Today's postings
- [Baren 30001] Re: Terminology (Mike Lyon)
- [Baren 30002] Wood: Ash/Cedar? (Leigh Beatty)
- [Baren 30003] Re: Wood: Ash/Cedar? (Mike Lyon)
- [Baren 30004] Re: Wood: Ash/Cedar&English Elm? (Leigh Beatty)
- [Baren 30005] Re: Wood: Ash/Cedar&English Elm? (Mike Lyon)
- [Baren 30006] Not everything in life is beautiful (Nels Johnson)
- [Baren 30007] Re: VIDEO -- pulling first prints on BIG press (Charles Morgan)
- [Baren 30008] Re: Not everything in life is beautiful (Charles Morgan)
- [Baren 30009] Baren Member blogs: Update Notification (Blog Manager)
- [Baren 30010] Re: Not everything in life is beautiful (FurryPressII # aol.com)
- [Baren 30011] Woodblock prints on display in Pakistan and New York (baren_member # barenforum.org)
Message 1
From: Mike Lyon
Date: Sat, 28 Jan 2006 07:30:09 -0600
Subject: [Baren 30001] Re: Terminology
Send Message: To this poster
Annie F wrote:
>I have given up on trying to describe what it is I do - when I tell
>people I use a synthetic rubber plate that is similar to eraser
>material (SafetyKut from Daniel Smith) they go, "oh, rubber
>stamping"! It is easier to just say linocuts. Most folks remember
>making a linoleum print from grade school art class...
People say the same thing ("Oh, like a rubber stamp!") to me all the
time when I describe what I do -- and I always say,
"YES! Exactly! You got it!" Which is very close to the truth of
it, actually... :)
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>I have given up on trying to describe what it is I do - when I tell
>people I use a synthetic rubber plate that is similar to eraser
>material (SafetyKut from Daniel Smith) they go, "oh, rubber
>stamping"! It is easier to just say linocuts. Most folks remember
>making a linoleum print from grade school art class...
People say the same thing ("Oh, like a rubber stamp!") to me all the
time when I describe what I do -- and I always say,
"YES! Exactly! You got it!" Which is very close to the truth of
it, actually... :)
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 2
From: Leigh Beatty
Date: Sat, 28 Jan 2006 07:37:19 -0800 (PST)
Subject: [Baren 30002] Wood: Ash/Cedar?
Send Message: To this poster
Well, we're cleaning out the shop and the scrap wood is piling up. I am assuming that this should be firewood or wood to cook Salmon on but before it goes in that pile, I thought I would ask. Is either Ash or Cedar any good for woodblock? I assume no but you just never know if it might have some hidden redeeming qualities. Thanks, Leigh.
Message 3
From: Mike Lyon
Date: Sat, 28 Jan 2006 10:02:11 -0600
Subject: [Baren 30003] Re: Wood: Ash/Cedar?
Send Message: To this poster
Leigh wrote:
>Well, we're cleaning out the shop and the scrap wood is piling up. I
>am assuming that this should be firewood or wood to cook Salmon on
>but before it goes in that pile, I thought I would ask. Is either
>Ash or Cedar any good for woodblock? I assume no but you just never
>know if it might have some hidden redeeming qualities. Thanks, Leigh.
Depends on the size of the scraps, I suppose, but both ash and cedar
are good for woodblock -- both print pronounced grain, but have very
different character in the prints -- I vote you keep the pieces which
are large enough for your images and thick enough to carve...
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>Well, we're cleaning out the shop and the scrap wood is piling up. I
>am assuming that this should be firewood or wood to cook Salmon on
>but before it goes in that pile, I thought I would ask. Is either
>Ash or Cedar any good for woodblock? I assume no but you just never
>know if it might have some hidden redeeming qualities. Thanks, Leigh.
Depends on the size of the scraps, I suppose, but both ash and cedar
are good for woodblock -- both print pronounced grain, but have very
different character in the prints -- I vote you keep the pieces which
are large enough for your images and thick enough to carve...
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 4
From: Leigh Beatty
Date: Sat, 28 Jan 2006 08:38:31 -0800 (PST)
Subject: [Baren 30004] Re: Wood: Ash/Cedar&English Elm?
Send Message: To this poster
Thanks Mike. Thought we were to the bottom of the pile and then we came across some English Elm. Any thoughts?
Message 5
From: Mike Lyon
Date: Sat, 28 Jan 2006 10:40:14 -0600
Subject: [Baren 30005] Re: Wood: Ash/Cedar&English Elm?
Send Message: To this poster
Leigh wrote:
>Thanks Mike. Thought we were to the bottom of the pile and then we
>came across some English Elm. Any thoughts?
Never printed any elm, but sure makes GREAT furniture!
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>Thanks Mike. Thought we were to the bottom of the pile and then we
>came across some English Elm. Any thoughts?
Never printed any elm, but sure makes GREAT furniture!
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 6
From: Nels Johnson
Date: Sat, 28 Jan 2006 18:52:40 -0600
Subject: [Baren 30006] Not everything in life is beautiful
Send Message: To this poster
Greetings to Baren members,
A couple of items to discuss and hopefully get feedback on. One of
my recent prints (okay, I've only done two) had a few "oops" during
the carving of one of the plates. I used "wood filler" to try and
correct them. When I printed it, much of the wood filler broke away
from the plate under the pressure of the baren. I discussed this
with one of the those really handyman type guys and he explained the
problem is it is difficult to get things to adhere to wood.
Evidently wood is the strong silent type that likes to do a solo trip
through life. He suggested applying a very strong adhesive to the
wood first before applying the wood filler. Since I had already
reapplied the wood filler, I decided to shape it and then coat it all
with a 50/50 solution of shellac/denatured alcohol. It worked! The
wood filler held in place through the entire edition printing.
Graham Scholes, in his DVD, also suggests using Sheffield Furniture
Putty Stick, which appears to be a type of wax that is melted onto
the plate via a matchstick. However, I searched high and low, even
the internet, and was unable to come up with it. Any other
suggestions on fixing those dreaded "oops?"
My other print came out as a disaster. I really can't figure out
what went wrong. So, I offer it to you for a critique. It's one of
those things that I spend countless hours carving away on, only to
have it bomb, and so would like to learn from my mistakes. You can
find it on my blog.
http://printgeek.blogspot.com/
Thanks much.
Nels
A couple of items to discuss and hopefully get feedback on. One of
my recent prints (okay, I've only done two) had a few "oops" during
the carving of one of the plates. I used "wood filler" to try and
correct them. When I printed it, much of the wood filler broke away
from the plate under the pressure of the baren. I discussed this
with one of the those really handyman type guys and he explained the
problem is it is difficult to get things to adhere to wood.
Evidently wood is the strong silent type that likes to do a solo trip
through life. He suggested applying a very strong adhesive to the
wood first before applying the wood filler. Since I had already
reapplied the wood filler, I decided to shape it and then coat it all
with a 50/50 solution of shellac/denatured alcohol. It worked! The
wood filler held in place through the entire edition printing.
Graham Scholes, in his DVD, also suggests using Sheffield Furniture
Putty Stick, which appears to be a type of wax that is melted onto
the plate via a matchstick. However, I searched high and low, even
the internet, and was unable to come up with it. Any other
suggestions on fixing those dreaded "oops?"
My other print came out as a disaster. I really can't figure out
what went wrong. So, I offer it to you for a critique. It's one of
those things that I spend countless hours carving away on, only to
have it bomb, and so would like to learn from my mistakes. You can
find it on my blog.
http://printgeek.blogspot.com/
Thanks much.
Nels
Message 7
From: Charles Morgan
Date: Sat, 28 Jan 2006 16:53:00 -0800
Subject: [Baren 30007] Re: VIDEO -- pulling first prints on BIG press
Send Message: To this poster
Hello Mike,
I finally got the thing to download over my snail pace phone line. WHAT A
HOOT!!! I am very interested to hear how you handle registration. I suppose
one could use pins (e.g., lithographer's pins) on the side of the paper,
but I did not see evidence of that in the video. And of course I like the
idea of mixing the pigment into the paste. I think it makes it easier to
obtain consistent results. Keep us posted on your progress.
I see no reason why one could not use the same approach on a smaller scale,
using a standard etching press. Just a thought.
Cheers ..... Charles
I finally got the thing to download over my snail pace phone line. WHAT A
HOOT!!! I am very interested to hear how you handle registration. I suppose
one could use pins (e.g., lithographer's pins) on the side of the paper,
but I did not see evidence of that in the video. And of course I like the
idea of mixing the pigment into the paste. I think it makes it easier to
obtain consistent results. Keep us posted on your progress.
I see no reason why one could not use the same approach on a smaller scale,
using a standard etching press. Just a thought.
Cheers ..... Charles
Message 8
From: Charles Morgan
Date: Sat, 28 Jan 2006 17:02:38 -0800
Subject: [Baren 30008] Re: Not everything in life is beautiful
Send Message: To this poster
Hello Nels,
Hmmmm ... I think that to save that print, it may be enough to mat it and
frame it ... {;-}}}}
Seriously, it looks pretty good on your blog. I certainly would never occur
to me to suggest it is a disaster.
Perhaps you mean to say that it did not turn out as you had envisioned it.
But that is often the case with prints. We are frequently our own worst
critics. If nothing else, just put it away for a month or two and look at
it again.
Cheers .... Charles
Hmmmm ... I think that to save that print, it may be enough to mat it and
frame it ... {;-}}}}
Seriously, it looks pretty good on your blog. I certainly would never occur
to me to suggest it is a disaster.
Perhaps you mean to say that it did not turn out as you had envisioned it.
But that is often the case with prints. We are frequently our own worst
critics. If nothing else, just put it away for a month or two and look at
it again.
Cheers .... Charles
Message 9
From: Blog Manager
Date: 29 Jan 2006 04:55:05 -0000
Subject: [Baren 30009] 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. (13 sites checked, just before midnight Eastern time)
*****************
Site Name: The Print Geek
Author: Nels
Item:
Here is one of my prints that "didn't work." It'...
http://printgeek.blogspot.com/2006/01/here-is-one-of-my-prints-that-didnt.html
Author: Nels
Item:
Here is the present image I am working on to conv...
http://printgeek.blogspot.com/2006/01/here-is-present-image-i-am-working-on.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. (13 sites checked, just before midnight Eastern time)
*****************
Site Name: The Print Geek
Author: Nels
Item:
Here is one of my prints that "didn't work." It'...
http://printgeek.blogspot.com/2006/01/here-is-one-of-my-prints-that-didnt.html
Author: Nels
Item:
Here is the present image I am working on to conv...
http://printgeek.blogspot.com/2006/01/here-is-present-image-i-am-working-on.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
Message 10
From: FurryPressII # aol.com
Date: Sun, 29 Jan 2006 00:19:39 EST
Subject: [Baren 30010] Re: Not everything in life is beautiful
Send Message: To this poster
Try at a hardwood lumber yard that sells to furn. craftsmen.
john c.
john c.
Message 11
From: baren_member # barenforum.org
Date: 29 Jan 2006 08:44:49 -0000
Subject: [Baren 30011] Woodblock prints on display in Pakistan and New York
Message posted from: Google News Update
... Lahore, Pakistan
An exhibition featuring the works of East Asian printmakers at the Alhamra Art Gallery is the first of its kind in Pakistan and Lahore Arts Foundation Trust Director Sabah Husain, who is also the curator of the show, has given art enthusiasts a rare opportunity to view the ingenuity of East Asian artists.
... Tadayoshi Nakabayashi, the most eminent of Japanese printmakers, is renowned for creating movement through tonal variations of black. ...
... Nagai Kenji’s black, grey and white lithographs deal with the transition of form and space in intense compositions ...
... Yoshihara Hideo’s coloured lithographs are a combination of figurative, landscape and abstract elements counterbalanced with areas of flat bright colours.
... Reika Iwami has blended the traditional woodblock printing technique beautifully in contemporary landscape compositions to create bold and sensitive works ...
... The large woodcuts of Chinese printmaker Zhang Guang Hui are an intricate mixture of colour and texture ...
... Tisna Sanjaya from Indonesia has created a strange world by using images and text to make political statements ...
... Thavorn Ko-Udomit is a renowned printmaker from Thailand who has made a series of large-scale prints using woodcut, lithograph and hand colouring on handmade paper ...
The exhibition will open on January 28 and continue till February 8.
http://www.dailytimes.com.pk/default.asp?page=2006%5C01%5C28%5Cstory_28-1-2006_pg7_14
***
... Ithaca, New York
Two current exhibitions at the Johnson Museum spotlight Japanese art and the response from its Western contemporaries. The museum hosts these very remarkable collections: Japanese Poetry Prints: Surimono from the Schoff Collection and Japonisme. The exhibits display European artists and the allure of Japan through art work and objects primarily from the nineteenth century.
The early 1800s stood witness to the rise of the Surinomo (literally 'printed things'), woodblock prints that feature poetry and corresponding illustration. The representations are an integration of textual and visual art. Surinomo featured haikai poetry, short verses ordered by their syllabic count, coupled with delicately elegant illustrations. ...
http://www.cornellsun.com/media/paper866/news/2006/01/27/ArtsAndEntertainment/Japanese.Poetry.Prints.Come.To.Cornell-1514467.shtml?norewrite&sourcedomain=www.cornellsun.com
... Lahore, Pakistan
An exhibition featuring the works of East Asian printmakers at the Alhamra Art Gallery is the first of its kind in Pakistan and Lahore Arts Foundation Trust Director Sabah Husain, who is also the curator of the show, has given art enthusiasts a rare opportunity to view the ingenuity of East Asian artists.
... Tadayoshi Nakabayashi, the most eminent of Japanese printmakers, is renowned for creating movement through tonal variations of black. ...
... Nagai Kenji’s black, grey and white lithographs deal with the transition of form and space in intense compositions ...
... Yoshihara Hideo’s coloured lithographs are a combination of figurative, landscape and abstract elements counterbalanced with areas of flat bright colours.
... Reika Iwami has blended the traditional woodblock printing technique beautifully in contemporary landscape compositions to create bold and sensitive works ...
... The large woodcuts of Chinese printmaker Zhang Guang Hui are an intricate mixture of colour and texture ...
... Tisna Sanjaya from Indonesia has created a strange world by using images and text to make political statements ...
... Thavorn Ko-Udomit is a renowned printmaker from Thailand who has made a series of large-scale prints using woodcut, lithograph and hand colouring on handmade paper ...
The exhibition will open on January 28 and continue till February 8.
http://www.dailytimes.com.pk/default.asp?page=2006%5C01%5C28%5Cstory_28-1-2006_pg7_14
***
... Ithaca, New York
Two current exhibitions at the Johnson Museum spotlight Japanese art and the response from its Western contemporaries. The museum hosts these very remarkable collections: Japanese Poetry Prints: Surimono from the Schoff Collection and Japonisme. The exhibits display European artists and the allure of Japan through art work and objects primarily from the nineteenth century.
The early 1800s stood witness to the rise of the Surinomo (literally 'printed things'), woodblock prints that feature poetry and corresponding illustration. The representations are an integration of textual and visual art. Surinomo featured haikai poetry, short verses ordered by their syllabic count, coupled with delicately elegant illustrations. ...
http://www.cornellsun.com/media/paper866/news/2006/01/27/ArtsAndEntertainment/Japanese.Poetry.Prints.Come.To.Cornell-1514467.shtml?norewrite&sourcedomain=www.cornellsun.com