Today's postings

  1. [Baren 39695] annual moku hanga (Linda Beeman)
  2. [Baren 39696] Re: New Baren Digest (HTML) V48 #4960 (Sep 14, 2009) (Marilynn Smith)
  3. [Baren 39697] I was wondering (Viza Arlington)
  4. [Baren 39698] Re: I was wondering (Julio.Rodriguez #
  5. [Baren 39699] Finding the Right Paper (Margot Rocklen)
  6. [Baren 39700] Re: Finding the Right Paper (carol Montgomery)
  7. [Baren 39701] Re: I was wondering (Viza Arlington)
  8. [Baren 39702] Re: Future exchanges (Sharri LaPierre)
  9. [Baren 39703] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Linda Beeman
Date: Mon, 14 Sep 2009 15:03:48 GMT
Subject: [Baren 39695] annual moku hanga
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I like this idea too. Annual Moku Hanga and an annual oil based ink print.


> From: "Mark Mason"
> Date: Mon, 14 Sep 2009 10:25:34 GMT
> Subject: [Baren 39693] Re: Future exchanges
> I, like Jennifer, would be interested in an annual Moku Hanga exchange to be
> built in to the exchange schedule. I admire the work of the oily Bareners,
> but my real interest is in water based printing. For balance we could also
> have an exclusively oily exchange too. I was so sorry to have not been able
> to join in the last one.
> Kindest regards,

> Mark.
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Message 2
From: Marilynn Smith
Date: Mon, 14 Sep 2009 16:20:48 GMT
Subject: [Baren 39696] Re: New Baren Digest (HTML) V48 #4960 (Sep 14, 2009)
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For me joining Baren was to stretch my art abilities and learn about
woodblock. The exchanges, the themes and techniques that we set up
help us grow. I would suggest to not be afraid of trying something
new, it only adds to your knowledge base and that to me is what Baren
is about.

I am sitting in a fifth wheel on the Washington coast, waiting for our
newly sanded hardwood floor to dry. My kitchen and living room are
empty and my studio is full of boxes and furniture, even the
refrigerator. Our kitchen is on order. I only include this
information because I am in exchange 42. I have a block that is
nearly fully carved and ready to print. Hopefully there will be a
space of time in there to get that block done and prints in the mail
by the deadline. If I must I will sit on my porch and use a wooden
spoon and oily ink and find some corner of the house to dry these
prints!! Most of my paper is cut as well, so things are on the way.
The computer connection in this park is poor so I am trying to inform
our coordinator how things are going.

I joined facebook for my daughter, I did include Baren. I don't really
understand how the thing works. I too am uncomfortable with the
public base this has, I enjoy the intimacy of our list. It would seem
by the discussion that our list is happy and alive and things have
been quiet over the summer because folks are busy. Taking a break
from a stressful remodel and enjoying a wonderful bottom fishing trip.

Hope everyone had a lovely summer and I look forward to participating
in exchange 42.

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Message 3
From: Viza Arlington
Date: Mon, 14 Sep 2009 16:59:56 GMT
Subject: [Baren 39697] I was wondering
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I was wondering about which techniques are acceptable in the exchanges? Is
it anything printed in relief? i was thinking about trying José Guadalupe
Posada's technique using acid-resistant ink, he would draw directly onto a
zinc plate and then place the plate in an acid-solution then print it in
relief. i thought maybe if collographs are acceptable maybe this would be
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Message 4
From: Julio.Rodriguez #
Date: Mon, 14 Sep 2009 17:53:06 GMT
Subject: [Baren 39698] Re: I was wondering
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"I was wondering about which techniques are acceptable in the exchanges?
Is it anything printed in relief?"

The exchange guidelines mention...woodcuts & linoleum. This covers
traditional woodcuts & wood engravings (endgrain wood or substitute like
resingrave or Corian). Other types of relief printmaking (etching,
intaglio, solar plates, lithographs, etc) are not allowed although it is
possible a print here or there might have squeezed by on a past exchange.
I don't recall an exchange print ever refused.

While it has always been ok to discuss or ask questions about all kinds of
'relief' topics on the forum when it comes to the exchanges themselves
the guidelines are more strict since after all this is a 'xylography'

There is a bit of flexibility. I think the key here is that the artist's
hand is making/carving the marks on the substrate (wood, lino or like
substitutes like resingrave or Corian) either by hand or by power tools
and that the area to be printed is left behind on the substrate.

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Message 5
From: Margot Rocklen
Date: Mon, 14 Sep 2009 18:03:47 GMT
Subject: [Baren 39699] Finding the Right Paper
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I have just printed a set of variations (moku hanga) of a
print. I made purposeful changes to the paper and some of the colors and
gradations on each proof. I intended to find one or several papers (lower to
medium price range, but archival) that work best for editioning in general, and
for this one image in particular. All papers I ordered were sized, and ordered
from different paper companies. Previously I had printed on Reeves Lightweight,
Kozo, Masa, and several other papers. The Reeves provided positive results because it
is strong. I needed a white paper for my last edition, and the Kozo white
proved to be too absorbent. The Kozo Natural was sized but the color wasn’t
right. This time I wanted to experience and experiment on Asian papers – some
fibrous, some not.

I found that Kumohada, and something called Moon Peach
worked well, possibly because they are stiffer and heavier. Both have
inclusions of fibers, Kumohada having more surface irregularities that abraded
slightly when I rubbed hard. I am embossing as well as burnishing specific areas of the
print and I needed to work up a sheen and crisp dimensional edge to the
embossed areas without the paper deteriorating. I am using Akua Colors. The
pigments seemed more vivid on these two papers. Kozo Natural worked well, as
did Honen, although the latter was thinner, tended to wrinkle along the edge of
the print while drying (even when weighted), and the burnished areas also
wrinkled slightly (perhaps because of the paper being stretched even thinner in
those areas).  Okawara (machine
made) worked well, even when I mistakenly printed on the rough side. I had
intended to print on the smooth, sized side of every sheet to avoid this
variable when testing the papers.

Margot R
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Message 6
From: carol Montgomery
Date: Mon, 14 Sep 2009 18:30:25 GMT
Subject: [Baren 39700] Re: Finding the Right Paper
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Hi, Margot - I like to use Kitakata, a Japanese paper, for relief printing. It's handmade, I believe, and a pretty vanilla color. Sincerely, Carol Montgomery, Helena, MT
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Message 7
From: Viza Arlington
Date: Mon, 14 Sep 2009 21:01:09 GMT
Subject: [Baren 39701] Re: I was wondering
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I am not trying to be argumentative but if collographs which are also
mentioned as being an acceptable technique in the exchange guide lines are
okay that to me seems to say anything printed in relief is okay. i just
wanted to get some clarification because i like to know what the rules are
before i brake them;)viza
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Message 8
From: Sharri LaPierre
Date: Mon, 14 Sep 2009 23:17:48 GMT
Subject: [Baren 39702] Re: Future exchanges
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It is my understanding that any relief medium may be used in all
exchanges unless otherwise specified, so I see no need for an annual
oily persons or moku hanga persons exchanges. Most of the exchanges
have only one requirement and that is paper/image size, and those vary
with the specific exchange. Some are themed, some are not — I do
think that a reduction with a minimum of 3 colors would be a great
idea, though - and it could be done oily or watery.

Sort of on the subject, but not: I've just finished posting some new
work to my website:

If the link doesn't work just a plain old and click
on newest work. I like to keep it easy ;-) They are all multiple
solarplate - the doc says no more woodblock until I have a little
surgery which will put me out for 3 months. By that time I will
probably be institutionalized. How have others dealt with having
their dominant hand out of commission for long while? What did you
find that you could do to stay occupied, other than read, nap, take
walks, eat rather awkwardly?

Cheers ~


Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: New Work
Posted by: Sharri

A lot has happened around here in the last couple of months and sandwiched between the earth shaking events of daily life I've managed to find a little studio time to produce some new work. Because I've been having so much trouble with my hands (ugly old arthritis) I've temporarily given up on woodblocks and been indulging in solarplate? intaglio. With this medium all you need to do is get the desired image onto a transparent format and you're good to go. I like to draw directly onto aquaeous media acetate. It allows you to remove and add to your heart's content, take as long as needed, and then just expose it onto the plate using UV light, develop the plate in tap water, harden with a little more UV and print. In this case I've printed many layers of colors and textures and stenciled some blocks of color onto both sides of a very thin, transparent mulberry paper, then printed some small plates on the paper's right side. Meanwhile, I've printed the drawings/images onto another piece of fairly transparent (but not as much as the original paper) and very carefully torn around the image while the paper is damp. Mulberry paper is very tough and almost impossible to tear when it is dry. When dry the images are dampened again, sprinkled with adhesive and placed on the background sheet on a plate and run through the press. Then I may print a bit of color over the top of the two sheets which have now become one. When the image is completely resolved it is trimmed and chine collé to a Western printmaking paper - I like Somerset Satin. It is versatile and has a nice hand and is a soft white. The image above is named Persephone after the ancient myth of Demeter's daughter having eaten a seed of the pomegranate while in the underworld (she was forbidden to eat anything if she wanted to come back up topside) and thereafter having to spend 3 months down under (winter) and the other 9 with us (spring, winter and fall). Her mother brokered that deal. So, she is here with her scythe, watering can, rake, and . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Rag & Bone.
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