Baren Digest Monday, 19 February 2001 Volume 14 : Number 1324 ---------------------------------------------------------------------- From: "Garth Hammond" Date: Sun, 18 Feb 2001 07:38:33 -0700 Subject: [Baren 13441] Re: cherry wood charset="iso-8859-1" RE: David bull and 'have a minimum of hardness difference between winter and summer wood." OOOHHHH that is interesting could you expand on that please? I love it when something drifts by and I have never considered it at all! I have never tried Linden or bass wood to print with but I have used it extensively to carve with. The comment on fibrous quality, do you think it is only on fine line work or generally have you experienced it to be unsatisfactory. I had been about to purchase a plank and try woodburning the lines. Has anyone tried this? Thanks, Garth ------------------------------ From: "Daniel L. Dew" Date: Sun, 18 Feb 2001 09:41:40 -0500 Subject: [Baren 13442] Exchange #8 Hey Ray, what's the status on this exchnage? How many are we still waiting for? dan dew ------------------------------ From: David Bull Date: Mon, 19 Feb 2001 00:00:54 +0900 Subject: [Baren 13443] Re: cherry wood In the kind of work that I do, where the 'line' is very important, I can't let wood 'talk to me' like I hear so many people say. _I_ have to be in control ... total control. This means that the wood has to be as even as possible. If I were to try carving on (say) a piece of pine, where the winter wood is dark and hard and the summer wood is white and soft, the knife would 'bounce' across the grain, and I'd never get a controlled line. Cherry is pretty much even in the two, and it is only rarely that I can 'feel' the grain lines as I carve across them (at least in _good_ pieces). > I have never tried Linden or bass wood to print with but I have used it > extensively to carve with. The comment on fibrous quality, do you think it > is only on fine line work or generally have you experienced it to be > unsatisfactory. Well a lot of people on this list are using white woods, and I don't want to get in trouble ... :-) ... but again, there is no good way to be in control when the wood is so fibrous. Of course this is especially critical in delicate work, but even on a broad piece for a colour block, the wood just doesn't cut to a crisp clean edge (especially on cross grain cuts). And another major problem with these woods is that they 'drink' too much, and become saturated with pigment very quickly. For large editions, this is trouble ... (They also warp to an insane degree ... something else that is death for large editions.) Dave ------------------------------ From: B E Mason Date: Sun, 18 Feb 2001 07:28:11 -0800 Subject: [Baren 13444] warping Dave, You are so right about the wood warping. That poplar I was printing on at Graham's workshop did very well while I was using it, but after drying out it really warped. I am sure it is totaly unprintable now. I did not have any stabalizer boards at the ends and I am sure that would have helped. It did carve very nicely, sort of like very hard butter. So be warned, if you use this wood, get it flat and stable to begin with. My little sandpiper bird has flown and won't be doing a second edition! Poor thing. I bought a lot of different wood as I wanted to try it. I got applecore plywood, it was sooooo hard to carve. Wanda did a print on it, I think her #8 is using it. It took her months to carve it. I doubt she will use it much again. I never finished mine, it just seemed like punishment instead of artwork. I haven't tried cherry yet, maybe this summer after my May show is printed and hung.I hate to admit I am doing monotypes for it. Sorry guys, I am reverting here to what I do best. Part of my heart is still here at the baren forum so I will just appreciate for a couple of months. Best to all, Barbara ------------------------------ From: "Charles and Gail Sheffield" Date: Sun, 18 Feb 2001 11:13:08 -0800 Subject: [Baren 13445] Re: warping charset="iso-8859-1" For those soft woods which warp, seems like that would be easy to prevent by drying the block, after printing is finished, under something heavy to keep it flat. But, whatta I know? Gail Sheffield Covington, LA, USA ------------------------------ From: "Bea Gold" Date: Sun, 18 Feb 2001 09:20:59 -0800 Subject: [Baren 13446] Re: warping charset="iso-8859-1" I have a friend in the hand made furniture business who is going to get me some wood - he said that the Russian Birch is lower quality than Finnish birch and that some used in manufacture are very stable. I'm excited about trying what he can get for me. I did my snake on solid bass wood he gave me. It was very good to work on and did not absorb water the way my cherry cut of the 'Ju nin, to iro' print did. The bass was smaller. How could that be Dave? Bea ------------------------------ From: Wanda Date: Sun, 18 Feb 2001 11:13:23 -0700 Subject: [Baren 13447] More from Murilo in Brazil Hello, Bea, I usually read evrything that comes from Baren Digest, After Five, I'm sorry if sometimes you talked to me and I didn't answer. But I tanks for all the ones that have written to me, I'm not very polite sometimes but it's not because I want to be rude, on the contrary, I respect and admire all the artists of Baren forum, and all artists at all. What do you think of what I said about using painting wall ink for woodcuts? Please everybody say something. Even if it seems silly I'll say it: I love you. Thanks for everything. Waw! The new David's house is something. Wish I could go there. You now, I live in a place that is the contrary, it's tropical, it's sunny, we're in the summer, it's too hot, from my window I see the sea, it's a beautiful vision too, I could walk by the sea some kilometers. Well, that's enough. God bless you all. Murilo, florian—polis. ------------------------------ From: Wanda Date: Sun, 18 Feb 2001 11:21:46 -0700 Subject: [Baren 13448] Message from Mellisa Read-Devine If its of any interest, I have used pear wood with great success, it is hard and can hold detail. Most excellent for engraving cross sections too. Can any Aussies out there suggest any native woods? Mellissa Read-Devine depicture@excite.com ------------------------------ From: Wanda Date: Sun, 18 Feb 2001 11:26:46 -0700 Subject: [Baren 13449] A note of explanation Just a note to explain some of the funny/weird stuff that appears from time to time on Baren. If someone posts from another address than the one they are subscribed under - the baren server (that big computer in Japan) will bounce the messages & send them to me. Some of us have more than one e-mail address & we forget. Also, if you changed your e-mail address, but your e-mail program still has the old one - your messages will also bounce. I don't mind forwarding the messages, but it does cause some confusion. Be assured I will drop you a note of explanation if this happens to you. No big deal. Best wishes, Wanda ------------------------------ From: Wanda Date: Sun, 18 Feb 2001 11:56:42 -0700 Subject: [Baren 13450] Re: From Murilo Pereira - on waterbased inks Murilo, I think a lot of artists use what they can find to make art. Last year while talking to Greg Robison who put on the Kampala Baren exhibit - we found that many of the Kampala artists were doing prints on cardboard and on pellon-type fabric, and on Tyvec - the stuff they use to insulate the outside of houses before they put the siding on them. Beautiful pieces of art. Wonderful composition, wonderful images, haunting colors - we were amazed at the inventiveness. Sometimes people do not know what to say when we show them our art. Maybe they don't like it, or maybe they don't understand it, or maybe (and this happens more often than we think) it strikes a chord in their heart and they can't speak for fear of showing their emotions. I'm a very talkative person, and this has happened to me. A piece of art that speaks to me so eloquently that tears come to my eyes & I am not able to express how it makes me feel. When you say "wall ink" Murilo, do you mean the stuff that comes in cans that carpenters use to paint the walls? Like our water-based flat latex stuff? I'm wondering if that would have too many fillers in it & dry too fast on the block. I think that watercolor paints for artists would be a better bet for you. Or to order inks (water-based or oil based) from Graphic Chemical. I know they ship to other countries. I think I have solved the problem for your posts going directly to Baren - so post away! Wanda ------------------------------ From: Ray Pflederer Date: Sun, 18 Feb 2001 14:03:45 -0600 Subject: [Baren 13451] Re: cherry wood Garth Hammond wrote: > > > I have never tried Linden or bass wood to print with but I have used it > extensively to carve with. The comment on fibrous quality, do you think it > is only on fine line work or generally have you experienced it to be > unsatisfactory. I had been about to purchase a plank and try woodburning > the lines. Has anyone tried this? > > Thanks, > > Garth Funny you should think of trying this at the same time that I am. Right now I'm trying to use my woodburner to get nice round holes/circles "cut" into some white pine. I've been trying to do some very timy cuts. I couldn't think of any other way to get some of the fine detail in there other than pushing in with something to deepen the lines and other types of cuts like the circles so that they wouldn't fill in with ink...so I've got a piece in progress that I woodburned in some areas. It will be a while before I get a chance to print it...many other demands on my time right now. I'd love to hear what results anyone else gets using woodburning. Carolyn ------------------------------ From: Studio Dalwood Date: Mon, 19 Feb 2001 21:33:55 +1100 Subject: [Baren 13452] Exchange Opportunities Goodmorning everyone! At last! Print Australia is pleased to announce we are accepting enrolments for our latest print exchange, themed 'What is a Print? The exchange theme was inspired by the continuing discussions, on printmaking lists, on how digital methods have impacted on printmaking. The theme is directed towards putting together a set of prints that show a diversity of printing methods. All prints must be handmade. The information is all here, as is the sign-on form. http://www.acay.com.au/~severn/what.htm There has already been some discussion on the Print Australia mailing list about the theme and you must be on the Print Australia mailing list to participate. Josephine ------------------------------ From: David Bull Date: Mon, 19 Feb 2001 08:27:00 +0900 Subject: [Baren 13453] Re: warping Bea wrote: > I did my snake on solid bass wood he gave > me. It was very good to work on and did not absorb water the way my cherry > cut of the 'Ju nin, to iro' print did. The bass was smaller. How could Status: U Date: Mon, 19 Feb 2001 14:18:20 +0900 From: owner-baren@ml.asahi-net.or.jp To: baren@ml.asahi-net.or.jp Subject: Baren Digest v14 #1324 Reply-To: baren@ml.asahi-net.or.jp Precedence: bulk Baren: The mailing list / discussion forum for woodblock printmaking. > that be Dave? Well all I can say is that we are talking in wide generalizations here. Cherry is _generally_ hard, white woods are _generally_ softer. But of course there is a wide variation in any batch of wood, and it's certainly possible that you tried a relatively soft piece of cherry, and a firmer piece of basswood. (I hope everyone understands that I'm not on a campaign to turn everyone over to using cherrywood. I was simply answering a question ...) Dave ------------------------------ From: "Daniel L. Dew" Date: Sun, 18 Feb 2001 20:40:03 -0500 Subject: [Baren 13454] Re: FW: exchange 9 "salon de refuse`" Hey, don't you owe us a monkey print? dan dew How is school? I can pay postage if that is an issue. ------------------------------ From: "Daniel L. Dew" Date: Sun, 18 Feb 2001 21:01:52 -0500 Subject: [Baren 13455] Salon De Refuse The hour approaches, when all carriages become pumpkins and horses become mice. Midnight is fast upon us, and as the wolves howl and the bears sleep fast, while time keeps slipping away, yada, yada, yada...,. The official deadline for the Salon De Refuse: Endangered Animals is midnight tonight, eastern standard time. Those already expressing interest are as follows: 1. Pete ? (need your last name) pwalls1234@i-55.com 2. Frank Trueba ftrueba@cats.ucsc.edu 3. Julio Rodriquez Julio.Rodriguez@walgreens.com 4. Carol ? (need your last name) artfulcarol@aol.com 5. Sylvia Taylor syltaylor@worldnet.att.net 6. Bea Gold bnj50@earthlink.net 7. Barbara Mason bemason@concentric.net 8. Wanda Robertson robertson@canby.com 9. Kris Adler krisalder@cc.usu.edu 10. Lezlie Williams lezlewilliams@gwtc.net 11. Claude Villeneuve klaud@sympatico.ca 12. Sharen ? (need your last name) slinder@mediaone.net 13. Jeanne Norman Chase studiojnc@prodigy.net 14. dimitris grammatikopulos aenaonartst@yahoo.com 15. Gillyin Gatto gillying@Maineline.net 16. Daniel L. Dew (co-ordinator) ddew@tampabay.rr.com 17. Meagan Dew megsmail@tampabay.rr.com So far, that's it, unless you also want to join. Here's the particulars: Size: 11X15 (No greater than, smaller than is O.K.) Ink: Oil or water Paper: Up to ya'll Medium: Wood or Lino (No digital please) Deadline: May 1st Co-Ordinator: Me From this point on, let's make all communication off list. Starting tommorrow, I will e-mail everyone confirming or signing up with everyone elses e-mail. I don't want to clutter up the Baren list and confuse anyone about who is doing what, when or where. So, ping me off list and let's get craqckin! dan dew P.S. Laid down the first color of my reduction for this exchange today, whooooeeeee I'm excited. ------------------------------ From: "Daniel L. Dew" Date: Sun, 18 Feb 2001 21:03:04 -0500 Subject: [Baren 13456] Re: FW: exchange 9 "salon de refuse`" Oooops this was supposed to be "off list". Jury, please disregard the plaintiffs last comment and strike it from the record. Judge Dan ------------------------------ From: "April Vollmer" Date: Sun, 18 Feb 2001 22:06:12 -0500 Subject: [Baren 13458] transformation/Fuzzy Wood charset="iso-8859-1" I am transformed from jy6@columbia.edu to april@aprilvollmer.com...in case anyone cares. I unsubscribed and resubscribed with my new e-mail address. Now that I have a new computer, I am trying to update some things and get my life organized. (Impossible you say? Maybe so...) So nice to hear David's voice of experience again! Thank you for the concise description of desirable wood qualities, it was very helpful. It does make me blush, though, since I am still using that "fuzzy" shina basswood ply. I guess it's about time to break out the couple of cherry blocks I've been saving for a rainy day! I have just been shopping at Baren Mall, getting ready to teach a class in Los Angeles March 24-25. It is GREAT to be able to order inexpensive barens. The Mall is very well organized and easy to use. Is Yamaguchi paper available yet? Dave's encyclopedic grasp always reminds me what a beginner I am, compared to some experts in Japan anyway. But hey, it will be a fun class. Anybody in LA can check details at: http://www.aprilvollmer.com/classes.html I heard a rumor that you moved, Dave? Busy? April Vollmer 174 Eldridge St, NYC 10002 www.aprilvollmer.com ------------------------------ From: "Garth Hammond" Date: Sun, 18 Feb 2001 20:26:03 -0700 Subject: [Baren 13459] Re: cherry wood charset="iso-8859-1" Garth wrote: > ... 'have a minimum of hardness difference between winter and > summer wood." . If I were to try carving on (say) a piece of pine, where the winter wood is dark and hard and the summer wood is white and soft, the knife would 'bounce' across the grain, and I'd never get a controlled line. David, The question I have is this does wood grow in the winter? I had never thought of it. I grew up in the Northwest and I have just assumed trees did not grow in the winter. the image of winter wood is an echo of my memory of blizzards and snow. great image. ------------------------------ From: David Bull Date: Mon, 19 Feb 2001 12:32:12 +0900 Subject: [Baren 13460] Re: cherry wood Garth wrote: > The question I have is this does wood grow in the winter? I had never > thought of it. I grew up in the Northwest and I have just assumed trees did > not grow in the winter. the image of winter wood is an echo of my memory of > blizzards and snow. You've got me on this one. As a tree adds one grain ring every year, there must be some seasonal difference taking place as the wood is added to the trunk that would account for the dark/light pattern. Maybe I'm out of place by saying 'winter wood'. Does anybody know the real mechanism how the grain rings are formed? *** April wrote: > I heard a rumor that you moved, Dave? Busy? April, you haven't been reading the newsletters I've sent you! :-( Yep I've moved, and yep I'm busy! But I can never remember 'who knows what', and a lot of the chat about moving has been over on 'After Five'. So here are a couple of shots of the new place ... http://www.asahi-net.or.jp/~xs3d-bull/studio/images/fromnorth01.jpg http://www.asahi-net.or.jp/~xs3d-bull/studio/images/fromsouth01.jpg Dave ------------------------------ From: Lawrence Date: Mon, 19 Feb 2001 14:57:52 +1100 Subject: [Baren 13461] Re: cherry wood <200102180538.OAA06374@ml.asahi-net.or.jp> <200102181420.XAA78474@ml.asahi-net.or.jp> <200102181457.XAA59820@ml.asahi-net.or.jp> <200102190308.MAA64038@ml.asahi-net.or.jp> Cold years, less sunlight, less growth etc... ------------------------------ From: Gary Luedtke Date: Sun, 18 Feb 2001 23:22:20 -0500 Subject: [Baren 13462] Re: cherry wood charset=ISO-8859-1 Message text written by INTERNET:baren@ml.asahi-net.or.jp >You've got me on this one. As a tree adds one grain ring every year, there must be some seasonal difference taking place as the wood is added to the trunk that would account for the dark/light pattern. Maybe I'm out of place by saying 'winter wood'. Does anybody know the real mechanism how the grain rings are formed?< Trees go through growth cycles, the fastest growing period generally bein g Spring into summer, and the slowest being in the winter. This generally corresponds to sunlight, warmer temperatures and moister conditions,three advantageous elements to tree growth. The faster the tree grows, the softer the wood, generally. The slower it grows, the harder, generally. Therefore that alternate hard soft density correlates to its individual annual cycle of growth. In the parts of the world where there are annual seasonal changes, these rings correspond to annual growth. I suppose in the tropical climates it may simply be the rainy season and the dry season which controls growth on an annual basis. Not sure on that one. Maybe= Horatio can answer that . Gary ------------------------------ From: Sunnffunn@aol.com Date: Sun, 18 Feb 2001 23:25:54 EST Subject: [Baren 13463] Re: FW: Website Updates I am impressed with your prints Dan. For a first time reduction print you have done an outstanding job, congratulations! Marilynn ------------------------------ From: Steve Goddard Date: Sun, 18 Feb 2001 23:24:48 -0600 Subject: [Baren 13464] jumping in Greetings baren crew, I lurked on this list about a year ago for awhile, had to leave, but just joined up again yesterday. Since I have some cherry lumber (a topic today) and I started a small edition today, I thought it would be a good time to introduce myself. I'm now a museum curator but I started out making prints long ago and I still do so, but at a pretty slow pace. I think I made my first print when I was eight, it was of a grasshopper, printed in green. I worked in printmaking at Grinnell College (Iowa), the Minneapolis College of Art and Design, and at the University of Iowa. I make occasional intaglio and linocuts, and have worked in lithography, but woodcut has always been my preferred print medium. I'm afraid that my approach to the medium is "impure" as someone once put it. My editions vary, I use lousy wood, oil-based inks, and todays prints are drying in a dusty environment. Still, better to have inked and spooned then never to have printed at all. I like the tyvec note posted today, I'll be one side is fibrous to soak up a lot of ink. Interesting. So, how about this cherry issue? I have a bunch of native Kansas cherry that I've been saving to make a nice piece of furniture out of, but maybe it should turn into many blocks. I expect that quarter-sawn planks are desirable (minimal warping and shrinking). I have no idea how our cherry stacks up qualitatively relative to stock from other areas. I have some catalpa blocks I keep meaning to carve but haven't done so yet. Well, that's it for now. Cheers. Steve Stephen Goddard Curator of Prints and Drawings Professor of Art History goddard@ku.edu http://www.ku.edu/~sma/prints.html ------------------------------ End of Baren Digest v14 #1324 *****************************