Baren Digest               Wednesday, 3 July 2002       Volume 20 : Number 1885


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From: Greg Carter <artfool@Bulloch.net>
Date: Tue, 02 Jul 2002 17:32:51 -0400 (EDT)
Subject: [Baren 18603] Re: artist book question 

Dear Maria,

Of course the real answer is you can do whatever you want but I usually
make an edition of prints that will become the edition of books. If the
book is separate from the edition, then use un-numbered prints.  For books,
traditionally all edition information usually appears on the colophon page
in the back of the book.




>In making an artist book out of a series of my prints, do I use part of the
>edition? Or do I use unnumbered prints? Do I make a tiny extra edition just
>for the book(s)?
>Help!
>Thanks,
>Maria
>
><><><><><><><><><><><><><><>
>Maria Arango
>Las Vegas, Nevada, USA
>http://www.1000woodcuts.com
>maria@mariarango.com
><><><><><><><><><><><><><><>





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

From: "John Cleverdon" <jhcleverdon@mindspring.com>
Date: Tue, 2 Jul 2002 16:38:55 -0700
Subject: [Baren 18604] Re: Fifth American Print Biennial  

Maria:

I went to your website and saw Maze.  It's very impressive, not only in size
but also in concept.  The image showed background tones, yet the label said
black ink.  Did you rub ink in the cut-out background areas, or is that just
an aberration on my screen?

I also found your articles on traveling around doing shows, both on your
website and in the spring Baren newsletter, very informative, encouraging,
and witty.  I have three friends who do the outdoor shows -- a
screenprinter, potter, and a colored pencil artist.  So far I've been
content with buying their stuff, but maybe one day I'll try it myself.

John Cleverdon
Point Clear, AL

- ----- Original Message -----
From: "Maria Arango" <maria@mariarango.com>
To: <baren@ml.asahi-net.or.jp>
Sent: Tuesday, July 02, 2002 7:50 AM
Subject: [Baren 18586] RE: Fifth American Print Biennial



> Thanks John!
> The print in question was Maze
> http://www.1000woodcuts.com/fullsize/maze.html
> Maria



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

From: ArtfulCarol@aol.com
Date: Tue, 2 Jul 2002 17:51:07 EDT
Subject: [Baren 18605] Re: Hanga Question #1 

Chris,
I think this is easy enough even for me!! -- Hanga 101

This is one way I would do the print:

Print whatever  number of solid blue you want. ( Your Example B)
On the same piece of wood carve out everything but the letter and the border.
Ink  with black the relief letter and overprint that on the solid blue.

You will get other , maybe better ,answers from different people. Do the 
technique that works for you.

Carol Lyons
Irvingtin, Ny


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

From: "Jean Womack" <jeaneger@jeaneger.com>
Date: Tue, 2 Jul 2002 14:39:53 -0700
Subject: [Baren 18606] Re:   Baren Digest V20 #1884  

I have thought about it, and I think the term "rice paper" refers to the
fact that the paper comes from the part of the world where rice is the main
staple in people's diet, not what the paper is made out of.  I don't know
why anyone would think this is racist, unless they were prejudiced against
people who ate a lot of rice.
Jean Eger Womack

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

From: "Maria Arango" <maria@mariarango.com>
Date: Tue, 2 Jul 2002 15:26:19 -0700
Subject: [Baren 18607] Re:Maze 


> I went to your website and saw Maze.  It's very impressive, not
> only in size
> but also in concept.  The image showed background tones, yet the
> label said
> black ink.  Did you rub ink in the cut-out background areas, or
> is that just
> an aberration on my screen?


The background tones belong to the paper (also partly to my
much-less-than-perfect digital skills); it is Daphne heavy weight, a
hand-made paper with much body and fiber swirls and a buff/sand tone that
varies from sheet to sheet. This has turned out to be one of my favorite
papers. The lightweight version of Daphne is almost transparent and looks
like a wispy cloud of very light swirls, like fairy trails (you know, the
trails fairies leave on the sky as they travel  [;-)] . I printed my latest
series of "life of a tree" wood engravings on this paper. Daniel Smith and
McClain's carry it (www.danielsmith.com www.imaclains.com)

Incidentally Greg, thanks for the answer on the artist book thing. I'm doing
some research and reading on the subject and seems that artists do indeed do
all kinds of crazy things.


> I also found your articles on traveling around doing shows, both on your
> website and in the spring Baren newsletter, very informative, encouraging,
> and witty.  I have three friends who do the outdoor shows -- a
> screenprinter, potter, and a colored pencil artist.  So far I've been
> content with buying their stuff, but maybe one day I'll try it myself.


Better watch it, terribly addicting venue! I got Linda hooked on these this
year. I think to become an ordained Saint of Art Festivals I have to
"convert" many more people to the art festival life, but a start is a start.

Maria

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


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

From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Tue, 02 Jul 2002 12:38:32 -1000
Subject: [Baren 18608] Re: Exchange 15 and Hanga 

Hi Mike,

   there actually is such thing as rice paper. It is made from rice
starch, and is used in oriental cooking, especially as candy wrappers,
since it is completely edible. It also disintegrates in water. I wonder
if that's what you got a hold of?

Jack R.

Mike Lyon wrote:


> Hi, Linda...
> I soaked some cheap chinese "rice paper" (I think !!horrors!! that it
> actually said "rice paper" on the package) in my bathtub for about 1
> second and it disintegrated when I tried to pick it up again.



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

From: "Cathryn BACKER" <cbacker@bigpond.com>
Date: Wed, 3 Jul 2002 06:39:38 +0800
Subject: [Baren 18609] Re:   Baren Digest V20 #1884 

- ----- Original Message -----
From: Jean Womack <jeaneger@jeaneger.com>

> I have thought about it, and I think the term "rice paper" refers to the
> fact that the paper comes from the part of the world where rice is the

main

> staple in people's diet, not what the paper is made out of.  I don't know
> why anyone would think this is racist, unless they were prejudiced against
> people who ate a lot of rice.
> Jean Eger Womack
>

Hi Jean,
Rice paper (for cooking) is made from rice, but it wouldnt be a printable
surface. Some brands are pliable, others brittle. All edible and quite
yummy! But not with ink on. Much nicer made into little Spring Rolls with a
Sweet and Sour dipping sauce.
Rice paper for art, printing or whatever, has a base of ground rice husks
rather than rags or other cellulose material. (Maybe I'll start an argument
here.) It's very thin, opaque and beautiful to use in mixed media
Collagraphs.
Cheers
Cathryn Backer
Tom Price, West Australia.


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

From: Frank Trueba <ftrueba@cats.ucsc.edu>
Date: Tue, 02 Jul 2002 15:57:33 -0700
Subject: [Baren 18610] Re: Color woodblock question 

Hi Chris,

You probably gotten some answers by now but I
thought I'd add my two cents.

As time-consuming as it might be, your best bet
would be to carve the "B" out of the blue.  Any color
stands out best and truest when printed on white.
You could, of course, overprint the "B" and if you're
printing black (as in your example), you'll probably be
ok.  However if you wanted the "B" to be a another
color, it would definitely be dulled down by overprinting.

Of course, you could overprint a white "B" before laying
down the color you wish the "B" to be and you would
in essence be printing on white, thus giving you a truer
reading (but would have at least one more printing pass
involved).

Hope that helps--assuming I haven't confused you.

frank

At 11:30 AM 7/2/2002 -0700, you wrote:

>Hello,
>
>I've got a simple question that I've never really
>known the answer to.
>
>It's kind of hard to explain so I've made a
>graphic here
>http://www.clcmn.edu/colorwoodcut.jpg to try to
>make it easier to understand.
>
>Basically, do you cut out the inside of the "B"
>in the blue block and worry about registration
>issues when printing the black block... or do you
>print just a blue circle and overprint the black.
>
>Now did I really confuse everyone?  [:)] 
>
>Thanks,
>Chris
>
>__________________________________________________
>Do You Yahoo!?
>Sign up for SBC Yahoo! Dial - First Month Free
>http://sbc.yahoo.com



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

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Tue, 2 Jul 2002 16:15:07 -0700
Subject: [Baren 18611] Re: Hanga Question #1 


> 'Stupid' Question #1:
> One of the problems I have when printing relief blocks is getting ink in

the

> cut away background, which then shows up on the paper because the paper

sags

> or gets smushed (VERY technical print term!) into the cut-away area.  I

know

> cutting these areas deeper would help, but there's limit to that.


Linda,
If you have a large open area you can roll up a piece of tape and use as a
little bridge to hold the paper up. This works. But if you are having the
problem all over, your paper is probably too wet and soft which would cause
it to drop down into the carved out areas. Also you may have too much
pigment and water on the block. The blocks actually print quite dry, use
less not more and work in a cool humid room. 30% humidity is good, cool air
is good. Get a humidifier if you have to, it makes a huge difference if you
live in dry climate. Get an air conditioner if you live in heat.

>
> Now, I looked at the photos of David Bull carving a block and his doesn't
> look all that deep.  And then when he prints the key block, the pigment is
> all over the block.  Yet the print is 'clean'.  Why?  I suspect it has to

do

> with the pigments drying and only being rewetted by the paper and pressure
> of the baren, but....  well, I don't have a clue.


The paper does not really rewet the block as it is not that wet. The
dampness of the paper just helps the pigment absorb better. Dave does carve
his blocks quite deeply, much deeper than I do and he leaves no little
ridges to catch pigment, His work is very smooth all over. Some of these
problems are solved in the composition, if things are not too far apart, the
paper will not drop down. This is why you see borders on work, the border is
to hold up the paper. Just a little artistic cheating. And if you have to
print only a small area, you carve out around it but leave the rest of the
block to hold the paper up.

Any problem you have has been solved by one of us at some time in learning
this amazing craft. I have been working at it for about 4 years and think I
know only a tiny amount....just enough to be dangerous and think I know
something. So there are no stupid questions. But do go and read the
encyclopedia...it is full of info. Also you can use the google search engine
at the bottom of the page on the site and put in questions and everything in
the encyclopedia on that topic will pop up.
Good luck,
Barbara


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

From: David Bull <davebull@woodblock.com>
Date: Wed, 3 Jul 2002 08:33:45 +0900
Subject: [Baren 18612] Re: woodblock questions ... 

By the time I get up here in Tokyo ... all the questions are always 
answered already!

Anyway ...

Chris wrote:

> Basically, do you cut out the inside of the "B"
> in the blue block and worry about registration
> issues when printing the black block... or do you
> print just a blue circle and overprint the black.


In the traditional method here - which uses transparent pigments - the 
blue would be a solid circle. That's _if_ you intend to print black over 
top. If the top colour would be a _colour_ then you have to consider in 
advance the effect of the two-colours blending together.  This is how a 
lot of my work is done - with a 'base' coat of some colour, then with a 
partial overprinting to produce a new tint ...

Linda wrote:

> Now, I looked at the photos of David Bull carving a block and his 
> doesn't
> look all that deep.  And then when he prints the key block, the pigment 
> is
> all over the block.  Yet the print is 'clean'.  Why?


The motion of the baren. Julio already mentioned this, but it is the 
smooth side-to-side action of the baren that does the trick. And the way 
you tie the baren also has a great effect. Some people are going to 
shake their heads when I mention this - because they think I talk about 
it too much   [:-)] - but if the baren skin isn't _really_ good and tight, 
you get many more problems with blots like this. The skin has to pull up 
and around the edge of the baren very smoothly - if there are any 
'corners' left by loose folding, they will tend to bang down into the 
unwanted areas. This is one point that took me _many_ years to 
understand properly; I couldn't understand what was happening ...

Problems also might come if the paper is too damp and sags down, and of 
course, if you really have persistent problems, the block might be too 
shallow ...

Dave




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

From: Cucamongie@aol.com
Date: Tue, 02 Jul 2002 23:44:40 -0400
Subject: [Baren 18613] thanks Gayle 

Hi, just wanted to say thanks to Gayle for putting together the exhibition, 
and congratulations to Maria on the print show-
best wishes
Sarah

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

From: Milky Scarabs <milkyscarabs@earthlink.net>
Date: Tue, 02 Jul 2002 23:18:56 -0700
Subject: [Baren 18614] Exchange 14a page 

Concerning Exchange 14a...
http://www.barenforum.org/exchange/exchange_14/aexchangedetails.html
This 14a page says "P.S. Please don't forget that the number of prints 
to be submitted is *31*, (30 for exchange, plus one for the [Baren] 
archive)"... kind of misleading... shouldn't it be listed as *21* max?   [:)] 

Typical me, just out to edit the world!   [;)] 
Kat Pukas
http://home.earthlink.net/~milkyscarabs/art.html


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

From: Mike Lyon <mikelyon@mlyon.com>
Date: Wed, 03 Jul 2002 06:44:42 -0500
Subject: [Baren 18615] Re: #13 - MUSIC EXCHANGE IS ON-LINE 

Take some good pictures of your bear and send me scans -- have you named it 
yet?  I'll post them on the baren site along with the print exchange!  As 
to the method -- I used the photo-jig which Julio featured in the last 
Baren-Suji newsletter to shoot the prints you sent me and then uploaded 
them and a half a zillion little web pages to the BarenForum web site in 
the usual way.  David Bull has given the "keys" to the site to a few 
"trustees" who assist in maintaining the BarenForum.

My Mom and Dad live outside Aspen, Colorado up on a mountainside in a 
pretty 'natural' setting.  They have had similar friendly neighborhood 
bears -- their nearest neighbor, about 1/8 mile away woke up to find the 
bear INSIDE their living room, sitting in the window seat of their bay 
window with a box of graham crackers in its lap (and scattered all over the 
place).  The bear RELUCTANTLY ambled away after they beat frying pans with 
spoons in as threatening a way as they were able.  Last year my folks were 
spooked after they kept finding lion tracks in the snow around their 
home.  They were very worried about their dog.  Your bear will probably 
move away on its own -- either that or move IN...  Good luck!

Mike

  -- At 09:06 PM 7/2/2002 +0000, you wrote:

>Hi Mike,
>
>Just came from the Baren site. Thanks a million for
>posting the prints. In fact, double thanks .... as I
>actually, don't have a clue as to how you posted those
>pictures.
>
>Speaking of the bear. He/she has been back. Not as
>frightening with the door closed.... not that a glass
>slider would stop it from entering... but it would give
>us time to get upstairs. Anyway,it shows up about every
>other day  and has taken to lounging on the deck. Will
>probably end up calling the State Wildlife people but am
>putting it off. They often end up shooting the bigger
>animals( bears, cougars). Tried to scare it off the
>other day... ran around shouting and banging things...
>felt pretty foolish when it lay down and looked at me
>like I was nuts.
>
>
>Barbara P.


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

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End of Baren Digest V20 #1885
*****************************