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Message 1
From: "April Vollmer"
Date: Fri, 13 Jan 2006 09:00:22 -0500
Subject: [Baren 29826] Woodcut Show in Philadelphia
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Next Friday I will be going to Philadelphia to see this woodcut show, it
should be fabulous. I have two prints in the exhibition.

It would be great to see some of you!

best wishes,

April
www.aprilvollmer.com

What a Relief!
a juried exhibition produced by the Philadelphia Print Collaborative
SPECTOR, 510 Bainbridge, January 20-February 11
Opening Reception on Friday, January 20 from 6-9pm

This exhibition was curated from an open call of work inspired by the
tradition of woodcut, by juror Shelley Langdale, Assistant Curator of Prints
and Drawings of the Philadelphia Museum of Art. The resulting exhibition of
26 prints pays tribute to the bold graphic quality of this early form of
printmaking while showing some new twists in the medium.

Artists include: Katie Baldwin, Elizabeth Core, Amanda D'Amico, Kip Deeds,
Stella Ebner, Christopher Hartshorne, Daniel Heyman, Dave Hoke, Rosemary
Lane, Anthony Lazorko, Sarah McEneaney, Richard Metz, Eva Pietzker, Melissa
Rucker, Miriam Singer, Patty Smith, Hester Stinnett, April Vollmer, and
Miriam Zegrer.

For more information please contact Caitlin 215-701-6148 or
cperkins@printcollaborative.org

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Message 2
From: "robert"
Date: Fri, 13 Jan 2006 17:00:02 +0000
Subject: [Baren 29827] FIRST PRINT EXCHANGE!!
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Hello everone!
I have some great news.
I have added a print exchange, available to everyone, on the printmakers.info website.
If anyone is interested check out this link
http://www.printmakers.info/exchange_one.htm

I will be the coordinator. So feel rest assured it will be in good hands.
This one will come in-between the barens exchanges, so no rush to finish them at the same time!
Theme is "aquatic"
Check it out and sign up!
Thanks rob

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Message 3
From: Marissa
Date: Fri, 13 Jan 2006 12:09:54 -0500
Subject: [Baren 29828] Re: FIRST PRINT EXCHANGE!!
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Robert,

I would like to sign up for this exchange but I don't know if my work
qualifies. You see I don't do editions but I do a series of very
similar but not identical prints. Editioning doesn't work with my
free-form style of creating images.

~marissa lee

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Message 4
From: "robert"
Date: Fri, 13 Jan 2006 17:16:11 +0000
Subject: [Baren 29829] Re: FIRST PRINT EXCHANGE!!
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Fill out the form!!!
and You are in. Just make them have an aquatic form to go with the theme and as long as there are 12 of them you are all set. They do not have to be numbered!
Thanks, rob

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Message 5
From: "robert"
Date: Fri, 13 Jan 2006 17:17:35 +0000
Subject: [Baren 29830] Re: FIRST PRINT EXCHANGE!!
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PS.
i WROTE THAT THEY DO NOT HAVE TO BE NUMBERED! ON THE WEBSITE!
CHEERS

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Message 6
From: "robert"
Date: Fri, 13 Jan 2006 17:25:36 +0000
Subject: [Baren 29831] (no subject)
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Repeat of Message #2

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Message 7
From: "robert"
Date: Fri, 13 Jan 2006 17:27:47 +0000
Subject: [Baren 29832] SORRY FOR THE JUNK MAIL
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OOPS. SORRY FOR THAT EVERYONE. I DIDN'T MEAN TO SPAM.
ROB

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Message 8
From: edmund # michaelfraley.com
Date: Fri, 13 Jan 2006 12:29:53 -0500 (EST)
Subject: [Baren 29833] Black line crosshatch
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Hello all,

Needless to say, this is my first post here on the forum. My background is
in illustration and cartooning (I've done both professionally), my regular
day job is in the newspaper industry (internet division). In the newspaper
industry, I've seen our technology go from pasting up scraps of paper to
composing the entire thing on computers, and recently we began skipping
negatives completely so that the image goes directly to plate. The
tactile, hands-on approach is gone in favour of automation.

As a result of all of that, I've spent the last few years trying to back
away from the computer monitor and all of my digital toys once in awhile
so that I can learn the older arts. I'm fascinated by the 19th century
British engravers like the Dalziels and Linton, and would like to be able
to do work in that vein. Simon Brett is a contemporary artist I'm familiar
with who does that sort of work, and if you could point me toward others,
I'd be most appreciative.

The question I have nagging at me right now is, just how did the old
British engravers manage to produce such delicate black line crosshatch
effects? Was the spitsticker their primary tool for that sort of thing?

Thanks,

== Michael

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Message 9
From: "Mindy Wilson"
Date: Fri, 13 Jan 2006 10:45:04 -0700
Subject: [Baren 29834] Re: Black line crosshatch
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I just want to welcome you to the group Michael. I'm too new to offer an
educated insight or knowledge. But, welcome! I can tell you that this is
one fine group of people with amazing talent!

Mindy Wilson
SCBWI Member

Illustrations:
http://www.artwanted.com/Mwilson sample images of many genres
http://www.solisstyle.com/blog/?u=Mwilson
Groovy Inclinations http://www.mwilson.etsy.com

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Message 10
From: "robert"
Date: Fri, 13 Jan 2006 17:45:34 +0000
Subject: [Baren 29835] Re: Black line crosshatch
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Welcome michael!
I have done a bit of engraving I use a roulette. but my line are also not as fine as some. I have a also made my own tools.
I took 5, 10 , and 20 xacto knife #11 blades and bound them together flat and the small space between them worked perfect for me. Not traditional, but hell it worked, very fine and even lines.
Cheers rob

> > >
> > The question I have nagging at me right now is, just how did the old
> > British engravers manage to produce such delicate black line crosshatch
> > effects? Was the spitsticker their primary tool for that sort of thing?
> >
> > Thanks,
> >
> > == Michael

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Message 11
From: Nels Johnson
Date: Fri, 13 Jan 2006 11:49:47 -0600
Subject: [Baren 29836] KIWA exhibition
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Greetings fellow Bareners,

Just a note to let you know about an upcoming exhibition, the KIWA
(Kyoto International Woodblock Association) Exhibition slated for
March 27 to April 1, 2007. Please note that although the exhibition
is scheduled for next year, the entry deadline is July 31, 2006.
Where better to send off your precious woodblock prints, than to the
ancestral home of moku hanga? I'm going for it, and am feverishly
planning my prints.

http://www.kiwa.net/

Nels

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Message 12
From: Myron Turner
Date: Fri, 13 Jan 2006 12:01:53 -0600
Subject: [Baren 29837] NATIONAL TAIWAN MUSEUM OF FINE ARTS , 12th International Biennial Print and Drawing
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Some people might be interested in this competition.

Myron


> *NATIONAL TAIWAN MUSEUM OF FINE ARTS* is hosting /*the 12th
> International Biennial Print and Drawing Exhibition 2005, R.O.C. */in
> Taiwan. We would like to invite your participation of this exhibition.
>
>
>
> Please open the attachment file to read the regulation and details
> about this exhibition. The application form will further be downloaded
> in our official website. Additionally, The Biennale has decided to
> dedicate the theme of the 12th Exhibition to the/ /*/Artistic
> Affection for the Native Land./* Through the creation and innovation,
> the biennial attempt to make the art communicate the affection for the
> native land, search for local characteristics, and promote the
> people's self-understanding so as to realize the potential of each place.
>
>
>
> Please inform those information and this exhibition to other artist
> friends.
>
>
>
> Thank you for reading this email.
>
> Don't be hesitant to contact us if you have further questions.
>
>
>
> Best regards,
>
> The 12th International Biennial Print and Drawing Exhibition 2006, R.O.C.
> NATIONAL TAIWAN MUSEUM OF FINE ARTS
> 2 Sec. 1, Wu-Chuan W.Rd., 403 Taichung, TAIWAN
> www.tmoa.gov.tw
> print12@art.tmoa.gov.tw
> Tel: +886 4 23723552 #314
> fax: + 886 4 23754730

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Message 13
From: edmund # michaelfraley.com
Date: Fri, 13 Jan 2006 13:28:12 -0500 (EST)
Subject: [Baren 29838] Re: Black line crosshatch
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INGENIOUS! I'm not averse to making my own tools - one of my favorite
drawing instruments was a goose quill pen I made. After almost three
years it's never broke, rusted, lost it's shape or worn out. Organic
materials can be incredible.

Speaking of xacto knives ... my elliptical tool cuts a fine xacto-style
slice into the block. Same thing goes for my Japanese style blades. I'm
new to this (I'm more used to lino cut gouges, so forgive me), but I'm
feeling rather clueless right now. Do I cut a line with the elliptical
tool by working on one side of the line, then coming back and working,
wedge-like, with the other side? I Elementary questions, I know, but I'm
getting tired of either (1) making thin slices into the wood that won't
print, or (2) working on both sides of the line - trying to wedge out a
furrow - and having my basswood block splinter on me as I go against the
grain.

== Michael


> Welcome michael!
> I have done a bit of engraving I use a roulette. but my line are also
not
> as fine as some. I have a also made my own tools.
> I took 5, 10 , and 20 xacto knife #11 blades and bound them together
flat
> and the small space between them worked perfect for me. Not traditional,
but hell it worked, very fine and even lines.
> Cheers rob

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Message 14
From: ArtfulCarol # aol.com
Date: Fri, 13 Jan 2006 13:39:11 EST
Subject: [Baren 29839] Re: Black line crosshatch
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Rob and Michael
Thank you for several good ideas including using bound together exacto
knife blades for making fine lines. Imaginations never cease.
To keep wood from splintering and chipping someone mentioned oiling the wood
along the lines. I used it on shina yesterday It worked. Now I'll just wash
it off.
Now to get an image that's worthy of the method.
Carol L.
Irvington, NY

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Message 15
From: "Mindy Wilson"
Date: Fri, 13 Jan 2006 11:51:30 -0700
Subject: [Baren 29840] Re: print exchange.
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Robert, and the rest of our Bareners,

I am so thrilled with this. My dad just signed up for Robert's exchange. I
am so excited for him. He wouldn't join Baren with me, because he says he
just has too much e-mail. But I am dying for him to do so.

Last spring he woke from a state of the creative DEAD. I had sent projects
his way for years trying to prompt his interest. He is an artist, he worked
as a commercial artist for many years before I was born...(and we won't get
into that #) But, he' signed up for this first exchange at This is just a
first step in getting closer to Baren too, with having some Baren members on
the list.

Thanks Robert for making putting this together!

So, Dick Wells is my dad. (I won't be signing on, because I am just not able
to do so because of some other commitments.)

Mindy Wilson
SCBWI Member

Illustrations:
http://www.artwanted.com/Mwilson sample images of many genres
http://www.solisstyle.com/blog/?u=Mwilson
Groovy Inclinations http://www.mwilson.etsy.com

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Message 16
From: "robert"
Date: Fri, 13 Jan 2006 18:47:06 +0000
Subject: [Baren 29841] Re: Black line crosshatch
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You should look into graham scholes dvd video on woodblock printing. It covers soooo much and He is a great guy!
here is the link:
http://www.woodblock.info/how-to/
Cheers, Rob

> Speaking of xacto knives ... my elliptical tool cuts a fine xacto-style
> slice into the block. Same thing goes for my Japanese style blades. I'm
> new to this (I'm more used to lino cut gouges, so forgive me), but I'm
> feeling rather clueless right now. Do I cut a line with the elliptical
> tool by working on one side of the line, then coming back and working,
> wedge-like, with the other side? I Elementary questions, I know, but I'm
> getting tired of either (1) making thin slices into the wood that won't
> print, or (2) working on both sides of the line - trying to wedge out a
> furrow - and having my basswood block splinter on me as I go against the
> grain.
>
> == Michael

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Message 17
From: Julio.Rodriguez # walgreens.com
Date: Fri, 13 Jan 2006 12:58:12 -0600
Subject: [Baren 29842] Re: Black line crosshatch & fine lines
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Michael writes:
"Do I cut a line with the elliptical tool by working on one side of the
line, then coming back and working,wedge-like, with the other side? I
Elementary questions, I know, but I'm getting tired of either (1) making
thin slices into the wood that won't print, or (2) working on both sides
of the line - trying to wedge out a furrow - and having my basswood block
splinter on me as I go against the grain."

Michael, cutting fine lines is where having the right wood and sharp tools
become important. Also rotating the woodblock around so you are cutting in
the right direction helps. Here are some links for general cutting with
the japanese tools:

general carving steps:
http://www.woodblock.com/encyclopedia/entries/005_01/005_01_frame.html

from F. Morley Fletcher's book in the encyclopedia (recap below):
http://www.woodblock.com/encyclopedia/entries/011_03/chap_4.html

Starting at some point where the surface of the key-block design has been
oiled and made distinct, a shallow cut is made along one side of any form
in the design, with the knife held slanting so that the cut slants away
from the edge of the form. A second outer parallel cut is then made with
the knife held slanting in the opposite direction from the first, so that
the two cuts together make a V-shaped trench all along the line of the
form. The little strip of wood cut out should detach itself as the second
cut is made, and should not need any picking out, or further cutting if
the first two cuts are cleanly made. This shallow V-shaped trench is
continued all round the masses and along both sides of all the lines of
the design. No clearing of the intervening spaces should be attempted
until this is done. It will be seen at once that the V-shaped cuts give
great strength to the printing lines, so that a quite fine line between
two cuts may have a strong, broad base (fig. 9).


cutting fine hairlines:
http://www.woodblock.com/encyclopedia/entries/015_02/015_02_frame.html or
for David's cartoon version go here:
http://woodblock.com/manga/hair/index.html

hope that helps....Julio

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