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Message 1
From: Bette Norcross Wappner
Date: Fri, 21 May 2004 10:32:24 -0400
Subject: [Baren 25075] haiku tips :)
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dear bareners...

don't be afraid of haiku :) take a look at some good pointers....


http://www.cc.matsuyama-u.ac.jp/~shiki/index_0911.html

http://members.tripod.com/~Startag/HkWayTC.html

http://users.mullum.com.au/jbird/ahs_astart.html#INDEX

http://users.mullum.com.au/jbird/ahs_astart.html

http://members.tripod.com/~Startag/HkTips.html


however...if carving letters isn't your thing, then just include your
written haiku in the colophon. remember...the main thrust of Surimono
is poetry, but if a Surimono does not include written poetry, it might
certainly include hidden symbols and meanings ! make this exchange fun for yourself and
not hard :D now get out there in nature and see what you can 'see'


haiku for the day...

May decrescendo
the rhythm of baby's swing
and a cricket

b'oki.
(written for a friend's birthday today - who also has a newborn baby)

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Message 2
From: "Bill H. Ritchie, Jr."
Date: Fri, 21 May 2004 07:56:36 -0700
Subject: [Baren 25076] new baby and a call to arms
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Lana asked what people think about university art departments axing
printmaking. Lana addressed a call to arms to twenty-somethings, but I'm
sure she'd be interested in 60-something opinions, too.

Mine is that this reduction has been going on a long time, but it's getting
notice because the stalwarts in art schools are (1) retiring or dying and
not being replaced, (2) tired of the struggle to keep enrollment up and
fighting off OSHA hazard rulings and (3) bored.

Yesterday I got a letter from the Dean of the Arts and Sciences at the UW,
where the art school is not accepting new majors or grads in printmaking. He
explained the faculty (2) are needed elsewhere in the department. I am
assuming enrollment has something to do with it, but I'm not sure. It's a
publicly funded university, which makes funding a constant battle.

It is my humble opinion that printmaking is the ancestor of today's
high-tech information and telecommunications systems, and relates to digital
printmaking and even the Web. Woodcut is the great-great grandmother of
inkjet. I took a circuitous route to demonstrate this when I was a professor
at the school--even circled the globe to see what others thought.

Then I proclaimed that printmaking would die in art schools unless its
students "lived" the ongoing saga of prints in the cybernetic age. That
would have made campuses the leaders in maintaining a vital connection
between prints and media arts. That vital connection would feed human
creativity.

Who knows where we'd be today if that remaking of the printmaking division
had been allowed? Some say it's just as well the campus doesn't host this
idea, that they're too insular. Others say private enterprise and civil
efforts are no better. I'm not sure what the truth is; no one tried it.

The other day I ran into a UW printmaking student at a copper company--a
twenty-something. He was buying a copper plate for his etching class. I
showed him my drawings of a press I'm building. He said the printmaking
division was having a hard time; but he's making good use of the opportunity
there.

At Cornish School printmaking looks strong with Kathy Rabel and John Overton
teaching there. A new school, the Academy of Fine Art (Seattle) is offering
some printmaking now.

What is needed is an online printmaking education opportunity, linked to new
creative media arts, for credit. In a way, Baren Forum is just that--and
maybe we don't need credit.

- Bill

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Message 3
From: Sharri LaPierre
Date: Fri, 21 May 2004 08:56:31 -0700
Subject: [Baren 25077] Re: New Baren Digest (HTML) V27 #2656 (May 21, 2004)
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To haiku or not to haiku, that is the question. Thanks for the
answers, guys, I notice that it does specify on the information page
that the format must be vertical. Yet another fly in the ointment, but
I can deal with that one. Methinks I will just do my own thing with
the haiku and if you want it, keep it, and if you don't, pitch it, but
it will not be a part of the image - if it gets there at all. I have
enough trouble without adding complications. LOL

Cheers!
Sharri

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Message 4
From: Lana Lambert
Date: Fri, 21 May 2004 09:07:06 -0700 (PDT)
Subject: [Baren 25078] Re: new baby and a call to arms
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Nice answer.

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Message 5
From: "marilynn smih"
Date: Fri, 21 May 2004 09:24:49 -0700
Subject: [Baren 25079] RE: haiku tips :)
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I remember when we discussed doing the Haiku and doing letters there were
many options mentioned. Such as using the computer for the poem on the
print, hand writing the poem on the print or whatever? Many of us are not
advanced at letter carving so do these options still exist or can we only
carve letters for the haiku or have the option of including the poem in the
colophon????
I had thought of collaging the poem or even using a different print making
medium to put it on the print. Is mixed media out or is it okay??? Of
course my main work would be a wood block print. I have a plank ready to
cut up and paper ready to use and an idea for a wood cut. (oh and a poem
too) But do not want to offend by breaking rules????
Mariilynn

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Message 6
From: Mike Lyon
Date: Fri, 21 May 2004 12:43:33 -0500
Subject: [Baren 25080] Re: haiku tips :)
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Marilynn wrote:
>I remember when we discussed doing the Haiku and doing letters there were
>many options mentioned. Such as using the computer for the poem on the
>print, hand writing the poem on the print or whatever? Many of us are not
>advanced at letter carving so do these options still exist or can we only
>carve letters for the haiku or have the option of including the poem in
>the colophon????
>I had thought of collaging the poem or even using a different print making
>medium to put it on the print. Is mixed media out or is it okay??? Of
>course my main work would be a wood block print. I have a plank ready to
>cut up and paper ready to use and an idea for a wood cut. (oh and a poem
>too) But do not want to offend by breaking rules????
>Marilynn

The "details" for the Surimono exchange (Exchange #21) are here:
http://www.barenforum.org/exchange/exchange_21/exchange_21.html

I hope all participants will read (and be guided by) these! The
coordinator for this exchange will be announced VERY soon... It will be up
to the coordinator to "draw the line" between accepting and rejecting
prints which do not conform to that spec' sheet... But... I can not
recall ANY instance in ANY Baren exchange where prints were rejected for
ANY reason... Can you? So don't sweat the small stuff!

Mike


Mike Lyon
http://mlyon.com

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Message 7
From: "Lezle Williams"
Date: Fri, 21 May 2004 12:43:27 -0600
Subject: [Baren 25081] color separations
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Does anyone here do their color separations in Photoshop? And if so, do you
have a resource you could point me to so I can learn how to do it? I am
starting
a series of small reduction prints (4-6 colors) and am still doing it the
old way with tracing paper. I would like to expedite the process...

Also, to those of you who expressed interest before: the printmaking group
that I have been working with is up and going. We have two different
components. There is the New Mexico PrintMakers Gallery and we will be
opening our co-op style gallery next month in Santa Fe. Then for those who
have no interest in a gallery or who live long-distance - we now have the
New Mexico PrintMakers Society where there will be studio tours, meetings,
and a couple of group shows a year. More info is available at:
www.newmexicoprintmakers.com or you can e-mail me.

thanks,

Lezle Williams
Albuquerque, NM
www.laughingcrowstudio.com

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Message 8
From: Mike Lyon
Date: Fri, 21 May 2004 15:30:59 -0500
Subject: [Baren 25082] Re: color separations
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Lezle Williams wrote:
>Does anyone here do their color separations in Photoshop? ... I am
>starting a series of small reduction prints (4-6 colors) and am still
>doing it the old way with tracing paper. I would like to expedite the
>process...

Dear Lezle,

I am a "PhotoShop" guy (since Ver 1.4, I think), and I use it daily for
image manipulation and block plan creation for reduction printing and
traditional printing (it's become my main artistic tool of late)... I
wrote a bit about my (now obsolete and always highly toxic) method of
getting from the image to the block for Colleen Corradi's web site at
http://www.monoprints.com/info/techniques/reduction_print.html

Basically, I used PhotoShop's Filter/Noise/Median to eliminate
too-small-to-carve color areas (but you can do this MANY other ways, too!)
and then used Image/Adjust/Posterize to separate colors and tones. If you
want to work in four colors, first convert to CMYK using Image/Mode/CMYK
and you can then work with each color channel individually. It takes quite
a long time to become proficient at this stuff, so don't worry too much
about your initial results -- just keep at it and in a decade or so you'll
be pretty good at it and PhotoShop version 20.13 is probably going to
robotically carve your blocks for you, too like my PhotoShop CS does
now! :-) No kidding!

My current method uses a background layer filled with whit including a
(posterized) color scale which started out as a gradient-filled rectangle
in a border area with gradient running smoothly from black to white before
posterization and several layers which contain carving guides and kento
registration -- I create a separate layer for each block in the image and
eventually output those as single-bit bitmaps for vector tracing. My
carving tool reads those vector outlines in order to carve my blocks pretty
much unattended (it's over there carving away even as I write this) -- So
I'm engaged in printing what looks to be a very beautiful 22 block oban
image while the machine tirelessly carves away at the 24 blocks for my next
image... I have become quite a bit more productive since mid-March!

Instead of trying the toner transfer I described in the Corradi paper, I'd
suggest that you purchase some of that wonderful two-layer "HANSHITA" paper
available from Baren Mall at
http://www.barenforum.org/mall/products/paper.php -- it's number 22: 930cm
x 630cm ( Double layer paper; draw your design on this, paste it down, then
peel off the back layer to leave the image visible on the wood. $6.80 per
sheet -- use your computer printer (any kind) to print each block design
INCLUDING KENTO CORNER AND SIDE REGISTRATION on that hanshita paper, paste
each paper to a block of wood, peel off the thick backing, and carve right
through the pasted down tissue -- you'll have no trouble seeing your
design, and it gets reversed in the paste-down, so your print will be
right-reading. Very easy, very cool, works great!

Good luck!

Mike


Mike Lyon
http://mlyon.com

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Message 9
From: slinders # comcast.net
Date: Fri, 21 May 2004 17:05:22 -0500
Subject: [Baren 25083] In memory of Aiko Nakane
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It is with great sadness that we forward the following
information.

Aiko Nakane the founder of Aiko's Art Materials in Chicago
passed away on
Wednesday, May 19 around 4:00 PM. She was 95 years old.

Known for decades as one of the leading suppliers of materials
to the Book
and Paper fields, Aiko's was one of the first importers of fine
Japanese
papers and art supplies. Until recently, the pleasant and
charming Mrs.
Nakane could be found in her store, always willing to give
advice and
information of the materials she loved and was so knowledgeable
about.

For those in the area:

Visitation will be at: Monday 5-24 from 4:00 PM.- 8 PM.
at the Lake View Funeral Home,
1458 West Belmont
Chicago, IL. 60657
773/472-6300

Services will be at: Tuesday 5-25 at 2:30 PM.
at Church of Christ Presbyterian
5846 N. Spalding
Chicago, IL. 60659
773/267-6290

The family requests that in her honor, contributions may be made
to:
Chicago Symphony Orchestra, 220 S. Michigan Ave. Chicago, IL
60604 & the
contact is Michelle Miller; Japanese American Service Committee;
or the Aiko
Nakane Fellowship, Columbia College Center for the Book and
Paper Arts, 1104
S. Wabash, Chicago,IL 60605.

Sharen

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Message 10
From: "cjpiers"
Date: Sat, 1 Jan 2000 00:34:39 -0800
Subject: [Baren 25084] David Bull's webcam
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Look's like David is cutting a woodblock now through the kind of paper Mike was talking about.
Fascinating and educational to watch. Like public television! Thanks Dave!

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Message 11
From: "cjpiers"
Date: Sat, 1 Jan 2000 00:38:09 -0800
Subject: [Baren 25085] Re: David Bull's webcam
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Or is it the more traditional way of pasting the paper down with the rice paste?

Connie

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Message 12
From: L Cass
Date: Fri, 21 May 2004 23:23:44 -0400
Subject: [Baren 25086] Chicago bound
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Hello bareners in Chicago -

I shall be in your beautiful city next week and am wondering if there are
any special shows (ptg etc) one should visit apart from the Art Institute
which is always a joy
thanks
Louise Cass

www.LCassArt.com

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Message 13
From: FurryPressII # aol.com
Date: Fri, 21 May 2004 23:32:08 EDT
Subject: [Baren 25087] Re: Chicago bound
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YOU have to see the rembrant ex. at the art ins. Also go see anchor
graphics on hubbard street in chicago.

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Message 14
From: slinders # comcast.net
Date: Fri, 21 May 2004 23:28:08 -0500
Subject: [Baren 25088] Re: Chicago bound
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Hi, Louise,

Welcome to Chicago! I hope that our stormy weather will have
dissolved into mild, beautiful days by the time you arrive!

You must see the extended Lee Bontecou show in the downtown area
at the Museum of Contemporary Art. It closes on the 31st.



University of Chicago (near the Museum of Science and Industry,
Rockefeller Chapel, Oriental Institute , etc.) SMART MUSEUM
,
--April 3 - June 13, 2004 Incisive Vision: The Prints of James
Abbott McNeill Whistler, as well as April 22 - June 20, 2004
--Taisho Chic: Japanese Modernity, Nostalgia, and Deco--" For
painters and print designers, bijinga or "pictures of women" was
a standard subject that often plunged artists into the debate
over women as an index of cultural identity. This exhibition
focuses on this modern Japanese struggle for cultural identity
by examining images of women as well as fashions and furnishings
which demonstrate the Japanese contribution to the preeminent
Western design style of the period, Art Deco. Over sixty scroll
paintings, folding screens, woodblock prints, textiles and other
decorative art pieces present a broad spectrum of Taisho culture
with particular reference to objects associated with women as
artistic subject, producer, or consumer."

There will be big goings on concerning the opening of the
Millenium Park located exactly north of the Art Institute.
Official opening in July, but much is already nearing it's
finish, and is being greatly enjoyed!


Sadly, the wonderful gathering of Rembrandt etchings is no
longer at The Art Institute, but there are so many other
treasures there!

Please contact me if I can be of further help! Have a great
visit!

Sharen

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Message 15
From: David Bull
Date: Sat, 22 May 2004 17:28:41 +0900
Subject: [Baren 25089] Re: David Bull's webcam
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> Looks like David is cutting a woodblock now through the kind of paper
> Mike was talking about.
> Or is it the more traditional way of pasting the paper down with the
> rice paste?

Yes and no ... For the _key_ block of each print, I use a laminated
paper of the sort Mike described, although I make it myself rather than
purchase it. What I am doing at present though is carving colour
blocks, and the paper for these is not laminated. It is a relatively
thin - but strong and tough - paper; I print a number of impressions of
the key block, mark out the areas on each sheet needed for each
particular colour, then paste them onto the blank blocks. They go face
down, and I peel away most of the thickness of the paper from the back
so that I can see the lines clearly for carving.

> Fascinating and educational to watch. Like public television!

You mean 'sleepy' ... yep! :-)

Looks like one key block, one embossing block, and then ten colour
blocks for this print (5 pieces of wood using both sides); it's going
to take a while ...

Dave

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End of [Baren] Digest