Baren Digest
[Baren] - the International Forum for Woodblock Printmaking
Volume: 25 / Number: 2444
Monday, 17 of November, 2003
Today's postings:
- [Baren 23367] introduction to myself ("Richard Farrel")
- [Baren 23368] Re: introduction to myself (Charles Morgan)
- [Baren 23369] Revelstoke (Barbara Mason)
- [Baren 23370] self portaits ("Robert Canaga")
- [Baren 23371] RE: self portaits ("Daniel Dew")
- [Baren 23372] Toshi Yoshida (Laughing Crow Studio)
- [Baren 23373] Re: editioning question (Myron Turner)
- [Baren 23374] Re: Toshi Yoshida (Julio.Rodriguez # walgreens.com)
- [Baren 23375] Re: editioning question (Frank Trueba)
- [Baren 23376] Re: editioning question (Charles Morgan)
- [Baren 23377] Re: Toshi Yoshida (Wanda)
Message 1
From: "Richard Farrel"
Date: Mon, 17 Nov 2003 06:29:56 -0800
Subject: [Baren 23367] introduction to myself
Hi. Just a short intro on myself. I first became interested in woodcuts in early 80's. Last week I just finished my 13th edition, a quiet summer scene of Arrow Lake, an idea that came to me while looking for the elusive pine mushroom.
What next? Last few days been working on my most ambitious project a portrait of a friend and her dog. Its huge, 17 by 31 inches. She is attractive with fine features, the dog an English bulldog,beauty and the beast, set in a background of funky fish patterns (the dog's blanket). Along with this two landscapes, a still life, and a portrait of a women.Sounds nuts but then what new, I seem to always have a few prints on the go. Other than printmaking my other interest is forging and fabricating jewelry.
Before I sign off I'll tell you a little bit about the area, where I live. Revelstoke a small community in south eastern B.C., population of aprox. 8000. Nestle in the valley between the Selkirk and Monashee mountains.A land of giant trees , tall mountains and luscious plant growth .My studio is waiting so I'll sign off for now.
Richard Farrell
From: Charles Morgan
Date: Mon, 17 Nov 2003 06:51:08 -0800
Subject: [Baren 23368] Re: introduction to myself
Hello Richard,
Welcome to another BC resident!!! I am down here in Victoria. If you are
ever in the area, let me know and we can get together and swap lies about
ourselves.
Cheers ..... Charles
From: Barbara Mason
Date: Mon, 17 Nov 2003 09:32:43 -0800 (PST)
Subject: [Baren 23369] Revelstoke
Richard,
Welcome to baren. My jusband was the station agent on the railroad in Revelstoke in the 50's...we actually were back to visit on a trip to Saskatchewan a couple of years ago and saw the most beautiful rainbow I have ever seen, sort of a double one! We are in Portland OR. You will enjoy this group, lots of help and encouragement.
best to you,
Barbara Mason
From: "Robert Canaga"
Date: Mon, 17 Nov 2003 10:54:37 -0800
Subject: [Baren 23370] self portaits
Barbara, Bill, and Colleen are up on the self portrait site!
RC
From: "Daniel Dew"
Date: Mon, 17 Nov 2003 14:21:16 -0500
Subject: [Baren 23371] RE: self portaits
Great, and I didn't save the link!
My self portrait will be done when I finish it for an exchange I just
joined, other, I choose not to scare very many people.
Daniel L. Dew
Ervin Leasing Company
Suncoast Division
www.suncoastleasing.com
ddew@ervinleasing.com
ddew@tampabay.rr.com
From: Laughing Crow Studio
Date: Mon, 17 Nov 2003 13:54:14 -0800 (PST)
Subject: [Baren 23372] Toshi Yoshida
Dear Bareners,
Hi! It took a few days to get back to this because due to a storm - my
internet has been out. But, after much looking around, I guess the
printmaker I was thinking of must be Saito. The prints I found recently
don't look familiar, but the technique is the same as I was thinking of.
Another printmaker that I have a question about is Toshi Yoshida. I was
really impressed with his prints, but did not find info on his technique.
Can anyone tell me how he got these "motion" effects? It doesn't look like
he used a key plate in the traditional way. If you look at the link below
and especially in the second one with the close-up, in the detail of the
animal's head - you can see the gouge marks. And how would he get the
lightening/fuzzy look on the legs? Would this be in the application of
the ink or by sanding down the wood?
http://www.floatingworld.com/works/891589_o.jpg
http://www.floatingworld.com/works/891589_10.jpg
And on this one - the colors go so gradually from one to the next. At the
bottom there are different colored horizontal lines side by side, so did
he do all that on separate plates or is it in the inking somehow?
http://www.floatingworld.com/works/891592_10.jpg
And finally, is anyone aware of books with a collection of his prints?
All I could find is one that he wrote about how to do woodcuts (which I
just ordered from the library).
Thanks,
=====
Lezle Williams
Laughing Crow Studio
http://www.laughingcrowstudio.com
From: Myron Turner
Date: Mon, 17 Nov 2003 16:33:26 -0600
Subject: [Baren 23373] Re: editioning question
I don't remember seeing any replies to this. Have there been any?
I don't have any sources, but I recall doing a print many years ago, where
there were several variants of paper and color. I numbered them as follows:
number/out-of-how-many-of-this-variant/out-of-total-printed
For instance, if there were a total of 20 prints, then print number 1 of
variant 2 would be numbered as follows:
I/II/20
or
1/2/20
I don't think I made this up myself but found it somewhere but too long ago
to remember where.
Myron
At 06:24 PM 14/11/2003, you wrote:
>I'm trying to find a source that speaks to editioning. I've been
>to the Baren Archives and I'm not interested in starting another
>philosophical discussion on the merits of edition, but looking
>for some place that speak to"rules" of editioning
>
> I've searched various printmaking
>resources (such as the Print Council of America's A Guide to the
>Care and Collecting of Original Prints and the printing guide
>published by the Conseil Quebecois de l'estampe, etc.) and have found
>definitions of editioning but no technical stuff such as: does changing
>the paper when printing the same image constitute a different edition;
>or when doing chine colle, how does one number a set of prints given
>that each piece of the glued piece of paper although the same
>color will be a different shape, etc, etc.
>
>Any leads to resources I can turn to would be greatly appreciated.
>
>Thanks,
>
>frank
From: Julio.Rodriguez # walgreens.com
Date: Mon, 17 Nov 2003 16:42:41 -0600
Subject: [Baren 23374] Re: Toshi Yoshida
Lezle,
I think Toshi Yoshida illustrated a set of children books on wild animals
based on his woodcuts prints...I have the "Young Lions". I also have the
printmaking manual which he did with Yuki Rei and also a new book on the
whole Yoshida clan (lots of photos and history)..."Japanese Legacy: Four
Generations of Yoshida Family Artists".
Julio
From: Frank Trueba
Date: Mon, 17 Nov 2003 15:43:00 -0800
Subject: [Baren 23375] Re: editioning question
Hi Myron,
Yours is the first response so far. I too am sure that information
with the kind of detail you write of is out there, but I can't find it.
Thanks for your help.
frank
From: Charles Morgan
Date: Mon, 17 Nov 2003 16:51:58 -0800
Subject: [Baren 23376] Re: editioning question
I have checked my meagre personal library. You will find a discussion of
editioning, numbering, etc. in the following:
Printmaking Today, by Jules Heller, pp. 6-8
Etching, Engraving, and Other Intaglio Printmaking Techniques, by Ruth
Leaf, pp 219 and following.
The Complete Printmaker, by John Ross, Clare Romano, and Tim Ross, pp
305 and following
Printmaking, by Gabor Peterdi, pp 321 and following
Cheers ...... Charles
From: Wanda
Date: Mon, 17 Nov 2003 18:05:19 -0800
Subject: [Baren 23377] Re: Toshi Yoshida
on 11/17/03 1:54 PM, Laughing Crow Studio at laughingcrowstudio@yahoo.com
wrote:
> http://www.floatingworld.com/works/891589_o.jpg
> http://www.floatingworld.com/works/891589_10.jpg
> And on this one - the colors go so gradually from one to the next. At the
> bottom there are different colored horizontal lines side by side, so did
> he do all that on separate plates or is it in the inking somehow?
My guess is that he is printing hanga style & probably (at least) 5 blocks
in the gazelle print. (Probably lots more) A light sandy color first, then
a light red-brown for the highlights on the body, then darker red-brown
(leaving out the legs so they are left lighter) Then dark grey or black for
the darkest parts. Pretty sure each color is a separate block, unless he
has discovered some magic method of printing. :-)
I too, admire his work -very talented person. He has done a children's book
I think it's titled "Young Lions". Pretty sure the illustrations for that
are done in pastel. Very impressive & worth taking a look at. These
woodblock prints have that immediate & wonderful look that a person would
get with pastels or colored pencils. Thanks for finding them for us to see!
Wanda
End of [Baren] Digest