Today's postings

  1. [Baren 25263] Re: New Baren Digest (Text) V27 #2683 (Jun 13, 2004) (Lana Lambert)
  2. [Baren 25264] Re:Power grip carving tool (Mike Lyon)
  3. [Baren 25265] Split Font and Paste (Lana Lambert)
  4. [Baren 25266] Re:Power grip carving tool (Myron Turner)
  5. [Baren 25267] Re: New Baren Digest (HTML) V27 #2683 (Jun 13, 2004) (Sharri LaPierre)
  6. [Baren 25268] Re: New Baren Digest (HTML) V27 #2683 (Jun 13, 2004) ("marilynn smih")
  7. [Baren 25269] Leftie Prints, etc. (ArtfulCarol #
  8. [Baren 25270] Re: New Baren Digest (Text) V27 #2683 (Jun 13, 2004) ("Mary Ann Brooks-Mueller")
  9. [Baren 25271] Re: Politics & art (Wanda Robertson)
  10. [Baren 25272] Message from Florida Printmakers (Wanda Robertson)
  11. [Baren 25273] Re: japanese woodblock tools ("Ian Elcoate")
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Message 1
From: Lana Lambert
Date: Sun, 13 Jun 2004 08:25:21 -0700 (PDT)
Subject: [Baren 25263] Re: New Baren Digest (Text) V27 #2683 (Jun 13, 2004)
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Okay, sorry guys. Today is the day that I'm hunkering
down to clear out my email box (279 unread emails
strong) I haven't been up to date to the current
discussion on printmaking and politics but I also
agree that it is a little inevitable. I just
graduated from the Corcoran and am still struggling to
nail down a confident explanation to people about why
one should do fine art printmaking. When one of my
friends came by the studio to look at a litho stone I
did, she wrinkled up her nose and said "Wouldn't it be
easier to just draw it on paper?" I told her yes but
then there would be only one. Now, I will not deny
that printmaking is somewhat a money making concept
(more copies=more money) BUT the art is significantly
cheaper than an "original". Thus, the art can be
easier to disperse amongst a larger group of more
diverse individuals. What a wonderful art form!
Everyone can enjoy it! And the skills needed to pull
a "good" print are right up there with the skills
needed to paint a good oil painting. Politics then,
are inevitably linked to printmaking because it is a
more fluid media for communication to a public group
and there is less of a hierarchy that one must belong
to in order to experience the work. So, I step down
off the soap box now and go rifle through my other


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Message 2
From: Mike Lyon
Date: Sun, 13 Jun 2004 10:38:40 -0500
Subject: [Baren 25264] Re:Power grip carving tool
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Carol Lyons wrote:
>Can someone tell me what you do with a "parting" tool and a "skew" tool
>pictured in the above Lee Valley page?Thank you.

"parting tool" and "skew chisel" are the English names for "V-gouge" and
"Toh" with which Baren'ers are more familiar... The names, I believe, are
borrowed from typical wood turning tools which are quite similar in
appearance but generally much larger...

-- Mike

Mike Lyon
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Message 3
From: Lana Lambert
Date: Sun, 13 Jun 2004 09:15:37 -0700 (PDT)
Subject: [Baren 25265] Split Font and Paste
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Okay, posting again.

1. Now, I know of the graduating technique with the
Maru bake's but I wanted to try a split font in a
print. I'm afraid that I wouldn't get very far with a
split font in using a Maru Bake because eventually the
colors would mix but I may be wrong. I was thinking
large scale with about 3 to 4 colors and I know Daniel
Smith carried sponge rollers but they were only 2
inches long. Any suggestions?

2. It was an interesting suggestion to use Methyl
Cellulose as a binding agent for ink. I'm a die hard
purist with Rice Starch but in case of emergency, I
have a supply of wheat starch. The prospect of no
insect damage is tempting though (Methyl Cellulose).
But, I thought I would share something interesting....
I had the oppurtunity to view some works by an islamic
calligrapher (the same one who designed the
calligraphic holiday stamps that are blue and gold)
and it took him 18 years to get certified to even
produce his work with accredidation. ANYWAY, he makes
his own ink and paste for setting the illustration in
a portfolio. He makes a thick wheat paste and sets it
in his garage for a week. He says he lets it mold and
then skims the mold off the top and uses it. He says
it's stronger that way. Just a little information of

P.S. To make the ink, he burns an oil lamp under a
clay pot until the wick is dry and then scrapes the
carbon off the bottom of the inverted clay pot. He
then mixes it with gum arabic for a very black ink.
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Message 4
From: Myron Turner
Date: Sun, 13 Jun 2004 11:24:09 -0500
Subject: [Baren 25266] Re:Power grip carving tool
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I was under the impression that the "skew" was at a different angle than
the traditional knife?
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Message 5
From: Sharri LaPierre
Date: Sun, 13 Jun 2004 09:29:58 -0700
Subject: [Baren 25267] Re: New Baren Digest (HTML) V27 #2683 (Jun 13, 2004)
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Thank you, I am in strong agreement with you.

I appreciate that the purpose of Baren is to discuss printmaking - even
narrowed to discuss only woodblock by some, and even narrower to be
only Japanese woodblock to others. However, since this is the only
forum I make time for, I appreciate hearing anything which is of
importance to artists, be it political or otherwise. Perhaps I need to
find another forum, though I doubt I will, if this one become much
narrower. Having said that, please, if any of you have items of
interest to artists, but are intimidated to post to Baren, please send
it to me privately - I can make room for all viewpoints, not just my
own - and who knows? I just might accidentally learn something. :-)

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Message 6
From: "marilynn smih"
Date: Sun, 13 Jun 2004 10:39:09 -0700
Subject: [Baren 25268] Re: New Baren Digest (HTML) V27 #2683 (Jun 13, 2004)
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I was trying my best to stay out of the art and politics discussion. It is
a sensitive area. I truly appreciate the knowledge. But when it comes to
discussion, feelings can easily be hurt and points of view on politics
should be left to the individual. This is an art forum. And yes there is a
connection, but I do not want to be part of a heated political discussion.
I do however appreciate the letter Charles sent to us, it informed us of
something that is happening. Now take the nformation individually and react
the way you please. I just do not want to hear about that reaction.
The picture of the tools from Lee Valley are idenetical to mine. I have
been carving with them since I began on wood block a few years ago. I have
not carved a lot of plates, but they work great for me. I would suggest
ordering the 5 piece set and than the small 3mm chisel and a larger chisel.
Than you can clear out small areas and large areas easier. They are not the
fine fine Japanese tools the Baren sells but the cost is affordable to the
beginner. They are not so cheap that they will not hold a nice edge and
give a clean cut. Good tools and good paper are important. They will give
us better results. So I would not sugest getting those super chjeap $5.00

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Message 7
From: ArtfulCarol #
Date: Sun, 13 Jun 2004 17:13:36 EDT
Subject: [Baren 25269] Leftie Prints, etc.
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The Leftie prints are almost all in. I am just waiting for a couple of
stragglers--no names!

Alain Cislaghi, where are you?

Myron, Mike , thank you for the info about the tools; they are the standard
I have with different names.
Carol Lyons
Irvington, NY
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Message 8
From: "Mary Ann Brooks-Mueller"
Date: Sun, 13 Jun 2004 17:01:46 -0500
Subject: [Baren 25270] Re: New Baren Digest (Text) V27 #2683 (Jun 13, 2004)
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I heard that "easier" comment long ago and a number of times. My reply to
anyone who thinks drawing is an easy way to produce a work of art may need
to review their own motives rather than yours. Back when I was a TA and had
to run the litho shop for a term I invited the painting students to observe
the complications of litho and the delicacy of coloring and line that can be
produced. That's when the 'easy" question came up. I just suggested that if
the easy way was the answer to art we'd all have to give it up completely.
Besides missing the whole point of printmaking - history, process, skill
(lots), challenge of the vast array of materials, love of materials and love
of process. Even 'just' drawing requires commitment and dedication in the
face of failures. In printmaking it seems the efforts required are a test of
character. I'm glad you're testing your character!
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Message 9
From: Wanda Robertson
Date: Sun, 13 Jun 2004 22:54:02 -0700
Subject: [Baren 25271] Re: Politics & art
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You are welcome, Diane. That's the way I feel about it too!

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Message 10
From: Wanda Robertson
Date: Sun, 13 Jun 2004 22:57:19 -0700
Subject: [Baren 25272] Message from Florida Printmakers
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Hi everyone, this just came into my mailbox:

Hello - my name is Lise Drost and i am currently the president of
Florida Printmakers. I spent some time on your site today and enjoyed
it very much. Our site is not that evolved yet, but maybe one of these

Anyway -- I was wondering if you would be willing to either post this
message for me on your message board or email it to your members to see
if they are interested in participating in the next Florida Printmakers
Open Members Exchange and Exhibition. You don't have to live in
Florida to be a member; the goal of our organization is to sponsor
print shows around the state of Florida, made by printmakers from all
over the country (or beyond).

Participants need to be paid up members; that's $25 regular membership
and $15 for students. Membership gives you a discount on the fee for
the national competition, an image on our website, and the chance to be
included in print exchanges, and invitational members shows. Artists
for the next national curated exchange will be selected in September,
with prints due in January 2005; the next National competition will be
in Fall 2005 and there will be other shows in the works, for sure. The
membership fees go to pay expenses for the National show and the print
exchanges - last Fall we were able to print a full color catalog with a
work by each artist in the show and were able to give away $3000 in
prizes - we put all our funds back into helping promote the work of the

Florida printmakers will pay return postage and for a modest folio and
a title page listing all the participants for the Open Exchange.

Here's the details:
Due date: August 15, 2004.
Edition size: 13
Paper size: 11 x 15
Media: any archival print media

Participants will get back ten prints; the other three will go into the
collections of Florida Printmakers, the Amity Art Foundation, and the
University of Miami. All prints will be shown at the University's
Rainbow Building exhibition space.

Send prints to:
Florida Printmakers
attn: Lise Drost
University of Miami
Department of Art and Art History
1540 Levante Avenue
Coral Gables, FL 33146

email if there's any questions.
Thanks for your time!
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Message 11
From: "Ian Elcoate"
Date: Sat, 15 May 2004 19:19:37 +1000
Subject: [Baren 25273] Re: japanese woodblock tools
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Hi and thankyou Julio, Your list was exactly what I wanted...I have a cousin going to Japan and has a few connections over there so I was hoping to try for the basic essentials....creatively yours Chris Elcoate

Julio wrote:
>Hi Chris and welcome to the forum.......I been 'getting bye' now for a few years now
>and 30+ prints with just these very basic tools for the japanese technique.....refer to Salter's book pages 20, 21 and 34.
>a hangi-to knive for cutting lines on the keyblock
>a small (2.5mm) aisuki knive (bull-nosed) for delicate clearing of waste
>a mid-sized (6 mm) aisuki for larger clearing and/or some type of curved gouge for heavy clearing
>a regular carpenter's chisel (1/2 - 3/4") for cutting my kento register lines straight
>a wooden mallet or small sized rubber tipped hammer
>a set of sharpening water stones ( rough & fine)
>a mid-level baren ($30-100)
>assorted small brushes for applying pigment & paste to the block
>assorted maru-bake brushes (shoe brush like) for mixing pigment and paste on block
>as always with any is best to buy the best tools you can afford, they will last a long time and serve you well....but for starters you can find
>inexpensive alternatives that do a decent job...
>enjoy the list..............Julio Rodriguez (Skokie, Illinois)