Baren Digest Friday, 3 October 2003 Volume 25 : Number 2394 ---------------------------------------------------------------------- From: Jan Telfer Date: Thu, 2 Oct 2003 22:34:09 +0800 Subject: [Baren 22972] Re: Web sites Dear Bette, >Jan, I enjoyed hearing about your experience in the Perth Royal Show. >Congratulations on your Second Prize with your calligraphy and Highly >Commended Prize with your woodblock! I too am a calligrapher and want >to >include it into my woodblock printing. > >I went to Graham's site to see your "Kimberley Colours" piece but >couldn't >find it there. Do you know how to locate it there? Thank you Bette for your kind words and Charles.....yes, Charles..... the wooden duck was just like one of those Graham had in his garage...I wonder if that was the "decoy"! The website for Kimberley Colours is: http://www.woodblock.info/bootcamp/20022ndprints.html This had six blocks, I think seven or eight colours and 19 printings. The colour is stronger in its original state. This print actually has no calligraphy on it at all, but I have used calligraphy on several pieces and have recently finished carving a solid cherry block in Gothic lettering (Black Letter) that I will be printing in the near future... maybe for an exchange that caters for a block approximately 8" x 6" (hint....hint) If you go to the beginning of the Bootcamp section at: http://www.woodblock.info/bootcamp/ you can see the hillarities we also got up to each year with different groups and follow the prompts with the actual prints under "Print Exhibition Next Page" (several pages later!!) >I'd like to see more of your calligraphy. Do you have a website? No, Bette I don't have my own website, but I do have a few screenprints with calligraphy bits on World Printmakers. The screenprints with lettering are using photographic screens and transparent oil based inks and the woodblocks of The Great Aussie Flag Debate are using an oilbased woodblock outline, large areas of colour are brushed watercolour and the calligraphy is done with a chizel Mitchell nib (size 4 I think) and gouache. This is one of several in a series using the woodblock as a "base" print outline and the different sections of the flag are coloured in. Another in the series (eg the Union Jack - the British Flag and part of the blue of the Australian flag are coloured) and then "God Save our Gracious Queen" written within the blowing end of the flag. This was our old National Anthem before they changed it to "Advance Australia Fair" . I have quite a lot of woodblocks that I have calligraphed either on, over or around the edge as one off pieces. If you click on my name or the one and only one with "Australia" beside it.....the last time I looked there! One of these days I may get a web page. http://www.worldprintmakers.com http://www.worldprintmakers.com/english/artists.htm (April Vollmer has an interview on currently) http://www.worldprintmakers.com/english/telfer/telfer.htm http://www.worldprintmakers.com/janetch.htm "Jack of all trades, master of none!" There are several Baren calligraphers. It's that duck that I am still shaking my head at....and I don't even know whether it floats! Jan ------------------------------ From: Daniel Dew Date: Thu, 02 Oct 2003 11:15:23 -0400 Subject: [Baren 22973] FW: 13th national - call for entries Thought this might be of interest to my "friends". d. dew - ---------- From: LiseDrost#aol.com Subject: 13th national - call for entries Florida Printmakers 13th National Juried Competition E X T E N D E D Application deadline: NOVEMBER 1, 2003 Awards: A minimum of $1000 cash awards Media: All hand-pulled print media; no photographs. Each artist may submit up to three (3) entries. Size/other restrictions: There is no size limit but works must be able to be shipped by UPS or be hand-delivered. Entry fee/format: Non-members: $25 for up to three entries. Members: $10 for up to three entries PLUS $25 yearly membership dues ($35 total if you are new or renewing at this time) Membership in Florida Printmakers also makes you eligible for Florida Printmakers members exhibitions and print exchanges, regardless of what state you live in. Student membership is $15 per year (please send copy of current school ID card). Acceptance/other fees: The artist must pay shipping to the gallery for accepted works; Florida Printmakers will pay for return shipping. Juror: Brad Shanks, University of South Florida Show/event dates: February 1 - 28, 2004 Address for prospectus: Florida Printmakers c/o The University of Miami Department of Art and Art History, 1540 Levante Ave., Coral Gables, FL 33146. Attn: Lise Drost. Send SASE for full prospectus, or email FLPrintmakers#aol.com or download it in PDF form from website: http://www.as.miami.edu/art/florida-printmakers.html Thanks! ------------------------------ From: charles mcneely Date: Thu, 2 Oct 2003 09:13:15 -0700 (PDT) Subject: [Baren 22974] Re: hanga questions Thanks for the suggestionns, Mike. I found that the batch of paste was way too thick and the amount of ink/paste applied too heavy. When I started using a thiner paste I started to get good ink penetration with the paper, and no bleed over on the other prints in the stack. as with most thing the more you do it the better you get, after about 30-40 prints I'm starting to get the hang of how much ink to work on the board. After getting through this learn phase i can see some of the benefits of moku-hanga over oil ,especially for multi color prints. Each has its one look and feel. Charles McNeely ------------------------------ From: FurryPressII#aol.com Date: Thu, 2 Oct 2003 12:56:44 EDT Subject: [Baren 22975] Re: Web sites I would say I do a wee bit of calligraphy -- currently on my 70 page of a Passover haggadot block book. I enjoy cutting fonts of type transferred to wood blocks. The reason I started doing zerox transfers was to do hand cut wood type. I collect old wood type and not all my fonts were complete so i whould have to cut a few extea letters esp on letters that are more commonly used. Unless i was using endgrain maple it was rather hard to make the letters match even if i cut them the same. The grain would ofen show up on the hand cut letters so it was easier and gave me more choice of fonts if i just cut the whole message as a block instead of single letters. That way they all print the same. And setting the font on the computer and then transfering it to a wood block give you an unlimited number of point sizes and fonts to chose from and you don't have to distribute it when you are finished. John Center ------------------------------ From: "GONZALO FERREYRA" Date: Thu, 02 Oct 2003 12:15:31 -0700 Subject: [Baren 22977] Newbie Hello everyone, I've been something of a voyeur for some time, peeking at you all by way of the digest version, but have decided to take the plunge and introduce myself (and while I'm at it, perhaps draw on your collective wisdom). My woodblock printmaking adventure began in earnest about a year ago, when a long-simmering interest blossomed courtesy of some web excursions...checking out Hasui and Yoshida, reading every word of David Bull's site, reading up on ukiyo-e, and somewhat obsessively googling to find every image or reference out there. Along the way, I decided (largely thanks to all of you and to David's inspiring site) to try my hand at carving and printing, and so here I am after a few earnest attempts, many mistakes, several epiphanies, and still bursting with more curiosity since, I think it's fair to say, my childhood. Before anything more, a thank you to you all for your generosity and enthusiasm. I haven't been motivated to jump in before largely because you collectively do such a fabulous job of anticipating anything that may come up for a beginner. That said, I have what is no doubt a beginner's question: Let's just say you've done a fine job of carving and late in the game make a slight (but heartbreaking) mistake that just can't be overlooked? Specifically, I sliced through a keyblock line, removing about a 1/8 inch segment. Do I stand a chance of repairing the block with a patch and some carpenter's glue? Do I carve this line onto another block and attempt to fill in the gap? Or should I just learn from this and move on? Any advice would be much appreciated. Best, Gonzalo Ferreyra ------------------------------ From: Barbara Mason Date: Thu, 2 Oct 2003 12:36:13 -0700 (PDT) Subject: [Baren 22978] Re: Newbie There are a couple of ways to do this...one, you get a samll paint brush and paint the line on each print.... or You cut out a piece of wood from the edge if your block, outside the carving area and glue it in. Then you recarve. Use contct cement or "airplane glue". It dries quickly. Hold or weight it down for a couple of minutes. Somewhere in the archives there are directions for this, but I could not find it. I usually just carve out a square and glue in a square. If there is a tiny gap, it will fill up when you get the block wet, but try to get as tight a fit as you can. Then sand the area smooth with sand paper and a block of wood, carefully. We have all done this and if you have the piece you chopped out, that is the best one to glue back in...usually it is long gone into the wood scraps. John Amoss did a good graphic of this in the past, wahoo, I found it...here it is http://www.barenforum.org/encyclopedia/entries/006_04/006_04_frame.html Best of luck to you, Barbara GONZALO FERREYRA wrote: >I sliced through a keyblock line, removing about a 1/8 inch >segment. > >Do I stand a chance of repairing the block with a patch and some carpenter's >glue? Do I carve this line onto another block and attempt to fill in the >gap? Or should I just learn from this and move on? Any advice would be >much appreciated. > ------------------------------ From: "MPereira" Date: Thu, 2 Oct 2003 16:52:32 -0300 Subject: [Baren 22979] Re: Shunga / Erotic exchange Please, Mike, or everybody : where can i see Shunga ? As my first step to Exchange # 19 i need to begin my research . Interesting that yesterday i walk out (!?wright!?) thinking of it and went to the gallery of the "AssociaŤ‹o dos Artistas Pl‡sticos" and there was an exposition of the artist Antonio Nicolau - for me unknown till that day - and there was right to the door a litlle oil with a couple, both naked, they were in a position of loving the man had a red in the place round the mouth in a colour, "tom", that didin't fix with the painting and then I watch better and saw it was the lipstick of the woman that had passed to him. The woman was more in front and the man behind her half body , and it was just the trunk. Is this shonga? And Mr Nicolau painted it not realistic but expressionistically. And there were more two sculptures too with man and women making love, as you say in English. Murilo in floripa PS. It is a little Robert Genn, isn't it? ------------------------------ From: "Maria Arango" Date: Thu, 2 Oct 2003 13:36:38 -0700 Subject: [Baren 22980] puzzle..yes, again! and wood filler charset Two more blocks received frooooom Mike Lyon and Patsy Giclas, thank you both kindly. This brings the total MIA's to 6, 3 of them have yet to receive the blank block to substitute for the ones that quit. All in all, I'm pleased only 3 blocks had to be replaced, so thank you those of you who carved and carved to get it done despite "life," and thank you to the "subs" who stepped up for the group when we needed them. Most of all, thank you to all of you for playing, and a special thanks to those of you who got the piece to me on time. In art festivals you learn that following the rules gets you nothing but the worst parking space and the least shade...yet some of us continue to follow the rules. A global thanks to the rule followers for meeting the deadline. Finally a note on the philosophy of the project itself. Some have asked if they can have their blocks back. I am hoping instead to keep the entire puzzle together, perhaps a museum someplace can keep it in their collection and I'm certainly going to ask around here. No, this puzzle is staying together. When I first envisioned this project, I wanted to do something that would be an analogy for our beloved Baren group. I wanted to show that the whole is much more than the sum of the parts (to use the cliche). But further that the parts are insignificant and nearly meaningless, as shown by the silly strange shapes of your blocks, until they are placed in their slot. Together, the silly blocks become art, not just the art we make every day, but the art that comes from belonging and from "flocking together." You have no idea how much pleasure it gives me to drop each little block into its slot and watch the "whole" take form. Like Baren, each of us in their own little world, far apart, yet all come together for this project, and hopefully many more to come. I'm hoping to include more members in the next, already mulling over an idea or two... And to the new member who asked about mistakes...wood-filler, my friend, get the good kind. There is a little tube of kneadable two-part wood filler that I have used even for filling engraving blocks, brand name QuikWood (epoxy putty). Sandable and carvable and sticks tight to its spot. Maria <||><||><||><||><||><||><||><||><||><||> Maria Arango maria#mariarango.com Las Vegas Nevada USA http://www.1000woodcuts.com <||><||><||><||><||><||><||><||><||><||> ------------------------------ From: Bette Wappner Date: Thu, 02 Oct 2003 17:04:58 -0400 Subject: [Baren 22981] Re: Shunga / Erotic exchange murilo, here is a photo of one of the Shunga books that we all at the Spencer Museum in Kansas City, Mo USA during our Baren Summit tour in June 2003. other members of Baren have more knowledge of Shunga than I do, but the photo is interesting and a rare experience to see such a book and to hold it was spectacular! http://tinyurl.com/pi4g bette wappner more Baren Summit photos link: http://photos.yahoo.com/betteangel ------------------------------ End of Baren Digest V25 #2394 *****************************