Baren Digest               Tuesday, 26 March 2002       Volume 18 : Number 1778


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From: David Bull <davebull@woodblock.com>
Date: Tue, 26 Mar 2002 10:11:25 +0900
Subject: [Baren 17688] Re: Masters ... 

Patti P-C wrote:

> I've been thinking about the statement from David Bull that he is not an
> artist...David yes you are, you are a traditional graphic artist, what 
> my
> mentors would call a master printer.


Well, this is ground that we have hashed over before many times, but it 
might be worth re-emphasizing a couple of things ...

When I made (and make) the statement in the introduction section of my 
website that 'I am not an artist' I'm not saying it with any 
self-deprecating inference; it is just a simple categorization so that 
it will be clear to people what they are looking at when they see my 
work.

It _is_ necessary, to avoid misunderstandings. On one occasion I was 
invited to join a print show here in Tokyo, but a bit later, when they 
realized that my prints were reproductions, they withdrew the 
invitation, and things got a bit embarrassing for the people involved.

As for the term 'master printer', I'm sorry but I have to reject that 
too ... although I understand how it is used over in the west. My 
problem with the term comes from its overuse and misapplication, and 
from the fact that when my work is compared with the work of men who 
_really_ achieved mastery in this field, I still fall far short. I'm not 
trying to be overly modest here, because I _am_ proud of the work I do, 
but I have no choice - if some of the men whose work I most admire (long 
dead of course) were to hear me being referred to as a 'master printer', 
they would have strong words to say about it!

But my apologies for coming back at you in a negative way when you were 
offering praise ...  I'm happy that you enjoyed the work on the website, 
and that you are enjoying being part of [Baren].

Dave


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From: "April Vollmer" <april@aprilvollmer.com>
Date: Mon, 25 Mar 2002 20:58:20 -0500
Subject: [Baren 17689] Yamaguchi 

Thanks for the nice comments, Carol! I must add that I am now working on a
final print for the show and I must thank Graham for promoting the value of
good paper. AND selling it to me! I have finally broken into my store of
Yamaguchi paper, and it is indeed fabulous. Bokashis just melt into it. At
the price, it is not for the faint of heart...and you will only appreciate
it if you have a good baren and some experience. I took the leap today and
am keeping my fingers crossed that I get all the colors right!

AND I re-covered my baren...really hard without Sarah Hauser's clarity of
mind and helping hand, but it is at least usable. It sort of sags around the
middle, I didn't get enough tucks in it, but it works.

Thanks bareners, for good advice, and E-Z shopping at Baren Mall.

April
www.aprilvollmer.com


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From: Cucamongie@aol.com
Date: Mon, 25 Mar 2002 20:56:20 EST
Subject: [Baren 17690] congrats April, etc 

April, great to see your new work, it looks great and I look forward 
to seeing it "in person" soon.  And thanks Gregory for mentioning Rebecca 
Salter's book - it's a lovely publication and I'm flattered to have my work 
included in it (and thanks again to April for introducing me to Rebecca, etc).
best wishes
Sarah

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From: Louise Cass <lcass@primus.ca>
Date: Mon, 25 Mar 2002 22:46:22 -0500
Subject: [Baren 17691] Re: Baren Digest V18 #1774 

Praga's e mail address is simply praga@praga.com web site is www.praga.com

At 07:55 AM 3/25/02 -0800, you wrote:

>
>
>I love my PRAGA etching press.  It was made in Canada and with my US dollars 
>it was more affordable and NAFTA made it so I paid no import taxes.  i do 
>not have an email address but am certain if you put in PRAGA in a search 
>engine it will comeup.
>Marilynn
>


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From: Graham <gscholes@woodblock.info>
Date: Mon, 25 Mar 2002 19:33:01 -0800
Subject: [Baren 17692] Re: Yamaguchi 

So glad you got in there and .... well, stopped dancing around the mulberry bush  
(<;  .... so to speak   Incidentally because of the value of the yen the price of 
good paper is reasonably low. Actually it it damn good.  
What use to cost $16.43 US is now down to $8.66 US  Wowwwwwww.  This is for the 
Kizuki grade of Hosho.  Kizuki you ask?   Kizuki means virgin Kozo pulp only.  
Some Hosho papers have recycled Kozo fiber.   There is a name for it and I can't 
remember.  Hummm damn senior moments.   

Regards

Graham
http://woodblock.info


>I must add that I am now working on a final print for the show and
>I must thank Graham for promoting the value of
>good paper. AND selling it to me! I have finally broken into my store of
>Yamaguchi paper, and it is indeed fabulous. Bokashis just melt into it. At
>the price, it is not for the faint of heart...and you will only appreciate
>it if you have a good baren and some experience. I took the leap today and
>am keeping my fingers crossed that I get all the colors right!


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From: Graham <gscholes@woodblock.info>
Date: Mon, 25 Mar 2002 20:17:51 -0800
Subject: [Baren 17693] Re: Graphic Arts 


>Of course it is no substitute for the nice Yamaguchi
>hosho paper sold at the Baren-mall.
>
>Julio Rodriguez (Skokie, Illinois)


Does anybody know it the Yamaguchi paper at the Baren Mall is Kizuki grade.

One of the Boot Camp people (can't remember who, damn senior thingie again), 
mentioned to me that is was not the same quality that they got from me, and I 
have often wonder about the grade.    Not that this should be a deterrent because 
it certainly must be fairly good if it is recycled Kozo.  If any body as a peice 
they want to send me I would be glad to make a comparison with the Hosho I use.  
I will send them a sample of mine. 
Off line please.

Graham

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From: Charles Morgan <cmorgan@uvic.ca>
Date: Mon, 25 Mar 2002 20:13:35 -0800
Subject: [Baren 17694] book 

I just found a used copy of Moku Hanga (How to make Japanese wood block 
prints), by Keiko Hiratsuka Moore. It is really wonderful, with lots of 
suggestions for how to do it easily and cheaply with school kids, as well 
as the more traditional stuff. Pretty simple and straight forward, but I 
have found it very interesting and useful. If you have not seen it, I 
recommend you have a look.

One technique she discusses for doing multiple colors on one block is to 
use a type of crayon to put the color on the block. Then use BENZINE (!!!) 
on the back of the paper to transfer the color to the paper ... Now I say 
YUCK to benzine ... But, I wonder if something similar would work with 
water soluble crayons and wet paper ... sort of like doing mono prints. But 
if the design is drawn on the block in water proof ink, you could get 
multiple prints. It might be a fun thing to do with kids ... wouldn't even 
have to have those sharp knives lying about ... just don't let the little 
blighters choke on the crayons or rub each other out with a baren ... Let 
me know if anyone tries this ....

Cheers ........ Charles

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From: Graham <gscholes@woodblock.info>
Date: Mon, 25 Mar 2002 20:29:52 -0800
Subject: [Baren 17695] Re: lighting 

Hi Kate,

The one thing you might consider about Halogen lighting is the intensity.  I
 have heard the you have to be cautious about the strength of Halogen light
 in terms of being too strong for art work.  You may want to look into this.
  I suppose if the work is not exposed of long period of time then it would
 not matter. 

Charles....

One could say that things are really humming around your house....  
I couldn't resist, as this is the standard of pun you will be exposed at
 Boot Camp. It was the standard from the likes of Kent, Richard and Richard.
  Sound like a Law Firm.... (<:   Jan will certainly be carrying on for them
 from the first week.....

Graham


>
>We just did a major renovation on an old house, and in the process, we put

in a large studio. Of course, now it does not seem to be so large since I
 have to share it with my sweetie!!! Anyway, we opted for florescent
 fixtures, in part because the lighting is much more economical, and in part
 because there are a wide variety of fixtures available. We found some nice
 wood-box-type fixtures that look vaguely oriental and installed them on the
 8 ft high ceiling. You can get a wide range of bulb types, in terms of the
 spectrum of light emitted. We chose solar spectrum, which is of course the
 most expensive in terms of bulbs. But now we have LOTS of light any time of
 day, any weather conditions. The light is flat, without bright and dull
 patches, and there is no noticeable color shift when viewing paintings,
 prints, fabrics, inks, or whatever. Two colors that look alike in the
 studio will still look alike outside in the sun. Florescent lighting is
 cheaper per lumen, and emits less heat, than halogen. The down side is that
 there is some hum from the ballast in the fixtures. But the hum from our
 fixtures does not bother either myself or my partner. Just our experience
 .... We are not running a gallery, so the idea of being able to use track
 lighting to spotlight a particular work was of no concern. Maybe in a
 gallery, you would be more concerned with the directional aspect of your
 lighting fixtures. Good luck!

>
>Cheers ....... Charles


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From: "Sirima Sataman" <sirima@vsite.com>
Date: Mon, 25 Mar 2002 21:45:35 -0800
Subject: [Baren 17696] Where to get Lino in large sizes  (for Julio) 

Julio,
The cheapest source for Lino I've found is Dick Blick. I get  a pkg of 3
precut 24"x36" unmount lino for $52.99 US.(that's about 17.67 each or
2.94/sq ft.) Tho' sometimes I order from Daniel Smith just cuz they have
really NICE reusable oversize flat boxes. Perfect for transporting prints.
http://www.dickblick.com/zz404/04/products.asp?param=0&ig_id=1857

More on paper...Takach paper 877-611-7197 toll free, 505-275-7197. Takach
has great prices at lower thresh holds than other suppliers and the orders
ship quick.

Rives Lt Wt 26" x 40" (115 gsm) for 1.72 per (min 100)
Rives Hvy Wt 19" x 26" (175 gsm) for 1.34 per (min 100)
Rives Hvy Wt 26" x 40" (175 gsm) for 2.60 per (min 100)
Rives BFK 30" x 40" (280 gsm) for 2.28 per (min 50)
Hosho Professional 19" x 24" (85g) for 2.58 each (100 min)
Masa Roll 42" x 30" yds (70g) for $58

(Forgive me. I was a buyer for 7 years. I'm still a bit compulsive about
sourcing products.)

I"ll have to try the Yamaguchi hosho and get real baren from the baren mall.

sirima


- -----Original Message-----

From: Julio.Rodriguez@walgreens.com

 Where do you get linoleum in such large sizes ? Is that a
custom order ? The price on Rives light seems very good ($1.75), here
(Chicago) it runs about $2.19 & up. I pay $2.39 locally for Rives Heavy but
it's only 20X27".  Of course it is no substitute for the nice Yamaguchi
hosho paper sold at the Baren-mall.



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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Mon, 25 Mar 2002 21:58:48 -0800
Subject: [Baren 17697] Halogen Lights 

I bought a Halogen light for my desk, 42" reach, spring loaded from
www.Quill.com for $45.00 [free shipping]. Very nice unit.
And the light seems to be a natural color. I like it!!
Philip
Hammond, OR
USA


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From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Mon, 25 Mar 2002 22:11:00 -0800
Subject: [Baren 17698] Yamaguchi paper 

Graham,
I have used the paper you sent and the new Yamaguchi paper and they look and
act exactly the same, but I have a question into Mr Yamaguchi to ask him and
will report as soon as I hear the answer.
Best to all,
Barbara
Mall manager

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From: barebonesart <barebonesart@attbi.com>
Date: Mon, 25 Mar 2002 22:53:12 -0800
Subject: [Baren 17699] Re: Baren Digest V18 #1777 

Kate,
Most galleries have opted out of the halogen lights because they are very
destructive to art work. Go with the flourescent  - it is more economical to
replace, easier on the work and can be color balanced by using the really
cheap white lights and the more spending kitchen/bath warm tubes.  I've been
researching lights for quite a while since I am in the midst of studio
renevation and remodel.

Maria - as always, your answers are perfect!

I hear some references to two different things - litho ink and off-set litho
ink. Two different animals - I have no experience with the off set inks, but
the litho inks work just like etching inks and can be modified easily with
Miracle Gel Reducer which lasts forever and does no bad things. Beautiful
transparent colors can be mixed with this stuff and they overlay without
problems. Beware of process colors, tho - most of them are super fugitive -
they fade in a heart beat (almost), but quickly at any rate.

Kate, most places will  send you another can of ink if you tell them about
your poor experience. Bad things happen, and a can gets shoved to the back
of the shelf, whatever - anyway, tell the supplier about your experience and
I'll bet they will make it good.

Hey! I promised to be quiet. Ooops.
Sharri





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End of Baren Digest V18 #1778
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