Baren Digest               Tuesday, 13 March 2001       Volume 14 : Number 1352


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From: Cucamongie@aol.com
Date: Mon, 12 Mar 2001 08:57:34 EST
Subject: [Baren 13820] LSU show 

Graham, the print which will be on display at the LSU show is "Augie and 
Ludo", which is on my website http://www.sarahhauser.womanmade.net.   Thanks!
Sarah
<<Do we get an opportunity to see the image....
(or did I miss a posting about it)
Graham>>

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From: Brian Kelly <bfk0900@louisiana.edu>
Date: Mon, 12 Mar 2001 08:15:42 -0600
Subject: [Baren 13821] Re: Answer for Gretchen's Press Question 

Gretchen,

I have a similar press here at the University of Louisiana. The press was
made by the Show Card Machine Company, 320 West Ohio Street, Chicago,
Illinois. The press is floor standing, holds printing paper, adjustable in
printing height, self-inking, and will print up to 22x28! I found the press
in a garage in Hammond Louisiana - paid $150.00 for it. You can view the
press at this address http://visualarts.louisiana.edu/press_sample.html

I hope this helps.

Brian

__________________________________________________
I have a question about printing presses:  When I was an art student, the
print studio at my school had several presses, including an etching press
that was sometimes used for large relief prints, but most of the time for
smaller work we used a different press, one that I have never seen anywhere
else. I wonder if anyone out there could tell me what it is called, and
better yet, where I could perhaps get one.
It was small, which is fine for me because I generally work small--maybe an
11x17 bed or so, and, like an etching press, it had a roller that went over
the block.  But instead of a wheel to turn, there was simply a handle on top
that was pulled directly across (kind of like one of those old credit card
machines).  It was so simple, just one quick yank and a perfect print came
out.  I'd love to have one because it was so small and compact, and so easy
to use. And, because it was so simple with no gears and fancy parts, I
imagine it must be relatively inexpensive.
Does anyone have any information about this?

Gretchen
__________________________________________________

Brian Kelly, Assistant Professor Printmaking
The University of Louisiana
Department of Visual Arts
P.O. Box 43850
Lafayette, LA 70504-3850
USA
337.482.5329 - (office)
337-482-5907 - (fax)
http://visualarts.louisiana.edu/



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From: "C. L. Stevens" <clswdcut@intersurf.com>
Date: Mon, 12 Mar 2001 08:55:02 -0600
Subject: [Baren 13822] Fine craft is finely made 

Dear Gretchen, I read your post about your reluctance once to embrace your
ideas of printing on fabric as too "crafty".  When an idea is good and it is
executed very well, I feel it is an uplifting experience which I think is
really one of the functions of all art.  I am a member of the American Craft
Council and the Tennessee Association of Craft Artists and I have seen such
exquisite craft that is done by extremely creative and talented craft artists
that I am always inspired and humbled by their work.  I have absolutely no
qualms about making my work functionally useful and beautiful at the same
time.  I gladly walk in both worlds and try to blend them gracefully into my
life.  In fact, I believe we could benefit by surrounding
our lives with beauty and love.  I'm sorry if this sounds preachy, but I simply
have been astounded by the skill of many of my craft friends.  They have been
wonderfully supportive to me and have mentored me a great deal.  So I love your
ideas and would love to hear more as you go along!  Best wishes, Catherine


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From: Wanda <robertson@canby.com>
Date: Mon, 12 Mar 2001 08:20:33 -0700
Subject: [Baren 13823] Re: art magazine 

Thanks, John for the pointer toward http://www.art-themagazine.com  It is great -
full of meaty & not so meaty articles on art & on other things. (animated dna?) I
really enjoyed this little quote from one of the articles on art in Siberia:

                              Gavrikov in his first letter looked at
                             the differences between art worlds in
                             Siberia and the West. In Russia
                             "artists are like wild antelopes in the
                             desert. They do not have abundant
                             food but they may run in every
                             direction."

Good to hear from you & I hope that everything is going well for you!

Wanda

john ryrie wrote:
> 
> A friend of mine in New Zealand has just started up an on line art magazine,

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From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 12 Mar 2001 10:33:17 -0800
Subject: [Baren 13824] report on baren and new stuff charset="iso-8859-1" 

Yesterday, when all normal humans were resting and watching basketball, I
printed my 24" x 36" woodcut with the ball bearing baren from the bountiful
baren mall (Type A smooth). Not bad! It took some muscle, mostly due to the
annoying "stripes" that the woodblock had; I think probably glue ridges? I
dunno, but anyway, on the smooth parts of the wood, this little tool is a
life saver. I printed 12 in roughly 2.5 hours. I've already begun cutting
another of the same size it was so much fun.
http://www.1000woodcuts.com/fullsize/uprooted.html

Other finished ouvres:
This one I drew with the tools, without prep work. It was a bit scary, and I
did have models in front of me, but I enjoy the movement reminiscent of the
flamenco playing in the background (maybe more like a flamenco waltz?).
http://www.1000woodcuts.com/fullsize/bailabaila.html

I had to use the other side of that $100 end-grain maple block I bought for
the Sacred Tree thing.
http://www.1000woodcuts.com/fullsize/hydrophyte.html

And a bunch of tiny prints, designed to clean up my studio of tiny blocks,
scraps of paper, and little globs of ink in foil. I call these the "leftover
casserole" series; the kind I make when I go hiking with a backpack full of
blocks. Actually making some cards from them but haven't gotten around to
the web pages. Images are up, reachable from their tiny thumbs:
http://www.1000woodcuts.com/1000woodcuts/1000.html

Health to all,
Maria

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


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From: Sunnffunn@aol.com
Date: Mon, 12 Mar 2001 14:46:35 EST
Subject: [Baren 13825] Re: report on baren and new stuff 

Maria
uprooted is wonderful  I felt so much looking at this.  I think most of us 
have experienced the feeling of being outside sort of not a part.  Me I have 
been lucky in life to have had the opportunity for a good education, a family 
that did not move about and a husband who wanted to stay rooted to one spot.  
But the organic feeling of roots are wonderful.  Baila Baila  wow that has 
such movement and sensitivity.  You are indeed a marvelous artist, to get 
such feeling into the works you create.  I had a person back when I was 
studying printmaking that showed me her sketeches.  
she had planned out every stroke for her block prints.  I was amazed and she 
said that was the only way it could be done. (and she was a watercolor 
teacher at the college, I would have drowned in her class  lol)  This lady 
had a masters in the arts and her work was very competent, but it lacked the 
spark that such spontaneous pieces have.  Off subject a bit, I just did a 
little dry point starting with a subject and a needle and the copper, that 
was it.  And I loved the spontaneity, but it is a bit scary, indeed.  When I 
work on a carving piece I love that I can shift it and change it as I go, I 
hate the idea of being confined to exact lines and strokes that have been 
preplanned.  But I understand there are those who work this way with great 
results.
You to me seem to have a great feel for the wood as a medium.
marilynn


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From: Studio Dalwood <severn@acay.com.au>
Date: Tue, 13 Mar 2001 20:51:11 +1100
Subject: [Baren 13826] Coming to Canada and the USA 

Hi All

Wanda very kindly forwarded the missing digest to me, thank
you Wanda.

Just to let you know that I am trying to figure out how I
can hide myself away in Jan's luggage without her catching
on, anyone have any good ideas, let me know.

Josephine

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From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 12 Mar 2001 14:06:38 -0800
Subject: [Baren 13827] RE: Coming to Canada and the USA 

No no no Wanda, that _was_ wicked...
All you have to do is practice this pose:
http://www.1000woodcuts.com/galleries/gallery3/gallery3_2.html
You will soon fit into a carry-on bag, no problem...
Jan, just stuff her under the seat in front of you.
:-)M

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


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From: Brian Lockyear <brianl@synopsys.com>
Date: Mon, 12 Mar 2001 14:45:39 -0800
Subject: [Baren 13828] Baren Members in McClains 

Speaking of McClain's, it may be of interest to know that Elaine Chandler and her husband George are retiring and have sold the business to Alexandra
Prentiss.  I've been hanging out with a hanga printmaking group which met
monthly at McClain's over the past year or more and I'm going to miss Elaine
a lot.  On the other hand, Alex has also been a member of our group so I know
her well and since the business had to change hands I'm happy to see it end
up in hers.

And no, I don't think things have been "marginal." :-) Hopefully Alex will
continue to be as busy as Elaine was.  The more suppliers the merrier!

    - Brian -

Portland, Oregon

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From: Graham Scholes <gscholes@home.com>
Date: Mon, 12 Mar 2001 16:26:31 -0800
Subject: [Baren 13829] Re: Baren Members in McClains 


Thanks for the feed back.  My mind and concerns are at rest.
For the guys coming to the workshop this is a good source of supplies.
I hope they will set up a web page.

Graham

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From: Graham Scholes <gscholes@home.com>
Date: Mon, 12 Mar 2001 16:30:00 -0800
Subject: [Baren 13830] Re: Coming to Canada and the USA 

I somehow don't think it is Jan you have to be concerned about.

When you find out please let Marnie and I know....
Australia sound like a very interesting place to visit.

Graham


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From: Sunnffunn@aol.com
Date: Mon, 12 Mar 2001 19:43:30 EST
Subject: [Baren 13831] Re: Baren Members in McClains 



Brian,
I am in Portland and called McClains this last friday with no response.  But 
it was Friday afternoon , I left my name and address for a catalogue.  I did 
not know they had classes???????   I assume this would be wood cut.  As a 
painter moved into printmaking and am one who has stuck to linoleum this 
would be of interest.  are they still going to have them?  I guess I could 
call them and ask huh?  I am hopeful to be driving soon as DMV would not even 
take the liscense as they felt it was a matter of weeks, I had a medical 
problem.  So I also noted that they have moved and do not know their new 
location.?????  I hope this is not off subject, if so I apologize.
Marilynn


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From: Wanda <robertson@canby.com>
Date: Mon, 12 Mar 2001 17:34:42 -0700
Subject: [Baren 13832] Re: Baren Members in McClains 

Yes, the Baren Mall is a good source of supplies too. I buy from both, myself.
Perhaps you can talk Alex into joining Baren! We'd love to have her here. How
could there possibly be too many people selling the stuff we all need?

My $.02 worth

Wanda

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From: Greg Carter <artfool@bulloch.net>
Date: Tue, 13 Mar 2001 01:25:34 -0500
Subject: [Baren 13833] Re: Pochoir technique 

If I may add my opinion. I use pochoir alot in my work and consider it a
printing tecnique.  Though my work uses rollers I would still consider the
Pochoir done with water color a print also.  I belive Pochoir is a print
because of it's reliance on the matrix.  It is safe to say that printmaking
has changed through the years so the definitions can also.

Greg Carter



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From: Graham Scholes <gscholes@home.com>
Date: Mon, 12 Mar 2001 22:55:38 -0800
Subject: [Baren 13834] Re: Pochoir technique 


Found this on the net.

Pochoir: The Art of Coloring with Stencils
"POCHOIR" is the French word for hand coloring by means of 
stencils.(1) Alas, there never was a Mr. Pochoir. According to Paul 
Robert's Dictionaire Alphabetique et Analogique de la Langue 
Francaise, the word "Pochoir" was first used in 1874. However, 
applying color by means of stencils is an ancient practice, requiring 
only rudimentary skills and simple tools. Imagine if you will a 
pre-historic man or woman, placing an open hand against a rock wall 
and spraying a color substance - possibly ochre mixed with blood or 
animal fat. Stencils, probably cut from leather or papyrus were used 
to decorate the inner walls of Egyptian pyramids and the palaces of 
the wealthy in Babylon.
  Many houses in Pompeii were stenciled with decorative motifs, 
geometric borders or even complex copies of famous Greek paintings. 
It is conjectured that the Roman legions carried playing cards 
stenciled on small leather strips. Quintillian, the famous Roman 
teacher of writing and rhetoric, taught his pupils their letters by 
using stencils. We are told that in the sixth century, the Ostrogoth 
King Theodoric and even the great emperor Charlemagne two centuries 
later, had never learned to write and signed their name by means of 
rubbing a brush through an incised plate of gold. Among the earliest 
surviving paper stencils are those discovered by Sir Aurel Stein in 
one of the Caves of a Thousand Buddhas in Western China early in the 
20th century.  Having mastered the art of making paper, the Chinese 
were able to color walls using stencils at least fifteen centuries 
age.

Graham


You can't build a reputation on what you're going to do 
...   Henry Ford

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End of Baren Digest v14 #1352
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