Today's postings

  1. [Baren 40443] Re: Annie's Wood Block Carving from John Eliot's Wampanoag Bible (Annie Bissett)
  2. [Baren 40444] Re: Annie's Bible Page Carving (thadeenz97 #
  3. [Baren 40445] Re: New Baren Digest (HTML) V50 #5108 (Jan 22, 2010) (Marilynn Smith)
  4. [Baren 40446] Re: New Baren Digest (HTML) V50 #5108 (Jan 22, 2010) (Bette Wappner)
  5. [Baren 40447] Re: Printing with oil paints (andrea #
  6. [Baren 40448] Re: Printing with oil paints (Bobbi Chukran)
  7. [Baren 40449] Re: Annie's Bible Page Carving ("Mike Lyon")
  8. [Baren 40450] Ready to roar! (David Bull)
  9. [Baren 40451] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Annie Bissett
Date: Fri, 22 Jan 2010 13:43:42 GMT
Subject: [Baren 40443] Re: Annie's Wood Block Carving from John Eliot's Wampanoag Bible
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Q: Gayle asked "about the page you are carving from John Eliot's
Wampanoag Bible -- what happens if you make a mistake (i.e.
accidentally nick a letter off) ... how would you fix it?"

A: Ugh, I'm being terribly inconsistent about making repairs. When a
whole letter pops off I'm gluing it back on, but I'm also letting
some of the mistakes go depending on how easy the fix is, how large
or small the mistake (I'm not putting popped dots back on the i's),
and my mood (feeling careful or feeling reckless). This block will
print on top of something else, so my goal is to represent the
overall look of the page, for it to be clear that these are Roman
letters but it's not English. I want it to be obvious that it's the
Book of Genesis, I want it to be legible enough to see the English
work "God" scattered throughout the page. But it doesn't need to be a
text that linguists will pore over to reconstruct 17th century
Algonquin language.

I love super glue for moku hanga fixes. I've tried wood glue, but
that softens with all the moisture needed for printing. Super glue
can take the water, plus all you need is a drop or two of glue to do
the job. Only problem is, if super glue gets on the printing surface
it can resist the ink, so one has to be careful about that.

Gotta go carve. I've got about 3 1/2 hours this morning I can devote...

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Message 2
From: thadeenz97 #
Date: Fri, 22 Jan 2010 14:28:49 GMT
Subject: [Baren 40444] Re: Annie's Bible Page Carving
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Maybe you've answered this before, but do you use any type of magnifying device (like a magnifying lamp) while carving? I know that mye eyes practically vibrate after an hour of very intricate work, and I've thought about buying a magnifyer. I'd love to know how your eyes feel after a session.
Jeff Dean
Buffalo, NY
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Message 3
From: Marilynn Smith
Date: Fri, 22 Jan 2010 14:29:42 GMT
Subject: [Baren 40445] Re: New Baren Digest (HTML) V50 #5108 (Jan 22, 2010)
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Mike, congrats once again.

I have not been printing much either, been painting as well. I do
however have a print i want to do. I would very much like to use gold
pigment in this print. I did not bring any with me this year (never
fails what I don't bring i want) . The local art store here only has
oil paint that is gold, no powdered and no watercolor. So the
following question:

Has anyone used oil paint for either block or collagraph prints? If
so how did it work and did you add a medium to it?

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Message 4
From: Bette Wappner
Date: Fri, 22 Jan 2010 14:34:18 GMT
Subject: [Baren 40446] Re: New Baren Digest (HTML) V50 #5108 (Jan 22, 2010)
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Dear Marilynn Smith,

Does your art store have gold gouache? I've used that with success
for water-based printmaking.

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Message 5
From: andrea #
Date: Fri, 22 Jan 2010 14:50:02 GMT
Subject: [Baren 40447] Re: Printing with oil paints
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Marilynn,I used oil paints to print for a couple of months and developed a real love
of brushing them onto my block and fanning them out. They have a great consistency and
the color just seems to glow as you build up thin layers. As far as a medium is concerned,
I was using linseed oil for a bit but then switched to Windsor & Newton Artists' Painting Medium.
I would probably still be using them to print, but I developed a fear of linseed oil eventually leeching
out into non-printed areas since I usually use unsized paper. I've switched to Akua Kolor inks, which
have a similar consistency and are slow to dry like the oils, but I miss the intense blues and reds.

Andrea Starkey
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Message 6
From: Bobbi Chukran
Date: Fri, 22 Jan 2010 14:59:41 GMT
Subject: [Baren 40448] Re: Printing with oil paints
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What about using a gold leaf instead of the oils, perhaps in a chine
colle technique?

bobbi c.
lurking here and there
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Message 7
From: "Mike Lyon"
Date: Fri, 22 Jan 2010 15:24:08 GMT
Subject: [Baren 40449] Re: Annie's Bible Page Carving
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I use magnifiers all the time! They REDUCE eye strain, so much easier on
the eyes! CHEAPEST: get a pair of No.4 reading glasses - perch em on the
end of your nose like Ben Franklin and get close to carve - they will help a
LOT. Medium - get a pair of visor magnifiers - 4x to 10x should be fine.
They are comfortable and provide better magnification. Dentists frequently
have VERY expensive eyeglasses with small VERY powerful magnifiers - these
are great, too. Use a bright light.

Mike Lyon
Kansas City, MO
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Message 8
From: David Bull
Date: Sat, 23 Jan 2010 10:42:20 GMT
Subject: [Baren 40450] Ready to roar!
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Here we go ... tigers, tigers, and more tigers!

Sadako has just finished uploading all of Matsumura-san's tiger cards
for the new year - hundreds of them. Start page is here:

Note that some of the sub-pages (but not all of them) have arrows on
the right side leading to continuation pages; it's a little bit
confusing, and you might miss some.

All the small images are linked to larger versions.

There are no names under each one, so if you are trying to identity
any particular card for discussion, you'll have to look in its URL,
where the designer's name is used.


Digest Appendix

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

Subject: [Seacoast in Spring - 2] - First group of blocks done ...
Posted by: Dave Bull

Continued from [Seacoast in Spring - 1]

It's difficult (impossible) to maintain a stream of updates when all I'm doing is carving. The printing stages give people something to look at, but carving is certainly not something that is very interesting to watch!

But things have been moving forward steadily, and maybe it's time to give you a sneak peek at the work done so far (click for enlargement):

Some of these blocks are 'easy' (less detail) and some are pretty busy. To keep the progress of the work balanced, I've been alternating between the two types. I'm now doing the keyblock, which will take a week or so, and then when that's done, will flip these five over and do the other sides, which are very similar to the faces you see here.

So it'll be a few weeks yet before there is any chance of getting to the proofing stage.

In the meantime, lots of other things are getting done. The winter newsletter is now out for translation, the preparation work for the next series is progressing well, and my explorations in Tokyo the other day turned out to be successful.

Eh? Explorations in Tokyo? Ah, perhaps I didn't mention that yet ... You can get an update by checking out this weekend's entry in the 'A Story A Week' series ...

This item is taken from the blog Woodblock RoundTable.
'Reply' to Baren about this item.