Baren Digest               Tuesday, 11 June 2002       Volume 19 : Number 1857


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From: Mike Lyon <mikelyon@mlyon.com>
Date: Mon, 10 Jun 2002 09:14:56 -0500
Subject: [Baren 18279] Re: v-gouges 

 Dear Murilo,

Your English is perfect!  I have felt the same way while carving 
high-contrast prints...  I remember someone remarked once that there are 
two components to painting: color and contrast.  The idea was that you 
could maximize one or the other easily, but genius was required to 
coordinate them.  Well, I don't know about the truth of that, but I always 
like that sort of short symbolic container for an idea.

In any event, you are relevant!  You are relevent!

Mike

At 01:03 AM 6/10/2002 -0300, you wrote:

>Hi, nice artistic people,
><...snip...> 1st - I draw with china ink (nanquim) and a brush directly on 
>the wood....
>Sometimes I make several studies on a A4 sulfit paper, or a bigger paper and
>after I try to draw the same object in the plate, sometimes I draw directly
>without any study;
>2nd - I carve the areas there are to be white . The most wonderful thing
>that happens is that when I start carving it never goes strictly as I did ,
>as I drawn , sometimes I see new things when carving , I think  that occurs
>when the draw , the design (o desenho) begins to take the print language,
>the engraving language. Suddenly, it is not a drawn anymore but a gravure
>(gravura, ),
>Did you understand what I sid? Is it relevant or just an idiot thing to say?
>I know you know all this stuff much better than I , but I love you.
>Best wishes, Murilo, the peron, not the paper, from a very very beautiful
>island in South America, a place that is waiting for all Bareners to come
>here to accomplish its beauty and  accomplish also a hanga workshop.


Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com 
------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Mon, 10 Jun 2002 09:28:31 -0500
Subject: [Baren 18280] Re: Mold 

While we're on the subject, Jack and Dave...  I've heard that foxing is 
communicable to other prints -- true or not?  Should foxed prints be kept 
separate from other prints?  If so, how?  Is a plastic bag sufficient?

Mike

At 07:12 PM 6/9/2002 -1000, you wrote:



>David Bull wrote:
>

> > ...But _can_ a myriad of
> > foxing spots on an old print sometimes be successfully removed without
> > destroying it?

>
>Yes, in a lot of instances foxing on old prints can be removed. There are,
>however, all sorts of conditions that control the success, such as the
>degree of damage, the medium of any image on the paper, and qualities of
>the paper itself. Unfortunately for hanga, water based inks can often
>present problems, but they often be successfully improved with great care.
> One of the reasons that it is difficult to find instructions on "how to
>de-fox your prints" is that there are so many variables that can affect the
>outcome, so it can take a good deal of hands on experience to minimize the
>risk of damaging the print. Often the margin between removing stains and
>ruining a print is very slight.
>
>Jack R.
>


Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com 

------------------------------

From: David Bull <davebull@woodblock.com>
Date: Mon, 10 Jun 2002 23:39:22 +0900
Subject: [Baren 18281] Re: Mold 

Mike wrote:


> While we're on the subject, Jack and Dave...  I've heard that foxing is 
> communicable to other prints -- true or not?  Should foxed prints be 
> kept separate from other prints?  If so, how?  Is a plastic bag 
> sufficient?


I don't really have a good grasp of what 'foxing' actually is, but on a 
batch of prints I recently picked up here, the 'spots' match up exactly 
between the prints and the (cheap) paper folders that they were stored 
in. Which one developed the spots first, I can't really say, but it does 
seem that they were then 'transferred' to the other sheet.

The Boston pamphlet I quoted earlier says "Mold growth in paper often 
shows up as dull rusty patches that discolor the sheet. This is called 
'foxing' and may be caused by the chemical action of mold on metallic 
salts often present in paper."

So if this foxing is actually an indication of the presence of living 
stuff breeding in the paper, it seems pretty likely that this stuff 
would also start to grow on any sheet of paper in contact with the first 
(assuming the presence of the necessary 'food' in the second sheet ...)

??

Dave


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From: GraphChem@aol.com
Date: Mon, 10 Jun 2002 11:18:09 EDT
Subject: [Baren 18282] Akua-Kolor materials 



After a couple of false starts, Graphic Chemical has finally added the 
Akua-Kolor line to it's catalog. We are in the process of getting it added to 
the web site, but all items are on the computer at competitive pricing. We 
have stock on everything, and look forward to working with all of you on 
these fine products.

Dean Clark
Graphic Chemical & Ink


------------------------------

From: JMartin906@aol.com
Date: Mon, 10 Jun 2002 11:35:38 EDT
Subject: [Baren 18283] ink types 

Re. Carol's questions about ink.

I am a rank beginner, but the teacher of the Japanese Woodcut class I took at 
the Pacific Northwest College of Art, here in Portland, suggested using 
gouache.  You mix it with rice paste (just a little bit) and some water (as 
needed).  This worked very well for my attempts.  We wet the paper using a 
mist from a spray bottle and then put it in a plastic bag.  For a small 
edition I just put the paper back in the plastic bag and continued on with 
each color, one right after the other.  To dry the prints, we put them 
in-between the pages of a pad of newsprint.

My buddy Wanda, who is much more informed than I, mixes up her own ink saying 
that gives her much more saturated color.  While I don't doubt that, if you 
want the ease of using a product in a tube, you might try the gouache. 

Suzi

------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Mon, 10 Jun 2002 11:05:57 -0500
Subject: [Baren 18284] Exchange #14 

Hi everybody!

Here is the artist list for Exchange #14 in order of sign-up followed by 
those who have been placed on the waiting list.  Those who took part in the 
Music Exchange #13 were positioned at the end of the list on June 8 (in 
order to allow everyone a chance to participate) beginning with Julio 
Rodriguez, #25.  In recent exchanges the first several waitlisters have 
been recruited into the exchange proper, so if you are among the first four 
or five on the waiting list you should certainly plan to produce prints as 
it is likely you will be 'called'.  The coordinator for this exchange will 
be appointed in a few days and he/she will be in touch with you at that 
time.  The information page for the exchange is at 
http://www.barenforum.org/exchange/exchange_sign-up.html

EXCHANGE 14 Participants:
1.  Tyrus Clutter
2.  eli griggs
3.  Maria Arango
4.  patsy giclas
5.  Darrell Madis
6.  Philip W. Smith
7.  Cathryn Backer
8.  Richard Campbell
9.  G Jarvis
10.  Kat Pukas
11.  Jean Eger Womack
12.  jo ernsten
13.  Mary Kuster
14.  Maurice Fykes III
15.  Robert Canaga
16.  Charles Morgan
17.  Minna Sora
18.  Brad Schwartz
19.  Louise Cass
20.  John Cleverdon
21.  carol lyons
22.  Patti Phare-Camp
23.  Cyndy Wilson
24.  Mellissa Read-Devine
25.  Julio Rodriguez
26.  Wanda Robertson
27.  Barbara Mason
28.  Mike Lyon
29.  john Center
30.  Barbara Patera

Waitlisted:
1.  Gillyin Gatto
2.  Janet Kravetz Hollander
3.  Kate Courchaine
4.  Jeanne Norman Chase
5.  Monica Bright
6.  Linda Hornberger
7.  Bea Gold
8.  Ld Lawrence
9.  Gilda Machado - Zimmerling
10.  Bobbie Mandel
11.  Marilynn Smith
12.  Frank Trueba

Good Luck and thanks for your enthusiasm!

Mike Lyon, Coordinator of Exchange Coordinators

Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com 

------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Mon, 10 Jun 2002 11:11:21 -0500
Subject: [Baren 18285] Re: ink types 

Just my two cents (so, added to Suzi's that makes four cents all together 
- -- we're getting rich here on baren!) gouache is opaque water color and 
tends to cover whatever has been printed underneath.  Transparent water 
color in tubes is handled the same way as gouache (or dry or prepared 
pigment) and is...  <duh!>... transparent!  Try that, too!  For more 
saturation, try the better (usually more expensive) brands.

Mike

At 11:35 AM 6/10/2002 -0400, you wrote:

>My buddy Wanda, who is much more informed than I, mixes up her own ink saying
>that gives her much more saturated color.  While I don't doubt that, if you
>want the ease of using a product in a tube, you might try the gouache.
>
>Suzi


Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com 

------------------------------

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Mon, 10 Jun 2002 10:31:54 -0700
Subject: [Baren 18286] Scotland 

This came in as a non-member post - so you're going to have to send it
again.
Wanda

Dear Friends,

We are home, safe and sound. But our luggage is still in Amsterdam, or
somewhere in route. With any luck we will get it back as we had lots of
mementos in it. About 50 pounds of postcards and books in mine. I am such a
sucker for books and museum catalogs.

Had my credit card number stolen the first day, so that was fun. However the
viligant visa people blocked the account after two days so all is well and
with luck the rats will boil in oil and spend lots of time in the Edinburgh
castle dungeon...well, maybe that is extreme. That dungeon looked pretty
bad.

The city is amazing, divided into two, the old city built from 1100 to 1700
and the new city, built since 1700. A wonderful park in between. It is a
city of incredible beauty, all stone buildings. As I was laying in bed at
night I could see the castle all lighted up and was sure I was sleeping in
the middle of some fairy tale. The castle is atop a 1000 foot high mound of
rock and there is a mile walk down through many many shops to Holyrood
 palace, the home of the queen when she is in Scotland. We took hundreds of
 photos, so will get a few on the site as soon as they are developed. It
took
 us two days to see the castle and walk the mile and see Holyrood palace.
 Quite an adventure. We had fabulous weather, we must have taken it with us
 as they said the day we took the greyline tour to Loch Ness was one of
three
 days a year you can see everything clearly with no mist. We did not see the
 monster....but the boat trip was still memorable. It was a 12 hour day on
the bus with the most wonderful guide. Ask for Brian if you go, he was
 great. He said it had been know to happen that tourist's heads just
exploded
 from all the information...heheheheh. I had done a great deal of reading so
 knew all the history. Still, it was amazing to be in Mary Queen of Scott's
 bedroom and see the blood on the floor where her secretary was
 killed.....still a dark stain. I'm not sure I believed it was still his
 blood, but could have been. 1560 is a long time ago. That date is a guess
 but close.

 We walked about 5 miles a day and got to know our way around by the end.
One
 of the highlights was dinner with Greg and Lianne at their home and meeting
 their lovely family. Greg cooked, and it was good! He dressed up in his
kilt
for us so that was also a treat...we went to a drawing class at the Scottish
 Arts Club. Three floors plus basement in a wonderful old building they have
 owned since the 1800's. Time is relative there, unlike here where we never
 have enough. It is primarily a club to promote the arts and artistic
 discussion and many media and preforming artists also belong. Our Greg is
 the president this year and you  who know him know what a mover and shaker
 he is, so I am sure they are very glad to get his enthusiasm and energy.

 Enough for now, more about the trip later.
 Best to all.....I took the no jet lag pills and they worked great!
Barbara


------------------------------

From: "PHARE-CAMP,PATTI (HP-USA,ex1)" <patricia_phare-camp@hp.com>
Date: Mon, 10 Jun 2002 11:19:17 -0700
Subject: [Baren 18288] RE: Baren Digest V19 #1855 

I store MY knives in a small flat (about 1.5" thick) fishing gear box.  I
can fit 2 knives in each of it's 6 sections.  I cut a small square of foam
that I tucked into each end of the sections to protect the knife tips from
jostling. I also have a small flat plastic document case (about 2" thick)
with a carrier handle that fits a thin 9 x 12" pad of tracing paper, a thin
sketch pad and one block, with sliver of space just wide enough to slip in a
sharpie, a fountain pen, a mechanical pencil; and wonderful new toy I bought
in Japan: a flat case (.5" thick) with 6 sections of watercolor, 12 crayon
dasche, a water well and four hollow handled brushes that you can fill with
water (though with all those colors at hand I still render black and white
the most).  These three flat cases are light weight and slip nicely into a
backpack or a brief case; leaving plenty of room for my lunch, socks, job
files or any other non art gear I may need for the day.

When hiking I can do several sketches with pencil or brush, whichever I grab
first.  Usually any blocks I bring already have sketches transferred to
them.  I rarely sketch directly onto a block. I don't mind the trace and
transfer method for getting my images onto the block, I love every one of
the processes.  I carve blocks in camp, in the car, on a bus, in a
restaurant, wherever...if there is no flat surface, I use my lap.  With all
my best knives stored in one nice flat container, I can grab it and go, this
way I can use any of my finest knives wherever I go.  When I carve at home
it's usually with block in lap while watching old black and white movies in
the living room (hogging my Husband's "Lazy Boy" chair).

No matter how many containers and fancy cases I purchase or am given, I
always return to the above simple basics, only one of which were designed
for art tools!

Patti P-C  

------------------------------

From: richard stockham <richardjs_2000@yahoo.com>
Date: Mon, 10 Jun 2002 12:08:56 -0700 (PDT)
Subject: [Baren 18289] Re:  Hanga bleeding and blots 

The comments about the H. Yoshida book made me think
others might want to look at this listing on EBAY. I
was looking there today and saw that the six prints
referenced in the ORDER OF PRINTING section of the H.
Yoshida book are being offered. Three of these are not
available on the Baren copy. Here is the site:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=880328725

Richard Stockham
Birmingham, Alabama


------------------------------

From: "Tyrus Clutter" <TRClutter@NNU.Edu>
Date: Mon, 10 Jun 2002 13:49:33 -0600
Subject: [Baren 18290] Kudos 

Ok, I'm going to be a little self-congratulatory, but I'm
tooting the horn for John Amoss too. I received in the
mail today a couple copies of Arts & Letters (journal of
contemporary culture) from Georgia College and State
University. To my surprise my Exchange #10 piece,
Exemplar, was on the cover. There is a bit inside about
the Pressed and Pulled show from the fall and John Amoss
had a piece reproduced there. 4 out of 9 images were
woodcuts--so that method had a good showing.

 TyRuS

------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 10 Jun 2002 12:58:42 -0700
Subject: [Baren 18291] mold 

I have received shipments of paper with mold on it. Here in the Southwest,
the kind of mold that grows on paper dies as soon as it is exposed to our
dry heat. For stubborn mold, I have placed the paper outside. Within an
hour, I can gently brush off the critters with a plastic bristle brush and
they never come back.
This experiment translated to a humid environment, perhaps before subjecting
the paper to the ravages of bleach, a blow drier might suffice. The mold is
ready to be brushed off when it...brushes off easily. I don't know for sure
if this will work, just a suggestion.

Cook it till it's done,
Maria

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


------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Mon, 10 Jun 2002 15:22:25 -0500
Subject: [Baren 18292] Re: Kudos 

Congratulations Tyrus, and thanks to John Amoss, too!  If you'd like to see 
an image of Tyrus's print, look here: 
http://www.barenforum.org/members/clutter/exchange_10.jpg

At 01:49 PM 6/10/2002 -0600, you wrote:

> Ok, I'm going to be a little self-congratulatory, but I'm tooting the
>horn for John Amoss too. I received in the mail today a couple copies of
>Arts & Letters (journal of contemporary culture) from Georgia College
>and State University. To my surprise my Exchange #10 piece, Exemplar,
>was on the cover. There is a bit inside about the Pressed and Pulled
>show from the fall and John Amoss had a piece reproduced there. 4 out of
>9 images were woodcuts--so that method had a good showing.
>
>TyRuS


Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com 

------------------------------

From: "kent kirkpatrick" <kirk_star@hotmail.com>
Date: Mon, 10 Jun 2002 13:38:36 -0700
Subject: [Baren 18293] Boot Camp  

Hi,
 
I have just returned from Boot Camp with a multitude of
Barren digests to go through.  One of the subject matters
was very timely for me.  Carole's problem with too much
moisture on the paper was my problem for my final image at
Boot Camp as my final colors "mushed out".  I am laying
eight colors of complex images including a fairly large
Bokashi and my solution (which still might be a decent but a
maybe slow one) is to print the images in three parts in two
or three days time and watch the paper, moisture and amount
of pigment I lay down very carefully.  Since I have printed
the image already, I know which colors cause problems.  I
will go through the various suggestions again however before
deciding my course.  An indirect thanks to all of you who
contributed!

Boot Camp was like a reunion of sorts, seeing familiar
faces.  I managed to land my biggest cold of the year mainly
due to running my body down prior to coming.    I had to
work through that.  Various images stand out, of Richard
Stockham working quite late every night and then telling me
in his Alabama drawl, "It was a fine week", Graham saying "I
want to go to Kansas City to see the whites of their eyes!"
(hmm, I wonder what he meant by that?) , Marnie's
hospitality and fine cooking, John Root's smiles and his
barren expertise (that was not meant as a mispelled pun), 
Richard Brown's mosquito sounds and Jan Telfer's taking a
fly swatter to him and Frank Trueba referring to my penchant
for complex blocks by calling me a "psycho printer!".  My
personal acheivement is I now feel fully confident doing a
bokashi.  Thanks Graham and Richard S. for your help on
that.

After Boot Camp, I gave Jan a ride from Sidney, B.C. to the
home of  Barbara and Dennis Patera outside Seattle.  I had a
great time with Jan in the Washington town of La Conner
strolling the sidewalks and waterfront before arriving at
the Patera's.  Your directions were good Barbara and your
map (out of there south) was too, Dennis.  It was great to
meet both of you!  Thanks for the tea and cake.  I wished I
could have stayed longer.

Richard Stockham was right, it was a fine week.
 
Kent Kirkpatrick
Portland, Oregon U.S.A.

------------------------------

From: "Cathryn BACKER" <cbacker@bigpond.com>
Date: Tue, 11 Jun 2002 05:34:30 +0800
Subject: [Baren 18294] Exchange #14 

Hi all,
I guess this is more a subject for baren after 5 but I had to let 
everyone know how excited I am!
I was so happy to see my name on the Exchange # 14 list! It is very 
exciting to be involved in something like this. But now there are 
decisions to be made: Lino or Wood? Subject matter? Ink or gouache? Tea 
or coffee? My mind is racing at a million miles an hour! How long does 
it take to get a parcel to the U.S.? I'll have to ask at the Post 
Office.
I've picked up some great tips from all the e-mails lately. 'De-foxing' 
for one. I had never heard of that. I actually didnt know paper could go 
moldy. This has never happened to me (yet). And to mix a little rice 
paste with gouache. More sticking power to the block.
Cheers
Cathryn
Tom Price, West Australia


------------------------------

From: Julio.Rodriguez@walgreens.com
Date: Mon, 10 Jun 2002 17:24:19 -0500
Subject: [Baren 18295] Re: Hanga bleeding and blots 06/10/2002 05:25:52 PM 

I'll go along with Mike here and also suggest that is probably too much
water in the process. Excess water is the biggest enemy of hanga/water
printing. When you compound the problem ( as I have done in the past) by
having too much water on both  the paper and on the block, the results are
fatal. You have to adapt (slow down, use blotters, let the paper air dry
for a few minutes between prints, etc) as your printing goes along during
the edition to allow and account for the materials to "dry" up a bit.

One early print I did was holding so much water that when the prints were
stacked, the colors bled from one sheet to another. The bleeders were very
big areas of colors on the paper that I had stacked directly one in top of
the other. I made the problem worse by placing a piece of wood over the
stack to weigh and keep the paper flat. Now when I print large color areas
and I suspect possible water problems, I alternate the stacking so that the
color areas don't lie directly over each other, remembering that the stack
is constantly changing as water moves thru the paper.

Also you have to recognize when your brushes/block have reached a certain
degree of saturation...in other words, they are fully loaded and can give
best results....sometimes I may skip adding paste to the block for a sheet
or two until I feel that the
block is just right and not too 'pasty' or runny.

There is an article on last week's Tampa Tribune that talks about our very
own Dan Dew. His current solo show at the Gold Dragon Gallery in Tampa
Florida opened last week and can be seen thru 7/15/2002. Way to go Dan !

http://www.tampatrib.com/News/MGAPSMOQ32D.html

Also check Show & Tell at www.barenforum.org

thanks...Julio


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End of Baren Digest V19 #1857
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