Baren Digest Tuesday, 3 December 2002 Volume 21 : Number 2048 ---------------------------------------------------------------------- From: "PHARE-CAMP,PATTI (HP-USA,ex1)" Date: Mon, 2 Dec 2002 09:23:49 -0500 Subject: [Baren 20025] RE: Baren Digest V21 #2042 "Regarding that, can sumi be mixed in with those other colors Jeanne mentions in order to give a richer black" Gayle Ohio Greetings Gayle and all: I've found that the best way to get really rich blacks is to over or under print the black with another color. Usually deep violets, blues and true red will give extra punch to black if you ink up the black plate and print on top of the black, or vice versa. I get some intense blacks this way. Patti P-C ------------------------------ From: John Amoss Date: Mon, 02 Dec 2002 10:06:30 -0500 Subject: [Baren 20026] A Visit to Seseragi Studio Hi everyone- This is John Amoss- I rarely have time to write often, but I wanted to announce that in 4 days, my wife and I will be leaving to visit Dave Bull's studio near Tokyo! We will first be doing a bit of tourist stuff down in Kyoto and then I'll be spending about 5 days working on a collaborative print with Dave. I look forward to seeing his scenic Seseragi Studio while studying his activities in his natural environment (sounds like a nature documentary :-). But seriously, we are thrilled with his generous invitation and look forward to our first adventure in the far east. I will be sure to take some pics along with a written account. - -John * amoss illustration, inc. amoss#mindspring.com http://www.mindspring.com/~amoss 706.549.4662 f: 706.549.3962 365 ponderosa dr. athens, ga 30605 ------------------------------ From: Mike Lyon Date: Mon, 02 Dec 2002 09:21:48 -0600 Subject: [Baren 20027] Re: A Visit to Seseragi Studio At 10:06 AM 12/2/2002 -0500, you wrote: >Hi everyone- >This is John Amoss- <...snip...> We will first be doing a bit of tourist >stuff down in Kyoto and then I'll be spending about 5 days working on a >collaborative print with Dave. I look forward to seeing his scenic >Seseragi Studio while studying his activities in his natural environment >(sounds like a nature documentary :-). <...snip...> >-John Have a ball, John!!! Can't wait to hear all about it! Safe trip! - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: David Bull Date: Tue, 3 Dec 2002 00:29:06 +0900 Subject: [Baren 20028] Re: A Visit to Seseragi Studio > I look forward to seeing his scenic Seseragi Studio > while studying his activities in his natural environment > (sounds like a nature documentary :-). Mmmooooo! Yes, we've got an interesting collaboration coming up. Last year I used a design from Gary Luedke in my album; that was a 'long-distance' collaboration, so it was easy for me to 'get what I wanted', as Gary couldn't see what I was doing. This year with the designer sitting right there in my room, it's going to be a lot more 'interesting'. I don't know if our friendship will survive the process :-) but I think we're both reasonable people, so maybe we'll find a good way through all the questions/problems/decisions that are going to arise. But John, is it really now only five days away!! How on earth am I going to get the blocks ready in time! Dave P.S. As usual, the webcam will be turned on for a certain number of hours in the day ... so the 'battles' will be aired live! ------------------------------ From: Wanda Date: Mon, 02 Dec 2002 09:35:57 -0800 Subject: [Baren 20029] Re: A Visit to Seseragi Studio on 12/2/02 7:29 AM, David Bull at davebull#woodblock.com wrote: > Dave > P.S. As usual, the webcam will be turned on for a certain number of > hours in the day ... so the 'battles' will be aired live! Dear Dave & John, As one of the people who has been privileged enough to meet both of you, I don't foresee any battles at all! Some very interesting discussions, though! I look forward to seeing the collaborative print that will come out of this visit. And John & Margaret = Have a wonderful time! Wanda ------------------------------ From: FurryPressII#aol.com Date: Mon, 2 Dec 2002 13:06:36 EST Subject: [Baren 20030] 14a prints my set arrived in good condition enjoyed all of them, such varity the color reduction prints blow me away WOW I have done them with oil based ink on a vandercook but the registration must be much harder with damp paper by hand. way cool ------------------------------ From: "Joseph Sheridan" Date: Mon, 2 Dec 2002 14:03:55 -0500 Subject: [Baren 20032] Re: Printing Question Dave A printing question if I may. I am not sure if you saw the answer Paul Binnie gave about his shin hanga= printing technique but I would like to get your expert advice. He said: "...if you intend to 'over-print' one colour onto another, you first need= to dry out the paper completely, then re-dampen it to avoid the first we= t area 'rejecting' the second colour application" I have never seen mention of drying out and re-dampening the paper betwee= n color applications in "How To" books. To me it sounds as if one risks t= he possibility of a varied dampness and the paper not retuning to the ori= ginal "crawled" or dampened size. =20 Is this a common pratice? I would love to hear your advice or suggestion= s. I have overprinted color in the past and have found that as the dampened = and printed paper sat (over a day or two) the color would bleed and Fuzzz= into the undercolor. I was or AM furstrated by this occurance. As I type= I bet the answer is somewhere in the archives so that is my next step. I hope your "live" battles with John will be fun for us all! I bet a grea= t print will be the product. Thanks Joe ------------------------------ From: David Bull Date: Tue, 3 Dec 2002 08:15:49 +0900 Subject: [Baren 20033] Re: A Visit to Seseragi Studio Wanda wrote: > As one of the people who has been privileged enough to meet both of > you, I > don't foresee any battles at all! No, of course not ... the only battles will be with the 'process' as we try to get down on paper the image(s) that are in our heads. One reason we decided to take this on is that we do share a lot of preferences, and feel that this particular combination of skills should prove productive. But we're skating out into an area where neither of us has a lot of experience (I'm thinking here about the image that we have in mind), so the end result is far from a foregone conclusion. The webcam will be on, but please don't expect that we are going to give you close-ups and details of the entire process as we go through the proofing. Once we 'arrive' at the destination, then we will give a lot of thought to documenting what we have done, to help others learn about this kind of work, just as we are learning from documents left behind by others. But that will come later, once the smoke has cleared ... *** Joe Sheridan quoted: > "...if you intend to 'over-print' one colour onto another, you first > need to dry out the paper completely, then re-dampen it to avoid > the first wet area 'rejecting' the second colour application" > Boy, I too was surprised to read this. As a bare statement, I'm sorry it simply isn't true. I've made an awful lot of prints, and I have never found this necessary. Overprinting can be done literally _minutes_ after the first colour has gone down, although in the case of super-saturated paper, waiting until the first colour has 'settled' is common. There _are_ occasions when the paper must be dried mid-way, and I have seen Seki-san (Paul's guide to printing technique) do this. For example, if the key block was printed with quite gooey and heavy sumi, it will tend to leave black lines behind on the colour blocks. This can be avoided by drying the whole thing after printing the black lines, and then remoistening and starting again. But this is quite rare ... Another reason for drying part-way is mold attack in hot weather. You can dry the stack, then remoisten with water containing a mold-reducing agent (formalin, etc.). But for simply printing a gradation over another colour, I don't understand the quote. Perhaps Paul was mis-quoted by the writer, who perhaps doesn't understand the process well? Or perhaps Paul simply has worked out his own way of doing this ... certainly nothing wrong with that. I don't want to imply any criticism ... Dave ------------------------------ From: "Maria Arango-Diener" Date: Mon, 2 Dec 2002 16:17:40 -0800 Subject: [Baren 20034] Re: A Visit to Seseragi Studio > As one of the people who has been privileged enough to meet both of > you, I > don't foresee any battles at all! >No, of course not ... the only battles will be with the 'process' as we >try to get down on paper the image(s) that are in our heads. One reason >we decided to take this on is that we do share a lot of preferences, and >feel that this particular combination of skills should prove productive. I had the immense pleasure of a gigantic collaboration with Daryl DePry, a quiet Baren lurker and resident of Las Vegas. It was fun and full of learning opportunities. Our styles, subject matter and approaches to the woodcut process are vastly different, but somehow we managed to enjoy and come up with a neat print. I think the process of woodcut/woodblock brings people together. For those of you that haven't yet, see the entire process here (not for the faint of heart): http://www.1000woodcuts.com/Studionotes/Monster/monstercut.html On a completely unrelated note, I just upgraded to a maxosuperduper computer with WinXP and other completely unnecessary but awesome stuff (suround sound for example). I almost cried when I plugged stuff in and it actually worked without blood, sweat and tears. I almost miss restarting...and restarting...NOT! Anyhow, have fun boys! Maria PS For the Arizona baren members, don't miss the zoo--I mean, the Tempe show this coming Friday, Saturday and Sunday on Mill Avenue, downtown Tempe (100,000 attendees expected). And incidentally, if you aren't doing anything special at 3:30 am on Friday, that would be my convenient setup time. Bring gloves and a triple espresso 8-) <||><||><||><||><||><||> Maria Arango Las Vegas Nevada USA www.1000woodcuts.com <||><||><||><||><||><||> ------------------------------ End of Baren Digest V21 #2048 *****************************