Baren Digest Saturday, 7 July 2001 Volume 16 : Number 1481 ---------------------------------------------------------------------- From: Tariq and Princess Rashid Date: Fri, 06 Jul 2001 09:02:33 -0400 Subject: [Baren 15061] Re: Wood intaglio Hi Michelle. I'm intrigued about the effect you get with the spackle. Will you hand print or use a press? How many proofs do you think the plate printed in this manner will yield? Thanks in advance, Princess Jacksonville, FL John and Michelle Morrell wrote: > The last few weeks there has been some discussion on using wood engraving > blocks for intaglio. (I have been letting the mail pile up considerably and > this is why my comments are so tardy.) > > Anyway, coincidently I had been playing with an old block to see what it > would do as intaglio. Nothing much I liked, especially the wiping, but I > did discover how to make a really interesting aquatint effect. I had filled > in the larger spaces with spackle (the kind wood engravers try to repair > scratches in blocks with, which comes in plastic containers at any hardware > store - One Time, etc.) Unsanded, it holds the ink beautifully. Now to fix > the rest of the surface! > > <^><^><^><^><^><^> > Michelle Morrell > jmmorrell@gci.net > <^><^><^><^><^><^> ------------------------------ From: "Jeanne Norman Chase" Date: Fri, 6 Jul 2001 11:02:54 -0400 Subject: [Baren 15062] Re: salon des refuse' charset="iso-8859-1" Kate Just catching up on my e mails after 2 weeks. Sorry that your Salon des refuse' prints were ruined . I will send you a print of mine, since that was one of the "destroyed" ones. The post office is really to blame. I have received a lot of mangled packages and letters. Oh, for the good old days! Jeanne N. ------------------------------ From: "Gillyin Gatto" Date: Fri, 06 Jul 2001 11:56:38 -0700 Subject: [Baren 15063] alder cont. hello bareners thanks Dan for giving the size of your alder planks and YIKES to Sharri ! sorry that such a huge alder is now resting on top of your house thats some weed ! let us know how it carves-hope it didnt carve too big a hole in your roof.......gillyin machias maine usa ------------------------------ From: "Jean Eger" Date: Fri, 6 Jul 2001 10:27:37 -0700 Subject: [Baren 15064] printmaking history charset="iso-8859-1" Dear Baren friends, I received a query from an art educator asking if I said anything about art history along with my printmaking lessons. So I wrote up a little blurb. I wonder if you could look at it and critique it for me. Add anything? Any inaccuracies? The history of woodblock prints which is often emphasized is that of Ukiyo-E prints or prints of the floating world in Japan. I call them prints that were sold in Tokyo to tourists in the late 1700's and 1800's. They showed landscapes, birds and flowers, and portraits of actors and actresses. Hiroshige and Hokusai were two important artists. At that time, there was a division of labor among the artist who designed the print, the craftsmen who cut the block, the printer who printed the block, and the publisher, who commissioned the prints and sold them. Each one had his specialty. In the 1900's there was a move towards creative printmaking, in which the artist designed, cut and printed his or her own blocks. There are still specialists in Japan today, but very, very few. The print is printed on special paper called "washi." It is made from the bark of the mulberry tree, which has been pounded into fine fibers, mixed with water to make pulp and then made into paper. It is very strong. In Japan there are papermaking villages that specialize in making paper. The paper they make is named after them! Also in Japan, and China too, there is a tradition of sending out New Years postcards. Many people make a woodblock print to send out at the New Year. This year is the year of the snake, and next year is the year of the horse. Jean Eger Womack http://www.jeaneger.com ------------------------------ From: "Maria Arango" Date: Fri, 6 Jul 2001 14:40:50 -0700 Subject: [Baren 15065] inspiration charset="iso-8859-1" >From a recent hike, this is why I love the desert. Now to make 48 woodcuts and write a little story for my Valley of Fire book... http://www.1000woodcuts.com/Valleyoffire/index.htm Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: Claude Villeneuve Date: Fri, 06 Jul 2001 19:20:13 -0400 Subject: [Baren 15066] Salon des refusŽs I just got my set of prints today and am very happy with all the prints. They are GREAT! Everything arrived safely, the package wasn't damaged and the print are all okay. Thanks again to Dan, the task master for a great job! Claude AimŽe ------------------------------ From: FurryPressII@aol.com Date: Fri, 6 Jul 2001 19:48:56 EDT Subject: [Baren 15067] Re: printmaking history On printmaking history of wood cuts you should not leave out western wood cuts if it is a general picture of wood cuts you are talking about. Which started in the 1400s with the introduction of paper? You could look up Albrect Durer as an example. You cleaned up the subjects of the "floating world" A good percentage of the prints were about the Kabuki theater with its spicy history and the Pleasure quarter and we are not even talking about the pillow books John of the furry press ------------------------------ From: "Garth Hammond" Date: Fri, 6 Jul 2001 22:20:27 -0600 Subject: [Baren 15068] Re: printmaking history charset="iso-8859-1" "The history of woodblock prints which is often emphasized is that of Ukiyo-E prints or prints of the floating world in Japan" Only response is that you left out most of western graphic history. ------------------------------ End of Baren Digest V16 #1481 *****************************