Today's postings
- [Baren 42412] Hasui - at work, Letter presss (Marilynn Smith)
- [Baren 42413] Re: Hasui - at work ("Mike Lyon")
- [Baren 42414] Re: Hasui - at work (David Bull)
- [Baren 42415] Woodblock prints ... a little differently (David Bull)
- [Baren 42416] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Marilynn Smith
Date: Sat, 27 Nov 2010 16:23:38 GMT
Subject: [Baren 42412] Hasui - at work, Letter press
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> Hasui - at work
I had seen this video before. However it was a new adventure to watch
it again. Having advanced further with my carving and printing it
gave me a totally different experience and I caught things I did not
notice before. So, in essence Mark it was not a bad thing to show
this video again.
Really liked the video on letter press. WOW combining computer with
hand printing, great idea. We could do this on our own without Apple!
Another way to promote printmaking as printmaking and digital as
digital. I like it.
Harry as always, great prints. I love seeing your work because it
often has just a touch of whimsy.
Marilynn
I had seen this video before. However it was a new adventure to watch
it again. Having advanced further with my carving and printing it
gave me a totally different experience and I caught things I did not
notice before. So, in essence Mark it was not a bad thing to show
this video again.
Really liked the video on letter press. WOW combining computer with
hand printing, great idea. We could do this on our own without Apple!
Another way to promote printmaking as printmaking and digital as
digital. I like it.
Harry as always, great prints. I love seeing your work because it
often has just a touch of whimsy.
Marilynn
Message 2
From: "Mike Lyon"
Date: Sat, 27 Nov 2010 16:32:55 GMT
Subject: [Baren 42413] Re: Hasui - at work
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Dave, I have a question for you about pigment application...
I was introduced to moku-hanga by Hiroki Morinoue (Hawaii) who had been
taught by T. Okubo sensei (Japan). He demonstrated mixing pigment into
paste on the block with the printing brush. I believe I've watched you use
the same technique. Kathy Caraccio (New York) who had been instructed at
the Yoshida studio (Japan) demonstrated dabbing paste and pigment onto the
brush rather than the block (as demonstrated in the Hasui / Watanabe film).
I've experimented both ways on my large prints this year and my limited
experience seems to indicate that when printing pale and transparent colors
application to the block allows me easier control while for deep and intense
colors, application to the brush allows easier control... But this is
pretty subtle, so I wanted to ask your opinion:
Are there special advantages to each way? Is one way better suited to
certain conditions? Are the methods interchangeable / equivalent / personal
preference? What is the history and tradition?
Thanks!
Mike
Mike Lyon
Kansas City, MO
http://mlyon.com
I was introduced to moku-hanga by Hiroki Morinoue (Hawaii) who had been
taught by T. Okubo sensei (Japan). He demonstrated mixing pigment into
paste on the block with the printing brush. I believe I've watched you use
the same technique. Kathy Caraccio (New York) who had been instructed at
the Yoshida studio (Japan) demonstrated dabbing paste and pigment onto the
brush rather than the block (as demonstrated in the Hasui / Watanabe film).
I've experimented both ways on my large prints this year and my limited
experience seems to indicate that when printing pale and transparent colors
application to the block allows me easier control while for deep and intense
colors, application to the brush allows easier control... But this is
pretty subtle, so I wanted to ask your opinion:
Are there special advantages to each way? Is one way better suited to
certain conditions? Are the methods interchangeable / equivalent / personal
preference? What is the history and tradition?
Thanks!
Mike
Mike Lyon
Kansas City, MO
http://mlyon.com
Message 3
From: David Bull
Date: Sat, 27 Nov 2010 23:43:58 GMT
Subject: [Baren 42414] Re: Hasui - at work
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Mike wrote:
> Are there special advantages to each way? Is one way better suited to
> certain conditions? Are the methods interchangeable / equivalent /
> personal
> preference? What is the history and tradition?
Both are common, and they are non-exclusive. I use them both, although
most often the 'direct to block' system.
Some pros/cons that come to mind:
Direct to Block:
(+)
- allows _lots_ of pigment when necessary
- needs only one hand ...
- easier to see how much you are applying
(-)
- you have to remember to use a different place now and then. If you
always dab in the same spot, that place gets oversaturated with pigment
Pigment to Brush
(+)
- avoids the block saturation problem
- by making the first touches to the block light and 'swirly', the
pigment gets spread around faster, as opposed to the 'push it out from
one place' necessary with the other system (This is perhaps the key
advantage for proponents of this method)
(-)
- needs two hands
- for humungous blocks (Mike Lyon size), there just isn't going to be
enough pigment carried this way ...
There is also a third method, which I use a _lot_: use the applicator
to dab/smear some pigment onto a white tile at the side of the block.
You then 'swipe' the brush into this pigment, picking up a little/lot
as required.
Pigment to Tile
(+)
- it allows an _extremely_ sensitive amount of pigment to be used.
- the pigment shows clearly against the white, as it will on the paper
- you can colour-mix on the tile. Dab some 'a' and a touch of 'b', rub
together with the brush (or a finger) to see the mix ... maybe add a
touch more of something, then swipe it up with the brush and print.
This is _really_ useful when proofing, so you don't have to keep
mixing in bowls, and tossing stuff out.
(-)
- it's not so suitable for 'quantity' applications
As for the history, I have no idea, but my guess is that because of
the 'need for speed' in the old days, the rule would have been,
'whatever works fastest for any particular job is best' ...
Dave
> Are there special advantages to each way? Is one way better suited to
> certain conditions? Are the methods interchangeable / equivalent /
> personal
> preference? What is the history and tradition?
Both are common, and they are non-exclusive. I use them both, although
most often the 'direct to block' system.
Some pros/cons that come to mind:
Direct to Block:
(+)
- allows _lots_ of pigment when necessary
- needs only one hand ...
- easier to see how much you are applying
(-)
- you have to remember to use a different place now and then. If you
always dab in the same spot, that place gets oversaturated with pigment
Pigment to Brush
(+)
- avoids the block saturation problem
- by making the first touches to the block light and 'swirly', the
pigment gets spread around faster, as opposed to the 'push it out from
one place' necessary with the other system (This is perhaps the key
advantage for proponents of this method)
(-)
- needs two hands
- for humungous blocks (Mike Lyon size), there just isn't going to be
enough pigment carried this way ...
There is also a third method, which I use a _lot_: use the applicator
to dab/smear some pigment onto a white tile at the side of the block.
You then 'swipe' the brush into this pigment, picking up a little/lot
as required.
Pigment to Tile
(+)
- it allows an _extremely_ sensitive amount of pigment to be used.
- the pigment shows clearly against the white, as it will on the paper
- you can colour-mix on the tile. Dab some 'a' and a touch of 'b', rub
together with the brush (or a finger) to see the mix ... maybe add a
touch more of something, then swipe it up with the brush and print.
This is _really_ useful when proofing, so you don't have to keep
mixing in bowls, and tossing stuff out.
(-)
- it's not so suitable for 'quantity' applications
As for the history, I have no idea, but my guess is that because of
the 'need for speed' in the old days, the rule would have been,
'whatever works fastest for any particular job is best' ...
Dave
Message 4
From: David Bull
Date: Sun, 28 Nov 2010 08:36:04 GMT
Subject: [Baren 42415] Woodblock prints ... a little differently
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Stumbled across this today:
http://www.mwbstudios.com/wallhangingsgallery.html
I'm not sure how much hand-work goes into these, as I think he may be
using a computer controlled laser cutter to do most of the work, but
in any case, it's an interesting effect ...
Dave
http://www.mwbstudios.com/wallhangingsgallery.html
I'm not sure how much hand-work goes into these, as I think he may be
using a computer controlled laser cutter to do most of the work, but
in any case, it's an interesting effect ...
Dave
Digest Appendix
Postings made on [Baren] members' blogs
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Subject: Now you see it, soon you won't!
Posted by: Sue
I'm not too far from first proof time. Another good session should see it.   |
This item is taken from the blog Studio Window.
'Reply' to Baren about this item.