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Message 1
From: "Love Me"
Date: Fri, 2 Jul 2004 23:49:57 +1000
Subject: [Baren 25395] More Saito and woodgrain
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Thanks Carol for replying to my question ; how did Kiyoshi Saito achieve such pronounced woodgrain texture. The point you make about seeking timber for its grain rather than its carvability is a good one. Some of Saito's group cat prints seem to feature different timbers for each cat. The thing that astounds me is how cleanly the grain comes through, which makes me suppose that the blocks had pronounced grain relief. I am guessing there are techniques for bringing this about. Maybe in the milling, or is there some way to erode the timber, such as sanblasting? Or is it all about painstaking carving? Anyway, it is a beautiful thing to try and chase down.

Tom

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Message 2
From: Shireen Holman
Date: Fri, 02 Jul 2004 09:39:07 -0400
Subject: [Baren 25396] Re: Baren Mall Announcement
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Barbara wrote:

>The Baren Mall is pleased to announce the addition of paper from
>Iwano-san, (a national treasure of Japan)

Barbara,
Do you know how this paper would be for oil-based inks?
Shireen

***********************************************
Shireen Holman, Printmaker and Book Artist
email: shireen@shireenholman.com
http://www.shireenholman.com
***********************************************

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Message 3
From: GWohlken
Date: Fri, 2 Jul 2004 09:43:20 -0400
Subject: [Baren 25397] Missing Message in HTML Version of Digest
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For those who subscribe to the HTML verion of the digest, Message 10
was missing from Digest 2703.
~Gayle

> From: "anakesselring
> Date: Thu. 1 Jul 2004 23:54:03 -0300
> Subject: [Baren 25390' En: japan
> Reply; To [Baren] Privately
>
> Dear fellows,
> I am trying to get information about woodblock courses or
> workshops in japan. I am applying for a scholarship from the japanese
> foundation, and for that I need an institution to receive me in japan.
> Does anybody would have any hint about it or any contacts or links to
> help me?
>
> Thank you!
> Ana Kesselring

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Message 4
From: "Mary Ann Brooks-Mueller"
Date: Fri, 2 Jul 2004 09:50:52 -0500
Subject: [Baren 25398] Re: Protecting Legal Rights of Artists
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Thank you Marilynn. I am Irish and I live in Mexico. My Non-print interests
are satisfied elsewhere.
Believeme when I say that the Irish and the Mexicans can get even more
heated than the USA'ers, but can we please keep Non-print interests to
After-5? I don't like my studio being invaded except perhaps by a new tool,
perhaps a commission or sweet piece of lemon grass paper.
Mary Ann
Mexico

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Message 5
From: Barbara Mason
Date: Fri, 2 Jul 2004 12:35:19 -0700 (PDT)
Subject: [Baren 25399] centimeters into inches
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Carol and all,
To change centiimeter into inches, multiply by .040 (actually it is .03978 something) so this is close but not perfect for engineering but great for us. The paper is about 18.5 inches x 24 inches, give or take a couple of millimeters.
Best to all,
Barbara

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Message 6
From: Barbara Mason
Date: Fri, 2 Jul 2004 12:40:15 -0700 (PDT)
Subject: [Baren 25400] Re: Baren Mall Announcement
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Shireen,
It would be no better than rives or kitakata for oil. It is especially designed for waterbased with long fibers and sizing that holds the pigment in place like a steel trap. So save your money if you are not doing moku hanga.

Matt Brown uses rives heavyweight www.ooloopress.com and I have tried it but do not get his results. So I guess it is more than the paper, hummmmm???? I love the Yamaguchi paper for moku hanga and cannot wait to try Iwano-san's paper. One day soon, but maybe not till fall. I seem to have a busy summer, just like everyone.
Best to you,
Barbara

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Message 7
From: FurryPressII # aol.com
Date: Fri, 2 Jul 2004 17:44:56 EDT
Subject: [Baren 25401] Re: Baren Mall Announcement
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with oil based ink it depends on if you are printing with a press or by
hand. Press printing gives you a lot of lee way. I have printed oil based ink
on leather with my press.

Hand printing oil based limits what you can print. Japanese paper works
very well for hand printing oil based ink.

I have very strong political view points and what one believes others may
not believe. I would rather not argue in here. Please keep the politics in after
5. I would love to react to some things posted on the list but i choose
not too. What is fair for the goose should be fair for the gander.

john center

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Message 8
From: "marilynn smih"
Date: Fri, 02 Jul 2004 15:21:21 -0700
Subject: [Baren 25402] studio furnishings
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John ditto on the politics.
My studio now has a new roof and hopefully by the end of summer will be
finished or close to it. I have in my possession a small drafting table I
used for years, a large drafting table the husband bought for planning the
house, it has electric controls etc. I never have used a drafting table
tilted up. I always leave them flat. We had an old round oak table that was
in our kitchen at the beach for years, like 28 years. I tried to get
something for it at auction and could not get a decent price, so it has been
sitting in the studio space. I also have a large flat file and a press.
All of this is too much furniture. I am seriously considering keeping the
round table for painting , drawing and printmaking and getting rid of both
drafting tables. I realize round is not the finest for a bench hook.
Wondering if anyone has an opinion on what would be the best to keep??? I
also have an antique piano stool, actually 2 of them and one at least will
be a stool for using at my table. I am thinking it might be fun to use this
antique or old stuff over the new and possibly be even more suited to
me??????
My #21 prints are rolling along.
Marilynn

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Message 9
From: "Mary Ann Brooks-Mueller"
Date: Fri, 2 Jul 2004 17:54:02 -0500
Subject: [Baren 25403] Re: studio furnishings
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One of my workbenches is round and I just cut the bench hook to fit the
curve of the table and then I put a screw on the underside of the table and
the underside of the bench hook and use a piece of rawhide string to tie a
slip-knot to brace them together for no slippage.
I also like the round work area for drawing flat as I can walk around it and
get a view from any side. Sometimes I can discover what bothers me in a
composition that way.
Mary Ann
Mexico

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Message 10
From: Aqua4tis # aol.com
Date: Fri, 2 Jul 2004 19:20:56 EDT
Subject: [Baren 25404] Re:after 5
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i still havent received any mail from after 5 and i used to
georga

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Message 11
From: eli griggs
Date: Fri, 2 Jul 2004 18:39:21 -0700 (PDT)
Subject: [Baren 25405] political print exchange
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Hi there:

While I agree that political 'discussions' should be
kept to the 'After 5' forum, I cannot help but think
that an exchange in which printmaker/artists use their
own political viewpoint as inspiration is a legitimate
aspiration for Baren.

As a group we have come together to learn from and
ABOUT each other. When we exchange prints we see new
ways a subject can be approached by another. We may
not always agree with a choice of subject matter, or
how a material was used/handled, but if all we sought
was sameness of expression, why bother?

Politics as art is perhaps the greatest driving force
of all artists inspirations. I will go so far as to
say that artists may be in fact, the true founders of
democracy. No mater the cause, it was artists.....
singers, poets, visual artists or otherwise that,
through their art, that brought new ideas to new,
wider audiences.

The artist has been involved in just about any social,
political, religious, idealogical, or technological
milestones you care to name.

Woodcuts in particular have been used by artist and
their patrons to express 'forbidden' and controversial
viewpoints.

Just because an exchange uses individual artist
political viewpoints as a theme, does not mean that
Baren members will, upon seeing a print with which
they do not agree, will turn this forum into a soapbox
from which to rant. To suppose that would happen, is
as ludicrous an assumption as to expect that an
exchange of 'erotic' art work will give rise to foul
mouthed, x-rated postings.

As far as politics 'invading' a studio, it is every
bit as easy to delete such a posting as it is to
delete any other annoying or trite email.

Concerning the use of a 32nd print to aid in a legal
defense of artists, Baren has involved itself in
charitable exchanges before and anyone whom might
object, would not likely sign-up in the first place.

I do not propose that anyone do anything other than
use their freedom of expression and artistic talents
as the
starting point for a print to share.

Regards, Eli

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Message 12
From: "Mary Ann Brooks-Mueller"
Date: Fri, 2 Jul 2004 22:11:31 -0500
Subject: [Baren 25406] Re: political print exchange
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I am not opposed to Print as an expression of viewpoint - viewpoint afterall
IS subject matter. What I don't care to experience is the likes of, for
example, Thomas Nast, famous etcher of Harper's Weekly 1880's thereabout,
who used his considerable artistic skills to insult, degrade, and destroy
cultures and clans he possessed a frank hatred for. His was not ART it was
"propaganda." Of course, history has given us many examples from Europe as
well.

As far as politics invading my studio, having to spend my time deleting it
is truly after the fact of being uninvited. I don't like it any more than I
do having to delete other after the fact stuff of all sorts. Is Baren to
promote artistic endeavors, of which skillful and artistically presented
political percepts that are free of an antagonistic or degrading agenda can
be a part, well fine. But, I do not understand the Baren mission to promote
epistles that are more related to NON-art. The later is an After-5 pub
workout, befitting the separate place.

Politics can be an inspiration, I know this very well, personally, it can
also destroy without a context from which something new can arise that
contributes to greater things. Is art then a greater thing? Compatibility
between the two is a challenge not to be taken lightly, but carefully
considered.

I do not agree that politics is the "greatest" driving force for art. There
are many much deeper and richer aspects of life that are motivating forces
for great works of art. I think Kollowitz is one example. Can we rise to
that challenge?
Mary Ann
Mexico via Ireland

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Message 13
From: "anakesselring"
Date: Sat, 3 Jul 2004 00:07:39 -0300
Subject: [Baren 25407] Japan
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Dear fellows,
I am trying to get information about woodblock printing courses or workshops in Japan. I am
applying for a scholarship from the Japan Fondation, to study printing there, and I need to be
accepted by an institution in Japan. Would anybody be abble to help me?
Sincerely,
Ana Kesselring

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Message 14
From: Aqua4tis # aol.com
Date: Sat, 3 Jul 2004 01:16:34 EDT
Subject: [Baren 25408] Re: political print exchange
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eli
personally i like the idea of a political based woodcut exchange artists
are the voices of their time and their society we all have differing
opinions just like society
georga

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Message 15
From: FurryPressII # aol.com
Date: Sat, 3 Jul 2004 02:38:55 EDT
Subject: [Baren 25409] Re: political print exchange
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The idea of a political theme print exchange I would like to do.

The idea of giving funds in baren's name to a political group I would be
completely disagree with. If an artist decides to do something that is wrong
and/or foolish in these times I don't feel we as a group should be doing a fund
raising activity in our name. It is extremely doubtful that you could find
any political organization in which we would find agreement for giving baren
funds too.

john center

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End of [Baren] Digest