Baren Digest Tuesday, 21 May 2002 Volume 19 : Number 1836 ---------------------------------------------------------------------- From: Shireen Holman Date: Mon, 20 May 2002 09:16:48 -0400 Subject: [Baren 18113] Re: Baren Digest V19 #1834 Sharri, You're right, lay-away would have made more sense. Also, as Barbara said, galleries might have an easier time doing that than individuals. I'm sympathetic about the painting because I also once had a painting stolen when I was a graduate student, and we had an exhibit in the University library. I couldn't believe someone would steal a student's painting, and out of the library, no less! Shireen At 04:53 PM 5/19/02 -0700, Sharri wrote >Shireen - I can only reinforce Barbara's comments. At the gallery I belong >to we also rent work. We have their credit card number and if they don't >play by the rules, we use it. We have only had trouble once, and eventually >we got the money. But what you did should have been more like lay-away, when >its paid for, you get the goods. Yet another of life's little lessons - >yes? But, we're lucky we're printmakers - we still have some of the edition >left - I had a little painting stolen once and that really hurts! > >Sharri *********************************************** Shireen Holman, Printmaker and Book Artist email: shireenh@earthlink.net http://www.shireenholman.com *********************************************** ------------------------------ From: Cucamongie@aol.com Date: Mon, 20 May 2002 09:55:03 EDT Subject: [Baren 18114] intaglio woodblock Hi all, I took an interesting workshop this weekend in intaglio woodblock. It was taught by Takuji Hamanaka, who usually teaches workshops in hanga. It's an interesting idea for those who use very linear imagery and for those who love to get the woodgrain in the block. Images are carved into the block using woodcarving or engraving or drypoint tools, and areas which you do not want any plate tone are masked off using gesso or varnish, which can be applied in various ways to get added texture. Plate tone picks up the woodgrain on the block. The plate is inked first by brushing a mixture of acrylic paint, retarder and pure pigment onto the block with a scrubbrush, then scraping the plate once w/a spatula, then once with a silkscreen squeegee. I'm not crazy about the acrylic look, so I tried using Akua kolor, but that didn't seem to have the right consistency. Inking of the block takes some practice to get it not to look sloppy, but you can get some wonderful effects with the woodgrain. The plates are printed using a press, with a plastic sheet over the paper and one blanket at a fairly loose setting. The whole process needs to be done quickly so the paper doesn't stick onto the block. Also, you need to wash and scrub the plate thoroughly in order not to have too much paint stick into the grooves. I'd be happy to try to answer questions if anyone is interested in trying this out. I ended up with a very creepy-looking image -- an interesting start! Happy printing! Sarah ------------------------------ From: G Wohlken Date: Mon, 20 May 2002 09:55:35 -0400 Subject: [Baren 18115] Re: Baren Frames and Skokie visit Many thank yous to Julio for loan of the Baren frames for the upcoming Sacred Trees/Endangered Species exhibit in Ohio. Without these frames, this exhibit would have been expensive and difficult so the generosity of Baren is greatly appreciated. It was nice seeing Sharen Linder and her husband Don again as we all enjoyed a look at Julio's presses, his collection of prints and a few books we hadn't seen before. Thank you, Julio and Maria Rodrigues (as well as your sons, Julio and George) for your gracious hospitality which included a lovely Cuban meal at a nearby restaurant. We hope this summer we can return the favor by entertaining you and your family here in Ohio. The Rock and Roll Hall of Fame awaits your sons, The Cleveland Museum of Art awaits you and Maria! Sharen and Don, you are invited, too. Gayle Wohlken Ohio, USA ------------------------------ From: Mike Lyon Date: Mon, 20 May 2002 10:14:26 -0500 Subject: [Baren 18116] Re: pricing Dear Maria, You are terrific! Thanks for your selling and printing strategy monologues - -- they are very interesting and helpful to many, I'm sure! Mike At 03:15 PM 5/19/2002 -0700, you wrote: >In any case, I hope this helps someone! >Maria Mike Lyon mailto:mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: John and Jan Telfer Date: Mon, 20 May 02 23:59:03 -0000 Subject: [Baren 18117] Re: Shake, embossing Charles, This entry you wrote in the newsletter really interested me. >As for deep embossing, you might check for a book entitled "Evolving >Techniques in Japanese Woodblock Prints" by Gaston Petit and Amadio >Arboleda. You will particularly be interested in the discussion on pages >103-107 of the tampon printing of Sasajima Kihei. Basically, he carves >REALLY deeply. Then he embosses damp paper using an etching press and some >hand techniques. Finally, he uses a tampon to ink the raised portions of >the paper. I found other techniques discussed to be interesting and >inspiring as well. When I was in Japan a couple of years ago I went to an Exhibition with Hiroshi Tomihari in "The Pottery Town" (I'd have to look its name up again) and there was an exhibition on then by Shiko Munakata who did the same technique. Some of his trees in the wind had lots of movement and all were very bold. The five postcards that I was able to buy aren't so dramatic but still bold. I will bring them to Bootcamp with me. Do you have the Book >"Evolving Techniques in Japanese Woodblock Prints" by Gaston Petit and Amadio Arboleda. and if so would you be able to bring it to Bootcamp with you please? I would be very interested in seeing the difference between the ones I saw and the ones the book illustrates. Thank you. Jan Perth, Western Australia ------------------------------ From: "PHARE-CAMP,PATTI (HP-USA,ex1)" Date: Mon, 20 May 2002 13:16:44 -0400 Subject: [Baren 18118] RE: Baren Digest V19 #1834 "I've never used etching inks for woodblocks, but that might be another problem. " Etching inks work very well for wood block, but must be amended to reduce tackiness. Use the same brand of thinning medium as the etching ink you're using. Mix just a little dab of medium, adding a little more medium only if you need to thin even more, but you shouldn't need too much thinner as a little goes a long way. ------------------------------ From: FurryPressII@aol.com Date: Mon, 20 May 2002 14:05:44 EDT Subject: [Baren 18119] Re: to frame or not Been off list for a month or so. Lots of e-mail to read. The last month i have been making frames and printing for a one man show i am having at the Unicorn Cafe in Evenston Ill. If you are in the Chicago area please come by and have a look. The show is color wood cuts, and wood cut mono prints and wood carved blocks all in hand carved wood frames. Unicorn cafe woodcuts & wood engravings 847-332-2312 1723 shermanan ave. evanston ill may 19 through july 30 I am currently packing up the fireman prints to be sent out to the people in the exchange about half the prints should be in the mail today the rest latter this week. Next posting i will include a list of those in the mail. I understand the amout of work an excange entails (lots) john center of the furry press ------------------------------ From: Charles Morgan Date: Mon, 20 May 2002 11:39:42 -0700 Subject: [Baren 18120] Re: Shake, embossing Hello Jan, I would really love to see the postcards, so please do bring them. And yes, I do have a copy of the book ... one presently on loan from the library, but I have order a used copy from a book dealer as well. I am not sure we are in the same boot camp group. I am in the second one. I live only a few miles from Graham, so I am sure we can get together in any case. Just call me if I am not in your group: phone: 250-920-0281 It will be a local call from Graham's place. Hope to see you then. Cheers ........ Charles At 11:59 PM 5/20/02 +0000, you wrote: >When I was in Japan a couple of years ago I went to an Exhibition with >Hiroshi Tomihari in "The Pottery Town" (I'd have to look its name up >again) and there was an exhibition on then by Shiko Munakata who did the >same technique. Some of his trees in the wind had lots of movement and >all were very bold. The five postcards that I was able to buy aren't so >dramatic but still bold. > >I will bring them to Bootcamp with me. > >Do you have the Book > >"Evolving Techniques in Japanese Woodblock Prints" by Gaston Petit and > Amadio >Arboleda. >and if so would you be able to bring it to Bootcamp with you please? I >would be very interested in seeing the difference between the ones I saw >and the ones the book illustrates. > >Thank you. > >Jan >Perth, Western Australia ------------------------------ From: "Tyrus Clutter" Date: Mon, 20 May 2002 14:10:57 -0600 Subject: [Baren 18121] Sales at Juried Shows Ok Bareners, here is a question which I have wondered about. I'm sure there is no definitive answer for this, but I wonder how things have worked out for some of you. I have a print which has been in three juried shows around the country this year and won awards at two of those (both awards were for general shows, not print only shows). So, today I get a call that the print sold at the last of these shows. I think I've sold one other piece in a juried show, though I've been in many. On average, what is the ratio of sales to the amount of juried shows you get into? TyRuS ------------------------------ From: "Andy English" Date: Mon, 20 May 2002 22:56:18 +0100 Subject: [Baren 18122] My recent "find" Some people that I know are critical of the fact that the work they produce lacks detail. I recently obtained a print that demonstrates how powerful a simple and uncomplicated image can be. I saw it in an auction and, although unsigned, I recognised it as a woodcut of the Madonna and Child cut in 1919 by Eric Gill the printmaker, typographer and sculptor. It is richly printed in black oil based ink on a thick wove paper. The image itself is about 7" tall. Well I bought it for a song and now I'm really enjoying its strength and simplicity. Gill was a master of the simple and direct image. You can see my treasure (I hope) on this page: http://www.geocities.com/revisegeography/gill.jpg Very Best Wishes, as always, Andy English ------------------------------ From: "Lee and Barbara Mason" Date: Mon, 20 May 2002 15:09:54 -0700 Subject: [Baren 18123] Sales at Juried Shows Tyrus, I have sold two pieces in Juried show in 20 years.....so not a very good average. I usually show in two or three a year...I do better with the work I have in my dentist's office. He built a new place and put in track lighting...I supplied the art work and so far have sold 5 pieces in 7 months. Not bad for no real effort on my part! Best to all, Barbara . On average, what is the ratio of sales to the amount of juried shows you get into? TyRuS ------------------------------ From: Lynita Shimizu Date: Mon, 20 May 2002 18:44:34 -0400 Subject: [Baren 18124] Re: Sales at Juried Shows Tyrus, I've never been so lucky as to sell at a Juried Show ... actually I don't know anyone who has around here. I've entered only one or two juried shows a year for the past four years so my track record isn't very long. The majority of my sales are from my annual two-weekend Open Studio and from shows at college galleries. Probably college faculty and library employees are my best customers. The prints have also sold well at two local restaurants/coffee shops whose customers include faculty from nearby private schools and Audubon members. I don't have any work in galleries ... yet. [;-)] Best wishes, Lynita ------------------------------ From: Brian Lockyear Date: Mon, 20 May 2002 15:56:11 -0700 (PDT) Subject: [Baren 18125] My recent "find" <20020520220211.81199297@ml.asahi-net.or.jp> That *is* gorgeous. Good eye, Andy. Congrats! - Brian - ------------------------------ From: "Maria Arango" Date: Mon, 20 May 2002 16:02:46 -0700 Subject: [Baren 18126] RE: Sales at Juried Shows Tyrus, I have entered about 35 juried shows--I retract, I have entered many more than that but been accepted at about 35 in the last three years, not counting the Baren shows. I have sold 5 pieces and received 3 purchase awards so my ratio is exactly .2285714 or 23% [:-)] To me it's more depressing to have your art mailed back to you than receiving a rejection letter. I guess I always feel that if I can just get my art "out there" it will sell. Sigh. Academic venues are really not the ideal sales outlet, although they do give exposure and a good balance (exposure/sales) is very desirable for an artist. Gallery calls for entries are sometimes merely money making schemes (on entry fees) so watch yourselves. There are some galleries that make a great effort on marketing and sell, cultivate those folks! Anyhow... Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: jimandkatemundie@juno.com Date: Mon, 20 May 2002 19:35:43 -0500 Subject: [Baren 18127] packaging prints for sale Regarding the recent thread Maria started about how to present prints for sale, I have another suggestion for a nice presentation that also saves money: Rather than skrinkwrapping or putting prints in mylar bags one may mount and mat a print as one would for framing, place the glass on top, and then seal the edges with clear acid-free framer's tape. That way one has a nice neat package that looks wonderful, and provided the mat and glass are a standard size, the buyer may either pop it into the frame of their choice or hang it on the wall using L-hooks. Looks snazzy, and stores easily in the studio without worrying about the hanging hardware of one frame dinging the surface of another. Speaking of standard sizes, I have saved myself a great deal of cash and effort over the last several years by presenting work in a particular size and a uniform manner. The majority of my recent drawings and prints fit nicely into a 16 x 20 inch frame with a generous margin. I periodically place orders with my frame maker for five to ten unstained maple frames, so I always have one on hand when I need it. The frames are a simple crisp museum-style affair that does not distract from the artwork and blends well into any setting. Additionally, 16 x 20 inches happens to be a quarter of a standard sheet of acid-free museum board, so I cut a number of mat blanks and backing mounts and set them aside in a large mylar bag until needed. When I do need to mat something, I only need to cut the opening in the mat face and slap everything together. On the rare occasions that I do want to frame a larger piece, I'll have my framer cut the mat opening, but I still put it all together in the frame myself. Doing the framing myself is cheaper for me than having someone else do it, and as I don't have to pass that expense on to the buyer I can keep my prices reasonable. I recently discovered that Light Impressions will sell museum board cut down to the size I need at a reasonable price, so I plan to order a box of twenty-five or more and save myself even more time, energy, and expense. Cheers, James Mundie http://missioncreep.com/mundie/index.htm ------------------------------ End of Baren Digest V19 #1836 *****************************