Today's postings

  1. [Baren 41067] Re: Marking Linoleum (Elizabeth Atwood)
  2. [Baren 41068] New Print on Blog: GHOST STORY (thadeenz97 #
  3. [Baren 41069] RE: Marking Linoleum ("Maria Arango")
  4. [Baren 41070] Shireen's book (Marilynn Smith)
  5. [Baren 41071] Re: Marking Linoleum (Juergen Stieler)
  6. [Baren 41072] Re: Marking Linoleum ("Terry Peart")
  7. [Baren 41073] Its been a While... (jennifer kelly)
  8. [Baren 41074] Japanese woodblock exhibit (Linda Beeman)
  9. [Baren 41075] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Elizabeth Atwood
Date: Thu, 15 Apr 2010 13:39:40 GMT
Subject: [Baren 41067] Re: Marking Linoleum
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I agree with the Busey method. It keeps the work freer in reduction
work. Try it!...................ElizA
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Message 2
From: thadeenz97 #
Date: Thu, 15 Apr 2010 13:45:21 GMT
Subject: [Baren 41068] New Print on Blog: GHOST STORY
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Hello everyone,

The blogspot mystery continues, so I figured I'll just wait until I have a finished print to show and then invite you all over to my place for a look-see. The time has come.

So, come on over and check out "Ghost Story" :

Hope you can make it!
Jeff Dean
Napping Cat Press
Buffalo, NY
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Message 3
From: "Maria Arango"
Date: Thu, 15 Apr 2010 13:52:43 GMT
Subject: [Baren 41069] RE: Marking Linoleum
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I have used permanent markers brand "Sharpie" without any fading at all
between states. Some permanent markers will fade so the only one I can vouch
for completely is the Sharpie brand.

Good luck,
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Message 4
From: Marilynn Smith
Date: Thu, 15 Apr 2010 14:29:05 GMT
Subject: [Baren 41070] Shireen's book
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Hi Shireen,

You mentioned that you have found registration a challenge and that
you have devised a special method. You said it is too hard to
describe, how about some pictures? I can bet there are a lot of us
who would appreciate any advice on getting things to register as
precisely as possible. I don't think I fully grasped what you are
doing. First you are creating a pulp painting and than you are
printing over it, correct? Wow, this is a special method and very
challenging I should think. I am awed by your work, inspiring indeed.
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Message 5
From: Juergen Stieler
Date: Thu, 15 Apr 2010 19:51:47 GMT
Subject: [Baren 41071] Re: Marking Linoleum
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I also do as Elisabeth and Elisabeth do. After finishing the draft, I
either draw it on tracing paper to have it mirror-inverted or I scan it
and print it out mirror-inverted. I then bring the paper to size of the
printing paper by cutting or adding. You can cut your linoleum like
woodblocks with kento marks or glue the linoleum on plywood or another
substrate and have registration marks there of your favourite kind.
To copy the lines on linoleum use a hard pencil or colour pencil. I
recommend the special blue copy paper for handwriting, PELIKAN
PLENTICOPY here in Germany

which for our purpose is MUCH better than the classical black carbon
paper for typewriting.

Kind regards

Elizabeth Atwood schrieb:
> I agree with the Busey method. It keeps the work freer in reduction
> work. Try it!...................ElizA
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Message 6
From: "Terry Peart"
Date: Fri, 16 Apr 2010 00:13:09 GMT
Subject: [Baren 41072] Re: Marking Linoleum
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Juergen and all,
Don't you find if you press too hard with a sharp pencil when transferring
the drawing that it indents the linoleum, or woodblock for that matter, and
leaves an indentation that will print?
I've done that, maybe I'm too enthusiastic.

West Seattle
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Message 7
From: jennifer kelly
Date: Fri, 16 Apr 2010 07:48:09 GMT
Subject: [Baren 41073] Its been a While...
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I have been busy for a while and feel the need to say hi. I have been putting my baren emails aside for nearly 200 messages.
1. Re silent members. I've been one recently, I sometimes contribute, but always read and bookmark lots of references. Were not people like me called lurkers?
2. Cannot wait to try white line printing. 9? mths ago I posted a link to the Austrlian Printmaker Cressida Campbell. Her work practice is filmed , amongst other things, her process looks similar to the whiteline style, except she uses gouache, then rewets them for printing.
3.David, I admire your work and how creative you are in both art practice and selling. Absoululy inspiring.
4. Been looking at Andy Engish. Thoughts as for #3.
5. Have recently purchased an old proofing press.

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Message 8
From: Linda Beeman
Date: Fri, 16 Apr 2010 11:48:01 GMT
Subject: [Baren 41074] Japanese woodblock exhibit
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The Flint Institute of Arts in Flint Michigan is having an exhibit of
some of the prints in their collection starting May 15th. I am so
excited to see these and am sure I will go several times. I have asked
permission to take some photos, which was denied, but they will supply
me with digital images. I will post what I can on my blog as
there are stipulations about doing this.

Here's the link:

exciting for me as well, I was contacted to take in my work for
their gallery shop for this exhibition!
If anyone is in the area and
wants to go or meet up at the exhibit, let me know.

Digest Appendix

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

Subject: Registration Simplified
Posted by: Maria

Being an over-efficient maniac, one of the things that has always bothered me when printing a la Japanese, is the registration method used in moku-hanga. Don't get me wrong, I have faithfully cut kentos in every block just like the old methods explain. But I believe this way of doing things introduces a margin of error for every single block that is cut. I'm sure the masters, er, mastered this kento cutting so that they were identical for every block.

In Western printing, long ago I started using registration boards. I've made them mostly of foam-board so that they could be fed through the etching press (or hydraulic press). A registration board is simply a "movable kento" system of registration. Any two pieces of material glued together as a square corner, then another piece of material as a paper guide glued at some pre-determined margin. Not really a complicated device. There is some error introduced in that the block has to be placed exactly in the same place every time, but in my experience this is less prone to error than having to cut exact kentos in as many as a dozen or more blocks. Seems that every kento in every block could introduce some error into the registration process and I would rather spend a little time upfront into building a semi-permanent movable kento.
With a well-built registration board, the only but very important requirement is that the blocks have to be cut perfectly square, the paper has to be cut perfectly square and the placement needs attention, but no more attention than if placing paper on a standard cut kento.

When I started printing with waterbased pigment, the dampness of the whole process was not compatible with a foam-board registration jig. So I made a prototype of wood with a 1 inch margin wood paper guides built in. If I want other margins, as for the tiny tigers, I just glue kento-mat-board to the board at the appropriate distance. You can see the margins of the tiger prints in burgundy matboard. They are glued with paste so they just come off by a bit of soaking and scraping. The wood guides are glued with white glue, also steady but removable with a bit more effort. . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog 1000 Woodcuts Updates.
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Subject: Opening Reception at McColl Center for Visual Art


I am pleased to announce that I am an 11 Month Affiliate Artist at the Center. So…
Join me Friday, April 16 from 6-9pm for a reception at McColl Center for Visual Art. Visit with me in my studio, meet the other Affiliate Artists and see the humorous and probing exhibition in the main gallery: Fried by Franco Mondini Ruiz. The Center is located at 721 N. Tryon St. in Charlotte, NC.

“McColl Center for Visual Art is recognized as one of the nation’s top three artist-in-residence programs by the Andy Warhol Foundation for Visual Art in New York City. The Center provides everything contemporary artists need to explore creative possibilities while examining the intersection of their work with the community. The Center’s unique approach allows artists and non-artists to gain insight into the creative process and foster meaningful conversations that educate and transform.”

This item is taken from the blog THE BLOCK.
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