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Message 1
From: Barbara Mason
Date: Sun, 10 Oct 2004 12:49:32 -0700 (PDT)
Subject: [Baren 26192] Mary Pratt prints
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This was very interesting to see. Amazing to get such photo realism with woodblock. If it travels near here I am sure going to go see it.

It seems almost like a photo so I feel about it the same way I do all of this type of work....why???? Somehow I can appreciate the technical skill but the work seems cold and distant to me. Probably just a personal thing and am sure all who love photo realism will hit me with their blocks....

I have my studio all moved so will go out and see if I can make 39 blocks...well, maybe 3 or 4. It is sure a relief to have it done. I recommend it if you want to clean out, but beware, it is really, really a big job. Whew! I did end up having the press moved by professionals...these three huge guys just picked it up. There is a lot to be said for woodblock, no large heavy tools to move!
Best to all,
Barbara

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Message 2
From: FurryPressII # aol.com
Date: Sun, 10 Oct 2004 17:57:47 EDT
Subject: [Baren 26193] Re: Mary Pratt prints
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I have done photo realist prints. It is much easier if you do it as a color
reduction print not as multi block print. I was doing color wood engravings
so a multi block prints would make it cost prohibitive. A 10" by 12" maple
wood engraving block is about $40 so if you were going to do a photo realist
print it might take 20 blocks unless you do it color reduction. You start
thinking like a painting and your cuts are almost like brush strokes. You cuts
show the color underneath in stead of cutting to show the color you are
printing. Mary Pratt's prints have inspired me to do it again. Just finished
cutting a set of wood type sort of at a nexis point I don't really want to do
any more fonts for the time being so I might go do a color reduction print.

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Message 3
From: ArtfulCarol # aol.com
Date: Sun, 10 Oct 2004 18:00:35 EDT
Subject: [Baren 26194] Re: Mary Pratt prints
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Hi,
I was hesitating to respond to the fantastic feat accomplished by Platt
with her woodblock prints. Since Barbara Mason replied about the same issue I am
not holding back either.
I prefer any medium to look like what it really is-- a woodblock to look
like a woodblock , a watercolor a watercolor, etc.
This may be a personal opinion.
Too often I am seduced into removing all my own marks,. But I feel what
makes a woodblcok distinctive is just that.-- marks. And I enjoy seeing them.

Carol Lyons in Irvington, NY

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Message 4
From: Bette Norcross Wappner
Date: Sun, 10 Oct 2004 18:08:31 -0400
Subject: [Baren 26195] Re: Mary Pratt prints
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I like the look of both - clean and woodcut lines. But I appreciate the
challenge and workmanship of a clean woodcut - as in classical Japanese
and Mary Platts, and many fine others. The enjoyment is having the
combination of both looks in my portfolio.

imh(beginner's)o....
bette wappner
northern kentucky

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Message 5
From: David Bull
Date: Mon, 11 Oct 2004 07:14:57 +0900
Subject: [Baren 26196] Re: Mary Pratt prints
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> ... the  fantastic feat accomplished by Platt with her woodblock
> prints.

'Correction'?

> ... the  fantastic  feat accomplished by Arikushi-san in making
> woodblock prints from Platt's idea.

:-)

Dave

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Message 6
From: Myron Turner
Date: Sun, 10 Oct 2004 17:29:50 -0500
Subject: [Baren 26197] Re: Mary Pratt prints
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Pratt

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Message 7
From: "Love Me"
Date: Mon, 11 Oct 2004 10:35:16 +1000
Subject: [Baren 26198] shui-yin
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Ray, I am most interested in Shui Yin and I see from the exchange galleries that you have made some beautiful examples. I 'googled' "shui yin" woodblock, and came up with nothing much, other than an evocative poem, by your good self. Like most things in printmaking, I guess there is no substitute for 'having a go' but, I have a few questions you might answer.
1. Paper, does it need to be ultra-thin, and if so, is it also moistened? How well does the technique work on Japanese washi? Can you recommend a good paper?
2. Baren, if the paper is thin, I wonder how much rubbing it can take. I have read that some other tool -like a whisk- is used. I can see lots of prints disintegrating or slumping into the block.
3. Inks. These must be very thin. Is starch used? If so, is it mixed in on the block?
4. Brushes. I gather the block is wet and extra colour is carefully added and allowed to spread through the moisture. How much painting goes on, and how fast do you need to work to get a nice effect?

Thanks,
Tom

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Message 8
From: sunsetbrew
Date: Sun, 10 Oct 2004 20:37:48 -0400
Subject: [Baren 26199] Re: Woodblock prints designed by Mary Pratt ... printed by Masato Arikushi
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Amazing skill! It is hard to believe that is a woodcut.

Thomas

--
Art...the new piece of mind.
http://www.sunsetbrew.com/

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Message 9
From: Wanda Robertson
Date: Sun, 10 Oct 2004 21:36:24 -0700
Subject: [Baren 26200] Re: Woodblock prints designed by Mary Pratt ... printed by Masato Arikushi
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Question? Does she do watercolors & turn them over to the printer
Masato Arikushi to plot out the 39 woodblocks to reproduce the
watercolor? While this is the traditional way of Japanese prints - it
does seem somewhat stiff & overdone to me. Or maybe I'm just jealous
of the technical skill of both of them. I just find them to be a bit
too slick & perfect for my taste.

Wanda

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