Today's postings
- [Baren 29498] Re: Baren Digest (old) V33 #3292 (GWohlken)
- [Baren 29500] Ooops (GWohlken)
- [Baren 29499] Jan Telfer's Message (GWohlken)
- [Baren 29501] Kento marks,etc (Jan Telfer)
- [Baren 29502] Ref : How did you discover woodblock printing? ("Mindy Wilson")
- [Baren 29503] re:how did you discover woodblock printing? ("kim")
- [Baren 29504] Legitimate hanga question (nothing to do with archives) (GWohlken)
- [Baren 29505] Re: Sticking of paper to block. (Mike Lyon)
- [Baren 29506] How did you discover woodblock printing? (Barbara Mason)
- [Baren 29507] Re: How did you discover woodblock printing? (Mike Lyon)
- [Baren 29508] Margaret Preston Exhibition & Moku Hanga Tips (annie bissett)
Message 1
From: GWohlken
Date: Sun, 11 Dec 2005 08:41:22 -0500
Subject: [Baren 29498] Re: Baren Digest (old) V33 #3292
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Accidental message
Message 2
From: GWohlken
Date: Sun, 11 Dec 2005 09:16:30 -0500
Subject: [Baren 29500] Ooops
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Sorry, folks, the above message was meant for Dave. Trying to juggle
stuff this a.m. for the archives and writing messages to folks about
their messages, and to Dave, but guess I didn't get Dave's sent to
the right address. Yikes.
Gayle/Archivist trying to do too many things at once (blush)
stuff this a.m. for the archives and writing messages to folks about
their messages, and to Dave, but guess I didn't get Dave's sent to
the right address. Yikes.
Gayle/Archivist trying to do too many things at once (blush)
Message 3
From: GWohlken
Date: Sun, 11 Dec 2005 09:13:58 -0500
Subject: [Baren 29499] Jan Telfer's Message
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This was a repeat of Jan's missing message (from the last digest) which didn't make it
into the html version of the digest. However, Jan has reposted it, herself, below, so to avoid
further redundancy, I am removing my own reposting of her original message to Lynn. Digesters, see below
for Jan's original post. Apologies to those who receive the messages one by one as you have seen Jan's
message at least three times now.
Gayle/Archivist
into the html version of the digest. However, Jan has reposted it, herself, below, so to avoid
further redundancy, I am removing my own reposting of her original message to Lynn. Digesters, see below
for Jan's original post. Apologies to those who receive the messages one by one as you have seen Jan's
message at least three times now.
Gayle/Archivist
Message 4
From: Jan Telfer
Date: Sun, 11 Dec 2005 23:05:26 +0800
Subject: [Baren 29501] Kento marks,etc
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Lynn,
This message I sent didn't reach both Baren newsletter formats so am
resending it just in case you only get the new Lists version.
No, Lynn, this kento isn't "wrong" at all........especially in "my
book"!
> Mistake #1 is that I didn't
> reverse the location of the registration mark so it's
> on the left instead of the right.
This isn't a mistake Lynn..... any side is OK it just depends on the
individual printmaker and their preference in holding the paper up with
one hand and thumb on the corner kento with the other...... Believe me
you work with the way it suits you. Left or right handed, "molly dooker
" or having two thumbs!!
I always put my registration marks on the sides that suit my design!
- - Always putting the side registration on the long edge as that will
make it easier for supporting the paper.
- - the corner registration I put in the position top or bottom, left
or
right on the same side as the long edge though......... if I want more
printing paper on the bottom of the image then the corner kento will be
on the top corner of the design and the paper could then be feet
long..... it will also effect the use of colour for your design..... if
the more colour is on the top of the image or on one side more than the
other then you can put the corner registration on that side for all the
blocks for the image and then you can use smaller blocks that cover the
registration and the colour areas.
Believe me in an isolated country and difficulty getting supplies, I am
learning the tricks of the trade in being "Mrs Scrooge"!!!
> I've visited Graham's website often and bought
> his dvd which was wonderful.
It is and well worth it. He did a good job didn't he? i have been to
Bootcamp a couple of times and like you learning with someone beats
learning from a book or video, but these are good refreshers.
> I built a version of his
> woodcarving desk thingie out of a wooden slanted
> desktop thing from a garage sale and I'm looking
> forward to using it.
I made mine up by altering a wooden book rest that had a deck chair
backing brace adjustment that works perfectly. My husband John drilled
lines of holes in it two inches apart up and down and across to hold
the dowel pegs and between the lines of holes I stuck some non slip
rubber matting to hold the block and often I don't need the dowelling
as the non slip matting holds the block. You may need to put a lip
from the lower edge of the sloping board down to hold the board on the
front of the table you are working on.
> I'm afraid of getting confused about which
> parts to cut out on each color block. Maybe I should
> use a highlighter on the parts I shouldn't cut away?
Suggestion here..... don't colour in your block, as you could
advertently put slight indentations in it from the pen. Put your
original drawn image on the photocopy and print it on to a clear
acetate sheet/or overhead projector sheet (Caution here...make sure you
use the correct acetate sheets as I have seen some melt in the
photocopier and it costs $$$$$ to get the copier fixed!!)
Once copied you can then flip over the clear copy and print copies from
it so that the image on your block will be the same as the new printed
sheets.... not the reverse image.
Now, print the same number of copies you are using for colours. eg. 5
copies 5 colours. Now colour in one sheet with one colour (eg red) ,
the second with only blue, the third with only yellow..... etc. It
makes it very easy to know exactly where you need to cut and takes out
all the guess work as to where you need to cut.
> Takuji talked about getting pigment powders but I didn't understand
> exactly how I would mix them up. Something about gum
> arabic. I do have some powdered pigments.
To mix powdered pigments, some mix directly with water and don't
separate, but I have found that if I put a half teaspoon full (not
exact science.... you may need more or less depending on the area you
need to cover but a little goes a long way) in a jar with a screw top
(for later) and squirt in a squirt of ISOCOL or rubbing alcohol or
antiseptic lotion it is (from the chemist/pharmacy/ store!) and mix it
...... to a cream..... then add water you shouldn't have any problems.
Test the colour on a piece of your printing paper and let it dry
before adding too much water to check the strength of colour.
I hope these suggestions help. There are many different ways of doing
hanga and I am sure I am not a purist, just know what works for me!!!
good luck Lynn.
Jan
Perth, Western Australia.
------------------------------
This message I sent didn't reach both Baren newsletter formats so am
resending it just in case you only get the new Lists version.
No, Lynn, this kento isn't "wrong" at all........especially in "my
book"!
> Mistake #1 is that I didn't
> reverse the location of the registration mark so it's
> on the left instead of the right.
This isn't a mistake Lynn..... any side is OK it just depends on the
individual printmaker and their preference in holding the paper up with
one hand and thumb on the corner kento with the other...... Believe me
you work with the way it suits you. Left or right handed, "molly dooker
" or having two thumbs!!
I always put my registration marks on the sides that suit my design!
- - Always putting the side registration on the long edge as that will
make it easier for supporting the paper.
- - the corner registration I put in the position top or bottom, left
or
right on the same side as the long edge though......... if I want more
printing paper on the bottom of the image then the corner kento will be
on the top corner of the design and the paper could then be feet
long..... it will also effect the use of colour for your design..... if
the more colour is on the top of the image or on one side more than the
other then you can put the corner registration on that side for all the
blocks for the image and then you can use smaller blocks that cover the
registration and the colour areas.
Believe me in an isolated country and difficulty getting supplies, I am
learning the tricks of the trade in being "Mrs Scrooge"!!!
> I've visited Graham's website often and bought
> his dvd which was wonderful.
It is and well worth it. He did a good job didn't he? i have been to
Bootcamp a couple of times and like you learning with someone beats
learning from a book or video, but these are good refreshers.
> I built a version of his
> woodcarving desk thingie out of a wooden slanted
> desktop thing from a garage sale and I'm looking
> forward to using it.
I made mine up by altering a wooden book rest that had a deck chair
backing brace adjustment that works perfectly. My husband John drilled
lines of holes in it two inches apart up and down and across to hold
the dowel pegs and between the lines of holes I stuck some non slip
rubber matting to hold the block and often I don't need the dowelling
as the non slip matting holds the block. You may need to put a lip
from the lower edge of the sloping board down to hold the board on the
front of the table you are working on.
> I'm afraid of getting confused about which
> parts to cut out on each color block. Maybe I should
> use a highlighter on the parts I shouldn't cut away?
Suggestion here..... don't colour in your block, as you could
advertently put slight indentations in it from the pen. Put your
original drawn image on the photocopy and print it on to a clear
acetate sheet/or overhead projector sheet (Caution here...make sure you
use the correct acetate sheets as I have seen some melt in the
photocopier and it costs $$$$$ to get the copier fixed!!)
Once copied you can then flip over the clear copy and print copies from
it so that the image on your block will be the same as the new printed
sheets.... not the reverse image.
Now, print the same number of copies you are using for colours. eg. 5
copies 5 colours. Now colour in one sheet with one colour (eg red) ,
the second with only blue, the third with only yellow..... etc. It
makes it very easy to know exactly where you need to cut and takes out
all the guess work as to where you need to cut.
> Takuji talked about getting pigment powders but I didn't understand
> exactly how I would mix them up. Something about gum
> arabic. I do have some powdered pigments.
To mix powdered pigments, some mix directly with water and don't
separate, but I have found that if I put a half teaspoon full (not
exact science.... you may need more or less depending on the area you
need to cover but a little goes a long way) in a jar with a screw top
(for later) and squirt in a squirt of ISOCOL or rubbing alcohol or
antiseptic lotion it is (from the chemist/pharmacy/ store!) and mix it
...... to a cream..... then add water you shouldn't have any problems.
Test the colour on a piece of your printing paper and let it dry
before adding too much water to check the strength of colour.
I hope these suggestions help. There are many different ways of doing
hanga and I am sure I am not a purist, just know what works for me!!!
good luck Lynn.
Jan
Perth, Western Australia.
------------------------------
Message 5
From: "Mindy Wilson"
Date: Sun, 11 Dec 2005 07:55:45 -0700
Subject: [Baren 29502] Ref : How did you discover woodblock printing?
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Hello Bareners, baby barener, Mindy Wilson here (well, not because of age)
My dad created a couple of linoleum block prints when I was young and they didn't seem to have any affect on me until a couple of years ago. I started coaxing him to try other art forms again and to do SOMETHING with his talents. Then at the beginning of 2005, I made a resolution to try print making during 2005. (thinking of my dad's efforts) I had some scabby results at first, but then I signed on to participate in a limited edition book of prints and that was in April. (my dad signed up too secretly) I am completing other artwork too, but adore printmaking and consider it a gift when I get an update about any barener's new works. But, my dad can't stop! He has taken hold of printmaking and is working on things nearly every day. It is very exciting for me to see him like this. Unfortunate for him, his finances are so tight, the price of supplies is a huge struggle! So when I order blocks I order a couple of extra and try to help him when I can. He has placed some prints in local shops, so I hope a few sell for him! He is dreaming of moving into woodcut soon, so I think I'll place an order for him soon for that. I've asked him to join baren, but he says he's overwhelmed with e-mail groups at the moment. But, I think he would feel right at home creatively.
Thanks for listening~
Mindy Wilson
SCBWI Member
http://www.artwanted.com/Mwilson sample images of many genres
http://www.solisstyle.com/blog/?u=Mwilson visual blog
Author of In a Parrot's Shoes illustrated by Ed Woodward III
Illustrator for The Halloween Tree written by Tina Roark
found here: http://www.synergebooks.com under the children's section.
Message 6
From: "kim"
Date: Sun, 11 Dec 2005 10:08:22 -0500
Subject: [Baren 29503] re:how did you discover woodblock printing?
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I took a reduction woodblock printmaking class at Plymouth State College with Don Gorvette of Maine. It was a one week intensive and we, a group of 14 of us, cut and printed all week. It was inspiring and almost magical. It was roll out with oil based inks, birch plywood. I did a seven color print of lilies. That was ten years ago and I continue to love it, I print in my home and use waterbased inks and shina. I subscribed to baren in 98 and read about moku hanga, a couple summers ago took a weekend workshop with April Vollmer. I have also tried printing with styrofoam, I did the rooster post card with that last year, I like the effect it gives but there is nothing like carving wood. I have so enjoyed reading baren over the years and participating in a few postcard exchanges and Maria's puzzle project. Best to all-carve and print.
Message 7
From: GWohlken
Date: Sun, 11 Dec 2005 10:54:46 -0500
Subject: [Baren 29504] Legitimate hanga question (nothing to do with archives)
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Okay, here's a question re hanga. If I were to make just one print
of a block I carved originally for oil based ink, could I do that in
one color (black) on dry paper and have it come out right? Or does
it still have to be dampened?
~Gayle/northeast
of a block I carved originally for oil based ink, could I do that in
one color (black) on dry paper and have it come out right? Or does
it still have to be dampened?
~Gayle/northeast
Message 8
From: Mike Lyon
Date: Sun, 11 Dec 2005 10:19:07 -0600
Subject: [Baren 29505] Re: Sticking of paper to block.
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Lynn wrote:
>So I found something called Hosho Professional I'm having
>trouble with the paper sticking to the block and sort of leaving a
>fine layer of fiber on the block which sort of gets loosened by the
>next paste and ink application--at first I couldn't figure out where
>these little pills of inky fiber were coming from but now I can see
>why. I had re- dampened my block. Maybe the paper was getting too
>dry so I dampened it more. Could it be the ratio of paste to ink or
>does my paste need to be looser? Yikes, too many variables!!!!
The paper is the main problem! "Hosho Professional" is an unsized
paper designed for brush and ink, not printing -- it's getting TOO
WET and delaminating... The damper the paper, the worse the problem,
so adding more water to the block will make it worse, not better --
to print this paper, you'll need to keep the paper just damp enough
to be 'cool' to the touch and NEVER feeling 'wet' -- after each
printing, position the just-printed sheet so that printed areas are
adjacent to UN-printed (drier) areas on the previously printed
sheet... That way the moisture added in printing can migrate into
drier areas of other sheets... Use less water (little as possible)
on the block! That will help. So will using a good paper made just
for moku-hanga printing -- the best I've found are the Kazuo
Yamaguchi and Iwano Ichibei papers available from Baren Mall!
Good luck!
Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>So I found something called Hosho Professional I'm having
>trouble with the paper sticking to the block and sort of leaving a
>fine layer of fiber on the block which sort of gets loosened by the
>next paste and ink application--at first I couldn't figure out where
>these little pills of inky fiber were coming from but now I can see
>why. I had re- dampened my block. Maybe the paper was getting too
>dry so I dampened it more. Could it be the ratio of paste to ink or
>does my paste need to be looser? Yikes, too many variables!!!!
The paper is the main problem! "Hosho Professional" is an unsized
paper designed for brush and ink, not printing -- it's getting TOO
WET and delaminating... The damper the paper, the worse the problem,
so adding more water to the block will make it worse, not better --
to print this paper, you'll need to keep the paper just damp enough
to be 'cool' to the touch and NEVER feeling 'wet' -- after each
printing, position the just-printed sheet so that printed areas are
adjacent to UN-printed (drier) areas on the previously printed
sheet... That way the moisture added in printing can migrate into
drier areas of other sheets... Use less water (little as possible)
on the block! That will help. So will using a good paper made just
for moku-hanga printing -- the best I've found are the Kazuo
Yamaguchi and Iwano Ichibei papers available from Baren Mall!
Good luck!
Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 9
From: Barbara Mason
Date: Sun, 11 Dec 2005 08:38:33 -0800 (PST)
Subject: [Baren 29506] How did you discover woodblock printing?
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This is great, I love hearing how people came to the baren and woodblock....
I did it backwards...I found baren on the internet. I became intrested in printmaking in the early 80's, my oldest son was starting to think of colleges. He was just in 7th grade but his interest made me remember how much I missed going to school...so I took a 3 day class in monotype. I was hooked and spent the next 5 years going to class after class and school after school, taking only printmaking.
Then I found baren on the internet soon after it started...they had just done the very first exchange. I went to a class in Sydney BC and met Wanda, John Amoss, Marko, and Greg Robison. I started learning woodblock so I could do the exchanges...pretty funny, definitely a backwards way to get into relief printmaking. Etching is still my first love and I am a solarplate gal, but have one foot in the woodblock camp.
The Baren Forum is a life changing experience. Meeting David and seeing his generousity of money, spirit, information and his enthusiam for the medium is pretty contagious. I took part in exchange #2 with one of my very first woodblocks. The only reason it is passable is I was already a pretty good printmaker. Wanda and I coordinated exchange #3 and after that little event, David asked several of us for help and the council was born. The time it takes to run the list, (moderator and archives) the mall, the exchanges, the newsletter (what happend to the newsletter....anyone want to take it on?) was just way too much for one person. We now have it spread out between Wanda, (myself with my faithful assistant, Bridget), Mike, Maria, Julio, Gayle, Jim, and of course Dave as fearless advisor (leader would be a better term). Think there are others helping as well.
At this point we have filed AGAIN for out non profit status. Don't ask me about dealing with the IRS....I was not grey when I started fileing papers with them but sure am now. With any luck, this time will be the charm, being about the 5th time it has been sent in. Maybe I am just a slow learner...no one tells you what you are doing wrong.
I took over the mall about 4 years ago and Bridgett has been helping me this last year. Things are running more smoothly with help. The Baren has become an important part of my life, I have met over 50 people in real time who belong to this list. It is an internet phenomenem, an ongoing list of 300 or so people who are kind and supportative to each other and all excited about printmaking, woodblock in particular.
I have to say, printmakers are the nicest people and the baren seems like the cream that rises to the top of the bottle.
Best to all,
Barbara
Aloha Oregon
I did it backwards...I found baren on the internet. I became intrested in printmaking in the early 80's, my oldest son was starting to think of colleges. He was just in 7th grade but his interest made me remember how much I missed going to school...so I took a 3 day class in monotype. I was hooked and spent the next 5 years going to class after class and school after school, taking only printmaking.
Then I found baren on the internet soon after it started...they had just done the very first exchange. I went to a class in Sydney BC and met Wanda, John Amoss, Marko, and Greg Robison. I started learning woodblock so I could do the exchanges...pretty funny, definitely a backwards way to get into relief printmaking. Etching is still my first love and I am a solarplate gal, but have one foot in the woodblock camp.
The Baren Forum is a life changing experience. Meeting David and seeing his generousity of money, spirit, information and his enthusiam for the medium is pretty contagious. I took part in exchange #2 with one of my very first woodblocks. The only reason it is passable is I was already a pretty good printmaker. Wanda and I coordinated exchange #3 and after that little event, David asked several of us for help and the council was born. The time it takes to run the list, (moderator and archives) the mall, the exchanges, the newsletter (what happend to the newsletter....anyone want to take it on?) was just way too much for one person. We now have it spread out between Wanda, (myself with my faithful assistant, Bridget), Mike, Maria, Julio, Gayle, Jim, and of course Dave as fearless advisor (leader would be a better term). Think there are others helping as well.
At this point we have filed AGAIN for out non profit status. Don't ask me about dealing with the IRS....I was not grey when I started fileing papers with them but sure am now. With any luck, this time will be the charm, being about the 5th time it has been sent in. Maybe I am just a slow learner...no one tells you what you are doing wrong.
I took over the mall about 4 years ago and Bridgett has been helping me this last year. Things are running more smoothly with help. The Baren has become an important part of my life, I have met over 50 people in real time who belong to this list. It is an internet phenomenem, an ongoing list of 300 or so people who are kind and supportative to each other and all excited about printmaking, woodblock in particular.
I have to say, printmakers are the nicest people and the baren seems like the cream that rises to the top of the bottle.
Best to all,
Barbara
Aloha Oregon
Message 10
From: Mike Lyon
Date: Sun, 11 Dec 2005 10:49:24 -0600
Subject: [Baren 29507] Re: How did you discover woodblock printing?
Send Message: To this poster
Mary Ann wrote:
>...fell into woodblock printing during art school. I was a painting
>major then & one day my advisor came to my studio and told me that I
>was being "excused" from the department because I could not paint
>and that I should go see the maestro in printmaking. He was
>considered a tyrant by the painting department. He took one look at
>my scraps of monoprinting (I thought I was painting on glass),
>laughed out loud and handed me an old worn baren, told me NOBODY in
>the painting department could paint and I should do what came naturally...
Laughing out loud! Actually, to use Maria Arango's favorite:
FOTFLMAO! :-D GREAT story and SO typical! In 'Art' the destination
is never well defined!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>...fell into woodblock printing during art school. I was a painting
>major then & one day my advisor came to my studio and told me that I
>was being "excused" from the department because I could not paint
>and that I should go see the maestro in printmaking. He was
>considered a tyrant by the painting department. He took one look at
>my scraps of monoprinting (I thought I was painting on glass),
>laughed out loud and handed me an old worn baren, told me NOBODY in
>the painting department could paint and I should do what came naturally...
Laughing out loud! Actually, to use Maria Arango's favorite:
FOTFLMAO! :-D GREAT story and SO typical! In 'Art' the destination
is never well defined!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 11
From: annie bissett
Date: Sun, 11 Dec 2005 12:13:15 -0500
Subject: [Baren 29508] Margaret Preston Exhibition & Moku Hanga Tips
Send Message: To this poster
Thanks to Jan for mentioning the Margaret Preston Exhibition. I hadn't heard
of her before. I found this link to an article about her with some examples
of her work:
http://www.nga.gov.au/preston/
Also thanks for your thorough and thoughtful replies to Lynn Starun's
questions. I picked up a lot of good tips in reading it! Lynn, just so you
don't feel badly, I've struggled with most of the same problems you
describe. Just yesterday I was grappling with the
paper-sticking-to-the-block problem. For the life of me I couldn't figure
out if more moisture or less moisture was the cure, so thanks to Wanda for
clarifying that point.
I love Baren Forum.
Annie B
of her before. I found this link to an article about her with some examples
of her work:
http://www.nga.gov.au/preston/
Also thanks for your thorough and thoughtful replies to Lynn Starun's
questions. I picked up a lot of good tips in reading it! Lynn, just so you
don't feel badly, I've struggled with most of the same problems you
describe. Just yesterday I was grappling with the
paper-sticking-to-the-block problem. For the life of me I couldn't figure
out if more moisture or less moisture was the cure, so thanks to Wanda for
clarifying that point.
I love Baren Forum.
Annie B