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Message 1
From: "Tom Kristensen"
Date: Sun, 4 Dec 2005 07:13:59 +1100
Subject: [Baren 29396] Big Random Orbit Sander
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Thanks to Mike for the long and informative posts. It is the detail that is so useful. Recently I bought myself 10 planks of American Cherry (imported to Australia, cost - astronomical) and have been docking off pieces and sanding away with my orbital sander. Why is it taking so long to sand one little piece of timber? Why am I chewing up so much sandpaper? Mike made mention of his Big Random Orbit Sander and the penny dropped; I have a Small Random Orbit Sander - which works really well for finishing paintwork but not so well on timber. I am not going to buy another sander, but at least I now know why I spend 10 minutes sanding each little block. By the way I only go to 400 grit - cause I cannot believe that 800 could produce a visible difference.

Tom

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Message 2
From: Mike Lyon
Date: Sat, 03 Dec 2005 14:48:42 -0600
Subject: [Baren 29397] Re: New Baren Digest (HTML) V33 #3278 (Dec 2, 2005)
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Wanda wrote:
>Doesn't Helen Frankenthaler use a Japanese carver & printer?

Several!


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

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Message 3
From: Mike Lyon
Date: Sat, 03 Dec 2005 14:54:51 -0600
Subject: [Baren 29398] Re: Big Random Orbit Sander
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Tom K. wrote:
>Big Random Orbit Sander and the penny dropped; I have a Small Random
>Orbit Sander - which works really well for finishing paintwork but
>not so well on timber. I am not going to buy another sander, but at
>least I now know why I spend 10 minutes sanding each little block.
>By the way I only go to 400 grit - cause I cannot believe that 800
>could produce a visible difference.

I, too, go to 400 -- a worn 400 produces a polished surface on
cherry. For what it's worth, I have TWO
5"
right-angle Porter Cable sanders (one for stick on papers and one
equipped for velcro with a vacuum attachment) -- They're still going
strong after years and many HUNDREDS of hours of sanding -- great
tools (for whenever you feel like upgrading -- but your 10 minutes
seems plenty fast to me!)...

-- Mike


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

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Message 4
From: Mike Lyon
Date: Sat, 03 Dec 2005 15:07:23 -0600
Subject: [Baren 29399] Re: Baren Digest (old) V33 #3278
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Marissa wrote:
>If I ever see a Moku Hanga workshop I will take it!

Well, now that you mention it... I'm scheduled to teach another
5-day workshop in Norwalk, Connecticut at the Center for Contemporary
Printmaking there March 13-17, 2006:
http://contemprints.org/Workshops_Woodcut.cfm (for some reason, CCP
keeps showing a photo of Robert Parker on my workshop page -- he's
handsome and very talented and famous and even though the photo was
taken during one of my earlier workshops, it ain't me :) (so don't be
disappointed when we meet and I don't resemble Bob at all)!

-- Mike

PS -- try to avoid including an entire digest in your posts -- it
makes Gayle (our archivist) Wohlken's work so much more difficult!


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

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Message 5
From: Mike Lyon
Date: Sat, 03 Dec 2005 15:08:36 -0600
Subject: [Baren 29400] Re: Exchange 27
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Jean wrote:
>I'm making my Exchange #27 print hanga style, with Createx
>pigments. I hope that is acceptable.

Sounds VERY acceptable, Jean!

-- Mike


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

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Message 6
From: Marissa
Date: Sat, 3 Dec 2005 16:21:51 -0500
Subject: [Baren 29401] Re: Baren Digest (old) V33 #3278
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Thanks Mike but I am in Boston and Connecticut is way too far for me
to travel five days in a row. Plus I promised myself that the next
class I take with be a litho class at the SMFA to do something outside
of relief.

Sorry about not cutting out old messages. I didn't mean to.

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Message 7
From: ArtfulCarol # aol.com
Date: Sat, 3 Dec 2005 17:57:23 EST
Subject: [Baren 29402] Re: Semi retirement from painting
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Robert Viana wrote:

_http://www.robertviana.com_ (http://www.robertviana.com)

This is about leaving painting temporarily and doing woodblock prints .It's
similar to what Robert is doing. I've done that with results to share with
you. Has anyone had a similar situation?

I was doing experimental watercolors for m a n y years along with
accepting house portrait commissions a couple of times a year. It was satisfying
and successful. Then in 1998 I was curious and took my first woodblock print
workshop with April Vollmer. I was hooked, 24/7! You may know what that's
like.

It was impossible to focus on both, so I didn't devote myself to watercolors
as before. Being experienced with experiments I happily began woodblock
prints as a beginner but with art assurance (read moxie!) and was having fun,
which is my object.

Now there is an commission for a special house portrait in watercolor that
I didn't refuse, not wanting to loose the knack that was developed over the
years. BUT painting is not like bicycle riding--once you have it you don't
loose it . It's not easy to recall the color information and techniques that
once were so automatic. I'm working slowly but keeping the fresh look.
It's scary, but I'm always up for a challenge..

Decision time has been coming on for a while---how to handle both media.
And that's where I am now. Any thoughts?

Carol Lyons
Irvington, NY
_http://www.rst-art.com/artfulcarol.htm_
(http://www.rst-art.com/artfulcarol.htm)
The watercolor landscapes are all poured.
The Decalcomania, a method I devised from Max Ernst experiments.
Loopomania, a name I made up,
Escheraria, developed from an M.C.Escher method and named by one of our
Bareners..

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Message 8
From: "Ellen Shipley"
Date: Sat, 3 Dec 2005 15:11:00 -0800
Subject: [Baren 29403] Re: Semi retirement from painting
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I've done the same thing with weaving. Prior to discovering printmaking I considered myself a weaver. ;-j Now I've pushed my loom to the corner of my *print* studio to better concentrate on what I love(am obsessed with).

I fear the same thing happening to me when I try to get back into weaving (as I'm sure I will someday). All the techniques and tricks I had at my fingertips will have skittered away. I anticipate a long slog back.

I used to do something similar when I switched from weaving to spinning or vice versa for awhile. While I was doing one I could not do the other. My mind was in a different place. Your watercolor and printmaking may be something like that. Have you tried working on watercolor exclusively for a while? That usually did the trick for me.

Ellen


http://pressing-issues.blogspot.com/

http://thepickledpen.blogspot.com/

http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos

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Message 9
From: Blog Manager
Date: 4 Dec 2005 04:55:04 -0000
Subject: [Baren 29404] Baren Member blogs: Update Notification
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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. (11 sites checked, just before midnight Eastern time)

*****************

Site Name: Woodblock Dreams

Author: Annie B
Item: I Love This Paper
http://woodblockdreams.blogspot.com/2005/12/i-love-this-paper.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

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End of [Baren] Digest