[Baren] Daily Digest

Today's postings

[Baren 33569] Re: New Baren Digest (Text) V39 #3933 (Jun 10, 2007) (ArtfulCarol # aol.com)
[Baren 33570] Re: Baren Digest (old) V39 #3933 ("Marilynn Smith")
[Baren 33571] Baren Member blogs: Update Notification (Blog Manager)
[Baren 33572] Steiner/Marylhurst workshop ("Jean Womack")

Message 1
From: ArtfulCarol # aol.com
Date: Sun, 10 Jun 2007 09:20:43 EDT
Subject: [Baren 33569] Re: New Baren Digest (Text) V39 #3933 (Jun 10, 2007)
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2 cents
A print can't be both monotype and monoprint at the same time
Here's my message that couldn't be posted yesterday:

I agree with Barbara Cox and Ian about monotypes and monoprints, but
monotypes are unique, single, one of a kind. You can always type in a word or
words and press GO to get information about almost anything.

This comes from The Collectors' Guide: Monotypes:
"the time required to make a monotype is the combined years of experience
and knowledge of artist and printer . . . plus 2 hours. All of the techniques
and elements of making monotypes--the amount of pressure from the press, types
of inks and oils used, how they are applied, etc require not luck,
but tremendous skill, and make the result unique to this process."

Carol Lyons

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Message 2
From: "Marilynn Smith"
Date: Sun, 10 Jun 2007 09:26:07 -0700
Subject: [Baren 33570] Re: Baren Digest (old) V39 #3933
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Hanga is such a technical process, there is so much to learn. For the
beginning woodblock artist, there is finding a composition that will work
for a hanga design. Than there is planning the colours for the design.
Than there is cutting the blocks. And, finally, there is printing out what
has been cut. Getting it right has a lot of pitfalls. I have to admit that
I have never been strong on technique, so learning this process has been a
long haul.

I have learned how to choose a design that will, I hope, finally work for
me. I have learned a method of getting my design to match up, that I think
is working for me. I have learned to use carving tools on wood, sort of, I
think. I have learned how to apply waterbased pigment with a brush, I
think. I have learned how to dampen my paper to the right light dampness, I
think. I have learned how to use my baren and whicn baren will work for me,
I think. I have learned that I must use the right paper, one that this
approach will work on.

I have been telling little things as I learn or relearn them with these
blocks. Today it is about applying pigment. You want a nice well blended
pigment that will be dark enough that you do not have to redrop that paper.
I learned, and was probably already told this, that when you use the hanga,
shoebrush, that you want to be gentle with it. Get a smooth overall spread
of pigment but do not push hard with the brush, scim it over the surface
with enough pressure to apply the pigment. If you push hard you apply
excess pigment to the cut out areas and these might print when you use your
baren. So not too much pigment and not too much pressure on the brush and
you will have a strong image. It is easier said than done!

Finally, wow this ball bearing baren sure is a workhorse! The final thing to
say is that I am slowly learning the importance of investing in good tools
and good paper. This image would be better on more expensive paper. Now I
need to learn to trust myself that I am worth it, that my work is worth the
investment.

Dave, thanks again for walking us through your print. This has been a
learning process for those of us who have bothered to read your progress,
thanks for sharing it with us.
Marilynn

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Message 3
From: Blog Manager
Date: 11 Jun 2007 03:55:16 -0000
Subject: [Baren 33571] Baren Member blogs: Update Notification
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Message 4
From: "Jean Womack"
Date: Sun, 10 Jun 2007 23:25:03 -0700
Subject: [Baren 33572] Steiner/Marylhurst workshop
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This one is for Richard Steiner,
I am so thrilled that Richard Steiner will be having a woodcut workshop in Portland at the end of August that I am already making plans to go. I was hoping to bring my white terrier, Westie, all 20 pounds of love and energy, my suicide-prevention puppy (I was told that Cabrillo College printmaking instructor, Karen Tossavainen, killed herself), my best protection, according to the police in my home town, Richmond, CA. Westie sleeps all day in a roomy portable kennel that looks just like a big box and wakes up around 5 pm and demands I take him for a walk. I hope this is OK with the people at Marylhurst. Since I am 64 and twice a breast cancer victim, it's not easy to find a Mr. Wonderful Knight in Shining Armor to escort me up to Portland and back (it never was easy and it was actually next to impossible, with the system we have, for a former bulimic with scoloiosis to land someone like that: my husband might go to Las Vegas that week), so I need to rely on my Westie. So please let me know, Richard, if I can bring my Westie with me. I am so much looking forward to the drive and camping along the way and the sights of Portland, AS WELL AS more instruction on hanga. I AM getting better at it. I really AM. I promise I will be good and not talk, except about hanga, and I will do it YOUR WAY. Since I am paying $400 for the course (a bargain for a whole week, and almost the same as bootcamp, if you included the room and board) I am certainly not going to do my own thing. So please let me know. Cut! Print! It will be great to be back in the Pacific Northwest again!
Thanks.
Jean Womack

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Baren Archives

[Baren] - the International Forum for Woodblock Printmaking

Volume: 39 / Number: 3934

Monday, 11th of June, 2007

Today's postings

End of [Baren] Digest