Today's postings
- [Baren 23776] Re: New Baren Digest (HTML) V25 #2498 (Jan 1, 2004) (Sharri LaPierre)
- [Baren 23777] Exchange #20 Sign-up is open! (Mike Lyon)
- [Baren 23778] Re: introduction of new member (Mike Lyon)
- [Baren 23779] Six Water based block ink questions, Greetings and Happy New Year! (Shasta Jones)
Message 1
From: Sharri LaPierre
Date: Thu, 1 Jan 2004 12:55:16 -0800
Subject: [Baren 23776] Re: New Baren Digest (HTML) V25 #2498 (Jan 1, 2004)
Send Message: To this poster
I just received this from a friend. Are any of you acquainted with
this outfit, or know anything about them?
***
Get your art career sorted for 2004 by lining up your lcoal and international art competitions, grants and residencies. The GAID Directory and online subscription is the largest listing of quality art opportunities from around the world.
Pop into www.globalartinfo.com to see our great site.
$ 24 gets you the GAID 2004 Art Information Directory - with 1 years online updates.
$ 14 for the GAID 2004 PDF - with 1 years online updates.
$ 14 for the GAID 2004 CD Rom - with 1 years online updates.
***
Any info you have on this would be appreciated. Thanks,
Sharri
this outfit, or know anything about them?
***
Get your art career sorted for 2004 by lining up your lcoal and international art competitions, grants and residencies. The GAID Directory and online subscription is the largest listing of quality art opportunities from around the world.
Pop into www.globalartinfo.com to see our great site.
$ 24 gets you the GAID 2004 Art Information Directory - with 1 years online updates.
$ 14 for the GAID 2004 PDF - with 1 years online updates.
$ 14 for the GAID 2004 CD Rom - with 1 years online updates.
***
Any info you have on this would be appreciated. Thanks,
Sharri
Message 2
From: Mike Lyon
Date: Thu, 01 Jan 2004 15:11:03 -0600
Subject: [Baren 23777] Exchange #20 Sign-up is open!
Send Message: To this poster
Exchange #20 is open for sign-up
at http://www.barenforum.org/exchange/exchange_sign-up.html -- PLEASE
NOTE: new rules for participants are included on the sign-up and
information pages. PLEASE READ THEM BEFORE SIGNING UP! These have been
included in an effort to reduce the alarming number of late
"dropper-outers" in recent exchanges.
Actually, #20 has been open for about five hours already, but I so enjoyed
sleeping late this New Year's morning, then lounging around with wife and
kids and dog. Leisurely breakfast, nice walk in our 60 degree 'heat', then
down to the studio to re-wet the half-completed papers for my current
print. Happened to check my mail and noticed (of all things) SIGN-UP forms
for #20! YIKES!!!! I hadn't changed to 'thank-you' message from "oops,
too early" to "congratulations, but never fear -- your sign-ups made it to
me nonetheless. I have received sign-ups from:
Randi DeLisle
George Jarvis
Andrew Schroeder
so far (thank you for your patience)!
DETAILS of [Baren Exchange #20]
http://www.barenforum.org/exchange/exchange_sign-up.html
PARTICIPATION: The mailing list that makes up [Baren] is open to everyone
to join, and the membership is thus made up of a mix of 'lurkers' and
active participants in the forum. Signing up for an Exchange obliges your
active participation in [Baren] discussions... If you remain a 'mystery'
name, it leaves everyone feeling quite uncomfortable.
MEDIUM: woodblock print (hand rubbed or pulled on a press, B&W or colour,
any pigments, any paper). Note: The Baren Exchange is a program for forum
members to create, exchange and display editions of woodblock prints.
Relief prints pulled from wood substitutes and wood-like materials,
including linoleum, corian, MDF, resingrave, and similar are acceptable as
are collagraphs. Coordinators are obligated to reject prints whose primary
method of production is by other means. For example: monotype, intaglio,
stencil, lithography, ink jet, laser, photocopy, etc are to be rejected by
the coordinator.
THEME: no restriction.
IMAGE SIZE: no restriction.
PAPER SIZE: o-ban about 15 x 10 inches (38 x 25.5 cm). Note: coordinators
are obligated to reject prints which exceed either dimension by more than
1/2" (2.5 cm).
PAPER TYPE: no restriction
REGISTRATION PERIOD: One month starting January 1, 2004 (or until 30
participants are enrolled)
DROP-OUT DEADLINE: April 1st, 2004 If you must drop out of the exchange,
please do so as early as possible in order to give people on the waiting
list time to complete and submit their prints. If you drop out after this
date then a penalty may be imposed.
DELIVERY DEADLINE FOR FINISHED PRINTS: May 1st, 2004 -- if you do not
deliver acceptable prints by this date then a penalty may be imposed. You
must deliver 31 prints, a self-addressed mailing label, and sufficient
return postage (in the coordinator's native currency or postage). If you do
not know the exact amount of return postage, please send more than you
think will be required, for example $10 for USA to USA delivery, $20 for
international delivery. The coordinator is a volunteer and is not obligated
to return your prints unless you enclose enough postage. Coordinators are
volunteers, and cannot be expected to pay your expenses. If you order one
of our beautiful storage cases you may package your prints as you prefer.
Otherwise please deliver your prints in a package that can easily be reused
for shipping the collated suite back to you.
COLLATED EXCHANGE MAILING DEADLINE: June 1st, 2004. The coordinator is
required to complete mailing the collated prints on or before this date.
COLOPHON INFORMATION: Please fill out and submit the print information form
to send your print details for the colophon page the coordinator will
prepare as soon as possible after your prints are mailed.
REJECTED PRINTS: If your prints do not conform to the above specifications
for Medium, Image size, Paper size, Paper type, and/or Delivery deadline
then the coordinator should promptly reject them, notify you by email, and
(if you enclosed sufficient postage) promptly return them. You may repair
and/or replace the prints prior to the delivery deadline or drop out of the
exchange prior to the drop-out deadline without penalty, otherwise a
penalty may be imposed.
COMMUNICATIONS: It is essential that the coordinator be in close and timely
communication with you. You must respond promptly to e-mails sent from the
coordinator and must notify the coordinator of any change in e-mail
address. If you become 'lost' and do not respond to communications from the
coordinator, you may be dropped from the exchange without further notice.
If this occurs after the Drop-out deadline, a penalty may imposed.
PENALTY: The [Baren] Exchange Manager will promptly notify you by email if
it is determined that you may be subject to penalty. After serious
deliberation while keeping in mind these specifications, the mission of
[Baren], the circumstances, and any explanation you provide, the [Baren]
Exchange Manager will decide whether to impose any penalty and will
promptly notify you of that decision. Any such penalty will be limited to
removing your name from any active exchange sign-up and exchange
participants lists for a period not to exceed one year.
DELIVERY INFORMATION: You must enclose 31 prints, a self-addressed mailing
label, and sufficient return postage (in the coordinator's native currency
or postage). If you do not know the exact amount of return postage, please
send more than you think will be required, for example $10 for USA to USA
delivery, $20 for international delivery. The coordinator is a volunteer
and is not obligated to return your prints unless you enclose enough
postage. Coordinators are volunteers, and cannot be expected to pay your
expenses. If you order one of our beautiful storage cases you may package
your prints as you prefer. Otherwise please deliver your prints in a
package that can easily be reused for shipping the collated suite back to
you. See USPS.com for precise rate information. In the USA, the best way to
send the prints is Priority Mail -- the post office will even provide the
box! It is $3.95 to $5.75 for up to 2 lbs depending on distance. For Global
Priority Mail (outside the US), enclose $11 to Canada, $13 to Mexico, $15
to Europe, $16 to Australia, Japan, New Zealand.
Address to which Exchange #20 prints should be shipped:
To be announced (please check
http://www.barenforum.org/exchange/exchange_20/exchange_20.html for up to
date information)
Exchange #19 participants are encouraged to sign-up for #20 immediately,
but will be held to the end of the list for the first week of sign-up in
order to give others a better chance to get in.
Good luck and HAPPY NEW YEAR !!!
Mike Lyon, manager
BarenForum Print Exchanges
http://www.barenforum.org/exchange/index.html
http://mlyon.com
at http://www.barenforum.org/exchange/exchange_sign-up.html -- PLEASE
NOTE: new rules for participants are included on the sign-up and
information pages. PLEASE READ THEM BEFORE SIGNING UP! These have been
included in an effort to reduce the alarming number of late
"dropper-outers" in recent exchanges.
Actually, #20 has been open for about five hours already, but I so enjoyed
sleeping late this New Year's morning, then lounging around with wife and
kids and dog. Leisurely breakfast, nice walk in our 60 degree 'heat', then
down to the studio to re-wet the half-completed papers for my current
print. Happened to check my mail and noticed (of all things) SIGN-UP forms
for #20! YIKES!!!! I hadn't changed to 'thank-you' message from "oops,
too early" to "congratulations, but never fear -- your sign-ups made it to
me nonetheless. I have received sign-ups from:
Randi DeLisle
George Jarvis
Andrew Schroeder
so far (thank you for your patience)!
DETAILS of [Baren Exchange #20]
http://www.barenforum.org/exchange/exchange_sign-up.html
PARTICIPATION: The mailing list that makes up [Baren] is open to everyone
to join, and the membership is thus made up of a mix of 'lurkers' and
active participants in the forum. Signing up for an Exchange obliges your
active participation in [Baren] discussions... If you remain a 'mystery'
name, it leaves everyone feeling quite uncomfortable.
MEDIUM: woodblock print (hand rubbed or pulled on a press, B&W or colour,
any pigments, any paper). Note: The Baren Exchange is a program for forum
members to create, exchange and display editions of woodblock prints.
Relief prints pulled from wood substitutes and wood-like materials,
including linoleum, corian, MDF, resingrave, and similar are acceptable as
are collagraphs. Coordinators are obligated to reject prints whose primary
method of production is by other means. For example: monotype, intaglio,
stencil, lithography, ink jet, laser, photocopy, etc are to be rejected by
the coordinator.
THEME: no restriction.
IMAGE SIZE: no restriction.
PAPER SIZE: o-ban about 15 x 10 inches (38 x 25.5 cm). Note: coordinators
are obligated to reject prints which exceed either dimension by more than
1/2" (2.5 cm).
PAPER TYPE: no restriction
REGISTRATION PERIOD: One month starting January 1, 2004 (or until 30
participants are enrolled)
DROP-OUT DEADLINE: April 1st, 2004 If you must drop out of the exchange,
please do so as early as possible in order to give people on the waiting
list time to complete and submit their prints. If you drop out after this
date then a penalty may be imposed.
DELIVERY DEADLINE FOR FINISHED PRINTS: May 1st, 2004 -- if you do not
deliver acceptable prints by this date then a penalty may be imposed. You
must deliver 31 prints, a self-addressed mailing label, and sufficient
return postage (in the coordinator's native currency or postage). If you do
not know the exact amount of return postage, please send more than you
think will be required, for example $10 for USA to USA delivery, $20 for
international delivery. The coordinator is a volunteer and is not obligated
to return your prints unless you enclose enough postage. Coordinators are
volunteers, and cannot be expected to pay your expenses. If you order one
of our beautiful storage cases you may package your prints as you prefer.
Otherwise please deliver your prints in a package that can easily be reused
for shipping the collated suite back to you.
COLLATED EXCHANGE MAILING DEADLINE: June 1st, 2004. The coordinator is
required to complete mailing the collated prints on or before this date.
COLOPHON INFORMATION: Please fill out and submit the print information form
to send your print details for the colophon page the coordinator will
prepare as soon as possible after your prints are mailed.
REJECTED PRINTS: If your prints do not conform to the above specifications
for Medium, Image size, Paper size, Paper type, and/or Delivery deadline
then the coordinator should promptly reject them, notify you by email, and
(if you enclosed sufficient postage) promptly return them. You may repair
and/or replace the prints prior to the delivery deadline or drop out of the
exchange prior to the drop-out deadline without penalty, otherwise a
penalty may be imposed.
COMMUNICATIONS: It is essential that the coordinator be in close and timely
communication with you. You must respond promptly to e-mails sent from the
coordinator and must notify the coordinator of any change in e-mail
address. If you become 'lost' and do not respond to communications from the
coordinator, you may be dropped from the exchange without further notice.
If this occurs after the Drop-out deadline, a penalty may imposed.
PENALTY: The [Baren] Exchange Manager will promptly notify you by email if
it is determined that you may be subject to penalty. After serious
deliberation while keeping in mind these specifications, the mission of
[Baren], the circumstances, and any explanation you provide, the [Baren]
Exchange Manager will decide whether to impose any penalty and will
promptly notify you of that decision. Any such penalty will be limited to
removing your name from any active exchange sign-up and exchange
participants lists for a period not to exceed one year.
DELIVERY INFORMATION: You must enclose 31 prints, a self-addressed mailing
label, and sufficient return postage (in the coordinator's native currency
or postage). If you do not know the exact amount of return postage, please
send more than you think will be required, for example $10 for USA to USA
delivery, $20 for international delivery. The coordinator is a volunteer
and is not obligated to return your prints unless you enclose enough
postage. Coordinators are volunteers, and cannot be expected to pay your
expenses. If you order one of our beautiful storage cases you may package
your prints as you prefer. Otherwise please deliver your prints in a
package that can easily be reused for shipping the collated suite back to
you. See USPS.com for precise rate information. In the USA, the best way to
send the prints is Priority Mail -- the post office will even provide the
box! It is $3.95 to $5.75 for up to 2 lbs depending on distance. For Global
Priority Mail (outside the US), enclose $11 to Canada, $13 to Mexico, $15
to Europe, $16 to Australia, Japan, New Zealand.
Address to which Exchange #20 prints should be shipped:
To be announced (please check
http://www.barenforum.org/exchange/exchange_20/exchange_20.html for up to
date information)
Exchange #19 participants are encouraged to sign-up for #20 immediately,
but will be held to the end of the list for the first week of sign-up in
order to give others a better chance to get in.
Good luck and HAPPY NEW YEAR !!!
Mike Lyon, manager
BarenForum Print Exchanges
http://www.barenforum.org/exchange/index.html
http://mlyon.com
Message 3
From: Mike Lyon
Date: Thu, 01 Jan 2004 15:23:35 -0600
Subject: [Baren 23778] Re: introduction of new member
Send Message: To this poster
At 11:58 AM 12/31/2003 -0800, Earl Taft wrote:
>I still don't quite understand the Japanese registration method. I cut my
>registration block larger than the others so I could cut the corner and
>edge registration marks into it. As I understand it, I print the
>registration block first on the prints and somehow use the marks to align
>the prints on the color blocks. Since I intend to use mulberry paper from
>the Baren Mall, will I be able to see the marks through the back side? Or
>do I have to carefully line the marks up directly as it is laid on the blocks?
Welcome to BarenForum, Earl!
About registration:
Traditional Japanese registration (kento) method is achieved by carving a
'seat' for one corner of the paper and an adjacent side (normally the long
side is used). Each paper to be printed is first 'bumped' into the corner,
where it is held by the thumb (the fingers scissor the paper and curl it up
in order to prevent it from touching the printing surfaces before
registration is effected), then gently pulled and 'bumped' against the side
registration where the other thumb holds it as the scissoring fingers
release their hold and the paper is allowed to lay down onto the block.
So your original drawing should include an 'L' for the corner and a '-' for
the side where you want them. That way they may be copied to each block to
be used. Or your first block, your key block should be printed (including
the carved kento) onto special paper (probably NOT mulberry paper -- check
the archives for recent discussions about "hanshita" papers -- enough
prints so there's at least one for each block you intend to carve. Then
ALL the blocks will have their registration marks carved in exactly the
same relationship to your image, and your prints will be in register.
Clear as mud? Use the 'search' fields at the top of http://barenforum.org
to search the Encyclopedia and the Archives for "kento" and you will find a
wealth of information!
Good luck!
Mike
Mike Lyon
http://mlyon.com
>I still don't quite understand the Japanese registration method. I cut my
>registration block larger than the others so I could cut the corner and
>edge registration marks into it. As I understand it, I print the
>registration block first on the prints and somehow use the marks to align
>the prints on the color blocks. Since I intend to use mulberry paper from
>the Baren Mall, will I be able to see the marks through the back side? Or
>do I have to carefully line the marks up directly as it is laid on the blocks?
Welcome to BarenForum, Earl!
About registration:
Traditional Japanese registration (kento) method is achieved by carving a
'seat' for one corner of the paper and an adjacent side (normally the long
side is used). Each paper to be printed is first 'bumped' into the corner,
where it is held by the thumb (the fingers scissor the paper and curl it up
in order to prevent it from touching the printing surfaces before
registration is effected), then gently pulled and 'bumped' against the side
registration where the other thumb holds it as the scissoring fingers
release their hold and the paper is allowed to lay down onto the block.
So your original drawing should include an 'L' for the corner and a '-' for
the side where you want them. That way they may be copied to each block to
be used. Or your first block, your key block should be printed (including
the carved kento) onto special paper (probably NOT mulberry paper -- check
the archives for recent discussions about "hanshita" papers -- enough
prints so there's at least one for each block you intend to carve. Then
ALL the blocks will have their registration marks carved in exactly the
same relationship to your image, and your prints will be in register.
Clear as mud? Use the 'search' fields at the top of http://barenforum.org
to search the Encyclopedia and the Archives for "kento" and you will find a
wealth of information!
Good luck!
Mike
Mike Lyon
http://mlyon.com
Message 4
From: Shasta Jones
Date: Thu, 1 Jan 2004 22:46:48 -0800 (PST)
Subject: [Baren 23779] Six Water based block ink questions, Greetings and Happy New Year!
Send Message: To this poster
Hi all,
Just happened upon this list and was checking out the
archives, it seems to be a wonderful group! Happy new
year to all.
I was wondering if anyone could answer a couple of
questions that I have had for a few years now.
I have had some experience with oil based printmaking
inks. I thought I would now try my hand at water
based and just acquired some Faust inks from an old
friend who was not using them. I have heard also
about mixing my own pigments for water based prints
and the Akua brand inks.
My questions are, the ink I have seems very thick and
stiff for water based (compared to my experience I had
with watercolor painting in my college days). Do most
water based printmakers mix their inks with water
prior to printing an edition? Or are water-based
inks, such as the Faust brand, applied to the block
right out of the can?
I’m curious because I was not expecting such a thick
consistency with the water based inks similar to my
oil based inks I am used to.
What are some of the advantages, disadvantages of
using the faust inks, compared to mixing my own
pigments with water and gum Arabic?
I have also heard of the Akua colors; are those inks
thin compared to the Faust or Graphic Water based
block inks? Why would I want to use the Akua or mix my
own pigments, instead of using the Faust or graphic
water based block inks? Are there major differences
between the Graphic and Faust block inks?
Lastly would water based inks such as my Faust, or any
other water based inks for that matter, be appropriate
for doing end grain work?
Thanks very much anyone, and I’ll listen in on this
one.
__________________________________
Just happened upon this list and was checking out the
archives, it seems to be a wonderful group! Happy new
year to all.
I was wondering if anyone could answer a couple of
questions that I have had for a few years now.
I have had some experience with oil based printmaking
inks. I thought I would now try my hand at water
based and just acquired some Faust inks from an old
friend who was not using them. I have heard also
about mixing my own pigments for water based prints
and the Akua brand inks.
My questions are, the ink I have seems very thick and
stiff for water based (compared to my experience I had
with watercolor painting in my college days). Do most
water based printmakers mix their inks with water
prior to printing an edition? Or are water-based
inks, such as the Faust brand, applied to the block
right out of the can?
I’m curious because I was not expecting such a thick
consistency with the water based inks similar to my
oil based inks I am used to.
What are some of the advantages, disadvantages of
using the faust inks, compared to mixing my own
pigments with water and gum Arabic?
I have also heard of the Akua colors; are those inks
thin compared to the Faust or Graphic Water based
block inks? Why would I want to use the Akua or mix my
own pigments, instead of using the Faust or graphic
water based block inks? Are there major differences
between the Graphic and Faust block inks?
Lastly would water based inks such as my Faust, or any
other water based inks for that matter, be appropriate
for doing end grain work?
Thanks very much anyone, and I’ll listen in on this
one.
__________________________________