Today's postings
- [Baren 29280] Re: interesting site (Dan Allegrucci)
- [Baren 29281] Two Things (Tyrus Clutter)
- [Baren 29282] NM print show (Laughing Crow Studio)
- [Baren 29283] Re: Paleo Umi Block ("Ellen Shipley")
- [Baren 29284] Rice flour (Bretsch Katie)
- [Baren 29285] Re: Two Things (Barbara Mason)
- [Baren 29286] Re: Two Things (Julio.Rodriguez # walgreens.com)
- [Baren 29287] Re: Two Things (Wanda Robertson)
- [Baren 29288] Re: Two Things (Julio.Rodriguez # walgreens.com)
- [Baren 29289] Re: Two Things (Charles Morgan)
- [Baren 29290] mini-print exchange (Charles Morgan)
- [Baren 29291] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Dan Allegrucci
Date: Fri, 18 Nov 2005 05:29:27 -0800 (PST)
Subject: [Baren 29280] Re: interesting site
Send Message: To this poster
Great link and info! I love to see people continuing the long tradition of using woodcuts to express political ideas - whatever those ideas may be. Seems like the dissenting voices always go for woodcuts whereas the state propoganda people go for lithography - thinking of Russian/Soviet/Chinese political prints of the 20th century anyway.
Message 2
From: Tyrus Clutter
Date: Fri, 18 Nov 2005 08:58:44 -0500
Subject: [Baren 29281] Two Things
Send Message: To this poster
First, I wanted to let folks know about a woodcut show currently at the
National Gallery in Washington DC which I saw last week. It is medieval
woodcuts from Europe. If you're at all interested in the beginnings of
woodcut in the west this is a fabulous show. There are even a few actual
blocks on display. You have to see how worn these things are.. And we worry
about editioning.
Next is a question. I printed my Exchange #26 image on mulberry paper. I
usually find that with the thin Japanese papers dampening is not necessary.
I had an awful time beginning the edition because the paper was shifting too
easily. I spritzed each sheet with some water and let them sit in plastic
bag for about a half hour before I started back on the printing. It seemed
to do the trick. I couldn't even tell they were damp but it was almost as if
the added weight of the water solved the problem. What do you do when
printing on mulberry by hand? Is this typical for your process?
Tyrus
Tyrus Clutter
Director, Christians in the Visual Arts
255 Grapevine Road
Wenham, MA 01984
978-867-4128: Office
978-867-4125: Fax
www.civa.org
Christians in the Visual Arts is the premier visual arts organization
connecting the artist, the Church, and the culture.
National Gallery in Washington DC which I saw last week. It is medieval
woodcuts from Europe. If you're at all interested in the beginnings of
woodcut in the west this is a fabulous show. There are even a few actual
blocks on display. You have to see how worn these things are.. And we worry
about editioning.
Next is a question. I printed my Exchange #26 image on mulberry paper. I
usually find that with the thin Japanese papers dampening is not necessary.
I had an awful time beginning the edition because the paper was shifting too
easily. I spritzed each sheet with some water and let them sit in plastic
bag for about a half hour before I started back on the printing. It seemed
to do the trick. I couldn't even tell they were damp but it was almost as if
the added weight of the water solved the problem. What do you do when
printing on mulberry by hand? Is this typical for your process?
Tyrus
Tyrus Clutter
Director, Christians in the Visual Arts
255 Grapevine Road
Wenham, MA 01984
978-867-4128: Office
978-867-4125: Fax
www.civa.org
Christians in the Visual Arts is the premier visual arts organization
connecting the artist, the Church, and the culture.
Message 3
From: Laughing Crow Studio
Date: Fri, 18 Nov 2005 05:57:13 -0800 (PST)
Subject: [Baren 29282] NM print show
Send Message: To this poster
We spent all of yesterday hanging the show- it is quite a large one and
such a variety of prints! Some woodcuts, some relief, and a bit of
everything else. I am going to get there early tomorrow and take a lot of
pictures and get them on the NM Printmaker's website for everyone.
Lezle
Charles wrote:
> Yep ... I too wish I could go and drool. I always learn so much by
> looking
> at the work of others. I was quite honored to have been included.
>
> Cheers ...... Charles
Lezle Williams
Laughing Crow Studio
http://www.laughingcrowstudio.com
such a variety of prints! Some woodcuts, some relief, and a bit of
everything else. I am going to get there early tomorrow and take a lot of
pictures and get them on the NM Printmaker's website for everyone.
Lezle
Charles wrote:
> Yep ... I too wish I could go and drool. I always learn so much by
> looking
> at the work of others. I was quite honored to have been included.
>
> Cheers ...... Charles
Lezle Williams
Laughing Crow Studio
http://www.laughingcrowstudio.com
Message 4
From: "Ellen Shipley"
Date: Fri, 18 Nov 2005 08:13:59 -0800
Subject: [Baren 29283] Re: Paleo Umi Block
Send Message: To this poster
Thanx Mindy,
It will be blissful, you're right. And by lab I mean a lab day in the print shop at school where I take classes. All day with access to the equipment and supplies. 8-] It's heaven. There are just a handful of students who take advantage of this incredible opportunity -- mostly the adult ones. The kids don't know what they're missing yet. ;-]
Ellen
http://pressing-issues.blogspot.com/
http://thepickledpen.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos
It will be blissful, you're right. And by lab I mean a lab day in the print shop at school where I take classes. All day with access to the equipment and supplies. 8-] It's heaven. There are just a handful of students who take advantage of this incredible opportunity -- mostly the adult ones. The kids don't know what they're missing yet. ;-]
Ellen
http://pressing-issues.blogspot.com/
http://thepickledpen.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos
Message 5
From: Bretsch Katie
Date: Fri, 18 Nov 2005 09:53:48 -0800
Subject: [Baren 29284] Rice flour
Send Message: To this poster
Paul wrote:
> Ive been reading the dialogue about rice flour and feel something may
> have
> been missed. if you boil the rice flour ,as you should, you are
> producing the
> starch in exactly the same way as boiling rice itself. Rice flour is
> just
> ground rice.Both need the heat to produce the starch.Wasthe heating of
> the flour
> ommitted ?
> Yours Paul de Jode
Thanks, Paul!
The way I was taught to make it by my Chinese calligraphy teacher is
exactly what I read here...
http://www.woodblock.com/encyclopedia/entries/013_02/013_02.html
....which made me wonder how it could be wrong. Being a newbie, I was
sitting on my hands on this, but, since you've got this idea out there,
I'll throw an additional two cents in....
I think there is some confusion on this because there are a variety of
products sold as "rice flour" in the USA. What I get from my local
Asian market is imported from Thailand and consists of very finely
ground powdered white rice. This powder is indistinguishable from corn
starch powder unless you read the label. On the other hand, what I
might find at a regular grocery store here labeled "rice flour" is
probably US-made and targeted to the natural foods shopper. It is
likely to be both whole grain and more roughly milled. (I had to become
an expert on all of this because I am one of those odd folk sensitive
to corn and wheat and have to substitute rice or something in all my
cooking.)
Needless to say, these products perform very differently when cooked.
The rough-milled stuff indeed stays somewhat gritty. Although, you
could extract starch from it if you cooked it long enough and separated
it off like you would have to off the whole grain.
After reading some of the other posts, I did some looking at book arts
sites focussed on conservation and fine bookbinding. Rice paste,
properly cooked from a highly refined white rice flour, seems to have a
decent enough reputation. I was glad to find this as in the long run I
am probably way too lazy to extract if off the whole grain.
Anyhow, will post pix when I get a print worth viewing and report what
I learn.
Thanks to all for info and support.
> Ive been reading the dialogue about rice flour and feel something may
> have
> been missed. if you boil the rice flour ,as you should, you are
> producing the
> starch in exactly the same way as boiling rice itself. Rice flour is
> just
> ground rice.Both need the heat to produce the starch.Wasthe heating of
> the flour
> ommitted ?
> Yours Paul de Jode
Thanks, Paul!
The way I was taught to make it by my Chinese calligraphy teacher is
exactly what I read here...
http://www.woodblock.com/encyclopedia/entries/013_02/013_02.html
....which made me wonder how it could be wrong. Being a newbie, I was
sitting on my hands on this, but, since you've got this idea out there,
I'll throw an additional two cents in....
I think there is some confusion on this because there are a variety of
products sold as "rice flour" in the USA. What I get from my local
Asian market is imported from Thailand and consists of very finely
ground powdered white rice. This powder is indistinguishable from corn
starch powder unless you read the label. On the other hand, what I
might find at a regular grocery store here labeled "rice flour" is
probably US-made and targeted to the natural foods shopper. It is
likely to be both whole grain and more roughly milled. (I had to become
an expert on all of this because I am one of those odd folk sensitive
to corn and wheat and have to substitute rice or something in all my
cooking.)
Needless to say, these products perform very differently when cooked.
The rough-milled stuff indeed stays somewhat gritty. Although, you
could extract starch from it if you cooked it long enough and separated
it off like you would have to off the whole grain.
After reading some of the other posts, I did some looking at book arts
sites focussed on conservation and fine bookbinding. Rice paste,
properly cooked from a highly refined white rice flour, seems to have a
decent enough reputation. I was glad to find this as in the long run I
am probably way too lazy to extract if off the whole grain.
Anyhow, will post pix when I get a print worth viewing and report what
I learn.
Thanks to all for info and support.
Message 6
From: Barbara Mason
Date: Fri, 18 Nov 2005 11:01:04 -0800 (PST)
Subject: [Baren 29285] Re: Two Things
Send Message: To this poster
Tyrus,
I had a similar problem with my zebra print, I was printing on dry paper with akua kolor watersoluble ink using a baren. The paper wanted to move, so I solved it by eventually taping two edges after dropping it into the kento. I almost always use damp paper and it never moves, so I realized it was because of the dry paper. You experienced my same problem but solved it in a way more traditional way! The problems with some papers is that they are unsized...I was also printing on the unsized side of the paper and that may have contributed to it moving, I am just not sure.
Barbara
Tyrus wrote:
>Next is a question. I printed my Exchange #26 image on mulberry paper. I
>usually find that with the thin Japanese papers dampening is not necessary.
>I had an awful time beginning the edition because the paper was shifting too
>easily. I spritzed each sheet with some water and let them sit in plastic
>bag for about a half hour before I started back on the printing. It seemed
>to do the trick. I couldn't even tell they were damp but it was almost as if
>the added weight of the water solved the problem. What do you do when
>printing on mulberry by hand? Is this typical for your process?
I had a similar problem with my zebra print, I was printing on dry paper with akua kolor watersoluble ink using a baren. The paper wanted to move, so I solved it by eventually taping two edges after dropping it into the kento. I almost always use damp paper and it never moves, so I realized it was because of the dry paper. You experienced my same problem but solved it in a way more traditional way! The problems with some papers is that they are unsized...I was also printing on the unsized side of the paper and that may have contributed to it moving, I am just not sure.
Barbara
Tyrus wrote:
>Next is a question. I printed my Exchange #26 image on mulberry paper. I
>usually find that with the thin Japanese papers dampening is not necessary.
>I had an awful time beginning the edition because the paper was shifting too
>easily. I spritzed each sheet with some water and let them sit in plastic
>bag for about a half hour before I started back on the printing. It seemed
>to do the trick. I couldn't even tell they were damp but it was almost as if
>the added weight of the water solved the problem. What do you do when
>printing on mulberry by hand? Is this typical for your process?
Message 7
From: Julio.Rodriguez # walgreens.com
Date: Fri, 18 Nov 2005 13:32:40 -0600
Subject: [Baren 29286] Re: Two Things
Send Message: To this poster
Congratulations Charles on your NM exhibit.....anyplace to see the images?
Lezle let us know when the exhibit website is updated !
Yes, I also agree with Barbara......probably not dampening the paper had a
lot to do with the movement Tyrus describes.
If you are using the traditional kento registration there is a proper
technique to 'lock' the paper in place. As you drop or guide the paper
into the kento corner the side of the thumb(nail) is used to hold the
paper down. This frees up the other hand to pickup the baren and do the
printing. The first few circular passes with the baren should always be
toward the kento corner (not away from it) to make sure the paper does not
move.
I seen David Bull print and the side of his thumb hardly ever leaves that
corner kento position while the baren is in use. I would think that to a
professional printer doing hundreds of prints a day it would be 'wasted'
effort to lift up that thumb.....since as soon as the baren is done doing
it's job the thumb and index finger can be used to lift the paper off the
block and unto the 'done' stack.
Here is a link that explains all of that....
http://woodblock.com/encyclopedia/entries/onepoint/018_12/018_12_frame.html
thanks....Julio Rodriguez
Lezle let us know when the exhibit website is updated !
Yes, I also agree with Barbara......probably not dampening the paper had a
lot to do with the movement Tyrus describes.
If you are using the traditional kento registration there is a proper
technique to 'lock' the paper in place. As you drop or guide the paper
into the kento corner the side of the thumb(nail) is used to hold the
paper down. This frees up the other hand to pickup the baren and do the
printing. The first few circular passes with the baren should always be
toward the kento corner (not away from it) to make sure the paper does not
move.
I seen David Bull print and the side of his thumb hardly ever leaves that
corner kento position while the baren is in use. I would think that to a
professional printer doing hundreds of prints a day it would be 'wasted'
effort to lift up that thumb.....since as soon as the baren is done doing
it's job the thumb and index finger can be used to lift the paper off the
block and unto the 'done' stack.
Here is a link that explains all of that....
http://woodblock.com/encyclopedia/entries/onepoint/018_12/018_12_frame.html
thanks....Julio Rodriguez
Message 8
From: Wanda Robertson
Date: Fri, 18 Nov 2005 11:48:10 -0800
Subject: [Baren 29287] Re: Two Things
Send Message: To this poster
Hmmm....Julio, I didn't know you were left-handed! As a right-hander I
would feel pretty awkward holding down the paper in the right hand
corner (kagi) and picking up the baren with the left hand. I had to go
and check the encyclopedia to see if I had been carving the kentos
correctly! As it is described in the encyclopedia - the printer is
holding down the paper on the lower left (hikitsuke) segment of the
kento. If the lower right corner is correctly inserted into the
L-shaped (kagi) mark - it will be enough (along with the damp pigment &
damp paper) to hold the paper in proper registration. When I first
started working in hanga - I was very skeptical that something so
simple could work *so* well. But it does! Wonderfully well too!
Wanda
On Friday, November 18, 2005, at 11:32 AM,
would feel pretty awkward holding down the paper in the right hand
corner (kagi) and picking up the baren with the left hand. I had to go
and check the encyclopedia to see if I had been carving the kentos
correctly! As it is described in the encyclopedia - the printer is
holding down the paper on the lower left (hikitsuke) segment of the
kento. If the lower right corner is correctly inserted into the
L-shaped (kagi) mark - it will be enough (along with the damp pigment &
damp paper) to hold the paper in proper registration. When I first
started working in hanga - I was very skeptical that something so
simple could work *so* well. But it does! Wonderfully well too!
Wanda
On Friday, November 18, 2005, at 11:32 AM,
Message 9
From: Julio.Rodriguez # walgreens.com
Date: Fri, 18 Nov 2005 13:54:09 -0600
Subject: [Baren 29288] Re: Two Things
Send Message: To this poster
Sorrry, forgot to include this most valuable link regarding water/paper
which is worth reading over and over:
http://woodblock.com/encyclopedia/entries/onepoint/018_29/018_29_frame.html
And if you have not checked in on Mike Lyon's monster press....go over to
his blog to
see the latest pics on the press bed taking shape and the roller movements
assembly....
http://www.mlyon.com/blog/
thanks....Julio Rodriguez
which is worth reading over and over:
http://woodblock.com/encyclopedia/entries/onepoint/018_29/018_29_frame.html
And if you have not checked in on Mike Lyon's monster press....go over to
his blog to
see the latest pics on the press bed taking shape and the roller movements
assembly....
http://www.mlyon.com/blog/
thanks....Julio Rodriguez
Message 10
From: Charles Morgan
Date: Fri, 18 Nov 2005 12:19:59 -0800
Subject: [Baren 29289] Re: Two Things
Send Message: To this poster
Julio wrote:
>Congratulations Charles on your NM exhibit.....anyplace to see the images ?
Thanks to everyone for their good wishes. I have a website, but it is still
under development and no images are posted as yet. Guess you will all just
have to amble on down to NM.
>The way I was taught to make it by my Chinese calligraphy teacher is
>exactly what I read here...
>
>http://www.woodblock.com/encyclopedia/entries/013_02/013_02.html
Thanks for the link. I have tried both brown rice flour and white rice
flour, and from several different sources, all with the same result.
Perhaps it is as you suggest mostly a question of the fineness of the
grind. Anyway, I have not been able to obtain anything locally that works,
so I think I will try MaryAnn's suggestion and just boil the heck out of
some whole rice ... that sounds easy enough.
Cheers ...... Charles
>Congratulations Charles on your NM exhibit.....anyplace to see the images ?
Thanks to everyone for their good wishes. I have a website, but it is still
under development and no images are posted as yet. Guess you will all just
have to amble on down to NM.
>The way I was taught to make it by my Chinese calligraphy teacher is
>exactly what I read here...
>
>http://www.woodblock.com/encyclopedia/entries/013_02/013_02.html
Thanks for the link. I have tried both brown rice flour and white rice
flour, and from several different sources, all with the same result.
Perhaps it is as you suggest mostly a question of the fineness of the
grind. Anyway, I have not been able to obtain anything locally that works,
so I think I will try MaryAnn's suggestion and just boil the heck out of
some whole rice ... that sounds easy enough.
Cheers ...... Charles
Message 11
From: Charles Morgan
Date: Fri, 18 Nov 2005 15:13:01 -0800
Subject: [Baren 29290] mini-print exchange
Send Message: To this poster
In 2003 and 2004, under the auspices of Print Australia, I coordinated a
mini-print exchange scheduled around the southern summer, northern winter
solstice ... about December 21. This year the moderator of PA has decided
not to host this exchange. Since the exchange had been so successful in the
past, I decided to run it as a private exchange. Since it is a private
exchange, anyone is welcome to participate. If you are interested, please
email me off-list for details. Closing date for sign-up is November 30.
Cheers ....... Charles
mini-print exchange scheduled around the southern summer, northern winter
solstice ... about December 21. This year the moderator of PA has decided
not to host this exchange. Since the exchange had been so successful in the
past, I decided to run it as a private exchange. Since it is a private
exchange, anyone is welcome to participate. If you are interested, please
email me off-list for details. Closing date for sign-up is November 30.
Cheers ....... Charles
Message 12
From: Blog Manager
Date: 19 Nov 2005 04:55:03 -0000
Subject: [Baren 29291] Baren Member blogs: Update Notification
Send Message: To this poster
This is an automatic update message being sent to [Baren] by the forum blog software.
The following new entries were found on the listed printmaker's websites during the past 24 hours. (10 sites checked, just before midnight Eastern time)
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Plans for a New Print
http://woodblockdreams.blogspot.com/2005/11/plans-for-new-print.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
The following new entries were found on the listed printmaker's websites during the past 24 hours. (10 sites checked, just before midnight Eastern time)
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Plans for a New Print
http://woodblockdreams.blogspot.com/2005/11/plans-for-new-print.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php