Baren Digest Friday, 28 June 2002 Volume 19 : Number 1879 ---------------------------------------------------------------------- From: Mike Lyon Date: Thu, 27 Jun 2002 11:25:37 -0500 Subject: [Baren 18507] Re: new page, hanga class SORRY Very compelling prints in the new work section, Michael !! Thanks for sending your link. I especially liked several of the triptychs -- great textures -- what is your process?? Mike At 09:00 PM 6/26/2002 +0200, michael schneider wrote: >Sorry I forgot to include the url of the page. >http://www.t0.or.at/~mikasch >The new page has a link from there, when the page is finished, I will move >it to a new location. >michael schneider Mike Lyon mailto:mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: "marilynn smih" Date: Thu, 27 Jun 2002 10:40:22 -0700 Subject: [Baren 18508] Re: Baren Digest V19 #1870 As I wade through all this Baren mail and think on everything I have taken in today I have a question/problem???? I am sitting here enjoying this lovely piece of basswood i bought at the craft store and enjoying its grain. It is uneven along the edges and the bark still remains. I would love to underprint the grain and than overprint an image using a larger piece of wood. Registration comes to mind. Yiles!!!!! How do I register a smaller block under a larger one??? Also , as I will try my new water based medium I may need to print the block more than once to get the color dark enough, so it has to be right on!!! No kento marks please as I want the shape and grain of this piece of wood. Marilynn ------------------------------ From: Mike Lyon Date: Thu, 27 Jun 2002 13:13:26 -0500 Subject: [Baren 18509] Re: Baren Digest V19 One way which has worked for me is to attach the smaller block to a larger piece of plywood -- I used hot melt glue as it's so fast and easy -- but if you are printing on a press, you'd want to figure out a different way as hot melt has quite a bit of body and it would be easy to get the front and back non-parallel. Another way which has worked for me is to place the smaller block into a rough cut-out larger than the odd-shaped piece in a larger piece of plywood and then hold it in place by glueing and nailing small pieces of wood so that the insert can't move around but can be removed. Sort of jig-saw style. Then your kento registration may be placed anywhere in the larger plywood base and you may print the whole insert as is. Or use "T" registration if you prefer by marking your blocks and paper as in lithography. Or adapt any other registration method. Personally, I find the kento registration so easy and certain that I really like it a lot. But because it registers from a corner and adjacent side, paper shrinkage and stretching can be a problem on larger sheets -- T registration can cut that problem about in half, as it registers from one edge and the center of the opposite edge, but paper placement is MUCH more difficult and prone to human error (for me, at least). One thing, though... my experience is that basswood plank grain does print a bit, but only relatively faintly (of course, the bark will print big-time different from the wood). If you want to emphasize the natural wood grain you might want to consider a different species? Dave Bull showed one of his early prints using MAGNOLIA a couple of weeks ago and had this to say about printing to emphasize the grain: "... http://www.asahi-net.or.jp/~xs3d-bull/where/images/014.jpg ...Pigment must be quite thin, plenty of paste, final rubbing with the brush should be in the direction of the grain, and then mash it down with very strong baren pressure - stroked along the grain, not in the usual circular motions... " Mike At 10:40 AM 6/27/2002 -0700, you wrote: >As I wade through all this Baren mail and think on everything I have taken >in today I have a question/problem???? I am sitting here enjoying this >lovely piece of basswood i bought at the craft store and enjoying its >grain. It is uneven along the edges and the bark still remains. I would >love to underprint the grain and than overprint an image using a larger >piece of wood. Registration comes to mind. Yiles!!!!! How do I register >a smaller block under a larger one??? >Also , as I will try my new water based medium I may need to print the >block more than once to get the color dark enough, so it has to be right >on!!! No kento marks please as I want the shape and grain of this piece >of wood. >Marilynn > ------------------------------ From: michael schneider Date: Thu, 27 Jun 2002 21:14:56 +0200 Subject: [Baren 18510] Re: Rough Side/Smooth Side Lee and Barbara Mason wrote: > >Some one out there will know a lot more than I do about the Japanese papers. >I think April Vollmer has a lot to say about Washi on her site and of course >the encyclopedia on baren is just full of stuff. I think the sizing usually >is on the smooth side, so it would be the felt side. This is harder to see >in the Japanese paper for the drying reasons mentioned above. Wa =paper shi= >Japanese , thus the word Washi for paper. I think this is right. >Best to you, >Barbara > Dear Barbara, I hate to correct you, but the " WA" means "our " and the " SHI " means "paper" ( comp: HOSOKAWA-SHI, BUNKO-SHI, etc.) The meaning of "WASHI" therefor is "our paper". This is to differentiate from the chinese paper. As WA / our is often used in Japan to indicate something Japanese it is often translated with Japanese as the translation "our" would be confusing for a non Japanese. michael schneider ------------------------------ From: "Maria Arango" Date: Thu, 27 Jun 2002 12:30:24 -0700 Subject: [Baren 18511] paper A great resource for learning everything you always wanted to know about paper and some things you really didn't! Sylvie Turner's "The Book of Fine Paper" Thames & Hudson also, Dard Hunter's "Papermaking" Dover and, Jules Heller's "Papermaking" Watson Guptill I'm sure there are others. Here is a humorous quote from Heller's book: "Rags make paper, Paper makes money, Money makes banks, Banks make loans, Loans make beggars, Beggars make rags." Anon. 18th century <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: michael schneider Date: Thu, 27 Jun 2002 21:42:20 +0200 Subject: [Baren 18512] Re: new page, hanga class SORRY Mike Lyon wrote: > Very compelling prints in the new work section, Michael !! Thanks for > sending your link. I especially liked several of the triptychs -- > great textures -- what is your process?? > Thank you for taking a look at my new work. The process I use is very simple, but difficult to master. The graduation is a bokashi. The textures are nor cut but chiseled with stones. Most of the prints are only from one block. Difficulties arise from the fact that the wood sometimes gets a heavy relief and in the enormous amount of water that is necessary to print a bokashi that large. To explain the exact way I do the prints is not so easy because the process has to be adapted according to the humidity and temperature as well as the paper and the type of ink. In this case to see and try is better than to describe. My wife has made a video at a workshop I did in Austria. If we find time we might be able to edit and put it as file on the net. I will do another workshop in St. Louis in November maybe we can do another video there and edit then with more footage. michael schneider ------------------------------ From: "marilynn smih" Date: Thu, 27 Jun 2002 12:57:49 -0700 Subject: [Baren 18513] Re: Baren Digest V19 #1878 Exchange 14a will be limited to 20 to save my sanity, although I doubt we reach 20. Here is the list of folks who want in: 1. Marilynn Smith, coordinator 2. Mike Lyon 3. Frank Treuba 4. Gilda Zimmerling 5. Barbara Mason 6. John Center 7. Kat Pukas (undecided) let me know as I will need to have a number for those printing. 8. Sharen Slinders 9. Monica Bright 10. Charles Morgan 11. Eli Griggs Email me if you want in as there is still room, but I need a cut off date soon to let those participating know how many prints to send. My address for mailing prints is: Marilynn Smith PO Box 71 Nahcotta, Wa. 98637 ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 27 Jun 2002 15:25:11 -0500 Subject: [Baren 18514] Re: registration smaller blocks... 06/27/2002 03:27:01 PM Marilynn writes: "... How do I register a smaller block under a larger one???" Or irregular blocks ? I usually just glue or tape the smaller block to a larger block that serves as the main registration for the paper and all other blocks regardless of size or irregular forms. Imagine a larger piece of 1/2" or thicker plywood as your main registration block. After much proofing and tinkering about, I draw the location of each smaller block right on the plywood for record keeping and future editions. Then I tape the smaller block to the plywood using paper tape or packaging tape on the underside of the block, enough to keep the block from shigting while printing. I print the smaller block(s) as needed registering the paper on the larger plywood block. I go thru as many blocks are needed for the total print replacing each one exactly in position over the initial drawing I did on the plywood. After the edition is done I save the irregular/smaller blocks and the registration template (plywood) for later use. Just one way, I am sure there are others. thanks...Julio ------------------------------ From: "Lee and Barbara Mason" Date: Thu, 27 Jun 2002 13:26:57 -0700 Subject: [Baren 18515] Re: Rough Side/Smooth Side Thanks Michael...guess it's a good thing I stick to english most of the time! Barbara - ----- Original Message ----- From: "michael schneider" > Dear Barbara, > > I hate to correct you, but the " WA" means "our " and the " SHI " means > "paper" ( comp: HOSOKAWA-SHI, BUNKO-SHI, etc.) The meaning of "WASHI" > therefor is "our paper". This is to differentiate from the chinese > paper. As WA / our is often used in Japan to indicate something Japanese > it is often translated with Japanese as the translation "our" would be > confusing for a non Japanese. > > michael schneider > > ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 27 Jun 2002 16:02:16 -0500 Subject: [Baren 18516] RE: Why ? 06/27/2002 04:04:05 PM For those that may still be interested in contributing to some type or form of 911 event....check out this website... This is different from the Print Alliance project which is for prints. By the way...it is not too late to send your prints in for the Print Alliance project ! The Why ? is not only prints, but poetry, photos, montages...etc....you can upload your images directly to their web site. Very moving!....do a search by country. http://www.whyproject.org - ---------------------- >Forwarded by Julio Rodriguez/Corp/Walgreens on >06/27/2002 03:56 PM > >"Whyproject.org" on 06/24/2002 07:16:47 PM > >To: >cc: > >Subject: RE: Why Project > > >Hello Julio, > >Currently, we are preparing for September 2003 to be very busy. > >Our website might be appearing in a national magazine, so we're getting >ready for a potential increase in traffic as well as an increase in >submissions. Along with this we are doing behind the scenes work posting >all >the entries we are still receiving. > >Also, we are circulating a description of our project to publishers and >museums in the hopes of presenting the project to even larger audiences >than >just those with internet access. Let me know if you think you can help us >accomplish these goals and I'll send the description to you. > >Thank you for your question, and please remember to share the news of this >site with your artist and writer friends. > >Yours, >Bill >http://www.whyproject.org > > > > > > >Hi, what's the current status of the Why Project and are you still taking >entries... > >thanks...Julio Rodriguez ------------------------------ From: Dan Dew Date: Thu, 27 Jun 2002 17:48:13 -0400 Subject: [Baren 18517] Re: Baren Digest V19 #1878 Hey, count me in too! I vote for keeping it at 20 though, but am willing to do more. **************************** Daniel L. Dew ddew0001@tampabay.rr.com ddew@tampabay.rr.com http://www.dandew.com *************************** > From: "marilynn smih" > Exchange 14a will be limited to 20 to save my sanity, although I doubt we > reach 20... ------------------------------ From: "Maria Arango" Date: Thu, 27 Jun 2002 17:48:25 -0700 Subject: [Baren 18518] Edinburgh exhibit Hello all, A while ago we had another Baren "offshoot" project directed by our champion of champions Gregory Robison. The Text Messages exhibit is now online for your viewing pleasure thanks to the hard work of reporter extraordinaire Barbara Mason. More Scotland images and images of the prints will come at some point in the near future. http://barenforum.org/activities/activity_frame.html Click on Edinburgh 2002 Enjoy, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: b.patera@att.net Date: Fri, 28 Jun 2002 02:14:13 +0000 Subject: [Baren 18519] Re: Why ? Julio, thanks for posting the Why? site. It is fascinating. Barbara P. > For those that may still be interested in contributing to some type or form > of 911 event....check out this website... > This is different from the Print Alliance project which is for prints. By > the way...it is not too late to send your > prints in for the Print Alliance project ! > > The Why ? is not only prints, but poetry, photos, montages...etc....you > can upload your images directly to their web > site. Very moving!....do a search by country. > > http://www.whyproject.org ------------------------------ From: slinders@attbi.com Date: Thu, 27 Jun 2002 22:23:06 -0500 Subject: [Baren 18520] Woodenquilt Project 9-11 Julio, Thank you for pointing out the WHY Project. Here is another project that I found to be moving: Sharen ------------------------------ End of Baren Digest V19 #1879 *****************************