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Message 1
From: Bette Norcross Wappner
Date: Mon, 8 Mar 2004 08:52:26 -0500
Subject: [Baren 24502] Re: undaunted
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Hi Steve,
Good tips from Dan. For me I use cheapo paper
like virgin newsprint to rev-up my block for the nice paper. It takes
me about 11 impressions by the time the block gets primed for action -
i.e. proper wetness of the block and paper(damp to the touch-not
dripping or soggy-I sandwich my paper between 17" x 11" or so,
pre-damped poster board enclosed in a plastic shopping bag- some people
use railroad board- but the paper wetness is the big factor in effective
printing), inspection of press check which includes - satisfaction of
proper carved/cleared image, ink color and consistancy (mixed with water
to drip like milk from a thin brush), and correct amount of rice
paste/methyl cellulose dabbed onto the board in tiny dots with an old
chopstick(too much rice paste will give you a blotched image which means
not enough ink. i think the problems rise out of too much or too little
rice paste, rather than the amount of water, that's pretty easy to
get). Of course, good SHARP knives, a japanese ink brush and baren are
quality pigmented inks are important (I still use my Speedball because I
haven't taken the time to order a different brand, but experiment!) I
started out with a plastic baren (from BarenMall) and it was good for me
until I could afford a nicer Baren. For wood, I've used All Shina
plywood from McClains which is good for beginning, but now that my blade
has penetrated cherry....its an addicting love affair.

Hope this helps. I've only been doing woodblock hanga for a year, so
I'm still wet behind the gills. Keep asking questions - that's what I
did, and I read and re-read the pros postings and I took a workshop.

Good luck and don't give up.
Bette.


> from Dan Dew...
> The first thing I learned, it takes about 4 to 6 impressions before the
> end result begins to look "right", sometimes more depending on the wood
> and sometimes less if you're using lino. So, you gotta print a few,
> using the same paper and ink, to see if it's O.K. or not. Then, if it
> still isn't working, start breaking it down.
> I usually start with the paper. I try dry, then damp, then a different
> brand, etc...
> Then I try the ink; out of the tube, more extender, more retarder,
> etc...
> At some point in the process, I usually figure it out.
>
>> Hi Everyone,
>>
>> Am I the only one to experience this?  I spend all afternoon fooling
>> around with different colours (with more or less tack-thickener) on
>> different papers (wet and dry) and at the end of the evening I look
>> around and the thing that looks best is the block itself.  I look at
>> the pile of so-so prints. I look at the block, it looks gorgeous and I
>> think why can't I get the flippin' paper to look like that? Maybe I'll
>> just hang the block on the wall.
>>
>> Cheers
>> Steve (undaunted)

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Message 2
From: Jan Telfer
Date: Mon, 8 Mar 2004 23:21:34 +0800
Subject: [Baren 24503] Re: Baren Digest (old) V26 #2576
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Dear April,

Thank you for sharing your Jugalbandi show with us..... It makes it
very difficult for those living thousands of miles away, not to mention
the travelling hours away from all of the Gallery Exhibitions you all
have to be able to get there but it is nice to see it in "virtual
reality". Thank you.

It still looks mighty cold over there. We are having another heat wave!
Looks like you can do with a bit of warm sun.
Cheers,

Jan
Perth, Western Australia

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Message 3
From: "Gilda Zimmerling"
Date: Mon, 8 Mar 2004 9:29:40 -0800
Subject: [Baren 24504] Copper relief Question
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Hi,
I have question for the group but it is a little off the subject of woodblock. I wanted to know if anyone has hear of an artist in the Art deco style named C. E. Pearson. He did copper relief prints. If any of you can help or direct me to someone who might know about copper relief I would greatly appreciate it. Please contact me off list.
Thanks Gilda

Gilda Zimmerling
--- gemzeditionz@earthlink.net

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Message 4
From: Margaret Szvetecz
Date: Mon, 8 Mar 2004 10:59:42 -0800 (GMT-08:00)
Subject: [Baren 24505] printmaking departments and art schools
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Carolyn, I second your recommendation for the University of Texas at Austin as a place to study printmaking and other studio art disciplines.

Margaret Szvetecz
margarszv@earthlink.net

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Message 5
From: Julio.Rodriguez # walgreens.com
Date: Mon, 8 Mar 2004 14:30:27 -0600
Subject: [Baren 24506] Re: enchange 19
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John Center came over this weekend for a fun day of printmaking talk,
collating #19 (Shunga) and we even got some printing done. John used my
old Vandercook press to print a handcarved colophon page for the exchange
and showed me a trick or two about all that oily swish-swish ink & brayer
stuff.

The prints for #19 are outstanding and the Shunga theme is very well
represented. If you took a peek at April's
website for her Jugalbandi exhibit, her terrific print "Love Flies" is in
the shunga exchange.

The packages are collated and almost ready to go out...John and I will be
taking a trip or two to the post office within the next few days to get
them out.

thanks.........Julio Rodriguez (Skokie, Illinois)

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Message 6
From: "Maria Arango"
Date: Mon, 8 Mar 2004 14:03:25 -0800
Subject: [Baren 24507] puzzle is traveling
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The US puzzle left Las Vegas Nevada today by USPS Priority Mail, March
8th, 2004 under sunny skies and a balmy 82F; that's 30 degrees higher
than last week, giving us a 2-day spring this past weekend. The World
puzzle will leave tomorrow by cheapest fare available, probably Global
Priority in most cases. I hope everyone enjoys the prints. Please let me
know at your convenience when you receive the package safely (tubes).

If someone could email me Steve Goddard's address for the archives, I
will get that print out tomorrow as well. Dave has one coming also.

Some notes of curiosity:
- I enjoy Canada's zip codes the most, they are by far the most creative
- I would like to have more world participants next time, so sharpen up
your knives all you out there across the seven seas
- Your print comes wrapped in whatever I could find in the studio, some
lucky dogs got glassine, most of you got interleaving paper or tissue,
all acid free.
- Print comes rolled in a tube. Relax by the usual methods: lay flat for
a few days, play classical music, submerge in bubble bath, sip a
mellowed sherry by candle light. That's for you, I don't know how the
heck to relax paper that comes rolled in a tube.
- If you should happen to get a hair or two with your package, please
note: pitch black hair belongs to Cricket; tri-colored hair belongs to
Mocha; tri-colored hair but much cuter belongs to Latte; gray hair is
NOT, I repeat NOT mine. You may email my cats in protest, their email
addresses are respectively, cricket, mocha and latte @ mariarango.com.
Please be aware that they "lawyered up" last time I tried to blame them
for throwing up a hair-ball on the rug, so you may receive a response
from their attorney.

(This is what a warm sudden spring does to a printmaker)

Regards to all,
Maria

PS Anyone in Scottsdale the coming weekend or in La Quinta the weekend
after that feel free to stop by my booth!


Maria Arango
www.1000woodcuts.com
Las Vegas Nevada USA

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Message 7
From: Shireen Holman
Date: Mon, 08 Mar 2004 20:42:37 -0500
Subject: [Baren 24508] Fwd: Japanese woodcut residency
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I got this today - thought someone might be interested.

>"anne mckeown" wrote:
>Date: Mon, 08 Mar 2004 07:59:51 -0500
>Subject: Japanese woodcut residency
>From: "anne mckeown]"

>Hi All,

>Attached is information about a wonderful opportunity for a residency in
>Japan. I hope you will take a look and apply.
>If you send this info to a friend, please know that we are limiting the
>participant to a Woman who lives in the Mid-Atlantic States.
>Thanks,
>Anne Q McKeown

>RCIPP
>Nagasawa Art Park Artist in Residence:
>Workshop Program for Japanese Woodblock Printmaking
>Women artists interested in a two-month residency in Japan to learn
>traditional Japanese woodblock printmaking in Fall 2004 should submit 10
>slides, CV 250 word statement of why they are interested in the program to
>Rutgers Center for Innovative Print and Paper by March 22, 2004.

>Artist's Responsibilities:
>Round trip airfare to Osaka-Kansai International Airport (approx.) $1000
>Ground transportation $100
>Materials and tools $500
>Must have an injury and sickness insurance policy for the visit period
>Living costs (approx) $1000
>The artist must create a minimum of three works (two dimensional woodblock
>prints)
>Donation of three impressions of each of the works to the NAPP is required

>Nagasawa Art Park Pilot Project Committee Responsibilities
>Provide instructors in woodblock printmaking
>Provide studio
>Provide transportation for shopping trips
>Produce one exhibition including works produced during the program
>Produce a catalog of the 7 participating artists and their work
>**Artists send 10 slides, a CV, a SASE, and a 250 word statement of why **
>they are interested in the program to:
>RCIPP
>Mason Gross
>33 Livingston Ave.
>New Brunswick, NJ 08901

>Application dead-line: March 21, 2004

>Eligibility: to be eligible for the program applicants must:
>A. Be working in the field of contemporary art or art education.
>B. Understand that the purpose of their visit to Nagasawa is to gain an
>understanding of the techniques of Japanese woodblock printing and to
>promote the use of those techniques in a contemporary art practice.
>C. Be eager to communicate in good spirit with other invited artists and
>local peoples and thereby contribute to mutual understanding and good will
>between Japan and other countries.
>D. Be preferably between 30-50 years of age.
>E. Be in good health and have this attested in a medical statement.
>F. Understand English or Japanese at a level for meaningful participation.
>Experience with woodblock printing: While applications will be accepted from
>artists of all levels of experience with woodblock printmaking, it is
>important to keep in mind that the program will consist of fundamental
>training in traditional Japanese techniques of woodblock printmaking
>(i.e. using watercolor ink.) For this reason, it may not prove satisfying to
>artists who already have extensive experience in this field.
>Names for this mailing were taken from RCIPP and PPC artist lists, please
>feel free to share info with other artists. Submission deadline is final.
>PLEASE NOTE: Program is dependent on continuing support by various Japanese
>organizations
>
Shireen

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Message 8
From: FurryPressII # aol.com
Date: Mon, 8 Mar 2004 21:26:13 EST
Subject: [Baren 24509] Re: Fwd: Japanese woodcut residency
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SEEMS RATHER SEXIST I CAN'T APPLY

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Message 9
From: Bette Norcross Wappner
Date: Mon, 8 Mar 2004 21:50:23 -0500
Subject: [Baren 24510] Re: Fwd: Japanese woodcut residency
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Poor John. And to top that, they're age discriminating too. you're
only 29! Double elimination :)

Bette.

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Message 10
From: David Bull
Date: Tue, 9 Mar 2004 12:34:58 +0900
Subject: [Baren 24511] Re: Fwd: Japanese woodcut residency
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John Center wrote:
> SEEMS RATHER SEXIST    I CAN'T APPLY

John, the web page of the Nagasawa people (hosted by the Japan
Foundation) makes no mention of any gender restriction:
http://www.jpf.go.jp/air/nagasawa.html

Dave

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Message 11
From: Bette Norcross Wappner
Date: Mon, 8 Mar 2004 22:46:48 -0500
Subject: [Baren 24512] Re: Fwd: Japanese woodcut residency
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John, Dave,

That's great to hear that this wonderful opportunity is open to any
gender.

Thanks for the link to the website.

Bette.

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Message 12
From: FurryPressII # aol.com
Date: Mon, 8 Mar 2004 22:52:03 EST
Subject: [Baren 24513] Re: Fwd: Japanese woodcut residency
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Dave wrote:
http://www.jpf.go.jp/air/nagasawa.html

WELL I AM TOO OLD 53 HUMMMMM
JOHN

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Message 13
From: "Maria Arango"
Date: Mon, 8 Mar 2004 20:40:17 -0800
Subject: [Baren 24514] paper alert
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www.jerrysartarama.com
Currently has stonegenge in the basic colors (cream, white, natural) on
sale for .90c/sheet if you buy 100 pack.

Eli, I thought your bulk paper buying idea is a good one but very tough
to organize. If we had a large storage facility, it would be feasible to
order the most used paper for most Bareners and then sell at a discount,
but we don't. Also, shipping small quantities of paper to individuals
takes time. The mall currently can't handle stocking and the mall
manager is overworked enough. We used to try to order paper in bulk when
I went to school and even when you can see and communicate with everyone
in the flesh, invariably someone got stuck with the bill and extra
paper. People would order and then not want it or not have the money,
etc etc.

Anyhow, great idea, just tough to implement at the moment.

Maria


Maria Arango
www.1000woodcuts.com
Las Vegas Nevada USA

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