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Message 1
From: jeb baum
Date: Fri, 14 Oct 2005 10:16:07 -0400
Subject: [Baren 28982] reduction prints
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Thanks for the feedback on reduction prints. I like to work quickly
without breaking, and try to emulate as much as I can the way I draw or
paint. I have been using basswood, precisely because it is quick to
carve, but it is soft-ish and certainly more absorbent than cherry. I
will have to give that a try. I get frustrated with /hanga/ printing
because of all the stretching, swelling and shrinking due to the water
which messes up registration. It is true that I probably use too much
water, and haven't yet learned to control the moisture content in my
paper and on my blocks. The spontaneity of reduction printing makes that
even more difficult to master it seems to me. Drying my blocks with a
hairdryer would seem to add the potential of shrinkage in my blocks too,
but I will try it. I am sure it will all be worth it once I can get it
to work. Jeb

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Message 2
From: Mike Lyon
Date: Fri, 14 Oct 2005 10:21:24 -0500
Subject: [Baren 28983] Re: New Baren Digest (HTML) V33 #3224 (Oct 13, 2005)
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Rob wrote:
>I just found a lumber yard that can supply me with nice pieces of cherry.
>I bought some yesterday and was wondering what the average price per board
>foot is? I think I got a real good deal on it, but I would appreciate some
>input from you folks. I am new to buying wood. I purchased some (3/4" x 5"
>x 12') planks with a nice even grain and very few knots if any. They also
>have really nice 3/4" cherry plywood with poplar core. I didn't get any
>yet but it is $124 for a 4' x 8' sheet. Is that an average price or on the
>high side?

Current US kiln-dried prices for cherry currently run about $7 to $9 per
board foot with planks wider than 10 inches currently closer to $11 or $12
per board foot (a board foot is equivalent to one square foot by 1 inch
thick or 144 cubic inches). 3/4 planks are 4/4 wood which has been
surfaced (machine-planed) on both faces and is measured in board feet as if
it were 1 inch thick. So retail for 12 foot plank of 3/4 inch cherry 5
inches wide (5 board feet) ought to be about $35 to $45 -- a year ago
cherry was about $6 per board foot for comparison, and yards with overstock
sometimes run 'sales' with lower than usual prices.

You didn't mention the quality of the cherry plywood, but a good price for
3/4" A-1 (good quality veneer on both sides) veneer-core cherry plywood is
currently about $130, so you've got a good price if it's A-1...

-- Mike


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

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Message 3
From: baren_member # barenforum.org
Date: 14 Oct 2005 15:28:48 -0000
Subject: [Baren 28984] Woodblock tools and blocks now on display in Eugene Oregon ...

Message posted from: Google News Update

Ukiyo-e Outside In: Western Impressions of the Floating World

Organized by the Jordan Schnitzer Museum of Art, University of Oregon

October 8, 2005-January 8, 2006

The Western fascination with Japan was particularly strong in the late nineteenth and early twentieth centuries, as is evidenced by the number of artists from that time whose works exhibit formal, stylistic, and/or thematic traits associated with Japanese art (a phenomenon often referred to as japonisme).

All of the artists featured in this exhibition—Elizabeth Keith, Helen Hyde, Bertha Lum, and Charles Bartlett—acted on their fascination and actually traveled to Japan where they were stimulated not merely by their exposure to Japanese art, but by the vibrant and dynamic culture they encountered firsthand. Moreover, they all adopted the traditional Japanese woodblock color-printing technique in their art and essentially turned it back on itself in a wide variety of works that engage themes associated with the "floating world" of prints (ukiyo-e).

Ukiyo-e Outside In also includes a section on woodblock technique that features preparatory drawings, tools, carved seals, and several of the wooden blocks used to produce some of the prints on view.

http://uoma.uoregon.edu/exhibitions/

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Message 4
From: "marilynn smih"
Date: Fri, 14 Oct 2005 08:56:04 -0700
Subject: [Baren 28985] RE: Baren Digest (old) V33 #3225
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Hanga is a time consuming, technical process. Reduction printing is even more difficult. I would ere on the side of taking my time with this. I have left prints a few days to dry out between printing the next reduction color, than rewet them and did the next color. they were fine and it beats mold that can occur by leaving them wet too long. I do not have a lot of freezer space, so this works for me. My hands need a rest also, this also gives me time for other things. Maybe you should have several projects going and you could switch back and forth?
Marilynn

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Message 5
From: "Ellen Shipley"
Date: Fri, 14 Oct 2005 08:59:52 -0700
Subject: [Baren 28986] An unapproved user has posted a comment on BarenForum Group Weblog...
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Dang. How do you shake these spammers? I block their addies, but then they
just switch to a new one. Do I have to take my artwork down? Does anyone
else get these things? It's so irksome.

Ellen Shipley, CA



http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos

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Message 6
From: "Ellen Shipley"
Date: Fri, 14 Oct 2005 09:03:38 -0700
Subject: [Baren 28987] Re: Baren Digest (old) V33 #3225
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I'm taking my time with my reduction print -- it's a lot to remember!

But I have a question for others who use oil based inks. I used transparent print base in my second color because I wanted it to combine more with the first color, but it's very tacky. I'm afraid of complications when I add the third color. Is there anything I can do about this tackiness? Should I forget the transparent print base?

Thanx.

Ellen

http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos

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Message 7
From: Julio.Rodriguez # walgreens.com
Date: Fri, 14 Oct 2005 12:05:30 -0500
Subject: [Baren 28988] Re: An unapproved user has posted a comment on BarenForum Group Weblog...
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Ellen writes:

"Dang. How do you shake these spammers? I block their addies, but then
they
just switch to a new one. Do I have to take my artwork down? Does anyone

else get these things? It's so irksome."

Hi Ellen,

You are not the only one, the Baren blog has been the target of a group of
spammers lately and a few of us have been hit. We tried
banning the IP addresses but these are coming from many machines. We were
spam free for the first four months but it looks like they finally found
us in October. Dave has changed the 'comments' to moderation so although
you and others may be getting emails saying someone posted a comment to
your entry....the spam comments are not actually making it to the online
blog page itself. Dave and I have been cleaning up the junk stuff.

So for now if you make a comment to the blog it may not show up right
away until we get a chance to approve it....

baren...I mean bare with it while we find a solution.........Julio
Rodriguez (Skokie, Illiinois)

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Message 8
From: eli griggs
Date: Fri, 14 Oct 2005 10:23:53 -0700 (PDT)
Subject: [Baren 28989] Re: New Baren Digest (HTML) V33 #3224 (Oct 13, 2005)
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One good option for finding quality wood is to buy by
mail order.

There are a number of 'yards' that sell high quality
hardwoods this way. Often they will run sales and if
you can find a dealer who will work with you and
understands what you need, you can invest in and put
aside enough wood in your studio to see you through
years of printing.

Of course, buying wood in 100bf lots is a bit of an
investment, but not having to worry about the whims of
the market for a few years is piece of mind when you
consider how demanding an artist can be when selecting
a ground for work. In my locality, cherry prices
doubled in the last few years and the larger widths
have been effectively priced beyond my means. They
are also priced higher that mail order offerings.

A quick look at ininternetlumber.com out of NC shows
that 4/4 Cherry in 100bf lots sells for $319 for #1
common s2s (surfaced 2 sides with the edges rough) and
FAS s2s sells for $498.

You can get these completely in the rough but the
savings is only $20.

You can also buy smaller lots, if you do, ask for
shorter boards. The shorter boards i.e. 5ftftxin at
$5bf vs. 8ftftx at $8bf, at this site, cost less for
obvious reasons.

I would suggest that anyone looking to buy this way
first pick up American Woodworker and other quality
woodworker’s magazines and look through these for
leads on sellers. I personally think that the smaller
mills and those in the Ohio Valley are the best way to
go, but that is only my opinion.

Cheers,
Eli

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Message 9
From: eli griggs
Date: Fri, 14 Oct 2005 10:28:31 -0700 (PDT)
Subject: [Baren 28990] Re: New Baren Digest (HTML) V33 #3224 (Oct 13, 2005)
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Thats internetlumber.com

Eli

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Message 10
From: Julio.Rodriguez # walgreens.com
Date: Fri, 14 Oct 2005 14:04:42 -0500
Subject: [Baren 28991] Re: Shinto Hip Hop - Ukiyoe and HipHop come together....
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For something a bit different.....check out the work of american artist
Iona Rozeal Brown.....some of these images are rather large...the wxhibit
essay explains the development of her themes and the comig together of her
images.


http://www.gfineartdc.com/Brown.htm

http://www.gfineartdc.com/Brown_showessay.htm

http://www.artnet.com/Magazine/features/finch/finch1-9-04.asp


http://www.unitycorps.org/arte-de-unidad/Primavera_2005.htm


http://www.gfineartdc.com/Brown_show2.htm


thanks..........Julio Rodriguez (Skokie, Illinois)

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Message 11
From: Mike Lyon
Date: Fri, 14 Oct 2005 16:42:46 -0500
Subject: [Baren 28992] Re: reduction prints
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Jeb Baum wrote:
>Drying my blocks with a hairdryer would seem to add the potential of
>shrinkage in my blocks too, but I will try it.

Unless you are working VERY large, don't worry at all about dimensional
stability of the block, and don't worry too much about the paper, either
unless it's larger than about 20 inches -- just try to keep the paper
evenly damp throughout printing and you'll be fine -- virtually ALL
misregistration in single-block reduction prints is caused by the
printer! Hold the damp sheet of paper between index and middle fingers in
a 'scissors' grip so that it is bowed and therefore can not buckle -- your
hands should be place so that your thumbs can easily and independently
(this is sorta like learning to use chop-sticks, clumsy at first but then
unconscious after practice) touch the kento areas -- then 'bump' the corner
of the paper into the corner-kento. Don't try to carefully 'place' the
corner into the kento by eye -- you'll have BIG misregistrations that
way! Just gently 'bump' the corner in by 'feel', then place your thumb
(while maintaining the scissors grip and the bow in the paper holding it up
off the block for the time being) on the corner of the paper over the
'plateau' of the kento holding the corner securely in place while you
gently stretch the paper away from the corner and bump it into the
side-kento. Then place that thumb on the paper over the side-kento
'plateau' holding it firmly in place as you open your scissors grip and
allow the paper to gently settle or roll down onto the block from the kento
side to the opposite side. Then maintain the pressure of either thumb
while your other hand picks up the baren and very gently for the first
touch or two smooth it over the paper so the moisture on the block holds
the paper in place as you increase the strength in the baren-hand and
complete the impression...

So it is very important to have carved good workable kento... The depth
should be just slightly deeper than the thickness of your paper (too deep
and the block surface will hold your thumbs off the carved 'plateau' of the
kento allowing the paper to move -- too thin and you won't be able to feel
the 'bump' during registration. The 'cliffs' of the kento registration
edges leading from the block surface down to the 'plateau' should be
exactly vertical and neither undercut nor beveled so you can get a solid
'bump' when you register the paper, and so that the paper 'bumps' into the
same position regardless how deep into the kento the paper happens to 'bump'.

Geez, so many words for such a simple process! :)

-- Mike


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

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Message 12
From: "Ellen Shipley"
Date: Fri, 14 Oct 2005 15:48:10 -0700
Subject: [Baren 28993] Re: An unapproved user has posted a comment on BarenForum Group Weblog...
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Thanx. That sounds like a workable solution. And you're right -- I did get a notice of another comment, but it wasn't there so I didn't have to delete it. ;-]

Keep up the good work!

Ellen

http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos

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Message 13
From: "Ellen Shipley"
Date: Fri, 14 Oct 2005 15:58:05 -0700
Subject: [Baren 28994] Re: Shinto Hip Hop - Ukiyoe and HipHop come together....
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I thought she looked familiar. Her work is featured in that show in Eugene, OR:
http://uoma.uoregon.edu/exhibitions/

I was admiring her print this morning. Thanx for the other links Julio.

Ellen

http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos

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