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Message 1
From: David Bull
Date: Mon, 12 Jul 2004 22:17:30 +0900
Subject: [Baren 25546] Re: calendaring press ...
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Sharri wrote:

> However, I am going to calendar the paper like David has mentioned for
> the next batch. I stretched that paper unmercifully and had a horrid
> time flattening those prints when I was done. So this time the paper
> will go through the etching press a couple of times before I start
> printing. I assume that the paper is dampened and then put it through
> the press under quite a lot of pressure - is that correct? David, did
> you find a press you can use for that?

It arrived this afternoon. Not sure if this was good service or bad
service; it took exactly four weeks to arrive from the day I placed the
order and paid. The people at Dick Blick didn't acknowledge the order,
I heard nothing about it, and it never appeared on their tracking page
... just showed up a month later.

The press is what they call their Econo Etch II, and seems like a very
solid little job. Rollers are solid steel, and this thing is _heavy_!

Anyway, about the paper calendaring ... I assembled the press, put
the steel bed in place in the slots and a thick felt pad (which was
included) on top. I put some slightly dampened paper face down on the
steel plate under the felt, turned the (very smooth) adjustment knobs
down as far as I dared, and then cranked it through back and forth,
once each way.

Beautiful! Very nice surface on the paper, and no stretching or
rippling at all. Looks like this is going to do the job perfectly for
me! Tanks muchly to Maria for the tip on this one!

Dave
P.S. Interesting to note that it was shipped to me in a crate that
originated in Brazil. Inspecting the press more closely, I found that
it is indeed made in Brazil, and is actually a Trident Model P-300.
There were quite a lot of 'travel' documents stuck on the cartons, and
I guess there have been four steps here:
- manufactured by Trident in Brazil
- handled by a US importer in Kimberly, WI
- sold by Dick Blick (but perhaps they never actually 'touched' it)
- shipped to me here in Tokyo ...

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Message 2
From: Shireen Holman
Date: Mon, 12 Jul 2004 10:37:43 -0400
Subject: [Baren 25547] Re: Artist as Psychologist?
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Okay, I only got 2 correct answers!
Shireen

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Message 3
From: Sharri LaPierre
Date: Mon, 12 Jul 2004 09:06:49 -0700
Subject: [Baren 25548] Re: Printmakers on the Web update
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A psychologist I am not. Thanks, Dave, for a fun and revealing
exercise. I got none of them right, but am consoled with the fact that
I voted with the majority on all of them. Maybe there is something to
be said of contemporary society in that so many of us read them the
same wrong way?? Very interesting thought to ponder.

Sharri

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Message 4
From: "claudia g coonen"
Date: Mon, 12 Jul 2004 08:07:33 -1000
Subject: [Baren 25549] Re: Baren Digest (old) V28 #2718
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HI,
Thanks for putting the link up for web pages, now I have to update the web
site and I'll be in better shape.. I also do a method of Japanes fabric
printing called Katazome using a rice paste spread thru 'shibugami' a
persimmon juice saturated paper made of mulberry. .
In answer to the scroll mountings (in which I'm sure David can give a more
lengthy answer).
I just took a 6 day scroll mounting class with ShosakuYoshimura a scroll
mounter from Nara Prefecture.( it was his first class he gave or even the
first time out of his country)...
scrolls are ment to be rolled and unrolled and only hung seasonaly for
around 2 months.with the print being on a 'thinner' which takes rolling
just fine.It is put together with a 'repositional' wheat paste, paper,
silks, and the print, by the time one is finished the print has 3 layers of
paper as backing. the book in which I understand is out of print, is
Japanese Scroll Paintings a handbook of mounting techniques ..Masako
Koyano.. pub: foundation of the american institute for conservation 1979.
claudia coonen

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Message 5
From: Daniel Dew
Date: Mon, 12 Jul 2004 14:15:49 -0400
Subject: [Baren 25550] Re: Artist as Psychologist?
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Boy, I really must stink, only 1 right!


Daniel L. Dew

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Message 6
From: Wanda Robertson
Date: Mon, 12 Jul 2004 13:23:04 -0700
Subject: [Baren 25551] Re: Artist as Psychologist?
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Me too, Dan! And then I went back & looked at them again & said:
"Naaahh"
Must be our modern day culture looking at mannerisms, poses and
expressions from the past.
Congratulations Shireen, on getting 2 correct! :-)

Wanda

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Message 7
From: Darrell Madis
Date: Mon, 12 Jul 2004 13:46:20 -0700 (PDT)
Subject: [Baren 25552] Re: Artist as Psychologist?
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2 out of 6 correct more through luck than anything else.

Darrell

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Message 8
From: FurryPressII # aol.com
Date: Mon, 12 Jul 2004 17:07:11 EDT
Subject: [Baren 25553] Re: Artist as Psychologist?
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Cultural values differ from place to place. It is not a suprise that most
are wrong on this. Even in the same place but different times things don't
always mean the same thing.

john c.

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Message 9
From: "Matt Laine"
Date: Mon, 12 Jul 2004 17:18:59 -0400
Subject: [Baren 25554] Re: Artist as Psychologist?
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I got 100% ............WRONG!

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Message 10
From: L Cass
Date: Mon, 12 Jul 2004 17:34:39 -0400
Subject: [Baren 25555] Re: Artist as Psychologist?
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Hello Dave -
This 'test' is so intriguing - I did it but didn't receive the 'read-out'
after - what to do??
Louise Cass

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Message 11
From: Lana Lambert
Date: Mon, 12 Jul 2004 14:31:52 -0700 (PDT)
Subject: [Baren 25556] Re: Baren Digest (old) V28 #2718
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Thanks Claudia, for the great info!

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Message 12
From: jack reisland
Date: Mon, 12 Jul 2004 11:35:36 -1000
Subject: [Baren 25557] Re: Baren Digest (old) V28 #2718
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Hello Claudia,

I was thinking of going to the scroll mounting class, but couldn't get away to
the other island to make it. So how was it? I have the book that you
mentioned, and it makes the mounting process seem like a lot of complicated
steps, did it come across that way in the class? Did you get any good sources
for scroll mounting materials?

Jack R.

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Message 13
From: Jeanne Norman Chase
Date: Mon, 12 Jul 2004 15:01:29 -0700 (PDT)
Subject: [Baren 25558] Re: Artist as Psychologist?
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Guess I am the average Joe (Josephine), only got two correct. I think I will give up my ambition of going back to college to be a psychiatrist. LOL



Jeanne N>

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Message 14
From: David Bull
Date: Tue, 13 Jul 2004 08:41:06 +0900
Subject: [Baren 25559] Re: scroll mounting
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> I am wondering if I am the first to
> ask about the mounting techniques of Japanese Prints.
> I know that they can be collected in albums and
> mounted in books but the process of mounting some on a
> brocade scroll is still somewhat of a mystery. Are
> there any books around describing the process? In
> keeping the scrolls rolled up, does the rolling damage
> the print or cause a permanant rolling effect in the
> paper fibers?

I'm not an expert on this topic all, mostly because of the fact that
_prints_ are almost never mounted this way, for two reasons.

1) scroll mounting is usually used for calligraphy or watercolour
paintings. In the orient these are typically done on a very thin paper,
nothing like the heavy stuff used for watercolour in the west. So after
mounting, the thing rolls up with no problem, and no creasing. If a
typical woodblock print were to be mounted this way, it would crease
too much when rolled up.

It _can_ be done; the Adachi company a while back made some woodblock
printed reproductions of large Moronobu paintings, and had them scroll
mounted for sale. But before they started - right back when they were
ordering the paper to be made - they told the paper-maker to dip the
sheets in such a way that there was a discernible 'ply' structure to
the paper. The prints were then made in the usual manner, and were
sent to a mounter once they were done. He took an implement like a
bamboo letter-opener, and split each sheet into two - front 'half' and
back 'half' - along that pre-determined layer division. He then
mounted the now-thin front section on a scroll.

2) the other reason for not mounting prints is cultural/aesthetic. In
the traditional Japanese mind, things that would be present in one's
'tokonoma' (the alcove in a tatami-matted room) must represent a
certain 'class' of object. Suitable selections would be: calligraphy,
fine pottery, flower arrangement, incense burner, etc. The idea of
hanging a _woodblock print_ in such a place would be completely
unthinkable to such people. Woodblock prints were so far down the scale
that they just didn't register.

This is not snobbery, but simply follows from facts. Woodblock prints
were not 'art', but merely 'commerce'. (And considering that in the old
days, a fabulous number of them were erotic/pornographic merely put the
nail in the coffin). So for one's alcove, something like an
indecipherable calligraphy scrap by a 'master' would be highly prized
... a woodblock print by even the best designers would just not be
suitable.

But if you need information on the where/how, Google - as always - is
your friend!
http://www.google.com/search?q=Japanese+scroll+mounting

Dave

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Message 15
From: FurryPressII # aol.com
Date: Mon, 12 Jul 2004 19:53:33 EDT
Subject: [Baren 25560] Re: scroll mounting
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Both Japanese prints and wood engravings were commerical printing when they
were at their peak. I rather enjoy that the social organization for both
methods of printing were very much alike as was their use as well. It was
only after the end of their use as commercial printing did they become "art".
Wood engravings were not considered art until they were almost dead as a
commercial print process.

john c.

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Message 16
From: cucamongie # aol.com
Date: Mon, 12 Jul 2004 22:03:57 -0800
Subject: [Baren 25561] Re: Protected Mail System
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Note: Message contained no content

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