Today's postings
- [Baren 24250] hiromi paper (Cucamongie # aol.com)
- [Baren 24251] Japanese Illustrated Books Course (slinders # comcast.net)
- [Baren 24252] Re: Japanese Illustrated Books Course (Barbara Mason)
- [Baren 24253] Nagasawa ("Eva Pietzcker")
- [Baren 24254] Oily question... (Jsf73 # aol.com)
Message 1
From: Cucamongie # aol.com
Date: Mon, 16 Feb 2004 09:22:17 EST
Subject: [Baren 24250] hiromi paper
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Carol and others:
I can't remember what NY Central's prices are for Hiromi Paper, but you might
get a better deal buying directly from Hiromi Paper:
http://hiromipaper.com/
They have a LOT of wonderful Japanese papers to choose from, and have a
sample booklet if you want to see them all (or if you only need to see a few
samples, I would imagine they would probably send these for free).
They also put out an interesting newsletter etc.
best wishes
Sarah
I can't remember what NY Central's prices are for Hiromi Paper, but you might
get a better deal buying directly from Hiromi Paper:
http://hiromipaper.com/
They have a LOT of wonderful Japanese papers to choose from, and have a
sample booklet if you want to see them all (or if you only need to see a few
samples, I would imagine they would probably send these for free).
They also put out an interesting newsletter etc.
best wishes
Sarah
Message 2
From: slinders # comcast.net
Date: Mon, 16 Feb 2004 09:44:13 -0600
Subject: [Baren 24251] Japanese Illustrated Books Course
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This class may be of interest to some of our members.
Sharen
JAPANESE ILLUSTRATED BOOKS RBS is pleased to announce a new
course, to run in Baltimore from 12-16 July 2004 at (and
co-sponsored by) the Walters Art Museum: Japanese Illustrated
Books, 1615-1868
Commercial publishing flourished in Japan in the Tokugawa
period
(1615-1868). Book illustration came into its own in Japan by
the closing
decades of the c17. At first, the illustrations were printed in
black only;
color printing from multiple blocks was fully mastered by 1760.
Thereafter color was commonly used in book production, although
books with line only
illustrations continued to be produced in large numbers to the
end of the period. The success of these book illustrations
depended upon the close
collaboration of artists, copyists, blockcutters and printers
under the
supervision of publishers responsive to the demands of the
market. This
course provides an introduction to illustrated books and prints
produced in
Japan, 1615-1868. Topics to be covered include: overview of the
history of
the period; the physical characteristics of Japanese books and
their modes
of production and distribution (publishers, booksellers &
book-lenders,
readers, marketing); the major categories of Japanese
illustrated books
(painting manuals, copy books, picture books without words,
poetry
anthologies, novels, topographical studies, botanical surveys,
erotica);
books illustrated by artists of the Ukiyo-e, Nanga, Kan and
Maruyama-Shij schools; the impact of imported Chinese books on
Japanese book production;
the development of single-sheet woodblock prints in the context
of the
history of the Japanese illustrated book; issues related to
conserving,
cataloging, and describing Japanese books. The course will
combine daily
lectures and discussions with hands-on sessions in which the
class will
have the opportunity to examine both books and prints. In
their personal
statement, students should describe any previous background
they have had in the field; no previous knowledge of Japanese
art or history is expected of those who apply for admission to
this course.
Ellis Tinios is Honorary Lecturer in the School of History,
University of Leeds; Research Associate at the Japan Research
Centre, School of
Oriental and African Studies, University of London; and special
assistant to the Japanese Section of the Department of Asia,
British Museum. He is the author of Mirror of the Stage: The
Actor Prints of Kunisada (1996), On
the Margins of the City: Recreation on the Periphery of Edo with
Paul Waley (1999) and Kawamura Bump: Artist of the Two Worlds
(2003); and he is a
contributor to Masterful Illusions: Japanese Prints in the Anne
van Biema Collection (2002).
Sharen
JAPANESE ILLUSTRATED BOOKS RBS is pleased to announce a new
course, to run in Baltimore from 12-16 July 2004 at (and
co-sponsored by) the Walters Art Museum: Japanese Illustrated
Books, 1615-1868
Commercial publishing flourished in Japan in the Tokugawa
period
(1615-1868). Book illustration came into its own in Japan by
the closing
decades of the c17. At first, the illustrations were printed in
black only;
color printing from multiple blocks was fully mastered by 1760.
Thereafter color was commonly used in book production, although
books with line only
illustrations continued to be produced in large numbers to the
end of the period. The success of these book illustrations
depended upon the close
collaboration of artists, copyists, blockcutters and printers
under the
supervision of publishers responsive to the demands of the
market. This
course provides an introduction to illustrated books and prints
produced in
Japan, 1615-1868. Topics to be covered include: overview of the
history of
the period; the physical characteristics of Japanese books and
their modes
of production and distribution (publishers, booksellers &
book-lenders,
readers, marketing); the major categories of Japanese
illustrated books
(painting manuals, copy books, picture books without words,
poetry
anthologies, novels, topographical studies, botanical surveys,
erotica);
books illustrated by artists of the Ukiyo-e, Nanga, Kan and
Maruyama-Shij schools; the impact of imported Chinese books on
Japanese book production;
the development of single-sheet woodblock prints in the context
of the
history of the Japanese illustrated book; issues related to
conserving,
cataloging, and describing Japanese books. The course will
combine daily
lectures and discussions with hands-on sessions in which the
class will
have the opportunity to examine both books and prints. In
their personal
statement, students should describe any previous background
they have had in the field; no previous knowledge of Japanese
art or history is expected of those who apply for admission to
this course.
Ellis Tinios is Honorary Lecturer in the School of History,
University of Leeds; Research Associate at the Japan Research
Centre, School of
Oriental and African Studies, University of London; and special
assistant to the Japanese Section of the Department of Asia,
British Museum. He is the author of Mirror of the Stage: The
Actor Prints of Kunisada (1996), On
the Margins of the City: Recreation on the Periphery of Edo with
Paul Waley (1999) and Kawamura Bump: Artist of the Two Worlds
(2003); and he is a
contributor to Masterful Illusions: Japanese Prints in the Anne
van Biema Collection (2002).
Message 3
From: Barbara Mason
Date: Mon, 16 Feb 2004 08:18:56 -0800 (PST)
Subject: [Baren 24252] Re: Japanese Illustrated Books Course
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Sharen,
This sounds like a great class...it would be a real bonus for them if one of our members could go and do a demo of how these prints are made....who lives near Baltimore who does moku hanga? April? Joe? I know of others but they are oil based printers...I think this would be a great idea. Too bad I am on the opposite coast and cannot take this class, what a wealth of information it would be! If anyone goes, we expect a full report!
Best to all,
Barbara
This sounds like a great class...it would be a real bonus for them if one of our members could go and do a demo of how these prints are made....who lives near Baltimore who does moku hanga? April? Joe? I know of others but they are oil based printers...I think this would be a great idea. Too bad I am on the opposite coast and cannot take this class, what a wealth of information it would be! If anyone goes, we expect a full report!
Best to all,
Barbara
Message 4
From: "Eva Pietzcker"
Date: Mon, 16 Feb 2004 21:59:28 +0100
Subject: [Baren 24253] Nagasawa
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Thank you Georga, Mike and Joe for your kind comments.
The program was two months long, in which we had three short workhops of cutting, printing and papermaking. Between we worked on several editions.
And here is my process, Mike:
I am looking for special light situations, when light and shadow give the room/landscape I choose for a print an additional compository dimension. I do a linedrawing with notes of all plates, and maybe after that take a photo, if there might be later any open questions. If possible after transferring to the plates, I like to cut in front of the motif, to keep the print as direct and lifely as possible (every day at the same time and hopefully with no clouds).
And a general greeting to everybody (which I sent from Japan on Nov14 and was lost in the gap between old and new version): I was very happy about the very good preparation which I got from Baren about moku hanga, and I can say that my stay in Japan so was especially fruitful. Thanks to everybody!!!
Eva
The program was two months long, in which we had three short workhops of cutting, printing and papermaking. Between we worked on several editions.
And here is my process, Mike:
I am looking for special light situations, when light and shadow give the room/landscape I choose for a print an additional compository dimension. I do a linedrawing with notes of all plates, and maybe after that take a photo, if there might be later any open questions. If possible after transferring to the plates, I like to cut in front of the motif, to keep the print as direct and lifely as possible (every day at the same time and hopefully with no clouds).
And a general greeting to everybody (which I sent from Japan on Nov14 and was lost in the gap between old and new version): I was very happy about the very good preparation which I got from Baren about moku hanga, and I can say that my stay in Japan so was especially fruitful. Thanks to everybody!!!
Eva
Message 5
From: Jsf73 # aol.com
Date: Mon, 16 Feb 2004 17:20:58 EST
Subject: [Baren 24254] Oily question...
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I need to have a question answered...
How much cobalt drier do you add to your oil based ink?... say how many
millilitres of drier per tablespoon of ink? How much is too much and will degrade
the ink....
Thanks to whomever can answer...
John Furr
p.s. John Center if you read this send me an email with your phone number
please...
How much cobalt drier do you add to your oil based ink?... say how many
millilitres of drier per tablespoon of ink? How much is too much and will degrade
the ink....
Thanks to whomever can answer...
John Furr
p.s. John Center if you read this send me an email with your phone number
please...