Today's postings
- [Baren 31478] was: print alliance now: printmaking with artist's books? (Bobbi Chukran)
- [Baren 31479] Re: print alliance (Bobbi Chukran)
- [Baren 31480] Re: was: print alliance now: printmaking with artist's books? ("carolwagner")
- [Baren 31481] Hello! ("Dan McClary")
- [Baren 31482] Re: print alliance (ArtSpotiB # aol.com)
- [Baren 31483] Re: Hello! (Julio.Rodriguez # walgreens.com)
- [Baren 31484] Re: was: print alliance now: printmaking with artist's books? (Bobbi Chukran)
- [Baren 31485] Re: print alliance (Bobbi Chukran)
- [Baren 31486] Re: was: print alliance now: printmaking with artist's books? ("Carolyn & John Ramsey")
Message 1
From: Bobbi Chukran
Date: Mon, 14 Aug 2006 09:10:39 -0500
Subject: [Baren 31478] was: print alliance now: printmaking with artist's books?
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>The upcoming edition will focus on story telling at the
>international level, with Guest Editor David Smith Harrison
>generously giving his writing skills and expertise.
This prompted a question...how many printmakers here also work in the
book arts? I'm fascinated with the idea of turning my prints into a
book of some sort....perhaps a miniature book, etc. to tell a story.
Does anybody else here do that? Can anybody refer me to some links
of other artists who use storytelling in their prints, perhaps in the
form of handmade books?
Thanks.
Bobbi C.
http://www.bobbichukran.com
>international level, with Guest Editor David Smith Harrison
>generously giving his writing skills and expertise.
This prompted a question...how many printmakers here also work in the
book arts? I'm fascinated with the idea of turning my prints into a
book of some sort....perhaps a miniature book, etc. to tell a story.
Does anybody else here do that? Can anybody refer me to some links
of other artists who use storytelling in their prints, perhaps in the
form of handmade books?
Thanks.
Bobbi C.
http://www.bobbichukran.com
Message 2
From: Bobbi Chukran
Date: Mon, 14 Aug 2006 09:19:38 -0500
Subject: [Baren 31479] Re: print alliance
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> We have been in existance for a long time and hope to celebrate our
>100th anniversary in less than a decade.
>California Society of Printmakers
Benny,
Thanks for posting that. I always love looking at sites like this,
with a variety of artists represented.
I especially liked Sandra Beard's "Carnac" book.....
and your "One World" is very powerful....I'm working my way up to
doing some larger linocuts.
Bobbi C.
>100th anniversary in less than a decade.
>California Society of Printmakers
Benny,
Thanks for posting that. I always love looking at sites like this,
with a variety of artists represented.
I especially liked Sandra Beard's "Carnac" book.....
and your "One World" is very powerful....I'm working my way up to
doing some larger linocuts.
Bobbi C.
Message 3
From: "carolwagner"
Date: Mon, 14 Aug 2006 08:20:26 -0700
Subject: [Baren 31480] Re: was: print alliance now: printmaking with artist's books?
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Bobbi,
I encourage you to make your prints into books, having gotten
into bookmaking about five or six years ago because I was tired of glass and framing. Books are a great vehicle for prints.
About two years ago five of us here in Sacramento started a book arts group which has now has about fifty or sixty members and growing Our members range from absolute beginners to professionals at the National and International level, with a wonderful democratic give-and-take - just like baren, in fact.
There exist many, bookmaking sites on line, and there should be a Center fir the Book organization somewhere near where you live. You can google up "Bookbinding" and find some interesting things. Also, if you are interested, you can see a sample of one of my prints in a book format on www.papalotl.com, on the book pages of our site. there is also a description of the letterpress book done in 1995-2000, "A New Age Begins".
Currently I am working with Robin Morris on a grant project from The Sacramento Metropolitan Arts Commission . We are making an edition of 36 handmade books (three sets of 12, in three different bindings) featuring the art and poetry of many Sacramento based artists (painters, poets and sculptors). This, plus some heath problems on my part are the major reason why we won't be at the Summit, sigh....
Some excellent books for you to consult would be "Cover To Cover", by Shireen La Plantz, "Non-adhesive books", by Keith Smith (I think he has about six titles out now), Alisa Golden's "Unique books", and the classic "Books, Boxes and Portfolios" by a Swiss author whose name escapes me at the moment.
In any event, I hope you pursue it and keep us in touch with your results.
Faithfully,
Carol in Sacramento
I encourage you to make your prints into books, having gotten
into bookmaking about five or six years ago because I was tired of glass and framing. Books are a great vehicle for prints.
About two years ago five of us here in Sacramento started a book arts group which has now has about fifty or sixty members and growing Our members range from absolute beginners to professionals at the National and International level, with a wonderful democratic give-and-take - just like baren, in fact.
There exist many, bookmaking sites on line, and there should be a Center fir the Book organization somewhere near where you live. You can google up "Bookbinding" and find some interesting things. Also, if you are interested, you can see a sample of one of my prints in a book format on www.papalotl.com, on the book pages of our site. there is also a description of the letterpress book done in 1995-2000, "A New Age Begins".
Currently I am working with Robin Morris on a grant project from The Sacramento Metropolitan Arts Commission . We are making an edition of 36 handmade books (three sets of 12, in three different bindings) featuring the art and poetry of many Sacramento based artists (painters, poets and sculptors). This, plus some heath problems on my part are the major reason why we won't be at the Summit, sigh....
Some excellent books for you to consult would be "Cover To Cover", by Shireen La Plantz, "Non-adhesive books", by Keith Smith (I think he has about six titles out now), Alisa Golden's "Unique books", and the classic "Books, Boxes and Portfolios" by a Swiss author whose name escapes me at the moment.
In any event, I hope you pursue it and keep us in touch with your results.
Faithfully,
Carol in Sacramento
Message 4
From: "Dan McClary"
Date: Mon, 14 Aug 2006 09:04:39 -0700
Subject: [Baren 31481] Hello!
Send Message: To this poster
Hello all,
I'm Dan McClary, a doctoral candidate in Arizona, USA. After reading the
archives for a few months, and cludging my way through a couple of prints, I
finally feel confident enough to introduce myself to the Baren group. So,
then, hello!
I started researching the print-making process several months back (with a
lot of help from the Baren encyclopedia), and took my first stab at it about
a month ago. I presumed I'd enjoy it, but I didn't think I'd be as
captivated with it as I am. There's something about the time involved, the
development of a personal methodology from process from drawing to print,
that I find deeply satisfying. I've got a hunch that this is an activity
I'll be passionately persuing the rest of my days.
I do have a preliminary question, if it doesn't interrupt any existing
conversations, about rice paste. Thus far, I've been using watercolours for
my prints and it seems as if very little himenori is necessary. However,
for my next print I'm planning to enter what seems to be the daunting world
of pigment compounds. So, my question then would be how much paste is
usually necessary when using a pigment dispersion? A little? A lot? It
seems to me that the pigment is something like a gouache and the paste,
then, the medium which both transfers it to the paper and prevents it from
just drying up on the block. But, though, what does that say about paste
quantity? I'm certain it'll all make more sense to me as I start the print
run, but advice beforehand sure wouldn't hurt.
Cheers, and thanks for having me,
Dan
I'm Dan McClary, a doctoral candidate in Arizona, USA. After reading the
archives for a few months, and cludging my way through a couple of prints, I
finally feel confident enough to introduce myself to the Baren group. So,
then, hello!
I started researching the print-making process several months back (with a
lot of help from the Baren encyclopedia), and took my first stab at it about
a month ago. I presumed I'd enjoy it, but I didn't think I'd be as
captivated with it as I am. There's something about the time involved, the
development of a personal methodology from process from drawing to print,
that I find deeply satisfying. I've got a hunch that this is an activity
I'll be passionately persuing the rest of my days.
I do have a preliminary question, if it doesn't interrupt any existing
conversations, about rice paste. Thus far, I've been using watercolours for
my prints and it seems as if very little himenori is necessary. However,
for my next print I'm planning to enter what seems to be the daunting world
of pigment compounds. So, my question then would be how much paste is
usually necessary when using a pigment dispersion? A little? A lot? It
seems to me that the pigment is something like a gouache and the paste,
then, the medium which both transfers it to the paper and prevents it from
just drying up on the block. But, though, what does that say about paste
quantity? I'm certain it'll all make more sense to me as I start the print
run, but advice beforehand sure wouldn't hurt.
Cheers, and thanks for having me,
Dan
Message 5
From: ArtSpotiB # aol.com
Date: Mon, 14 Aug 2006 13:31:58 EDT
Subject: [Baren 31482] Re: print alliance
Send Message: To this poster
HI Bobbie.
Let me see. There are lots of artists doing books. Art Hazelwood has done one
(see caprintmakers.org site for his work, tho not a book). His work is very
powerful. Also check in with letter press people. Kim Vanderheiden, also one of
our members, has some connections with such, including Marianne Moore
(awildheartpress@yahoo.com), a friend of hers. Marianne did the glass on metal
(enamel) cover while participating as a member of The Copper Plate Specials, a group
that works in my studio.
Then there's The Center for The Book in SF which prolly has a site.
Another group that has books but of all media, is Jone Manoogian, a friend of
mine. Her email is: jmanoogs@earthlink.net. Put "via Benny Alba" in the
header if you like. She is quite strong with books and would be a good connection.
Thanks for liking my work! Sandra Beard's work will be visible at the
Fetterly Gallery, Vallejo, CA. later this week in a CSP show.
I use D. Smith's lino, heated either in sunlight or with a bent neck lamp. It
doesn't have the grit that so many other companies put into the lino, slowing
down the need to sharpen your tools. It comes in running feet. But you
probably knew that.
Looking forward to seeing your large linos in the future!
ArtSpot Out
Benny Alba in studio
Let me see. There are lots of artists doing books. Art Hazelwood has done one
(see caprintmakers.org site for his work, tho not a book). His work is very
powerful. Also check in with letter press people. Kim Vanderheiden, also one of
our members, has some connections with such, including Marianne Moore
(awildheartpress@yahoo.com), a friend of hers. Marianne did the glass on metal
(enamel) cover while participating as a member of The Copper Plate Specials, a group
that works in my studio.
Then there's The Center for The Book in SF which prolly has a site.
Another group that has books but of all media, is Jone Manoogian, a friend of
mine. Her email is: jmanoogs@earthlink.net. Put "via Benny Alba" in the
header if you like. She is quite strong with books and would be a good connection.
Thanks for liking my work! Sandra Beard's work will be visible at the
Fetterly Gallery, Vallejo, CA. later this week in a CSP show.
I use D. Smith's lino, heated either in sunlight or with a bent neck lamp. It
doesn't have the grit that so many other companies put into the lino, slowing
down the need to sharpen your tools. It comes in running feet. But you
probably knew that.
Looking forward to seeing your large linos in the future!
ArtSpot Out
Benny Alba in studio
Message 6
From: Julio.Rodriguez # walgreens.com
Date: Mon, 14 Aug 2006 18:08:12 -0500
Subject: [Baren 31483] Re: Hello!
Send Message: To this poster
Dan, welcome to Baren and the forum discussion, with so many hardcore
members away at the Vancouver Summitt let me take a stab at your question
regarding paste.
There are many things that could impact the amount of paste needed .
Normally I drop on the block a few small dabs of paste and a few of color
pigment and mix the whole thing with the large brush right on the block.
The paste helps to get a smooth coverage over large color areas w/o
getting splatchy areas......Because there are so many different types of
paper, pigment brands and even paste formulas....my suggestion is to make
yourself some test strips with the paper you will be using.....apply some
color w/o paste on a test strip and then add a little paste & color on
the next strip and more on a third until you are satisfied with the
results....sometimes you may want the effect that comes along with little
or no paste....paste usage is very important when you are diluting your
color to a very light wash....with so little pigment on the block paste
plays a mayor role in getting even coverage.
It's worth the effort and time to make some test strips specially when
starting out....once you stabilize the process and
are comfortable making (if you are not using a commercially available
paste) your own paste...you can skip the test strips....
good luck and make sure to let us see you work soon.....
Julio Rodriguez (Skokie, Illinois)
members away at the Vancouver Summitt let me take a stab at your question
regarding paste.
There are many things that could impact the amount of paste needed .
Normally I drop on the block a few small dabs of paste and a few of color
pigment and mix the whole thing with the large brush right on the block.
The paste helps to get a smooth coverage over large color areas w/o
getting splatchy areas......Because there are so many different types of
paper, pigment brands and even paste formulas....my suggestion is to make
yourself some test strips with the paper you will be using.....apply some
color w/o paste on a test strip and then add a little paste & color on
the next strip and more on a third until you are satisfied with the
results....sometimes you may want the effect that comes along with little
or no paste....paste usage is very important when you are diluting your
color to a very light wash....with so little pigment on the block paste
plays a mayor role in getting even coverage.
It's worth the effort and time to make some test strips specially when
starting out....once you stabilize the process and
are comfortable making (if you are not using a commercially available
paste) your own paste...you can skip the test strips....
good luck and make sure to let us see you work soon.....
Julio Rodriguez (Skokie, Illinois)
Message 7
From: Bobbi Chukran
Date: Mon, 14 Aug 2006 18:53:04 -0500
Subject: [Baren 31484] Re: was: print alliance now: printmaking with artist's books?
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Hi Carol,
I know what you mean about the framing! That's one reason I quit
painting on paper and work on canvas now. LOL. However, I got
addicted to printmaking, so I'm back to paper. I've always *inhaled*
books, so it seems natural that I want to combine the two.
I didn't find any organized bookmaking groups around here. I was
surprised, because I live near Austin, TX....they did have a Book
Fair recently that I missed. I have found a few artists who teach
bookbinding, but they live way too far from me right now and to be
honest, I'm more interested in the printing than I am in "fine"
bookbinding. I worked in a printshop for several years where I got
interested in bookbinding, hot-foil stamping, printing, and I've made
handmade paper and taught that online, and have self-published offset
printed books. So I have the bits and pieces that I need...LOL.
Your site is very interesting....thanks for the link.
I have the LaPlantz book, and one of the Smith books; I'll definitely
look for the other two.
Thanks again!
Bobbi C.
http://www.bobbichukran.com/monoprints.html
New monotype prints
http://www.bobbichukran.com/relief_prints.html
New linocut prints
>I encourage you to make your prints into books, having gotten
> into bookmaking about five or six years ago because I was tired of
>glass and framing. Books are a great vehicle for prints.
I know what you mean about the framing! That's one reason I quit
painting on paper and work on canvas now. LOL. However, I got
addicted to printmaking, so I'm back to paper. I've always *inhaled*
books, so it seems natural that I want to combine the two.
I didn't find any organized bookmaking groups around here. I was
surprised, because I live near Austin, TX....they did have a Book
Fair recently that I missed. I have found a few artists who teach
bookbinding, but they live way too far from me right now and to be
honest, I'm more interested in the printing than I am in "fine"
bookbinding. I worked in a printshop for several years where I got
interested in bookbinding, hot-foil stamping, printing, and I've made
handmade paper and taught that online, and have self-published offset
printed books. So I have the bits and pieces that I need...LOL.
Your site is very interesting....thanks for the link.
I have the LaPlantz book, and one of the Smith books; I'll definitely
look for the other two.
Thanks again!
Bobbi C.
http://www.bobbichukran.com/monoprints.html
New monotype prints
http://www.bobbichukran.com/relief_prints.html
New linocut prints
>I encourage you to make your prints into books, having gotten
> into bookmaking about five or six years ago because I was tired of
>glass and framing. Books are a great vehicle for prints.
Message 8
From: Bobbi Chukran
Date: Mon, 14 Aug 2006 18:56:23 -0500
Subject: [Baren 31485] Re: print alliance
Send Message: To this poster
Thanks for all the info, Benny!
I'll definitely put Mr. Google to use tonight! :-)
I've been using small pieces of lino from Dick Blick. It's very
strange stuff, very gritty..sounds like I need to try the D. Smith's.
I found that I had to warm it in the microwave to use it, although
lately I can sit it out in the sun for ten seconds and get the same
effect! LOL
I don't have a printing press (yet!) so doing a larger one will be challenging.
Bobbi C.
>Let me see. There are lots of artists doing books. Art Hazelwood has
>done one (see caprintmakers.org site for his work, tho not a book).
>His work is very powerful. Also check in with letter press people.
>Kim Vanderheiden, also one of our members, has some connections with
>such, including Marianne Moore (awildheartpress@yahoo.com), a friend
>of hers. Marianne did the glass on metal (enamel) cover while
>participating as a member of The Copper Plate Specials, a group that
>works in my studio.
>
>Then there's The Center for The Book in SF which prolly has a site.
>
>Another group that has books but of all media, is Jone Manoogian, a
>friend of mine. Her email is: jmanoogs@earthlink.net. Put "via Benny
>Alba" in the header if you like. She is quite strong with books and
>would be a good connection.
>
>Thanks for liking my work! Sandra Beard's work will be visible at
>the Fetterly Gallery, Vallejo, CA. later this week in a CSP show.
>
>I use D. Smith's lino, heated either in sunlight or with a bent neck
>lamp. It doesn't have the grit that so many other companies put into
>the lino, slowing down the need to sharpen your tools. It comes in
>running feet. But you probably knew that.
>
>Looking forward to seeing your large linos in the future!
>
>ArtSpot Out
>Benny Alba in studio
I'll definitely put Mr. Google to use tonight! :-)
I've been using small pieces of lino from Dick Blick. It's very
strange stuff, very gritty..sounds like I need to try the D. Smith's.
I found that I had to warm it in the microwave to use it, although
lately I can sit it out in the sun for ten seconds and get the same
effect! LOL
I don't have a printing press (yet!) so doing a larger one will be challenging.
Bobbi C.
>Let me see. There are lots of artists doing books. Art Hazelwood has
>done one (see caprintmakers.org site for his work, tho not a book).
>His work is very powerful. Also check in with letter press people.
>Kim Vanderheiden, also one of our members, has some connections with
>such, including Marianne Moore (awildheartpress@yahoo.com), a friend
>of hers. Marianne did the glass on metal (enamel) cover while
>participating as a member of The Copper Plate Specials, a group that
>works in my studio.
>
>Then there's The Center for The Book in SF which prolly has a site.
>
>Another group that has books but of all media, is Jone Manoogian, a
>friend of mine. Her email is: jmanoogs@earthlink.net. Put "via Benny
>Alba" in the header if you like. She is quite strong with books and
>would be a good connection.
>
>Thanks for liking my work! Sandra Beard's work will be visible at
>the Fetterly Gallery, Vallejo, CA. later this week in a CSP show.
>
>I use D. Smith's lino, heated either in sunlight or with a bent neck
>lamp. It doesn't have the grit that so many other companies put into
>the lino, slowing down the need to sharpen your tools. It comes in
>running feet. But you probably knew that.
>
>Looking forward to seeing your large linos in the future!
>
>ArtSpot Out
>Benny Alba in studio
Message 9
From: "Carolyn & John Ramsey"
Date: Mon, 14 Aug 2006 18:34:46 -0700
Subject: [Baren 31486] Re: was: print alliance now: printmaking with artist's books?
Send Message: To this poster
The University of Texas has had classes combining printmaking and bookmaking in the past. They might still have them. I know I took one and it was really fun! Ken Hale taught it.
Carolyn
Carolyn