Baren Digest Thursday, 9 May 2002 Volume 19 : Number 1823 ---------------------------------------------------------------------- From: b.patera@att.net Date: Wed, 08 May 2002 16:08:33 +0000 Subject: [Baren 18021] Re: Baren Digest V19 #1819 Hi Jean, Would love to meet you.... live in the Seattle area and if you have the time stop and see us. Let me know if this is possible and I will give you directions to the house or plan to meet you somewhere. Regards, Barbara Patera > > Howard and I will be traveling up to Vancouver after school is out and hope > to visit Barbara Mason and anyone else on the coast. Please let me know if > I can visit you. > > Jean ------------------------------ From: Charles Morgan Date: Wed, 08 May 2002 12:18:45 -0700 Subject: [Baren 18022] Printmaking Today I am interested in subscribing to Printmaking Today. I send email to the publisher to ask if it is still being published, but I received no response. Does anyone know if it is still in existence? Is it worth a subscription? How does one subscribe? Cheers ...... Charles ------------------------------ From: Daniel Dew Date: Wed, 08 May 2002 16:21:09 -0400 Subject: [Baren 18023] I hate to ask but..... I hate to ask, but..... I have been approached by "Art in Public Places" director for Hillsborough County, Tampa and asked to submit a proposal for an edition of 60 prints, 3 color. The lady was extremely sweet and nice as she pawed through my portfolio, pulling out of order the prints she liked and making a mess of my nice and neat presentation. She has offered to write my proposal for the county for me (that was really nice). I think she felt bad for me that I didn't know the "ropes". She also bought my newest print and wants to buy 5 more prints of mine for the county. Now for the "I need help" part: She wants me to write out an explanation to submit to the board of: what is a woodblock print? I'm a terrible writer and am hoping that someone may have already done something that I can use as a "guide". Can anyone help me here? HELP! Daniel L. Dew Suncoast Equipment Funding Corporation http://www.dandew.com/ ddew@tampabay.rr.com ------------------------------ From: "Lee and Barbara Mason" Date: Wed, 8 May 2002 14:03:47 -0700 Subject: [Baren 18024] Re: Printmaking Today Charles, Good questions, I get this magazine but will probably not resubscribe. It is printed in the UK so most of the articles pertain to printmaking there. Also supplies suggested often so not translate or transfer to things available in the US. I find the magazine different that it was a few years ago, more adds and less content, but still interesting. Lots of reviews of show. See if you can find a back issue somewhere and look it over before you subscribe. I will hunt up my copy and see where to send a subscription. It is a company with a different name entirely, which may be why you can't find it. Best to all, Barbara > I am interested in subscribing to Printmaking Today. I send email to the > publisher to ask if it is still being published, but I received no > response. Does anyone know if it is still in existence? Is it worth a > subscription? How does one subscribe? > > Cheers ...... Charles > ------------------------------ From: Chelsea391@aol.com Date: Wed, 8 May 2002 21:05:30 EDT Subject: [Baren 18025] Re: Baren Digest V19 #1822 In a message dated 5/8/02 9:00:40 AM, Bill Ritchie writes: << I'm reminded, too, of the connection between printmaking and music. I teach that printmaking finds its place among its sister fine arts due to its proximity with performance arts. >> I never heard it put this way, and am taken immediately back to how, when, and where music began to be the dominant motif in my work. I was in Paris studying with Wm. Hayter, whose first lesson (as many of you will remember) was to draw standing up, rocking on the balls of your feet so that the drawn line flows loosely and freely through the body, as an action of the whole body. The assignment was to make these flowing lines through soft ground onto etching plates. Loosen the pencil grip! I loved this lesson, took to it like a duck to water (it felt that fluid and natural), and I began making life drawings - using this technique - at a large studio on the Seine. In that studio the models were dancers, who held poses for very short spans of time, and sometimes did not hold poses at all but kept moving through the session. I'd make 20-30 drawings in an hour in a slightly panicked and slightly exalted state. It would take many days before i could look at the drawings and make sense of them, but I loved them. When I returned to the States I arranged with several choreographers in New York to work in their studios, setting up a table in the corner as they worked with their dancers. I would draw, standing up, trying to generate a mark on the page that participated in the feeling of the music and the moving image the dancers made on the floor and in space. It was wonderful, and most gratifying of all was this: the dancers could always "read" those drawings, though the drawings were quite abstract. My focus has long since shifted to instrumentalists: jazz performers and string quartet players mostly. And I don't stand up as much as I did (for anything). But almost all my drawings are converted to prints, and they at least start as part of a performance. The block I'm printing for Exchange 13 starts with a drawing made at Jay and Molly Unger's Fiddle and Dance Camp in December. If only the day arrives when cutting and printing wood is as easy as making those drawings! Bill, thanks for stirring up this memory. Janet Hollander ------------------------------ From: Charles Morgan Date: Wed, 08 May 2002 20:27:30 -0700 Subject: [Baren 18026] Printmaking Today Barbara, thanks for the frank response. Are there any other magazines that contain significant information about printmaking that anyone would recommend??? Cheers ........ Charles ------------------------------ End of Baren Digest V19 #1823 *****************************