Today's postings

  1. [Baren 40860] Rives Heavyweight Paper: Front and Back? (Plannedscapes # aol.com)
  2. [Baren 40861] Re: New Baren Digest (HTML) V50 #5177 (Mar 19, 2010) (Marilynn Smith)
  3. [Baren 40862] Re: Rives Heavyweight Paper: Front and Back? (Barbara Mason)
  4. [Baren 40863] Re: The Mysterious Case of Disappearing Ultramarine (Gayle Wohlken)
  5. [Baren 40864] Re: Baren Member blogs: Update Notification (graphchem # aol.com)
  6. [Baren 40865] Re: Baren Exchange #44 (Julio.Rodriguez # walgreens.com)
  7. [Baren 40866] Storing Blocks ("Ellen Shipley")
  8. [Baren 40867] Re: Storing Blocks (Barbara Mason)
  9. [Baren 40868] Re: Storing Blocks (l k)
  10. [Baren 40869] Re: Storing Blocks (eli griggs)
  11. [Baren 40870] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Plannedscapes # aol.com
Date: Fri, 19 Mar 2010 13:26:25 GMT
Subject: [Baren 40860] Rives Heavyweight Paper: Front and Back?
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Okay, I've done a silly thing. I bought Rives Heavyweight to try for the
first time, and since it was so huge (40 x 26) I worked out of the back of
my van to tear it down to exchange size and 10x13 for my normal 8x10
prints. (Tore it all into 10" strips along the 40" side by halving and halving
again - easy! then cut those strips to either 7.5 for exchange or in half
along the 26" strip for my normal work) But I forgot to keep up up and down
down. Does it matter on Rives? I was using Canson Mi Tientes and the
front and back there are WAAAAYYY different, but this Rives seems pretty
symetrical. I can't see a difference, so if there is, I will have to find
someone with better eyes to flip them right for me. If there is a difference,
what should I have them look for? Thanks - I am glad you guys are there to
cover for me!
Karma
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Message 2
From: Marilynn Smith
Date: Fri, 19 Mar 2010 14:23:37 GMT
Subject: [Baren 40861] Re: New Baren Digest (HTML) V50 #5177 (Mar 19, 2010)
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This is NOT woodblock. It is about facebook and other such sites.
Just want everyone safe, please be careful.
http://finance.yahoo.com/family-home/article/109095/h
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Message 3
From: Barbara Mason
Date: Fri, 19 Mar 2010 15:08:07 GMT
Subject: [Baren 40862] Re: Rives Heavyweight Paper: Front and Back?
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get in very good light, use a magnifying glass if you have to. One side will look felted, the other will have little crosshatches from the screen.
Print on the felted side because sometimes the crosshatches from the screen will show in the work. It only matters that you are consistent, you don't want an edition printed half on one side and half on the other. But the standard is the felted side. Once you see it it is pretty easy to tell, it just takes practice and knowing what to look for.
My best
Barbara
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Message 4
From: Gayle Wohlken
Date: Fri, 19 Mar 2010 15:37:39 GMT
Subject: [Baren 40863] Re: The Mysterious Case of Disappearing Ultramarine
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Maria, I tried leaving a message at your blog and it wouldn't "take"
even though I used my AIM profile name. I'll just comment here on
Baren. Though the blue seemed to have become less blue, it's still
luminious and actually looks good. Your carving is great and reminds
me of the artist Charles Burchfield. Nice work!

~Gayle
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Message 5
From: graphchem # aol.com
Date: Fri, 19 Mar 2010 19:15:14 GMT
Subject: [Baren 40864] Re: Baren Member blogs: Update Notification
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Hi Hugo,
Thank you for your referral. We will, of course, offer Polymetaal Equipment to them. I would assume our standard discounts apply and we would handle it as a regular order from you. Did he have other products in mind that we would need to order?
All the best to you and Marit.

susan
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Message 6
From: Julio.Rodriguez # walgreens.com
Date: Fri, 19 Mar 2010 20:48:18 GMT
Subject: [Baren 40865] Re: Baren Exchange #44
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There are a few openings for exchange #44 for which prints are due May
1st. If anyone is interested in joining the exchange at this very late
date and thinks they can make the May 1st deadline please send me a
private email so we can get you onboard.

Details are here:
http://www.barenforum.org/exchange/exchange_44/exchange_44.html

thanks...Julio
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Message 7
From: "Ellen Shipley"
Date: Fri, 19 Mar 2010 22:20:11 GMT
Subject: [Baren 40866] Storing Blocks
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I'm going to make a stab at organizing my studio and I'd like to know how folks store their woodcut blocks. Do you stack them flat or on edge? I have most of mine on a shelf like books, but a fair number of them are half stacked in a basket where they sort of lean against one another. Some of them are in baggies, most are uncovered. What would people suggest?

Thanx. Anything that helps me make sense of this mess has got to be good for making art. ;- ]

Ellen Shipley
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Message 8
From: Barbara Mason
Date: Sat, 20 Mar 2010 00:20:47 GMT
Subject: [Baren 40867] Re: Storing Blocks
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I am like you, they are all over the place...but I think like books is the right way with air around them and not wrapped up
My best
Barbara
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Message 9
From: l k
Date: Sat, 20 Mar 2010 00:44:09 GMT
Subject: [Baren 40868] Re: Storing Blocks
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I wrap them in a double sheet of newspaper/newsprint, leaving the end grain exposed so the wood can breath, and store them on shelves like books. A cabinet maker told me to stay away from plastic...
the paper protects the surfaces, but leave the end grain open...
or so I ve been told.
Some others are just stored flat in metal flat files.
I ve no idea what s best.

I ve no idea what s best.
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Message 10
From: eli griggs
Date: Sat, 20 Mar 2010 01:22:44 GMT
Subject: [Baren 40869] Re: Storing Blocks
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I store mine like books, using a sheet of heavy brown paper, kraft or grocery, as a protector and hold it on with a little masking tape. I also use a cake of black pigmented wax for rubbing headstones, etc, on the wrapped paper to bring up the image of what is beneath so I can find what I'm looking for quickly.

Eli

Digest Appendix

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

Subject: SGC - AROUND THE CORNER
Posted by: Dean Clark


The thoughts expressed below are only those of the author, and have no input from anyone else, except proof reading and a cool demeanor from my wife.

Contrary to popular belief, the first sign of Spring isn't the arrival of the first robin or the beginning of baseball's Spring Training. It is, in fact, the Southern Graphics Council's annual meeting.

This year we are headed for historical Philadelphia, PA and the Loew's Hotel for what promises to be another hopefully stellar conference. As always, the Product Fair is our personal favorite - probably selfishly so. Unfortunately, the organizers of the show don't seem to hold the Product Fair in as high esteem as we do. For reasons known only to them, the organizers cut Product Fair hours down rather significantly.

The vendors that I've talked to are clearly unhappy about the turn of events. From an economic point of view, it is a hardship. In general, little thought is given to the expenses incurred by vendors at this show: travel expense, 3-4 days of hotels, meals and shipping costs to and from the conference. Even the smallest of vendors will spend upwards of $1000. For the record, press suppliers and others bringing in equipment will pay significantly more, due to certain union rules.

I dislike bringing up problems unless I can suggest a solution to it. Only one conference in recent years has had a vendor on the committee as decisions are made that affect the Product Fair. That was last year's extremely successful Chicago show. Most other conferences have had input from a representative of the vendors - Ed O'Neill. Ed's involvement has been invaluable, and exceedingly appreciated by the vendors. Up to this point this year, Ed has not been involved by the outside organizers. Not surprisingly, information has been spotty at best.

To the SGC Board of Directors: The vendors came to you several years ago with a similar request to which you agreed - have a vendor involved from the beginning in conference planning. Consider having at least one vendor on the Board either as a full member or at least in an advisory role. . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Printmakingblog.
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