Baren Digest Sunday, 18 February 2001 Volume 14 : Number 1323 ---------------------------------------------------------------------- From: Cynthia Wilson Date: Sat, 17 Feb 2001 09:18:41 -0800 Subject: [Baren 13436] Re: Donations Wanda: Wasn't he "exposing" himself to a female nude statue? It's a great image!! Cyndy ------------------------------ From: Wanda Date: Sat, 17 Feb 2001 09:28:57 -0700 Subject: [Baren 13437] From Murilo Pereira - on waterbased inks This just in from Murilo in Brazil: A few years ago when a start studying xylogravure , the first thing a remember we did was to see a video about Japanese woodcut perhaps it was Minakata - and I felt in love with it - everything in it was marvelous. So I came home and did my first xylo waterbased. But nobody have taught me because they taught only oil base. But I loved Japnese waterbased woodcut for several motives as easy to wash, to clean, and could be done with wood spoon, that is an object that I like very much too, because it's a beautiful craftwork. So what diod I do at home without asking nobody. I made a "gravure" and printed it with the ink I had. What was it? Simply the waterbased ink I have been using to paint for many years. What ink is that? The one we use to paint walls, PVA, plastic ink, washable, soluble in water, that is a think enormously important to me since ever. So I did it and take to people see any schioil, everybody an artist , but nobody said a little thing and I stopped doing it. Did only oilbased. Learning from you all , can't let nobody out, I start doing again waterbased woodcut prints. So I ask you what do you think of that, us using this kind of ink? Os OK? Is it bad? This ink is too hard? I know I could use a good acrylic ink, too. Can you tell me something? I think pomo allows this kind of meditation. Best wishes. ------------------------------ From: "Bea Gold" Date: Sat, 17 Feb 2001 10:25:20 -0800 Subject: [Baren 13438] Re: From Murilo Pereira - on waterbased inks charset="iso-8859-1" Wanda - where to does Murilo write to? Hi there Murilo if you read this. Nice to hear from you. Bea ------------------------------ From: "eli griggs" Date: Sat, 17 Feb 2001 23:46:57 -0500 Subject: [Baren 13439] cherry wood charset="iso-8859-1" David, While you are waiting to get to work on that block, could you describe any differences in the cherry that you are working on and what is available here in N.America. I would also like to hear if you have cut blocks in other fruit woods such as pear and apple. Thanks, Eli Griggs Charlotte N.C. USA ------------------------------ From: David Bull Date: Sun, 18 Feb 2001 14:42:23 +0900 Subject: [Baren 13440] Re: cherry wood Eli wrote: > While you are waiting to get to work on that block, could you describe any > differences in the cherry that you are working on and what is available here > in N.America. This is a question to which I too would like to know the answer Eli. Unfortunately, I just don't have any experience with N. American woods. Walter Phillips spoke very highly of the cherry available to him over in Canada, but I guess he probably never had a chance to try the Japanese stuff, so couldn't really compare. This is our problem - the people who know one, don't know the other ... > > I would also like to hear if you have cut blocks in other fruit woods such > as pear and apple. No experience at all, I'm sorry. I have used Magnolia, and have very much enjoyed it. It's not a wood I can use extensively in my work, because it doesn't generally stand extended edition printing (it gets 'clogged' with pigment once you get up into the hundreds of copies), but it cuts beautifully, and prints very cleanly and clearly. As to how I would 'judge' a wood as to its suitability for my traditional kind of work, it would have to: - - have a minimum of hardness difference between winter and summer wood. - - cut cleanly without 'fibrousness' (this eliminates most 'white' woods such as poplar, basswood, etc. etc.). - - absorb water well, but not too well. (Woods that are too hard don't 'drink' well and the water/pigment mix just sits up on top of the surface. Woods that are too soft drink it too quickly, and make it impossible to brush the pigment out smoothly). - - have the smallest possible 'pore' structure (the tiny holes in the wood which conducted fluids while the tree was alive). - - not expand in size (too much) when moistened. - - not have strongly figured grain that would show in the impression. - - have the requisite hardness to allow fine line cutting Given these requirements, I find myself hard pressed to come up with substitutes for the traditional cherry wood. As to the 'foreign' cherrywood you mention, I did see some last summer that John Amoss had over at Graham's place, but I'm sorry that I didn't investigate it well enough to be able to answer your question. John, have you tried both? Dave Bull ------------------------------ End of Baren Digest v14 #1323 *****************************