Today's postings

  1. [Baren 45251] Whimsical woodprint ("Harry French")
  2. [Baren 45252] Tsunami Print Project and Exhibition Question. ("Mark Mason")
  3. [Baren 45253] digital (Marilynn Smith)
  4. [Baren 45254] Re: Whimsical woodprint (Renee)
  5. [Baren 45255] elements (SUSAN KALLAUGHER)
  6. [Baren 45256] Re: elements (Barbara Mason)
  7. [Baren 45257] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: "Harry French"
Date: Tue, 20 Mar 2012 13:24:33 GMT
Subject: [Baren 45251] Whimsical woodprint
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Greetings Bareners,
There doesn’t appear to be much traffic in the forum at the moment so I invite you to look at my latest woodprint.
In the summer I was in the Puppet Theatre Museum in Lubeck, Northern Germany with my grand daughter...I could not resist sketching the mechanical marionettes, but never expected to start a new whimsical theme of unsophisticated art. The first marionette woodprint is in the recent work section on my homepage.
As usual I forgot to reverse the design!
All the best.
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Message 2
From: "Mark Mason"
Date: Tue, 20 Mar 2012 14:39:46 GMT
Subject: [Baren 45252] Tsunami Print Project and Exhibition Question.
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Hello everyone.

I was wondering if there is any update on how the Japanese Tsunami Relief
Print Project was progressing? It was a great project to be associated with.

I also have a, 'I wish I knew then what I knew now' question.

I've been offered a solo exhibition in May/June next year at a lovely
gallery space attached to a small castle in my home town (The castle is
depicted in my submission for Maria's 'City of the World' project). It will
be my first ever solo exhibition and I'll have to produce a lot of new work
- prints and ink paintings, as well as trying to earn a living in these
rocky times.

My question is to those of you who have had exhibitions; what do you wish
you'd known when you held your first show that you know now? Is it better to
produce more work and select the best when hanging? Is an over-riding theme
important, or just a scattered collection of pieces? I want to keep my
prices affordable, but how cheap is cheap? Is under valuing as bad as over
valuing? Off the peg frames, or custom made? Part of the exhibition will
have to be given over to an explanation of the tools and techniques as water
based printing methods are virtually unheard of in my experience in my part
of Lancashire. It's all a little daunting, but an opportunity I don't think
I should let pass me by.
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Message 3
From: Marilynn Smith
Date: Tue, 20 Mar 2012 14:40:32 GMT
Subject: [Baren 45253] digital
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Most certainly the computer is here to stay. if one has created an
original piece of art using the computer as a tool than it should be
called digital art, not a print. If one combines digital art with a
hand carved plate than I should think it would be a mixed media piece.

If I take a picture or scan one of my watercolors and print it from my
printer than it is a copy, period. Seems pretty simple to me. Why dupe
the public, sell it as what it is.

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Message 4
From: Renee
Date: Tue, 20 Mar 2012 15:43:52 GMT
Subject: [Baren 45254] Re: Whimsical woodprint
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Thank you Harry once again for sharing your wonderful prints! You have captured the delightful implied movement of the mechanical marionettes, what a treat to see this show in person and have time to make sketches. Very nice. I also enjoyed the woman in the wheelbarrow, I will go along with the Saint story as the woman looks as if she's heard her son's speech before, and he seems very kindly adjusting the cart.

Happy first day of Spring Bareners!

My blog was skipped over (probably a title mistake on my part) I am working on an artist book at the moment.My blog is : I would love it if you have a comment! Thanks all!

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Message 5
Date: Tue, 20 Mar 2012 22:01:27 GMT
Subject: [Baren 45255] elements
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I'm curious as to how purist we have to be. Don't methods evolve with the times?
Don't a lot of people use photocopiers to reproduce the image they then transfer to their blocks?
Or use photoshop to transfer original images in color layers to blocks.
Aren't the original images sometimes prints from old books, or photos?
Are there so many rules about this?
Sue Kallaugher
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Message 6
From: Barbara Mason
Date: Tue, 20 Mar 2012 22:15:17 GMT
Subject: [Baren 45256] Re: elements
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there are no printmaking police to come and get you....each artist uses all the tools available at one time or another...but directly stealing someone else's imagery without credit is probably the only no no I can think of.....
the important thing is to make prints, lots of prints
my best

Digest Appendix

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

Subject: Arts of Japan series : embossment blocks
Posted by: Dave Bull

What's this?

(entry continues here ...)

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

Subject: Copper Complete
Posted by: Sharri

The Foredom has been grinding away, relentlessly, turning a lovely piece of copper into dust.  Yeah! we have an image - and one that I think conveys the tranquility of Tryon Creek State Park.  It is difficult to get a good photo of a metallic surface, but I hope you can tell a little of what is intended from this shot.

This piece is intended to exist as the copper plate mounted onto the exterior of a house.  But, there are some pretty interesting passages and I had to know how these marks might translate to paper.

detail from copper plate

So, I pulled a print using Akua Carbon Black -  the wonderful part of that is that after the print is pulled the plate cleans with soap and water and very little elbow grease (which is more than I can say for wiping the plate prior to printing!  I thought my arm was going to drop off.)

[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.
'Reply' to Baren about this item.

Subject: Women provide the inspiration
Posted by: Elizabeth Busey

"Free the Women Artists" cries a poster from The Guerrilla Girls.  The poster demands that the artistic work of women, now locked in museums' storage areas, be released to see the light of day.

I've been metaphorically locked in my house for about two weeks, taking time off from my role as printmaker to put on my mothering and caregiving caps. Worry, lack of sleep and many hours watching almost all of the Harry Potter movies kept me from creating in my studio. With everyone recovered, I knew I needed some artistic refreshment.

A trip to the Indianapolis Museum of Art's Looking West exhibit provided just the inspiration I needed.  The exhibit showcases prints, watercolors and photographs from 1870 to 1940, when both men and women were venturing (and adventuring) west in search of new subjects and inspirations.

I was most struck by the work of three women:

  • Norma Bassett Hall's (1889-1957) wood cut, Navajo Land, depicts the landscape with such delicacy that it looks like a watercolor.
  • Frances Gearhart's (1869 - 1958) Stark Country and Rain Tomorrow combine subtle tones with detailed key blocks to highlight what must have been exciting topography.
  • Fanny Vandegrift Stevenson's (1840-1914) two watercolors, Cabin, California and Tent, California show us simple camp life, perhaps painted while on honeymoon with her new husband, Robert Louis Stevenson. Be sure to watch the museum's short video about her life. She sounds like the best type of woman artist.

. . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog The World in Relief.
'Reply' to Baren about this item.