Today's postings
- [Baren 25910] To: Baren Forum
- [Baren 25911] John Koch's follow-up message (Gayle Wohlken)
- [Baren 25912] Tricks of the Trade (Solarplate # aol.com)
- [Baren 25913] Re: Tricks of the Trade (Ruth Leaf)
- [Baren 25914] Re: Tricks of the Trade (Mike Lyon)
- [Baren 25915] Re: Tricks of the Trade ("Matt Laine")
Message 1
From: johnanddeb # troutlillystudios.com
Date: Thu, 2 Sep 2004 07:07:51 -0700
Subject: [Baren 25910] To: Baren Forum
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Oops! my mistake. Thanks Gayle, for the heads up. Plain text it is.
Thanks, all, for the kind comments. It always makes me nervous showing
my work, but that is in essence why we do this, correct?!
No, I'm not using Japanese techniques in the strictest of terms,
though I am working to incorporate things I like about the reduction
process with the things I like about the eastern process(s). I
believe in taking full advantage of my artistic license! In a few
cases, I'm finding this to be a recipe for disaster, but in most
cases, I like the results I'm getting.
While my printing to date is all done in color, I've got a series
of wood engravings in mind for this winter (maybe) that are in black
and white, with possibly one other color.
thanks again
John
Thanks, all, for the kind comments. It always makes me nervous showing
my work, but that is in essence why we do this, correct?!
No, I'm not using Japanese techniques in the strictest of terms,
though I am working to incorporate things I like about the reduction
process with the things I like about the eastern process(s). I
believe in taking full advantage of my artistic license! In a few
cases, I'm finding this to be a recipe for disaster, but in most
cases, I like the results I'm getting.
While my printing to date is all done in color, I've got a series
of wood engravings in mind for this winter (maybe) that are in black
and white, with possibly one other color.
thanks again
John
Message 2
From: Gayle Wohlken
Date: Thu, 2 Sep 2004 10:25:53 -0400
Subject: [Baren 25911] John Koch's follow-up message
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Again, for Digest subscribers (with apologies to those who have
received it as an individual message) , here is the follow up message
John Koch posted (but which didn't show in the digest.) This problem,
by the way, will be fixed soon.
~Gayle
" Thanks, all, for the kind comments. It always makes
me nervous showing my work, but that is in essence why we do this,
correct?!
No, I'm not using Japanese techniques in the
strictest of terms, though I am working to incorporate things I like
about the reduction process with the things I like about the eastern
process(s); I believe in taking full advantage of my artistic
license! In a fewcases, I'm finding this to be a
recipe for disaster, but in most cases, I like the results I'm
getting.
While my printing to date is all done in color,
I've got a series of wood engravings in mind for this winter
(maybe) that are in black and white, with possibly one other color.
John"
received it as an individual message) , here is the follow up message
John Koch posted (but which didn't show in the digest.) This problem,
by the way, will be fixed soon.
~Gayle
" Thanks, all, for the kind comments. It always makes
me nervous showing my work, but that is in essence why we do this,
correct?!
No, I'm not using Japanese techniques in the
strictest of terms, though I am working to incorporate things I like
about the reduction process with the things I like about the eastern
process(s); I believe in taking full advantage of my artistic
license! In a fewcases, I'm finding this to be a
recipe for disaster, but in most cases, I like the results I'm
getting.
While my printing to date is all done in color,
I've got a series of wood engravings in mind for this winter
(maybe) that are in black and white, with possibly one other color.
John"
Message 3
From: Solarplate # aol.com
Date: Thu, 2 Sep 2004 11:11:06 EDT
Subject: [Baren 25912] Tricks of the Trade
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To members of the Baren:
A dear friend, Master Printer, Tony Kirk, was kind enough to forward me some
of the comments from the Baren correspondence. I feel quite flattered that a
lively discussion followed my letter of solicitation. I am most appreciative
of the support by those of you who know me and defended me and the concept of
the book. I also appreciate those of you who don't know me "from a bar of
soap" and have taken a stand and I thank all of you wonderful, positive people.
This has spurred me on to joining the Baren and confront any concerns
directly. I can certainly comprehend some people's doubts and hesitations of sharing
close guarded printmaking secrets. At the same token, similar personalities
may think the book I am writing is exploitive of other artists ideas. Both
misinterpretations may be quite natural for some artists, especially for those
of us who have been taken advantage of. Both are also the negative qualities
that true printmakers and teachers would not have in their C. V's.
This letter is not intended to try to defend myself nor the book I am
writing. I am merely attempting to clarify my original introductory letter of
invitation and solicitation and my lack of better wording. The book is an effort to
share the knowledge I have and learned and invented for the past 35 years as
a professional printmaker as well as compiling the ideas of others.
In addition to this, the book is an honest effort about giving due
recognition to those that deserve it. The credits and names of artists, along with a
full page reproduction of THEIR image will be in the book as a tribute to their
openness. What I am attempting to do is give recognition to those printmakers
who have been first to develop an idea.
Most people do not know which artist is credited with the development of
water color. In the historical section of the book, Albrecht Durer, through his
landscape paintings, the famous European hare, and his beautiful rendering of
turf, will be given due recognition.
I have never self published in the commercial world. I know that every time
"Printmaking in the Sun" which I am proud to be the co-author with Pauline
Muir, sells, I receive .37 cents. A bit exploitive for years and years of
discovery, development and research don't you think?
I have decided to publish "Printmaking, Tricks of the Trade" myself. My hopes
and aspirations are to have 100 "Tricks of the Trade" in this first edition.
I have hired an assistant, a designer and an editor but do not know the
printing costs at this point. I am taking a huge risk. After initial costs, all
the profits will go to Printaganza, Ltd., a registered 501-C3 international
educational, and research institute. After all, if Paul Newman and Ben and
Jerry can make contributions to their favorite charity, why can't a printmaker put
money back into printmaking?
As to compensating each participant, I feel that a full color full page
reproduction of their work is a form of compensation along with the possibility of
a book.
In closing, I would like to add the fact that I have had many wonderful
responses from printmakers all over the world. I am not writing this letter in an
effort to solicit more works, ideas, and formulas however there is still room.
The positive response is overwhelming. For those people who may still feel
negative, I wish you well in your lives.
I can be reached at Printaganza3990 or telephoned at 631/725-3990.
Sincerely,
Dan Welden
A dear friend, Master Printer, Tony Kirk, was kind enough to forward me some
of the comments from the Baren correspondence. I feel quite flattered that a
lively discussion followed my letter of solicitation. I am most appreciative
of the support by those of you who know me and defended me and the concept of
the book. I also appreciate those of you who don't know me "from a bar of
soap" and have taken a stand and I thank all of you wonderful, positive people.
This has spurred me on to joining the Baren and confront any concerns
directly. I can certainly comprehend some people's doubts and hesitations of sharing
close guarded printmaking secrets. At the same token, similar personalities
may think the book I am writing is exploitive of other artists ideas. Both
misinterpretations may be quite natural for some artists, especially for those
of us who have been taken advantage of. Both are also the negative qualities
that true printmakers and teachers would not have in their C. V's.
This letter is not intended to try to defend myself nor the book I am
writing. I am merely attempting to clarify my original introductory letter of
invitation and solicitation and my lack of better wording. The book is an effort to
share the knowledge I have and learned and invented for the past 35 years as
a professional printmaker as well as compiling the ideas of others.
In addition to this, the book is an honest effort about giving due
recognition to those that deserve it. The credits and names of artists, along with a
full page reproduction of THEIR image will be in the book as a tribute to their
openness. What I am attempting to do is give recognition to those printmakers
who have been first to develop an idea.
Most people do not know which artist is credited with the development of
water color. In the historical section of the book, Albrecht Durer, through his
landscape paintings, the famous European hare, and his beautiful rendering of
turf, will be given due recognition.
I have never self published in the commercial world. I know that every time
"Printmaking in the Sun" which I am proud to be the co-author with Pauline
Muir, sells, I receive .37 cents. A bit exploitive for years and years of
discovery, development and research don't you think?
I have decided to publish "Printmaking, Tricks of the Trade" myself. My hopes
and aspirations are to have 100 "Tricks of the Trade" in this first edition.
I have hired an assistant, a designer and an editor but do not know the
printing costs at this point. I am taking a huge risk. After initial costs, all
the profits will go to Printaganza, Ltd., a registered 501-C3 international
educational, and research institute. After all, if Paul Newman and Ben and
Jerry can make contributions to their favorite charity, why can't a printmaker put
money back into printmaking?
As to compensating each participant, I feel that a full color full page
reproduction of their work is a form of compensation along with the possibility of
a book.
In closing, I would like to add the fact that I have had many wonderful
responses from printmakers all over the world. I am not writing this letter in an
effort to solicit more works, ideas, and formulas however there is still room.
The positive response is overwhelming. For those people who may still feel
negative, I wish you well in your lives.
I can be reached at Printaganza3990 or telephoned at 631/725-3990.
Sincerely,
Dan Welden
Message 4
From: Ruth Leaf
Date: Thu, 2 Sep 2004 09:50:09 -0700
Subject: [Baren 25913] Re: Tricks of the Trade
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Dan, I have not been on Baren for quite a while, so this is the first
I've heard of this book. I've always felt it's not the secrets artists
have it's what they do with it. I think it is a great idea. Ruth
www.ruthlaf.com
I've heard of this book. I've always felt it's not the secrets artists
have it's what they do with it. I think it is a great idea. Ruth
www.ruthlaf.com
Message 5
From: Mike Lyon
Date: Thu, 02 Sep 2004 13:26:39 -0500
Subject: [Baren 25914] Re: Tricks of the Trade
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Dan Welden wrote:
>This has spurred me on to joining the Baren I can certainly
>comprehend some people's doubts and hesitations of sharing close guarded
>printmaking secrets.
Hello Dan, and WELCOME to Baren! Great to have you among the several
hundreds of woodblock printers in our little on-line community, and having
said that, it seems to me that over the past couple of years you've made
bunch of large woodblock prints on very heavy paper. I hope you'll take a
few minutes to tell us something about them, as what little I've heard
sounded so interesting and maybe a little unusual...
Best,
Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>This has spurred me on to joining the Baren I can certainly
>comprehend some people's doubts and hesitations of sharing close guarded
>printmaking secrets.
Hello Dan, and WELCOME to Baren! Great to have you among the several
hundreds of woodblock printers in our little on-line community, and having
said that, it seems to me that over the past couple of years you've made
bunch of large woodblock prints on very heavy paper. I hope you'll take a
few minutes to tell us something about them, as what little I've heard
sounded so interesting and maybe a little unusual...
Best,
Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 6
From: "Matt Laine"
Date: Thu, 2 Sep 2004 18:20:38 -0400
Subject: [Baren 25915] Re: Tricks of the Trade
Send Message: To this poster
Bravo!