aren Digest Monday, 22 September 2003 Volume 24 : Number 2380 ---------------------------------------------------------------------- From: Legreenart#cs.com Date: Sun, 21 Sep 2003 11:50:28 EDT Subject: [Baren 22837] Re: Baren Digest V24 #2376 Stonehenge Dear Marilynn, This is my experience: Stonehenge is really too hard for woodblock, or relif in general. It is great for screenprinting, and for everything else, there is a paper that is friendlier and will get superior results. I started in screenprinting, and had alot of stonehenge, and tried it for everything else therafter. I used presses, dampened it, adjusted ink, redid the stones, plates and blocks......When I changed paper, it was amazing how many of my printing problems disappeared, and what lovelt detail appeared. Set it aside, use some of nice oriental papers recommended in baren, or Rives BFK. Then you will really be able to tell what you are doing right. When you get happy with your printing abitltiy, go back, try the stonehenge, see if it is a paper you want to use. Le Green ------------------------------ From: LEAFRUTH#aol.com Date: Sun, 21 Sep 2003 11:58:31 EDT Subject: [Baren 22838] Re: Baren Digest V24 #2379 Thank you Ray, Sharri ,and Carol, For your kind words. All the Fantasy prints and Jan's Dahlias are painted with watercolors on the front of the print. I don't know what paper Munakata used but I found the water color did not come through the paper nicely. The woodcut is done with black relief ink which if left to dry for a few days allows the watercolors to glide right over it. The paper has been varied. I found a wonderful napalese paper for the first few prints but hiromi wasn't able to keep it in stock so I'm using white kozo. Any thinnish paper with a slight tooth is fine. Of course the prints are slightly varied because it's fun to throw a little added color sometimes but basically they pretty much look alike. As for my memoirs, when I can no longer make prints I will think about it. Ruth http://www.ruthleaf.com ------------------------------ From: Charles Morgan Date: Sun, 21 Sep 2003 07:53:25 -0700 Subject: [Baren 22839] Re: more puzzle, last time I swear! Thanks for the kind comment ... would print it on damp paper next time ... too rushed this time. Also, I too have been using the green honing compound from Lee Valley. It is particularly good with gouges and other non-flat tools. Just make a cut in a piece of wood to get the shape of the tool. Then smear the compound into the wood of the cut. Then drag the tool backwards through the cut a few times ... puts a nice edge on. Save those slip stones for fixing chipped edges on your tools. By the way ... there is nothing really wrong with Speedball, in my humble opinion. They do not use much color to binder. BUT in wood-block print, that is often what one wants. They at least give you pigment numbers for their inks, which many do not. AND, if you want more color saturation, you can always add pigments to their inks. Cheers ...... Charles At 06:53 PM 9/20/03 -0400, you wrote: Cheers (which reminds me of Charles - I do like you sheep card!) Louise Cass ------------------------------ From: "marilynn smih" Date: Sun, 21 Sep 2003 10:52:31 -0700 Subject: [Baren 22840] Re: Baren Digest V24 #2379 Charles your sheep card arrived, what a delight. It makes me sad to have settled for such a silly card and design. Guess I will have to attempt something better for the group if I decide to carve the monkey. I have been working on this little mini plate, in small batches all week. I am the novice here and I have learned a lot. I thought it would be easier to use the oil inks as I am more familiar with them. Having done 2 hanga style woodcuts and attempted one other messy oil wood block I am really in that learning curve. Lino inks easier I think and I have done quite a few. I decided to just keep printing and use all 10 sheets pf magnani pescia I had ordered. It seems to have been a good idea because I am learning more as i go and the prints are getting better. There is so much skill to this printmaking stuff. One would think it lies in the carving of it, but the inking is just as important. Guess I am making these comments for other newbies. I knew to let the brayer go across the plate not adding pressure. I have learned that barbara is right about starting in the middle and rolling out. With practice and patience I am learning to gently set the brayer on the plate and roll, letting it do the work. the result is a nice even coat of ink, (some times) of course if you have those tricky low spots ooops. And I am getting a better feel for the thickness of ink and the way my plate should look when inked up right. It all takes time and practice. So guys when I send out these prints after my trip to Vegas you will get the best I could do while on my learning curve. I am learning to like pescia as a paper and am glad I chose to work with it. A comment on putting paintings into prints. I have done that a lot, I have a stack of watercolors and even oils and they make a great source for print designs. I have found the image always changes a lot when i change the medium and they become an entirely new work, having a new life of their own. I have placed watercolors under my plexy plates and painted and used the akua drawing tool with interesting results. some times i have let these designs go abstract, that is fun. I have taken watercolor designs that did not quite work in composition and changed them around and successfully made prints, even collographs. With a little inspiration we can make anything work eventually. Thanks tl all of you for your constant help and inspiration. And for other newbies the answer is to keep prionting, you can only get better! Marilynn ------------------------------ From: "Maria Arango" Date: Sun, 21 Sep 2003 11:05:13 -0700 Subject: [Baren 22841] RE: Ruth Leaf Ruth is much too modest, so I feel I have to chime in and say something. The first thing that strikes you when you meet her in person is her energy and wit. I hope I have her energy and love for printmaking when I turn...what are you now, Ruth? 49? ;-) Anyhow, this is one lovely lady and an incredibly intelligent and productive printmaker. Her knowledge and understanding of both art and printmaking, at a theoretical, historical and practical level, is unrivaled among anyone I have ever met. Oh yeah, she is witty and fun too! I only wish I had more time to plop myself down on her well equipped studio and absorb some of that energy and knowledge. Alas, my traveling life is demanding and unforgiving. As far as Ruth's art, I credit her with my very first aha!-understanding of what abstract art is and its purpose. Look close at some of her etchings and new woodcuts to see a superb handling of especially color but also every element that is present in great art. Rather than having settled on a comfortable style and process, which she easily could in her masterful handling of etchings, Ruth continues to explore and experiment and learn. Ruth, you truly are my number one idol and inspiration! Maria <||><||><||><||><||><||><||><||><||><||> Maria Arango maria#mariarango.com Las Vegas Nevada USA http://www.1000woodcuts.com <||><||><||><||><||><||><||><||><||><||> >Thank you Ray, Sharri ,and Carol, For your kind words. All the Fantasy >prints and Jan's Dahlias are painted with watercolors on the >front of the print. I >don't know what paper Munakata used but I found the water color >did not come >through the paper nicely. The woodcut is done with black relief >ink which if >left to dry for a few days allows the watercolors to glide right >over it. >The paper has been varied. I found a wonderful napalese paper >for the first few >prints but hiromi wasn't able to keep it in stock so I'm using >white kozo. >Any thinnish paper with a slight tooth is fine. Of course the prints are >slightly varied because it's fun to throw a little added color >sometimes but >basically they pretty much look alike. As for my memoirs, when I >can no longer >make prints I will think about it. Ruth > >http://www.ruthleaf.com ------------------------------ From: Barbara Mason Date: Sun, 21 Sep 2003 12:43:13 -0700 (PDT) Subject: [Baren 22842] Re: Calender monies Melissa, You can send pay pal to me (lbmason71#comcast.net) at the mall and I will forward it, or if you want to use visa, go into the mall and order the paper sample catalog and tell me the money is for Julio for the calendar and we will see he gets it. We will NOT send the paper sample catalog...but you have to order some little thing for the mall to work...actually I guess you could order anything you wanted as long as you let me know it is not a real order for supplies. Best to you, Barbara ReadDevine#aol.com wrote: Has anyone not yet sent Julio payment for their calender prints and have a Paypal account that I can send my payment to? It would be MOST appreciated. Fees for sending US Money Orders are rather high here. Mellissa Read-Devine Tennyson, Sydney, Australia www.depicture.com.au ------------------------------ From: Charles Morgan Date: Sun, 21 Sep 2003 10:11:19 -0700 Subject: [Baren 22843] Re: Baren Digest V24 #2378 Thanks for the report ... glad to hear the little wooly beggar did not lose his way ...... Cheers ...... Charles At 07:21 PM 9/20/03 -0700, you wrote: Oh, and least I forget, Charles, your sheep/goat arrived in my mail box last week and because I was madly printing I neglected to squeal delightedly and report it's appearance..thank you for a very witty report on it's genesis - which will go into the album with the print. ------------------------------ From: Charles Morgan Date: Sun, 21 Sep 2003 13:21:03 -0700 Subject: [Baren 22844] Re: Baren Digest V24 #2379 There are no silly cards or silly designs. We all do what we can at that point in our lives, with the experience we have and the time we have to spend. I do not think I have received a card or an exchange print) from which I did not learn something. I am probably newer at this than you are!!! Cheers ...... Charles At 10:52 AM 9/21/03 -0700, you wrote: Charles your sheep card arrived, what a delight. It makes me sad to have settled for such a silly card and design. Guess I will have to attempt something better for the group if I decide to carve the monkey. ------------------------------ From: "Maria Arango" Date: Sun, 21 Sep 2003 15:12:15 -0700 Subject: [Baren 22845] ops Also check: http://1000woodcuts.com/callsforentries/printops.html for recent postings September 30, 2003 Works on Paper - National Juried Exhibition. November 7 - December 31, 2003. Slide Deadline October 10. $1200 cash awards. Juror - Bernard Toale. Entry fee $25/3 slides, $35/4 slides, $45/5 slides. Send SASE to: South Shore Art Center, 119 Ripley Road, Cohasset MA 02025. 781-383-2787. www.ssac.org October 4, 2003 LA PETITE IX, small format art competition, 2 & 3 D, entries by slide or CD, $10 ea - 3/$25. $2200 Awards. Entry form: Alder Gallery, Box 8517, Coburg OR 97408 OR www.alderart.com October 4, 2003 Wind River Valley Artists' Guild, 5th Annual Miniature Art Show and Sale. November 7th - 17th, 2003. Entry forms and fees due October 31st. Non-juried show, open to all artists, all ages. For prospectus send SASE to: WRVAG Miniature Show, Box 26, Dubois WY 82513. Phone: (307) 455-3404. Email prospectus: wrvag#wyoming.com. Web site: wrvag.org October 31, 2003 "PORTRAITS REAL AND UNREAL," at The Stage Gallery; slide deadline October 31, show December 19 - January 19, 2004. Jurors: Committee of New York metropolitan area gallery irectors.. No commission; near Manhattan. Up to 3 slides $25, $5 each additional. Prospectus (required) by SASE to: "PORTRAITS," 11 Prospect Place, Massapequa NY 11758 OR download at http://www.stagegallery.org OR 516-797-9115 ALL ENTRIES RECEIVED THROUGH ART DEADLINES LIST FREE EDITION: To subscribe to the PREMIUM/PAID edition, go to: http://artdeadlineslist.com/subscribe To subscribe to the FREE Art Deadlines List, send a blank email message to: artdeadlineslist-subscribe#topica.com <||><||><||><||><||><||><||><||><||><||> Maria Arango maria#mariarango.com Las Vegas Nevada USA http://www.1000woodcuts.com <||><||><||><||><||><||><||><||><||><||> ------------------------------ From: Myron Turner Date: Sun, 21 Sep 2003 21:16:26 -0500 Subject: [Baren 22846] Bookmarks Again This just came in a calls and ops mailing list that I subscribe to--another bookmark project. The problem may be the deadline, however, which is October 15th. That would roughly give you 2 weeks to make the bookmark and one week to get it to the gallery. The Koffler Gallery is a well established commercial gallery in Toronto. (This show holds out the prospect of payment!) Myron Call For Submissions The Bookmark Project Part of FLEX. an ongoing program of site-works and interventions at the Bathurst Jewish Community Centre, organized by The Koffler Gallery November 9 to 16, 2003 Held in conjunction with the 27th Annual Jewish Book Fair Leah Posluns Theatre Lobby, Bathurst Jewish Community Centre Curator: Mark Prier Reception: Sunday, November 9, 2 - 4 pm, Koffler Gallery lobby For the second year in a row, the Koffler Gallery is organizing The Bookmark Project, an intervention of artist-design bookmarks. This year's theme, Pause, examines the bookmark's obvious function as a physical punctuation mark, an interruption of textual time, and its hidden function as a secondary visual text, promoting material of its own. The bookmark can interact, rework and hold the book's meaning by framing it with another message, that, while unchanging in content, moves across the book's pages with the reader. Both unique bookmarks and multiples by fine art students and practicing artists will be introduced into the 10,000 books on display during the Annual Jewish Book Fair, held in the Leah Posluns Theatre Lobby, Bathurst Jewish Community Centre. Bookmarks will also be on view simultaneously in the Koffler Gallery lobby showcases. Bookmarks for the intervention should be functional, and not damage or scratch the books on display. Artists are requested to submit two original bookmarks, one for the intervention that will not be returned, and one for display in the showcase. The Koffler Gallery is not responsible for the loss or damage of bookmarks submitted for consideration or those used during the Bookmark Project. Bookmarks will not be insured by the Koffler Gallery while on the gallery's premises or in its keeping. Artists whose bookmarks are accepted for this project will receive a nominal artist fee, the amount of which is dependent on the number of artists participating. Fees will be issued by mail within 30 days of the close of the exhibition. Deadline for Submissions: October 15, 2003 Results will be announced shortly afterwards For Submission forms and more information please see The Bookmark Project 2003 web site: bookmark.hellothisisalex.com or contact Mark Prier at bookmarkproject#yahoo.ca Forward submissions by mail to: The Bookmark Project, Attention Mark Prier The Koffler Gallery, Koffler Centre of the Arts Bathurst Jewish Community Centre 4588 Bathurst Street, Toronto, Ontario M2R 1W6 Canada tel (416) 636-1880 x268; fax (416) 636-5813 koffler#bjcc.ca; www.bjcc.ca ------------------------------ From: "carol wagner" Date: Sun, 21 Sep 2003 23:52:22 -0700 Subject: [Baren 22847] Re: enough $s? Julio, Just had a thought! Did I send you enough money for mailing back both calendars!? Please let me know if I need to send more... Carol in Sacramento ------------------------------ End of Baren Digest V24 #2380 *****************************