Today's postings
- [Baren 33367] Missing Message (GWohlken)
- [Baren 33368] Wanda: Re: Maria Regina's email - a request (" Maria Regina Pinto Pereira")
- [Baren 33369] Re: Print Exchange 33 and question about Brilliant Watercolour inks. (Diane Cutter)
- [Baren 33370] A retry re: Brilliant watercolours ("Harry French")
- [Baren 33371] Hanga Workshop (Jan Telfer)
Message 1
From: GWohlken
Date: Mon, 7 May 2007 07:19:12 -0400
Subject: [Baren 33367] Missing Message
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Dave, you mentioned missing messages. I see mine didn't go through
so here it is again, a little late.
This is in answer to Marilynn who posted a list of people who had
sent her a dog print.
Marilynn, I notice you have me on your list of the Year of the Dog
cards which you received. Even though I had a dog in my image, if
you look at the title on the card, it's Year of the Rooster. I was
so late with mine, that I thought it would be appropriate to put a
dog in it chasing the rooster out of the picture. So for all of you
who are on the Year of the Dog list and wonder why you didn't get
one, I was not even on the Year of the Dog list. My Year of the
Rooster card is even showing online in the Year of the Dog gallery,
but doesn't belong there. I understand why it would have been put
there, though. Hope that makes sense. That's why I haven't signed
up again for recent New Year's Exchanges. I wasn't able to be
remotely timely.
~Gayle
northeast Ohio
so here it is again, a little late.
This is in answer to Marilynn who posted a list of people who had
sent her a dog print.
Marilynn, I notice you have me on your list of the Year of the Dog
cards which you received. Even though I had a dog in my image, if
you look at the title on the card, it's Year of the Rooster. I was
so late with mine, that I thought it would be appropriate to put a
dog in it chasing the rooster out of the picture. So for all of you
who are on the Year of the Dog list and wonder why you didn't get
one, I was not even on the Year of the Dog list. My Year of the
Rooster card is even showing online in the Year of the Dog gallery,
but doesn't belong there. I understand why it would have been put
there, though. Hope that makes sense. That's why I haven't signed
up again for recent New Year's Exchanges. I wasn't able to be
remotely timely.
~Gayle
northeast Ohio
Message 2
From: " Maria Regina Pinto Pereira"
Date: Mon, 7 May 2007 08:51:04 -0300
Subject: [Baren 33368] Wanda: Re: Maria Regina's email - a request
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thanks, Wanda !
you're kind
MaRegina
you're kind
MaRegina
Message 3
From: Diane Cutter
Date: Mon, 7 May 2007 05:00:09 -0700 (PDT)
Subject: [Baren 33369] Re: Print Exchange 33 and question about Brilliant Watercolour inks.
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Hi, Mark... I noticed that no one addressed your Exchange question so I'll give you my take on the Wait List.
Truly anyone who is on the Wait List should act as though they will be 'called to serve'. As a coordinator of two exchanges thus far, it is possible for a drop-out even after the print due date has arrived and passed. Intentions were good, prints were half-way printed but any number of reasons caused a no-show on the part of a member (injury, hospitalization).
The last exchange I worked with we actually only had 29 participants because of such a late drop-out and the few Wait Listers had already committed themselves elsewhere. By having a block cut, proofed, and maybe even printed, you make all of us happy...
...You because you are actually able to participate in a fabulous exchange at the midnight hour
...The 29 other participants because they will receive a full exchange
...The coordinator because he/she can put off more gray hairs and ulcers
In the present #32 exchange two people moved up immediately with two on the Wait List and I still worry. I'd love to know I had someone prepared to step up if we have a drop-... (... no, I won't say the word because it might jinx me)... The Wait List is a list of unsung heroes in my book.
Regarding a second exchange... When we had recent the nude exchange, the topic was so wildly popular that we had enough people for a second 'refuse' exchange, so it has happened historically.
Diane
www.dianecutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
Truly anyone who is on the Wait List should act as though they will be 'called to serve'. As a coordinator of two exchanges thus far, it is possible for a drop-out even after the print due date has arrived and passed. Intentions were good, prints were half-way printed but any number of reasons caused a no-show on the part of a member (injury, hospitalization).
The last exchange I worked with we actually only had 29 participants because of such a late drop-out and the few Wait Listers had already committed themselves elsewhere. By having a block cut, proofed, and maybe even printed, you make all of us happy...
...You because you are actually able to participate in a fabulous exchange at the midnight hour
...The 29 other participants because they will receive a full exchange
...The coordinator because he/she can put off more gray hairs and ulcers
In the present #32 exchange two people moved up immediately with two on the Wait List and I still worry. I'd love to know I had someone prepared to step up if we have a drop-... (... no, I won't say the word because it might jinx me)... The Wait List is a list of unsung heroes in my book.
Regarding a second exchange... When we had recent the nude exchange, the topic was so wildly popular that we had enough people for a second 'refuse' exchange, so it has happened historically.
Diane
www.dianecutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
Message 4
From: "Harry French"
Date: Mon, 7 May 2007 13:02:26 +0100
Subject: [Baren 33370] A retry re: Brilliant watercolours
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Mark,
(A re-try posting as Dave advised)
Windsor and Newton inks may absorb straight into the wood. Although it may be worth trying to mix them with Polycell.
I had almost given up on Moku Hanga because the waterbased inks I used were too expensive ( £10.00 / $20 per bottle) and somewhat bland when mixing.
Last month I was doing a workshop at the Hub in Lincolnshire on screen printing when my co-presenter knocked me for a six when he used "Brusho" waterpaints : small tubs of cystaline powdered paint and Polycell (wallpaper paste). The colours were transparent, vibrant and intermixable with a cost of £13 / $26 for twelve small tubs and an option of 12 more. I had only heard of these inexpensive powder paints through primary ( 4 to 11 years) school teachers whose art and design budgets were limited. The possibility of transferring the 'screen inks' into woodblock waterbased inks was too much so I bought a set plus a thickening powder that strangely looks like the illusive methyl cellulose ( dare I say a sort of wall paper paste). It has certainly renewed my interest in Moku Hanga printing.
Should you be interested in 'Brusho' just type it into a web search and it will bring up loads of sites and ideas.
My first "Brusho" experiment was mixing the brown, red purple and ultramarine : http://homepage.ntlworld.com/h.french1/HAYTICH.htm
The Hub craft centre : http://homepage.ntlworld.com/h.french1/TheHubLincolnshire.htm
All the best with the exchange print.
Harry
Lincoln
UK
(A re-try posting as Dave advised)
Windsor and Newton inks may absorb straight into the wood. Although it may be worth trying to mix them with Polycell.
I had almost given up on Moku Hanga because the waterbased inks I used were too expensive ( £10.00 / $20 per bottle) and somewhat bland when mixing.
Last month I was doing a workshop at the Hub in Lincolnshire on screen printing when my co-presenter knocked me for a six when he used "Brusho" waterpaints : small tubs of cystaline powdered paint and Polycell (wallpaper paste). The colours were transparent, vibrant and intermixable with a cost of £13 / $26 for twelve small tubs and an option of 12 more. I had only heard of these inexpensive powder paints through primary ( 4 to 11 years) school teachers whose art and design budgets were limited. The possibility of transferring the 'screen inks' into woodblock waterbased inks was too much so I bought a set plus a thickening powder that strangely looks like the illusive methyl cellulose ( dare I say a sort of wall paper paste). It has certainly renewed my interest in Moku Hanga printing.
Should you be interested in 'Brusho' just type it into a web search and it will bring up loads of sites and ideas.
My first "Brusho" experiment was mixing the brown, red purple and ultramarine : http://homepage.ntlworld.com/h.french1/HAYTICH.htm
The Hub craft centre : http://homepage.ntlworld.com/h.french1/TheHubLincolnshire.htm
All the best with the exchange print.
Harry
Lincoln
UK
Message 5
From: Jan Telfer
Date: Mon, 7 May 2007 20:51:27 +0800
Subject: [Baren 33371] Hanga Workshop
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Last weekend I gave the second of my two part hanga workshops to a few
of the Western Australian Printmakers.
All agreed that it was a great workshop and have asked if I will do
another one, in fact have one booked for later in the year with country
printmakers in the south west near Bunbury (if you have good Aussie
maps). They were all lino printers in the last one so the transition
to wood wasn't a big problem for them, except getting used to the
different texture and the cutting tools and of course the registration.
The wood I had to supply from my Japanese imported stash as none is
available in Perth or Melbourne but we can get good Langridge powdered
colour pigments here which are made in Melbourne and the carving tools
I have (and you too Marilynn) we can get here too. Rice paste came
from Darwin and Melbourne!! Methol cellulose we can get here now! I
think Perth must be the most isolated city in the world especially for
woodblock printing!!!!!!!!!!
One person, of course there is always one chopped off her registration
Kento marks.... so that was easy enough to deal with. Thank you too to
Graham Scholes for his Bootcamps x3 because without them I would be
still be plodding on and not getting invitations to exhibit here with
my own work.
PS. One of five prizes at our printmakers exhibitions went to a Uni
teacher who used a cross cut into a potato to print crosses on a block
of wood and then varnish the block......... now I ask you!!!!!
It is absolutely fantastic to have a group like Baren for lonely little
islanders like me in Perth!!
Thank you Bareners.
Jan
Perth, Western Australia
of the Western Australian Printmakers.
All agreed that it was a great workshop and have asked if I will do
another one, in fact have one booked for later in the year with country
printmakers in the south west near Bunbury (if you have good Aussie
maps). They were all lino printers in the last one so the transition
to wood wasn't a big problem for them, except getting used to the
different texture and the cutting tools and of course the registration.
The wood I had to supply from my Japanese imported stash as none is
available in Perth or Melbourne but we can get good Langridge powdered
colour pigments here which are made in Melbourne and the carving tools
I have (and you too Marilynn) we can get here too. Rice paste came
from Darwin and Melbourne!! Methol cellulose we can get here now! I
think Perth must be the most isolated city in the world especially for
woodblock printing!!!!!!!!!!
One person, of course there is always one chopped off her registration
Kento marks.... so that was easy enough to deal with. Thank you too to
Graham Scholes for his Bootcamps x3 because without them I would be
still be plodding on and not getting invitations to exhibit here with
my own work.
PS. One of five prizes at our printmakers exhibitions went to a Uni
teacher who used a cross cut into a potato to print crosses on a block
of wood and then varnish the block......... now I ask you!!!!!
It is absolutely fantastic to have a group like Baren for lonely little
islanders like me in Perth!!
Thank you Bareners.
Jan
Perth, Western Australia