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Message 1
From: GWohlken
Date: Sat, 26 Mar 2005 09:43:07 -0500
Subject: [Baren 27549] Missing Post in Digest
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Barbara Mason's answers to new member, Beth's, questions did not come
through in the html digest. For those who subscribe to the digest
version of the Baren Forum, just click on the Archives link below to
read Barbara's post.

http://www.barenforum.org/archives/vol30/v30_3010.html#27547

Gayle/Archivist
ps: Welcome to Baren, Beth!

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Message 2
From: Mike Lyon
Date: Sat, 26 Mar 2005 11:27:40 -0600
Subject: [Baren 27550] Re: Some questions from a newster.
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Beth wrote:
>a) What is the difference in the terms "woodcut" and "woodblock" printing?

no difference -- they are synonymous

>b) Where can I find great close-up photos and extensive explanations of
>the creation/manufacture of a traditional baren, why each step is taken in
>the way that it is, the specific qualities each step will exude in the
>finish product to make it worthwhile to include?

Here is thorough step by step instruction:
http://www.woodblock.com/encyclopedia/entries/001_14/001_14_frame.html

>c) Color. I'm wanting to try Akua-kolor. What have others used that they
>like and why do they like it?

I bought a bunch of Akua-kolor for printing Japanese technique. I didn't
like it at all and don't think it is appropriate for hanga printing -- dry
pigment, pigment suspensions, prepared watercolors are all far superior to
Akua for water-based woodblock printmaking in my opinion. I tried using
Akua for monotypes and it works better, but I still found the color
somewhat chaulky and much prefer oil-based inks for monotypes. So I have a
lot of Akua-kolor sitting on my shelf if you'd like to try it...

-- Mike

Mike Lyon
Kansas City, Missouri
http://mlyon.com

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Message 3
From: Sharri LaPierre
Date: Sat, 26 Mar 2005 09:50:09 -0800
Subject: [Baren 27551] Re: Baren Digest (old) V30 #3009
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Marilynn,
I have to agree - Mike's work is wonderful. He has taken a process,
relief printmaking, and made it his own. But, one of the reasons his
images are so wonderful is that they do "follow the rules" of good
design. He does not neglect the tenets of good composition, and though
he works monochromatic he uses God only knows how many tints and tones
of Prussian Blue to reach a full range of values. The manipulation of
space and form are considerations in where the photo he works from is
cropped - so although his work is photographic in nature it is not the
same as a photograph. (I make that distinction to distance it from
photo-realism of which I am not a fan - I have a why bother kind of
attitude on that one.) And last, but not least, the pose of the model
creates the most wonderful fluid line.
There will always be room for experimentalism in all the media - and I
think what Mike has done with woodblock is nothing short of pure
genius! We should all be as gifted!

Beth, several folks are happy with Akua color, however, most prefer the
powdered pigments sold on the Baren mall, or through the place in NYC
that April likes & which I can never remember the name (hers are
dispersions). The Akua colors are more opaque and it is more difficult
to get that wonderful light transparent look. I think woodblock and
woodcut are synonymous. Try Woodblock.com and look at David Bull's one
point (ha) lesson on how to wrap a Baren and you will get a very good
look at how they are made. He does it all except make the coil, and he
may do that to, for all I know, but just wrapping one is a feat beyond
my feeble attempts. LOL

Cheers!
Sharri

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Message 4
From: Barbara Mason
Date: Sat, 26 Mar 2005 10:36:32 -0800 (PST)
Subject: [Baren 27552] akua Kolor
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Mike,
If you really hate Akua Kolor, send it all to me! I like it but have forced it to do what I want it to do. It is just like any other material, if you use it a while you get to know it's personality and how you can beat it into shape! I teach a lot and really like it for its ease of clean up.

I find there are three types of this stuff, the monotype bottles, the first intaglio jars and the new intaglio jars. As they develop it they keep changing the formula. I like loose transparent ink, so I always add transparent base and sometimes add the monotype bottled ink to the intaglio ink to get the exact consistency I like. I have found that damp oriental paper will pick up this thinner consistency from a monotype plate almost as well as if you used a press. It is a lot more work to get it to print with western paper and takes a lot more physical printing, with either a baren or a rolling pin. Of course a press is no problem with any paper.

I like this ink and use the colors for support with my intaglio oil based black ink. The plus here is that the waterbased ink, rolled over the oil, does not pickup the oil based ink and you do not have to continually stop and clean the rollers. So I have made it work well for me. I used this ink on the landacape tree print http://www.barenforum.org/exchange/exchange_22/exchange_frame.html
On my monitor the colors look a bit muted. This was a 6 color reduction print and I used the Akua Kolor ink very thinly and transparently. If you have this print you can see there is little build up of ink, it looks almost like watercolor. This was done on dry Kitakata paper with a press...I was really late as usual. I keep promising myself to be early...maybe in my next life.
I am hunting the extra copies of this print as I promised one to Tom in Australia....they are here someplace. I actually bought some museum boxes to hold prints....organization is just a short way away...hahaha
Best to all,
Barbara

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Message 5
From: ArtfulCarol # aol.com
Date: Sat, 26 Mar 2005 21:28:42 EST
Subject: [Baren 27553] Arthur Lesley Dow and random thought.
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While browsing I found 15 Dow woodblock prints on exhibt at Spanierman
Gallery. They can be viewed:

http://spanierman.com/05_steele_dow/checklist.htm

Aways interesting.
I notice he printed the same block a little differently each time and called
them ... I,... II, ...III. Sometimes those are referred to as variants.
Because I don't use a press , it is more interesting to me to make deliberate
variants rather than an edition of exact copies.

I am enjoying all the Websites being shared.

Thank you to all who sent comments about my 7 Species woodblock prints..
Carol Lyons
Irvington, NY

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Message 6
From: "Dan Dew"
Date: Sat, 26 Mar 2005 22:09:26 -0500
Subject: [Baren 27554] Newest Print
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Well, I had to try.



http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem
&item=7311215933&ssPageName=ADME:B:LC:US:1



d. dew

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Message 7
From: Sharri LaPierre
Date: Sat, 26 Mar 2005 20:57:24 -0800
Subject: [Baren 27555] Re: Prospectus
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There will be a juried show at North Bank Gallery in Vancouver, WA
June 1 - July 1, 2005. The theme is "In The Garden" (which could be
just about anything from the gardens I've been in and seen. ahem.)
Slides, jpegs on CD, or actual work will be juried on May 7. The Juror
is Harrison Higgs, Professor of Fine Arts (and a printmaker) at
Washington State University, Portland. North Bank Gallery is a
beautiful space and it should be a good show to be in. Entry fee is
$25 for 3 entries For a prospectus you can email me and I'll send you
a PDF. I would love to see lots of Baren-ers represented!

Cheers! and Slan feit (I'm slowly, very slowly, learning Gaelic)
Sharri

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Message 8
From: Aqua4tis # aol.com
Date: Sun, 27 Mar 2005 00:28:48 EST
Subject: [Baren 27556] Re: Prospectus
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sharri
please send me a prospectus what does slan feit mean? are you taking
classes in gaelic or teaching yourself? thats very cool
georga

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Message 9
From: "Beth Zentzis"
Date: Sat, 26 Mar 2005 23:28:22 -0800
Subject: [Baren 27557] Re: Some questions from a newster.
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Thanks to all of you for responding to my questions! I am pleasantly
surprised by such a warm welcome. I missed that link to the baren
construction in the encyclopedia in my searching, and thanks too for all the
other thoughtful responses many of you made.

It is always interesting to read whatever it is you guys are discussing.

Thanks again,

Beth

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