Today's postings
- [Baren 30253] Re: New Baren Digest (HTML) V34 #3394 (Mar 10, 2006 ) ("rsimola # netzero.net")
- [Baren 30254] Re: How Do You Do It? (Myron Turner)
- [Baren 30255] Re: New Baren Digest (HTML) V34 #3394 (Mar 10, 2006 ) (Diane Cutter)
- [Baren 30256] RE: New Baren Digest (HTML) V34 #3396 (Mar 10, 2006) ("kent kirkpatrick")
- [Baren 30257] RE: daphne, stats and process ("Maria Arango")
- [Baren 30258] Re: Baren Digest (old) V34 #3394 blogs (Nancy Osadchuk)
Message 9
From: "rsimola # netzero.net"
Date: Fri, 10 Mar 2006 20:03:50 GMT
Subject: [Baren 30253] Re: New Baren Digest (HTML) V34 #3394 (Mar 10, 2006 )
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I haven't used a letterpress to print with, but I have a Kensol hot-foil stamper that prints my linoleum blocks very nicely.
Robert Simola
Robert Simola
Message 10
From: Myron Turner
Date: Fri, 10 Mar 2006 14:08:33 -0600
Subject: [Baren 30254] Re: How Do You Do It?
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Perhaps your problem -- if it is a problem -- is that that techniques
you've chosen feed into your strengths as an illustrator and designer.
Consider the traditional Japanese print: it was designed by an artist
and executed from his design by a group of artisans--carvers and
printers--much as if today you made a design and brought it to a print
shop. It's much more difficult to produce the finish and subtleties of
water-based prints with oil-based inks. So, you might try them, as a
start. As an exercise in the anti-self, you might try looking at German
expressionist prints and trying to imitate them--mostly black and white
with only the occasional use of color. Moreover, they were interested
in the authentic feel and look of wood and the gestural possibilities of
the tools, i.e. the kinds of marks different tools could make.
Myron
you've chosen feed into your strengths as an illustrator and designer.
Consider the traditional Japanese print: it was designed by an artist
and executed from his design by a group of artisans--carvers and
printers--much as if today you made a design and brought it to a print
shop. It's much more difficult to produce the finish and subtleties of
water-based prints with oil-based inks. So, you might try them, as a
start. As an exercise in the anti-self, you might try looking at German
expressionist prints and trying to imitate them--mostly black and white
with only the occasional use of color. Moreover, they were interested
in the authentic feel and look of wood and the gestural possibilities of
the tools, i.e. the kinds of marks different tools could make.
Myron
Message 1
From: Diane Cutter
Date: Fri, 10 Mar 2006 12:14:45 -0800 (PST)
Subject: [Baren 30255] Re: New Baren Digest (HTML) V34 #3394 (Mar 10, 2006 )
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Robert...
I'm not familiar with a Kensol hot-foil stamper. How do it work?
Diane
www.dianecutter.com
I'm not familiar with a Kensol hot-foil stamper. How do it work?
Diane
www.dianecutter.com
Message 2
From: "kent kirkpatrick"
Date: Fri, 10 Mar 2006 12:42:50 -0800
Subject: [Baren 30256] RE: New Baren Digest (HTML) V34 #3396 (Mar 10, 2006)
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Robert,
I sent the cards out on last Sunday afternoon from a private(UPS) store. They should have gone out either Sunday afternoon or Monday morning. I thought that by now people should have received one (or not).
-Kent
Kent,I have not yet received a print from you. When did you mail them out? My mail can sometimes be irregular.Robert Simola
I sent the cards out on last Sunday afternoon from a private(UPS) store. They should have gone out either Sunday afternoon or Monday morning. I thought that by now people should have received one (or not).
-Kent
Kent,I have not yet received a print from you. When did you mail them out? My mail can sometimes be irregular.Robert Simola
Message 3
From: "Maria Arango"
Date: Fri, 10 Mar 2006 13:46:50 -0800
Subject: [Baren 30257] RE: daphne, stats and process
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Kind of getting cozy out in the rain with all these people...what say we
step into the big conference room and have a common conversation!?
Barbara, Daphne paper has long been one of my favorites. Used to come in
three weights, with the heavy-weight a beautiful strong paper with fibers
throughout and resembling of leather skin. I picked up 400 sheets a long
time ago and still have some. The medium weight is a bit easier to work and
the light weight is like tissue and a big hit when displayed floated. I
actually think Daniel Smith still carries Daphne.
On Julio's stats, wow, that was really interesting. 200 less posts in the
same period than last year. The Blog Manager better get busy ;-)
Annie B, on process
I have never been known for my pre-thought, even as a young printmaking
puppy. I take more after the German expressionists, grab a piece of wood,
pluck an idea from my scatter-brain and proceed to sketch. Lately I have
even put down the pencil and sketch directly with sumi ink and a brush on
the block; kind of scary at first but very invigorating and liberating once
you lose the fear. Also the brush marks are closer to the result I want in
my woodcuts than a pencil, marker or computer drawing. I do use the
computer, usually to reverse my reference photos. I also found that making
my prints really small in the computer helps with compositional issues.
Once I have a few laughable lines and shapes sketched out, I walnut ink the
block, oil it and off I go into the world of carving. Needless to say most
of my design is created as I carve. I enjoy ignoring my sketch most of all.
I heard that Picasso worked like this too and even bought a real Picasso
small sketchbook from a friend in Spain with little more than stick figures
in it.
I proof very late in the process and figure if I come up with crap I can
always do another one. One of the things that I hated reading in
woodcut/woodblock/wood-engraving books was that you had to pre-think and
pre-plan all the steps. I almost didn't get into woodcuts because of that
until I saw German expressionist works.
Lately I have been working with puzzle prints combined with rainbow rolls
and now with masks. I mask out a part of the print, ink and print. Lift the
mask, put down another mask, ink and print...and so on. The masks are cut
with an x-acto knife from mylar. Once I take pictures of the masking process
I will upload to my blo--er, my website and show and tell.
Happy printing,
Maria
Maria Arango
www.1000woodcuts.com
step into the big conference room and have a common conversation!?
Barbara, Daphne paper has long been one of my favorites. Used to come in
three weights, with the heavy-weight a beautiful strong paper with fibers
throughout and resembling of leather skin. I picked up 400 sheets a long
time ago and still have some. The medium weight is a bit easier to work and
the light weight is like tissue and a big hit when displayed floated. I
actually think Daniel Smith still carries Daphne.
On Julio's stats, wow, that was really interesting. 200 less posts in the
same period than last year. The Blog Manager better get busy ;-)
Annie B, on process
I have never been known for my pre-thought, even as a young printmaking
puppy. I take more after the German expressionists, grab a piece of wood,
pluck an idea from my scatter-brain and proceed to sketch. Lately I have
even put down the pencil and sketch directly with sumi ink and a brush on
the block; kind of scary at first but very invigorating and liberating once
you lose the fear. Also the brush marks are closer to the result I want in
my woodcuts than a pencil, marker or computer drawing. I do use the
computer, usually to reverse my reference photos. I also found that making
my prints really small in the computer helps with compositional issues.
Once I have a few laughable lines and shapes sketched out, I walnut ink the
block, oil it and off I go into the world of carving. Needless to say most
of my design is created as I carve. I enjoy ignoring my sketch most of all.
I heard that Picasso worked like this too and even bought a real Picasso
small sketchbook from a friend in Spain with little more than stick figures
in it.
I proof very late in the process and figure if I come up with crap I can
always do another one. One of the things that I hated reading in
woodcut/woodblock/wood-engraving books was that you had to pre-think and
pre-plan all the steps. I almost didn't get into woodcuts because of that
until I saw German expressionist works.
Lately I have been working with puzzle prints combined with rainbow rolls
and now with masks. I mask out a part of the print, ink and print. Lift the
mask, put down another mask, ink and print...and so on. The masks are cut
with an x-acto knife from mylar. Once I take pictures of the masking process
I will upload to my blo--er, my website and show and tell.
Happy printing,
Maria
Maria Arango
www.1000woodcuts.com
Message 4
From: Nancy Osadchuk
Date: Fri, 10 Mar 2006 14:48:20 -0700
Subject: [Baren 30258] Re: Baren Digest (old) V34 #3394 blogs
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ALthough I am only a 'part-time' printmaker, mainly still a painter, and I
have not contributed very much, I have learned alot and enjoyed the posts on
baren. I have to agree with Maria about blogs.
Nancy O.
have not contributed very much, I have learned alot and enjoyed the posts on
baren. I have to agree with Maria about blogs.
Nancy O.