It occurred to me that we here on [Baren] could easily play the same game, so I'll give it a try - not with 10 prints, which would be a bit much, but with three. Here they are (images are clickable for enlargements):

Click on the "Continue Reading" link below to see all six parts.

Part 1 of 6

Part 2 of 6

Here also is a short time lapse view of the Historic Santa Fe Foundation's restoration of the exterior of Gustave Baumann's house in Santa Fe, NM. The exterior has been returned to its original tint, which complements the hand-painted wood on the home's windows and entrance.

Note: You will see a small handcrafted box where I keep my tools after use and where I also save a few wood chips from every block carved. This is my way to pay respect to the wood.

"Remembering back to the days when I was first exploring this craft, I have created the book that I desperately wanted back then, but which didn’t exist - a book that included everything that I needed to know. I have tried to create a highly practical and focussed guidebook that will take you - step by step - completely through the process of creating your first print, answering (hopefully) all the questions you will ask along the way.”

Rich Media: The eBook contains approximately 60 ‘pages’ (each one actually a wide-screen ’spread’), as well as many photos in high-resolution format. In addition to the standard text+illustration material, it also contains numerous audio and video clips showing every important stage of the printmaking process.

Click here to visit David's e-book site:"Your First print"

Make sure to leave me a comment if you have any questions or if you have some recommendations for improvement.

This next clip shows me proofing the first impression for a background color. (Note wherever I mention the word "ink" I am really referring to color pigments of the watercolor variety).

Proofing continued.....

Note. The Art of Japan offered a superb selection of color woodblock Orientalist prints, including two works by Hashiguchi Goyo; "Woman Applying Makeup" from 1918 that was priced at $39,500, and "Combing Her Hair" from 1920 that was marked $79,500.

Make sure to visit the IFPDA's What's On page to see a list of worlwide exhibits and workshops featuring fine prints & printmakers.

The first color impression shows a very beautiful wood grain pattern
for the background color. The block is made of birch plywood and Japanese hosho was the paper selected for these prints.

The baren flattens out the paper in the color areas leaving behind whites areas with a light embossing (karazuri) effect. Actually what we are seeing is the natural thickness of the paper !

For the next impression I tried a "double" gradation (bokashi). Using the same background block as before a little pigment and paste was applied to both the top and bottom of the block. First I brushed in the gradation at the bottom of the image (pigment area on brush toward the bottom) then carefully turning the brush around (pigment area on the brush now towards top) I brushed on the gradation at the top. Proper brush alignment is key during gradation to keep the paste and pigment areas from messing up. The impression was then taken with the baren. Although not traditional the white cardboard pieces are used to keep the edges of the print smudge free, they flip out of the way while applying color to the block and then flip back in place just before placing the paper on the block.

Here is the before and after photo for the "double" bokashi.

Proofing for the desired amount of bokashi turned out to be as tricky as getting the same results on every print. Eventually I settled on one of the darker tones near the right of the photo. In case you are wondering the sharp metal tool in the photo was used to cleanup the small crevices from accumulated pigment.

Came across the website of this Italian printmaker who works under the pseudonym of Ligustro and was born in Imperia (Italy) in 1924. Since 1986 he has dedicated himself exclusively to the study of Japanese coloured woodblock printing and the Nishiki-e techniques in use during the Edo period, creating hand-prints on highly prized paper produced in Japan using traditional craft methods. He gives lectures and practical demonstration to bring this artistic technique and its fascinating history to the general public.

The main website is here: http://www.ligustro.it/

Here is a link contributed by David Bull with more information and larger images: click here for more images . Right click to download pdf.

Anyway this lead is a good excuse to post these photos of Jacoulet taken in January 1946 by famous photographer Alfred Eisenstaedt for Life magazine.

more photos....

Angelo Aversa
21 June 2009, New England

When I was very young, I began to have a natural predisposition for art but I certainly didn't imagine that one day eventually it would, and should, become my job.
It's not an easy row to hoe. The so-called art system--critics, galleries, curators etc.--can be the biggest enemy for an artist. I'm not convinced that a good part of gallerists, curators and critics today do their job well.
To be an artist is fantastic because it is a profession where freedom is fundamental.....

Karen Kunc was born in Omaha, Nebraska in 1952. She received her BFA from the University of Nebraska-Lincoln in 1975, and her MFA from Ohio State University in 1977. She is a Cather Professor of Art at the University of Nebraska-Lincoln where she has taught since 1983. Her recognitions include: the 2007 Printmaker Emeritus Award from the Southern Graphics Council; a Fulbright Scholar Award, 1996; Mid-America Arts Alliance/National Endowment for the Arts Fellowships, 1996 & 1984; Nebraska Arts Council Individual Artist Fellowship Master Award, 1992; Individual Artist Fellowship, Ohio Arts Council, 1982. She has taught numerous workshops around the world and served as a visiting artist to over 100 institutions. She has curated exhibitions of American art for Finland, France, Egypt, and frequently serves as a juror for national competitions.