Baren Digest               Saturday, 8 March 2003       Volume 22 : Number 2152


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

From: "marilynn smih" <marilynnsmih#hotmail.com>
Date: Fri, 07 Mar 2003 08:35:55 -0800
Subject: [Baren 20935] Re: Baren Digest V22 #2151 

Hope no question is stupid.  I am here now not doing woodcuts and sketching 
for some new ones when I return.  I have one I would like to use the wood 
grain on.  I understand one can wire brush to bring out the grain, etc.  But 
is this done only with oil based pigments or can one do this with a water 
based pigment?  I was concerned that dampness might make the wood swell????
Marilynn Smith


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

From: Mike Lyon <mikelyon#mlyon.com>
Date: Fri, 07 Mar 2003 10:46:16 -0600
Subject: [Baren 20936] Re: Baren Digest V22 #2151 

Wire brushing to enhance the grain is common in moku-hanga as well.  The 
effects and methods depend on the wood.  You can't tell how any particular 
wood will print by only looking at the grain colors.  Fir and pine have 
grain in which the lighter and darker colored parts of the visible grain 
are softer and harder than one another, so the grain can be easily enhanced 
by sanding with a soft backing or brushing or sand-blasting, or by 
selecting 'weathered' planks.  The grain can be made to print in a VERY 
pronounced way in that the soft places get worn away as if they were carved 
and the high places print and the low places do not.  Cherry has a 
semi-open grain which shows up more subtly as lighter and darker areas 
following the grain pattern, but the darker areas print more intaglio than 
relief, as they hold more pigment than the flat surfaces.  Other woods 
print virtually flat, with little or no visible variations from grain.

Printing technique has a HUGE effect on whether and how grain shows up in 
the print.  For intaglio grain printing, brush the pigment across the grain 
and apply thinly.  To make grain disappear in the same block, brush with 
the grain and apply pigment more generously.

This is certainly NOT the final word or even scratching the surface -- 
variety of technique and effect seems to be infinite.

Mike

At 08:35 AM 3/7/2003 -0800, you wrote:

>Hope no question is stupid.  I am here now not doing woodcuts and 
>sketching for some new ones when I return.  I have one I would like to use 
>the wood grain on.  I understand one can wire brush to bring out the 
>grain, etc.  But is this done only with oil based pigments or can one do 
>this with a water based pigment?  I was concerned that dampness might make 
>the wood swell????
>Marilynn Smith


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


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

From: Barbara Mason <barbaramason45#yahoo.com>
Date: Fri, 7 Mar 2003 12:35:22 -0800 (PST)
Subject: [Baren 20937] god time in Oregon 



Hi Baren friends,

I just had a good week hosting baren "lurker" Kim Fink. Kim
teaches at the U of North Dakota, it was 17 degrees below 0 whe
he left home. I took classes from Kim in the 80's when he was
teaching here in Oregon at Oregon College of Arts and
Crafts...seems like a different lifetime it was so long ago.

We had good visits and he came out for a personal one man show at
the new gallery of the NWPC...only two pieces sold so far, but we
hope for more sales for him before the month is over. It is
amazing work, mostly lithography with silked screen text added, I
am unsure if it is online anywhere but possibly he will tell us.
As I write this he is at 30,000 feet on his way back to the land
of extreme cold, hand carrying a beautiful orchid plant he bought
as a gift for his wilfe!  Wanda, with your love of orchids you
can appreciate this! Kim and family would like to come back to
the NW one of these days and we hope he makes it, can't have too
many good printmakers here in Oregon. He was a good sport and
helped me for one whole day in an elementary school working with
three classes of little kids.

I was pleased to do a hanga demo for him. He had been trying to
teach it from books with no real hands on experience from anyone
who actually does it...so he was very excited to see the
Multnomah Falls block from #15 happen before his eyes. He was
surprised at how little pigment and how little paste.....but so
pleased to see it work well. So we have another convert here. I
admit I also introduced him to solarplates...couldn't resist, you
all know what a process junkie I am.

So here is a little introduction for Kim and maybe we can get him
to post once in a while and let us know how his hanga teaching is
going.

As far as the Nik Semenoff site, I do not know where it has gone,
but if you put his name in on a search engine, you will get lots
of info....his email is semenoff#skyway.usask.ca so you could
contact him and ask about the palm press. Here is someone who
might also give you info 
http://www.mtsu.edu/~art/printmaking/wwwboard/messages/7923.html

Best to all,

Barbara



\

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

From: Julio.Rodriguez#walgreens.com
Date: Fri, 7 Mar 2003 15:05:33 -0600
Subject: [Baren 20938] Re: Calendar signup notice 

Hi Kim, good to hear of your show, welcome to Baren....

The signup page for the calendar-2004 project is undergoing final scrutiny 
before coming online. I wanted to give the
digest subscribers plenty of notice that we are anticipating signup start 
for this coming Sunday (10:00am CST).

While the project is open and there won't be a limit to the
number of participants....format & theme preferences will be
honored based on signup order.  As an example..the first twelve
that signup for  "My Home" get that calendar assignment.

Just to wet your apetite...themes up for possible selection are :
Pets, Children, Landscapes, Nudes,  Abstract,  My Home,
Artist-at-Work and of course...Open. 

Please be looking for an "Open Signup" announcement sometime during the 
next day or so. 

thanks for all your valuable input toward this project.

Julio Rodriguez 


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

From: Mike Lyon <mikelyon#mlyon.com>
Date: Fri, 07 Mar 2003 17:40:15 -0600
Subject: [Baren 20939] LYNITA SHIMIZU et al at Wenniger Gallery... 

Lynita Shimizu has generously shared some of her photos from the March 1 
opening of "Wood and Water", an all mokuhanga exhibit at Wenniger Gallery 
in Rockport, Ma.

Matt Brown, Paulette Nejko, Sandy Wadlington and Lynita had lots of fun 
hanging the show in a small, tightly packed space...

Photos and Lynita's complete commentary are in Show and Tell at 
http://www.barenforum.org/messageboard/guestbook.html

Enjoy!


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

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

From: slinders#attbi.com
Date: Fri, 07 Mar 2003 19:24:29 -0600
Subject: [Baren 20940] Oriental Style Papermaking 

While looking up another reference I came across a terrific
oriental style papermaking bibliography by Jim Canary. (He led
the wonderful Tibetan printmaking/paper class that April told us
about.  -the one with the brains in the tub!
<http://www.aprilvollmer.com/canary/pages/10printmaking.htm> )

This file is a rich resource provided by The Guild of
Bookworkers:
<http://palimpsest.stanford.edu/byorg/gbw/resources/orientalpapermaking.shtml>

Jan, one of Claire's books is listed in this bibliography.

So much to learn, so little time!
Sharen

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

End of Baren Digest V22 #2152
*****************************