Today's postings

  1. [Baren 30127] RE: New Baren Digest (Text) V34 #3372 (Feb 16, 2006) ("Sales")
  2. [Baren 30128] Re: New Baren Digest (Text) V34 #3372 (Feb 16, 2006) (Charles Morgan)
  3. [Baren 30129] interesting print show (Mike Lyon)
  4. [Baren 30130] Re: New Baren Digest (Text) V34 #3372 (Feb 16, 2006) ("Jill O'Sullivan")
  5. [Baren 30131] Dan Dew in San Francisco? ("Jean Womack")
  6. [Baren 30132] Re: Hand problems (Sharri LaPierre)
  7. [Baren 30133] Re: Hand problems ("Bea Gold")
  8. [Baren 30134] Baren Member blogs: Update Notification (Blog Manager)
  9. [Baren 30135] Woodblock prints on display in ... (baren_member #
  10. [Baren 30136] [Fwd: Please Post/Forward Freely: Call for Participants] [Fwd: Please Post/Forward Freely: Call for Participants] (Myron Turner)
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Message 1
From: "Sales"
Date: Fri, 17 Feb 2006 07:47:22 -0600
Subject: [Baren 30127] RE: New Baren Digest (Text) V34 #3372 (Feb 16, 2006)
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Graphic litho inks are intended to be very stiff, although some, like
the Senefelders Crayon Black are extremely so. Most of the time, if the
ink is very stiff, you have to work it out on the slab. Most litho inks
have what they call a thixotropic reaction which means that they loosen
up with rolling (the Clark definition, not Webster's). You can also go
to an ink that's not as stiff like the 1796 Litho Black or the 1921 Roll
Up Black. Remember also that oil based inks can be temperature
sensitive, so if the studio is cold, it will appear stiffer.

Final option is to try working with the oil based relief inks. They
carry a similar pigment load and are generally not as stiff as the litho
inks. Mag Carbonate - like almost everything else a printmaker needs is
available from stock from - yeah, you guessed it, Graphic Chemical.

Dean Clark
Graphic Chemical & Ink Company

Message 7:

>Dear Jill,
>I bought some GC Litho ink - it was VERY stiff. I really couldn't roll
>out at all. Do you use a medium? Where do you get magnesium carbonate
>how do you add it to the ink. Many thanks for your interest.
>D H
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Message 2
From: Charles Morgan
Date: Fri, 17 Feb 2006 06:30:53 -0800
Subject: [Baren 30128] Re: New Baren Digest (Text) V34 #3372 (Feb 16, 2006)
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If after working on the slab the litho inks are still too stiff for your
taste, just add a bid of artist's grade linseed oil. You may also try Easy
Wipe or some of the other similar products made for etching ink.

Magnesium carbonate may be readily available locally. I found it Very
cheaply at a local potter's supply. Seems potters use it (and a lot of
other chemicals) for glazes. Also, check your local "jock" stores ...
places that cater to weight lifters, rock climbers, etc. Magnesium
carbonate is used to dust the hands ... it absorbs sweat and gives a better

Cheers ..... Charles
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Message 3
From: Mike Lyon
Date: Fri, 17 Feb 2006 12:46:29 -0600
Subject: [Baren 30129] interesting print show
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Arcade and Phyllis and Jerome Lyle Rappaport Media Space

January 28 – April 16, 2006

Exhibition Opening: Friday, January 27, 2006 from 6 – 9 pm

"Historically, printmaking has been a
collaborative process, from the workshops of
Rembrandt and Rubens to contemporary studios in
which large, expensive presses must be shared or
rented. The artist-run studios represented in The
Workshop Portfolios foster a cooperative and
experimental ethos that embraces the constant
exchange of ideas inherent to such communal work
spaces. The collection includes prints by members
of the short-lived, but pivotal, Artist’s Proof
studio in Cambridge, Massachusetts (1980–1984)
and the active studios it inspired: Mixit Print
Studios and Hand Press Workshop, both in
Somerville, Massachusetts. The Workshop
Portfolios include works by some of Boston’s most
innovative printmakers, and provide an important
sampling of printmaking in the Boston metropolitan area from 1980 – 2000."

-- Mike

Mike Lyon
Kansas City, Missouri
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Message 4
From: "Jill O'Sullivan"
Date: Sat, 18 Feb 2006 08:31:16 +1000
Subject: [Baren 30130] Re: New Baren Digest (Text) V34 #3372 (Feb 16, 2006)
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Re: linoleum inks, stuff (deborah harris)
Hi Deborah
you may have bought Graphic Chemical crayon black- Very stiff indeed and need a bit of working up on the slab to loosen and really not suitable for relief work. However I use the
Editioning Black (1796) which is great. I use it for wood engraving. Magnesium Carbonate is available in Australia from Printmaking suppliers and from pottery suppliers so I guess you should be able to find it from similar suppliers around the world. Just a teaspoons or so to the ink and mix thoroughly until you get a firmish ink that rolls up well.
cheers jill
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Message 5
From: "Jean Womack"
Date: Fri, 17 Feb 2006 18:03:07 -0800
Subject: [Baren 30131] Dan Dew in San Francisco?
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Jeez, I just started catching up on my Baren mail and there is Daniel Dew coming through town (San Francisco) and I might have missed him! Dan, please call me at 510-237-5540 (home) or 510-375-1722 (cell), so I can show you the town! It's kinda cold and rainy, but what the heck, there's still a lot to see in San Francisco. I have an extra bedroom so you can save the price of a motel if you get on the phone real quick.

Jean Womack
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Message 6
From: Sharri LaPierre
Date: Fri, 17 Feb 2006 19:57:26 -0800
Subject: [Baren 30132] Re: Hand problems
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Hi everyone!
I've been uncharacteristically quiet of late becuz I've been so durn
busy. I just returned to Vancouver from Southern Florida where I
judged an arts festival. That was quite an experience! Only a handful
of printmakers, as usual, and only one working in relief and those were
lino blocks. There was no shortage of giclee reproductions of
paintings, though. When I walked in a booth that had only giclee's I
exited immediately - they were not in the running for anything, I don't
care how well they could paint or watercolor. Some of those lovely
little repo's were $700 and up. Needless to say, I've been ranting for
almost a week, so it is time to descend the soapbox. Just think of all
those people who could have had a wonderful piece of original artwork
in the form of a print, but instead they have an overpriced poster.

That's not what I was writing to say, however. I wanted to say to the
person with hand problem (forgot who it was) get thee to a hand doctor,
immediately. This is nothing to mess around with until you get
permission from someone who knows about these things. My husband has
Dupetryns (sp?) syndrome which is a nasty hand problem and my daughter
had an enlarged muscle in the palm of one hand from doing gymnastics.
It required surgery. The husband's will, too, someday, but not yet. Do
get someone to see it, soon - before you risk further damage.

Cheers to all, keep printing,
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Message 7
From: "Bea Gold"
Date: Fri, 17 Feb 2006 20:11:31 -0800
Subject: [Baren 30133] Re: Hand problems
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I just found this URL for Hand Problems. Ingteresting. Bea Gold
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Message 8
From: Blog Manager
Date: 18 Feb 2006 04:55:04 -0000
Subject: [Baren 30134] Baren Member blogs: Update Notification
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This is an automatic update message being sent to [Baren] by the forum blog software.

The following new entries were found on the listed printmaker's websites during the past 24 hours. (13 sites checked, just before midnight Eastern time)


Site Name: Wood Engraver

Author: Andy English
Item: Notes Fom A Warmer Room and Cuttering


Site Name: m.Lee Prints

Author: m.Lee
Item: My birthday is tomorrow and I have decided to offe...


[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
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Message 9
From: baren_member #
Date: 18 Feb 2006 07:48:16 -0000
Subject: [Baren 30135] Woodblock prints on display in ...

Message posted from: Google News Update

Missouri ...

Tom Huck: The Bloody Bucket

Set your watches, pack your bags, get ready for the trip of a lifetime: The Ship of Fools is setting sail from the Philip Slein Gallery every day for Potosi, Mo., the hometown of local printmaker Tom Huck. Potosi is probably taking a fatwa out against Huck at this very moment for all the nasty things he is imputing about it in "The Bloody Bucket," the scabrous series of prints he has set there.

(... snip ...)

Huck is a little frustrated at the moment because his old press was irreparably damaged when he moved it to his Washington Avenue studio. But he is anxiously awaiting a new press, made, like the old one, at Sauer Machine Inc. in Kirkwood. The new press will allow him to make even bigger prints - images 4 by 8 feet, the size of doors. He already has plans for a new series of 15 triptychs called "Booger Stew," which he estimates will take him 10 years to complete.

There are three of Huck's original blocks for "The Bloody Bucket" on view at the Slein Gallery show. Beautiful in themselves, they reveal the extraordinary amount of work required to make a woodcut print. ...


Minnesota ...

Art and poetry sing together in 'Song of the Water Boatman'

Beckie Prange’s superb woodcuts illustrate Joyce Sidman’s evocative and spare poems, combining to create a unique perspective on pond life. Poet Joyce Sidman and woodblock artist Beckie Prange have collaborated on a new children’s book that sets a high bar for young kid’s nature books. That standard is made higher by the fact that Prange, an Ely native, won a Caldecott silver medal for her work; she is also a finalist for a Minnesota Book Award.

(... snip ...)

How do you illustrate all this wide-ranging size and activity, keep it colorful and dynamic? You use an artist like Beckie Prange, whose previous work with nature has always been inventive and even startling in its perspective, size and movement. Case in point, a woodcut of badgers she did for the Duluth Art Institute’s deck of cards issue of several years ago.


Los Angeles ...

The Modern Woodcut Movement in China

The woodblock print, often called by the Japanese term "creative woodcut," began its twentieth century renaissance in China as an art of modernist experimentation, with varied styles and subjects. Political subject matter, although frequent, was only one theme among many competing areas of concern for the young artists. Modernist angst, formalist experimentation, technical experiments with color and light, lyrical landscapes and domestic scenes, and creative ideas of all sorts filled the exhibitions and publications of the fledgling print movement. How, then, in the time between its inception in 1931 and the establishment of the People's Republic of China in 1949, was the woodblock transformed into the genre by which it is best commemorated today, the art of the revolution?
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Message 10
From: Myron Turner
Date: Sat, 18 Feb 2006 06:13:18 -0600
Subject: [Baren 30136] [Fwd: Please Post/Forward Freely: Call for Participants]
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>*Call to All*
>Seritypes: A Genetic Screening Project
>Send an email, an attached image, a little DNA:
>We deny race, gender, borders and the construct of "other," a key mechanism
>in the dehumanization of the Oppressed and the Oppressor. We affirm the
>fundamental parity of all individuals.
> explains (and
>please see below) the 24-hour "procedure" that our team will be conducting
>in Madison WI, April 8-9 (tentative), 2006, and we'd like you to act as a
>remote hub (or participant in Madison if you're in the area). If you visit
>the No Hate Page ( and scroll to
>the bottom, "Re-Present" is a past project that uses a similar strategy and
>Along with sending imagery and text via email during the project (10 minutes
>of your time or as much as 24 hours of participation), we may ask for your
>spit (swab, cigarette butt, chewed gum, or a licked and sealed envelope), a
>fingerprint or face image, and for you to collect a similar sample from
>friends, colleagues, family, and strangers, or encourage their direct
>participation. Your genetic material will be rendered and mixed with
>printing inks and we'll go from there in the 24-hour coded and sequenced
>production of silkscreen prints. Other imagery may be up- and downloaded
>from a central site by all members of the network throughout the duration of
>the project.
>Please contact Bill Fisher at if this is something
>you'd like to work on. It would be great to have your participation in this
>affirmation of shared, borderless identity.
>More info to follow...
>Bill Fisher
>2006 Southern Graphics Council Conference Proposal
>April 5-9, 2006
>Project Title
>Seritypes: A Genetic Screening Project
>Project Authors
>Jeff Drye, Bill Fisher, Richard Lou, Danielle Wyckoff, the Arts faculty of
>Georgia College & State University and International Participants
>Project Proposal
>"A chromosome's structure may change on rare occasions. A segment may be
>deleted, inverted, moved to a new location, or duplicated. . .Crossing over
>and changes in chromosome number or in a chromosome's structure may
>influence the course of evolution. The changes in genotype (genetic
>make-up) lead to variations in phenotype (observable traits) among members
>of a population, so that evolution is possible."
>Cecie Starr and Ralph Taggart, 1995.
>"Look in the mirror, and don't be tempted to equate transient domination
>with either intrinsic superiority or prospects for extended survival."
>Stephen Jay Gould
>A team of printmakers will transform the serigraphy studio at the University
>of Wisconsin into a genetic research laboratory/operating theatre, complete
>with lab coats, face masks, rubber gloves, research stations, etc.
>Conference attendees as well as national and international participants will
>be solicited to submit DNA samples (through cell scrapings e.g.) which will
>then be combined with acrylic screen inks for creating works on paper during
>a 24-hour "procedure." A database of imagery will also be
>uploaded/downloaded during this period by all participants. In Madison,
>this imagery and the subsequent screens will be coded (as chemical
>proteins), treated as raw genetic material and parceled out in discrete,
>Mendelian units. Combining and printing these different genotypes will lead
>to variations in phenotypes (the final observable expression of independent
>inheritance), and through deleting, inverting, moving, and duplicating,
>change will be affected in this "genetic" expression, allowing for the
>evolution of the printed image to occur. Others in the participant network
>will be accessing the shared online genetic (imagery) database to create
>work at their own hub-location. The work which evolves over this 24-hour
>period will be a population without borders, authorless and of shared
>ownership. We hope to illustrate a process in which identity will be
>defined through our physically shared, inextricable commonality rather than
>through constructed (and divisive) geopolitical, social, religious, racial,
>and gender-based ideologies.
>Our Madison research team will also raffle off Genographic Project kits
>(, another
>worldwide project with potentially beneficial implications.
Myron Turner