcomed.
> I, for one, appreciate your willingness to give it your best effort and to
> go above
> and beyond reasonable obligation to try to make amends. Thank you and
> we will look forward to your future participation.

I certainly agree with you Maria. I don't think we would ever bar anyone
from exchanges, unless they did something really, really, bad. Things 
happen. Life goes on. We forgive. Apologies accepted & appreciated.
Whenever the exchange #7 gets here, it will be like Christmas.

Wanda (also speaking for myself)

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

From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Mon, 11 Dec 2000 16:26:47 -1000
Subject: [Baren 12449] Re: hanshita 

John,

Way back when I carved my last block, I had a lot of problems with the paper
peeling on the fine lines of the key block, particularly on a lightly
varnished block. I solved the problem by glueing it down with acrylic medium
instead of the various glues that have been suggested. It cut cleanly, and the
thinnest lines didn't peel. A thin layer of Yes! paste worked fine on the
color block hanshita, because there were no thin lines to cut. Also, for
printing the keyblock onto the hanshita, I found that by inking the block with
a rubber stamp pad (the opaque pigment kind), it printed very cleanly, and
with absolutely no wrinkling.

Jack

John Amoss wrote:

> Have you or anyone else been having trouble cutting through the Sumi paper
> cleanly?
> Mine has been tearing somewhat...
>
> Any additional thoughts?

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End of Baren Digest V13 #1242
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