Baren Digest                Sunday, 6 July 2003        Volume 24 : Number 2294


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From: Emkaygee@aol.com
Date: Sat, 5 Jul 2003 10:48:33 EDT
Subject: [Baren 22133] Re: Baren Digest V24 #2293 

Hi Barbara!
You had mentioned:
<< I think most early European printers used a dauber, a roll of leather, to 
put ink onto their plates. >>
Actually I still use a doll for some colored etching (a la poupee) but mine 
is made of tightly wrapped gauze. It works great! You can get so much control 
over color placement. I thought that it was interesting that Michael Schneider 
had improvised a similar device for "brushing" in the ink for his hanga. 
Necessity is truly the mother of invention.
Just another example of the great influences of history and the ways that 
different methods feed off of one another!
Cheers!
Mary Green

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From: pulpfic@sunshinecable.com
Date: Sat, 05 Jul 2003 08:22:13 -0700
Subject: [Baren 22134] Re:  waterbased ink 

Michelle,

Further to what Barbara suggested (Akua Intaglio inks) - 

I found that for my uses - woodblock or lino, thinner papers, printed dry,
inks brayer-applied only - I prefer the liquid Akua Kolor inks with Tack
Thickener added. For some reason, this combination behaves a bit differently
than the Akua Intaglio, and the Tack Thickener washes up more easily, too.

The translucency is very nice, though, and the inks are made of the same
pigments I'm used to for watercolour painting, so colour mixing is intuitive.

Also, a little goes a long way with the Akua Kokor inks.

Randi
- -- 
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
                                     Ms Randi DeLisle
    papermaker, bookbinder, publisher, printmaker & gourd artist
                         pulp fictions & pulp fictions press
        Grand Forks BC  Canada    pulpfic@sunshinecable.com
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *


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From: Mike Lyon <mikelyon@mlyon.com>
Date: Sat, 05 Jul 2003 10:40:30 -0500
Subject: [Baren 22135] Re: Baren Digest V24 #2291 

At 01:37 PM 7/4/2003 -0400, Jan Warner wrote:

>I do really want to know what is the difference between John Furr and John 
>Center.


Well, John Furr is this nice, clean-cut young thirty-something Canadian guy 
from Toronto and John Center is this nice, LONG white-bearded, 
fifty-something American guy from Chicago who calls his studio the "Furry 
Press"...

- -- Mike  (see http://www.barenforum.org/summit where both are pictured in a 
group photo in front of the Spencer Museum)...


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

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From: "Fatima Ferreira" <fami@clix.pt>
Date: Sat, 5 Jul 2003 16:56:52 +0100
Subject: [Baren 22136] Fw: baren message/add a very simple word to glossary 




Hi Jan:

Don't need to apologize, I only didn't understand what you were asking 
and like that I couldn't answer... really my english is not perfect...
Everybody in Portugal who has at least high school need to know english 
and very often french too. It depends on studies they choose.


I would like to add another simple word :

burin (english) burin (french) buril (portuguese)

Sorry Mike, I know you are not prepared yet... I will be quiet untill 
then.


Fatima

  ----- Original Message -----=20
  From: Janet Warner Montgomery=20
  To: fami@clix.pt=20
  Sent: Saturday, July 05, 2003 12:38 AM
  Subject: baren message


  "Hi Fatima,
  I did not mean that there was anything wrong with your english...not 
at  all, and my apologies if it seemed at all so. Like many Americans, 
speaking another language is fascinating to me, because I don't. I had 
the requisite latin in high school, and some french.
  My husband is Czech and his english is as good as mine, but he has 
been speaking it longer than I have..he came here in '39. He grew up 
speaking both Czech and german, learned french,  learned english in 
order to come here when all was almost lost, and picked up japanese 
serving America during the war. I had a good friend in Miami who was 
Spanish, and she conversed easily but her english was not great, and 
never changed, I don't know why.
  I thought perhaps you taught it, or were married to an english 
speaking fellow. At any rate I am delighted and privileged to read some 
Portuguese and will look it up to understand better how it differs from 
spanish.
  I will look forward to your contributions, and again, my apologies if 
my question seemed at all untoward.
  jan"


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

From: Mike Lyon <mikelyon@mlyon.com>
Date: Sat, 05 Jul 2003 10:59:36 -0500
Subject: [Baren 22137] Re: PILLOW BOOK EXCHANGE  you wrote:

>On a totally different matter I propose doing a "pillow book" for the next 
>exchange.
>If one would look at western art history on the subject of Japanese wood 
>cuts you would get a very narrow and misleading look at what the subjects 
>were of the Ukiyo-e prints. The townsmen of the time gave themselves over 
>to fleeting delights and spendthrift behavior, drowning their cares in the 
>enticements of the pleasure quarters.  As one of their songs had it "Life 
>is but a dream--enjoy it while you can." And the ukiyo-e-ehi, the artis 
>who skillfully depicted this floating world, were admiringly described as 
>those who painted the Naka-no-cho, which no artist of the Kano or the Tosa 
>school could do."  In other words, the ukiyo-e-shi pictured such sights as 
>the main street of the YOSHIWARA, the celebrated brothel district of Edo, 
>(Tokyo) choosing subjects that no painter of the established academic 
>schools would ever dare to portray.  Some estimates that the percentage of 
>wood cuts that made up the art related to pillow books was close to 50% of 
>all the wood cuts done in Japan.  But due to the values of westerners you 
>would not know that esp if all you looked at was art history books etc.
>
>I would volunteer to coordinate and to bind the books as well.  Exact 
>detail to fellow.


Hey -- I LOVE this idea !!  How about for Exchange #19?  Chuban themed 
exchange due Feb 1, 2004??  A bound shunga volume would make a terrific 
exchange !!!  Very titillating !!!

- -- Mike


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

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From: "marilynn smih" <marilynnsmih@hotmail.com>
Date: Sat, 05 Jul 2003 09:21:33 -0700
Subject: [Baren 22138] Re: Baren Digest V24 #2293 

I am breaking my silence because John furr is my friend.  He gave me rides 
all over Kansas City and was extremely kind to me.  It has been stated that he 
told me to go sit in a corner, which he did not say.  He has a fabulous 
sense of humor and if any comments about me as "mom" were made they were in 
humor not anger.  He was trying to calm my upset over the wrangling and 
close to nasty arguments about oil and water. It did get nasty when I 
received a copy of the letter sent to him in regards to him insulting me.  
If anyone should speak to John about being insulted it should be the one who 
was supposedly insulted.  Since I found no insult I found no reason to be 
angry with him or anyone.
Sorry,  I will not write again about this matter, nor will I post again for 
a long time. I apologize for the non wood printmaking comments.
Marilynn


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

From: Mike Lyon <mikelyon@mlyon.com>
Date: Sat, 05 Jul 2003 11:15:56 -0500
Subject: [Baren 22139] Re: Oozing oil from every pore, we slide our way..... 

 Michelle wrote:

>As for craft and simplicity, you can certainly paint every block with a
>brush if it pleases you--for me it would be torture, like endlessly redoing
>a painting, something nighmares are made of.


Loved your post, Michelle...  Two clarifications may be in order:

"Lurker" is not intended to be pejorative -- it's just the "term of art" 
(in computereze) for an eforum member who only reads and never posts 
(lurks)...  NOT YOU !!!  You regularly post (and exchange prints) and can 
not fall into the 'lurker' category!

In moku-hanga, the block normally takes...  say about five seconds to ink 
up -- the brush used usually looks something like a shoe brush, but with a 
lot more hairs per square inch, and it's already damp and pigment charged 
from the previous zillion prints you made, and you just brush a bit of 
water, pigment, and maybe paste about anywhere (that's not quite accurate, 
but close enough for this description) on the block surface OR carved area 
and then brush it out thinly and evenly (usually) all over the place, 
carved area and printing surfaces alike.  Because it's water based, there 
is NO buildup in the carved areas, which get scrubbed out each time the 
brush is applied, and the whole process takes about the same amount of time 
and care as rapidly rolling up a block with a brayer or roller...

But you already knew that, I bet...  I'm just responding for the benefit of 
anyone else who, like me, pictured "paint every block with a brush 
<...> would be torture" as being something like painting a watercolor or oil or 
something painstaking and skillful and...   :-)

- -- Mike


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

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

From: Mike Lyon <mikelyon@mlyon.com>
Date: Sat, 05 Jul 2003 11:21:01 -0500
Subject: [Baren 22140] Re: 18a 


Send an email to mailto:coordinator18@barenforum.org and ask to be dropped 
out of #18 -- we are allowed to drop out of any exchange without penalty 
(wait-listed or not) up to one month before the due date, so you have 
plenty of time!

Mike

At 10:33 PM 7/4/2003 -0400, you wrote:

>Hey, Thanks, Mike Lyon, for the e-mail telling me I could sign up for 18a.
>How do I get off the waiting list for 18?  Being on 18a will be sufficient 
>for me.
>Suzi Sutherland-Martin


Mike Lyon
mailto:mikelyon@mlyon.com



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From: "Janet Warner Montgomery" <originaletchings@hotmail.com>
Date: Sat, 05 Jul 2003 13:06:38 -0400
Subject: [Baren 22141] Re: Baren Digest V24 #2291 

Well, John Furr is this nice, clean-cut young thirty-something >
Canadian guy from Toronto and John Center is this nice, LONG >
white-bearded, fifty-something American guy from Chicago who calls >
his studio the "Furry Press"... >

thank you, Mike, and Barbara.
Will John Furr then grow up to be John Center??That would be cool but I can't recommend 
living in Chicago awfully.

Joshing. It was, as one might guess, the 'Furry Press' that mixed me up.
I want 'in' on the pillow book...lawsy, I will carve something! 
Leave it to the 'vieux petards'.
Because I live in a section of nc....most north, most west, Va. and TN 
border where you see no roads on the map...that's because no one important 
lives here...which I like...I will use my husband, whom you know from Fatima's quote, 
as a model. Uh-huh, he is 81, and he is gorgeous. Now. How to do 'nuanced.' John?

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

From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Sat, 5 Jul 2003 13:10:06 -0400
Subject: [Baren 22142] Brushes 

I purchased 4 brushes (like the shoe brushes) for Mokuhanga printing. I 
did not swish (or whatever you call it) my brush on the file similar to 
a swordfish skin.
Can I go ahead and use these to do my hanga prints?
If not, what do I use to separate (I guess that is what you call it) the 
hairs in the brushes? The are curved a bit also

Yes, I did get the bug to use the hanga technique.
I went to the Summit to meet all of the great people that I have been 
corresponding with over the past 5 years.
 It was a wonderful experience.
 I did not know that I would fall into the hanga printmaking.
 I have been an oily person all my life and still will not give up my 
oil painting.
 But in printmaking (outside of etching) I think I will probably 
discontinue my use of oils.

I never knew I would be saying this after having such a terrible time 
with my first hanga print.
 But the fantastic demonstrations by David Bull, Mike Lyons, Marco.,Ray, 
Barbara and April , turned me around.



Thanks
Jeanne N.

PS
Miss the camaraderie of my table; Gayle, Mary, John Furr, Bettye, Sue 
and Marilynn , Aimee and of course all of the other great Summiteers.
My bags are packed for the next one.

Jeanne N.




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From: "April Vollmer" <april@aprilvollmer.com>
Date: Sat, 5 Jul 2003 13:34:36 -0400
Subject: [Baren 22143] mayonnaise and Paul Furneaux  

I'm with Andy English on that one, mayonnaise prints are the solution to the
oil/water debate! I'm actually rather pleased to see oilbased woodcut
demanding equal space: that's quite a change from when I couldn't find
anyone to teach me hanga ten years ago!

I just spoke with Tony Kirk of the Center for Contemporary Printmaking in
Norwalk CT. He is organizing a fabulous show of woodcut (including oil AND
water). It will include many well known artists who print woodcuts: Helen
Frankenthaler, Alison Saar, Jim Dine, Richard Bosman, AND yours truly! I was
very pleased to be asked, and it was also fun to have Tony's perceptive eye
checking out all my prints.

The woodcut show is in conjunction with the residency of Paul Furneaux which
I mentioned last week. He will be giving a weeklong class while he is in
residence at the CCP this summer. Tony arranged for the residency and class
when he read about the terrible fire in Edinburgh that destroyed Paul's
studio and a lifetime of artwork. Some Baren members visited the studio a
few years ago.

The Center is looking for additional money to support the residency. Their
state funding has been cut this year. They would like to be able to offer a
living stipend to Paul so he can concentrate on creating a new body of work.
Alex Prentiss of McClain's has kindly donated some supplies. If anyone is
able to help this effort, tax deductible donations (made out to the Center
for Contemporary Printmaking) can be sent to:

Paul Furneaux Residency
The Center for Contemporary Printmaking
299 West Avenue
Norwalk, CT  06850-4002

best,

April
www.aprilvollmer.com




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From: "Gilda Zimmerling" <gemzeditionz@earthlink.net>
Date: Sat, 5 Jul 2003 10:25:39 -0700
Subject: [Baren 22144] pillow book theme 

<>Dear Mike, 

Yes count me in on the " pillow book" exchange. I love the idea.
 I am sure all the books where made by men for men. It will be interesting 
 to see what us women come up with. 
 
 Gilda Zimmerling
------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Sat, 05 Jul 2003 12:20:05 -0500
Subject: [Baren 22145] Re: Brushes 

 you wrote:

>I purchased 4 brushes (like the shoe brushes) for Mokuhanga printing. I 
>did not swish (or whatever you call it) my brush on the file similar to a 
>swordfish skin.   Can I go ahead and use these to do my hanga prints?


If you tell anyone I said this, I will deny it...  BUT...  You can go ahead 
and use the brushes you bought without doing anything else to them.  If you 
print a LOT, then in a year or so they will be 'broken in' anyway, and I 
don't think you'll notice that they don't work quite as well fresh out of 
the box as if you condition them first (conditioned brushes make it a bit 
easier to brush the pigment out 'smooth' without brush strokes showing up 
in large areas of color, but with the 'medium quality' brushes available at 
the Summit, I honestly don't think that you'll know the difference, Jeanne, 
so don't delay -- just start using 'em!

- -- Mike


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


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End of Baren Digest V24 #2294
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