Today's postings
- [Baren 34266] Reduction Prints (Annie Bissett)
- [Baren 34267] RE: Reduction Prints ("Mike Lyon")
- [Baren 34268] Re: Blogs. ("Mark Mason")
- [Baren 34269] Re: Reduction Prints (Ruth Leaf)
- [Baren 34270] Re: Reduction Prints ("Grassell, Mary")
- [Baren 34271] Re: Reduction Prints (Reneeaugrin # aol.com)
- [Baren 34272] Re: Blogs. (Dave Bull)
- [Baren 34273] Thanks for help with uneven color problem (Annette Haines)
- [Baren 34274] Re: Blogs. (Diane Cutter)
- [Baren 34275] Re: Reduction Prints ("Ellen Shipley")
- [Baren 34276] Re: Blogs. (Dave Bull)
- [Baren 34277] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Annie Bissett
Date: Tue, 16 Oct 2007 11:01:08 -0400
Subject: [Baren 34266] Reduction Prints
Send Message: To this poster
Hi Bareners,
I'm about to embark on a reduction print, and I'm finding that it
requires a different way of thinking about things. It's making my
head spin a little!
I get the basic idea. I'm currently working on the first phase, which
is easy: cut away everything that should be white! Then I'll print
that in pale blue, and do a new carving where I carve away everything
that I want to remain pale blue. One tricky thing is that I'm working
with the moku hanga method. A lot of reduction work I've seen is done
with oil-based inks, which are quite opaque, so light colors can be
printed over dark to good effect, but that won't be true in my case.
Since all my inks will be transparent, I'm planning on working from
light to dark.
Anyone have any other tips?
Best,
Annie
I'm about to embark on a reduction print, and I'm finding that it
requires a different way of thinking about things. It's making my
head spin a little!
I get the basic idea. I'm currently working on the first phase, which
is easy: cut away everything that should be white! Then I'll print
that in pale blue, and do a new carving where I carve away everything
that I want to remain pale blue. One tricky thing is that I'm working
with the moku hanga method. A lot of reduction work I've seen is done
with oil-based inks, which are quite opaque, so light colors can be
printed over dark to good effect, but that won't be true in my case.
Since all my inks will be transparent, I'm planning on working from
light to dark.
Anyone have any other tips?
Best,
Annie
Message 2
From: "Mike Lyon"
Date: Tue, 16 Oct 2007 10:53:01 -0500
Subject: [Baren 34267] RE: Reduction Prints
Send Message: To this poster
Hi, Annie!
I think you're approaching reduction printing exactly the 'right' way --
printing from light to dark -- and conceiving that the areas you carve will
remain whatever color they 'are'... One of the most wonderful things about
transparent colors is that each overprinting (regardless of how light or
dark) deepens the pigmentation, so you really can't go wrong -- quite
automatic and quite wonderful, I think!
My first reduction woodcut was in 1996 and it made my head spin as I tried
to figure out what the effect of each subsequent carving and printing would
be... I wasn't very 'precious' about it -- just experimented as I went
along... I printed the block in areas (didn't print the block with any
over-all flat color, but instead used numerous bokashi (gradation printing)
to print a quarter to half the block at a time, building the image in reds,
yellows, and blues from light to dark exactly as you described... I also
experimented with building this image in positive and negative spaces --
dark figures on light ground and light figures on dark ground. Where they
switch on the horizon from light-on-dark to dark-on-light was VERY confusing
to me and difficult to conceive and control. The effort really turned my
head around and I looked at everything with new eyes (and became HOOKED on
moku-hanga -- prior to that I'd been totally 'oily')!
Here're images of those first attempts at reduction printing moku-hanga
(about 7x9 inches, I think):
http://mlyon.com/images/Doggie-reduction-ex1-web.jpg (cheap 'hosho')
http://mlyon.com/images/Doggie-reduction-ex2-web.jpg (iyo glazed)
The drawings and paintings I've made recently grew directly out of my
experiences in reduction printing -- in particular the way the repeated
printing of the same area can build the most beautiful and intense
coloration.
My most recent painting (60x40 inch self-portrait in acrylic on linen) is
"reduction painted" (I suppose this may be a new term -- don't quote me?) in
'transparent' layers of titanium white on carbon black ground. Each
subsequent layer covered less canvas and used more opaque white (so with
white paint over black, it seemed more natural to build the painting from
darks to lights -- opposite of reduction printing on white paper)... You
can see some photos of the painting at
http://mlyon.com/blog/2007/10/self-portrait-painting-in-acrylic-on.html --
not printed, obviously, but conceptually identical to reduction printing.
A more complex approach (which allows a LOT more freedom and variation)
involves reducing multiple blocks -- then, instead of only reducing each
subsequent color layer (and overprinting only those areas already printed),
it's possible for one block to overprint the carved away areas of another
block -- each additional block increases the complexity of the color
geometrically! My first attempt at a multi-block reduction (three blocks)
is here: http://mlyon.com/images/blue_shoes.jpg
One of my current projects, the publication of "Jim" in an edition of 42x30
inch lithographs from six plates grew directly out of my experiences with
multi-block reduction printing. "Jim" uses three plates to print various
transparencies of white ink and three plates to print various transparencies
of black ink on a mid-value (BFK Tan) paper. VERY cool (to me) to have been
able to design the plates and send my files over to my neighborhood
pre-press and receive (next day!) the six films for the large litho plates
(which will be burned and printed by Lawrence Lithography Workshop, Mike
Sims, director). SO exciting to go almost directly from mind to film, and
SO nice to have been invited to collaborate with LLW -- a first for me.
You can see my 'plan' for that litho at
http://mlyon.com/blog/2007/10/jim-collaboration-with-lawrence.html -- if you
click the image of "Jim", you can view a full-size (low-resolution 100dpi)
PDF of the plan -- I think it's just SOOOO very cool!
Anyway, no other tips for you, really -- but what you're doing, Annie, can
become pretty intensely addictive (was for me), so... Enjoy, and keep up
the great work!!!
Best,
Mike
Mike Lyon
Kansas City, MO
http://mlyon.com
I think you're approaching reduction printing exactly the 'right' way --
printing from light to dark -- and conceiving that the areas you carve will
remain whatever color they 'are'... One of the most wonderful things about
transparent colors is that each overprinting (regardless of how light or
dark) deepens the pigmentation, so you really can't go wrong -- quite
automatic and quite wonderful, I think!
My first reduction woodcut was in 1996 and it made my head spin as I tried
to figure out what the effect of each subsequent carving and printing would
be... I wasn't very 'precious' about it -- just experimented as I went
along... I printed the block in areas (didn't print the block with any
over-all flat color, but instead used numerous bokashi (gradation printing)
to print a quarter to half the block at a time, building the image in reds,
yellows, and blues from light to dark exactly as you described... I also
experimented with building this image in positive and negative spaces --
dark figures on light ground and light figures on dark ground. Where they
switch on the horizon from light-on-dark to dark-on-light was VERY confusing
to me and difficult to conceive and control. The effort really turned my
head around and I looked at everything with new eyes (and became HOOKED on
moku-hanga -- prior to that I'd been totally 'oily')!
Here're images of those first attempts at reduction printing moku-hanga
(about 7x9 inches, I think):
http://mlyon.com/images/Doggie-reduction-ex1-web.jpg (cheap 'hosho')
http://mlyon.com/images/Doggie-reduction-ex2-web.jpg (iyo glazed)
The drawings and paintings I've made recently grew directly out of my
experiences in reduction printing -- in particular the way the repeated
printing of the same area can build the most beautiful and intense
coloration.
My most recent painting (60x40 inch self-portrait in acrylic on linen) is
"reduction painted" (I suppose this may be a new term -- don't quote me?) in
'transparent' layers of titanium white on carbon black ground. Each
subsequent layer covered less canvas and used more opaque white (so with
white paint over black, it seemed more natural to build the painting from
darks to lights -- opposite of reduction printing on white paper)... You
can see some photos of the painting at
http://mlyon.com/blog/2007/10/self-portrait-painting-in-acrylic-on.html --
not printed, obviously, but conceptually identical to reduction printing.
A more complex approach (which allows a LOT more freedom and variation)
involves reducing multiple blocks -- then, instead of only reducing each
subsequent color layer (and overprinting only those areas already printed),
it's possible for one block to overprint the carved away areas of another
block -- each additional block increases the complexity of the color
geometrically! My first attempt at a multi-block reduction (three blocks)
is here: http://mlyon.com/images/blue_shoes.jpg
One of my current projects, the publication of "Jim" in an edition of 42x30
inch lithographs from six plates grew directly out of my experiences with
multi-block reduction printing. "Jim" uses three plates to print various
transparencies of white ink and three plates to print various transparencies
of black ink on a mid-value (BFK Tan) paper. VERY cool (to me) to have been
able to design the plates and send my files over to my neighborhood
pre-press and receive (next day!) the six films for the large litho plates
(which will be burned and printed by Lawrence Lithography Workshop, Mike
Sims, director). SO exciting to go almost directly from mind to film, and
SO nice to have been invited to collaborate with LLW -- a first for me.
You can see my 'plan' for that litho at
http://mlyon.com/blog/2007/10/jim-collaboration-with-lawrence.html -- if you
click the image of "Jim", you can view a full-size (low-resolution 100dpi)
PDF of the plan -- I think it's just SOOOO very cool!
Anyway, no other tips for you, really -- but what you're doing, Annie, can
become pretty intensely addictive (was for me), so... Enjoy, and keep up
the great work!!!
Best,
Mike
Mike Lyon
Kansas City, MO
http://mlyon.com
Message 3
From: "Mark Mason"
Date: Tue, 16 Oct 2007 17:20:35 +0100
Subject: [Baren 34268] Re: Blogs.
Send Message: To this poster
Hi David and Julio,
Yes, that sounds like a very good idea. Let's hope we can make it work.
I do know that on my blog posting page I can add what they call "Labels", and I do use them, so if this is what David (H) means by setting categories then it's very easy for everyone who has a Google Blogspot to do. It would keep the Forum blog notifications specifically to printmaking issues, and, as David mentions, if people want to see other entries, they can easily navigate blogs once they're in.
If this is a solution should we all agree on a set of Labels or Categories for specific print related Forum notifications? It would save everyone submitting their own categories which could be a bit of a headache for Julio.
Suggestions to kick off: "Woodblock" - "Print" - "Engraving" - ...?
I look forward to hearing what David (B) concludes about the Forum software. I quite often add 3 or more labels to a posting, for example "Woodblock Print" and "Illustration". Would this effect any software functionality?
Cheers to all,
Mark.
Yes, that sounds like a very good idea. Let's hope we can make it work.
I do know that on my blog posting page I can add what they call "Labels", and I do use them, so if this is what David (H) means by setting categories then it's very easy for everyone who has a Google Blogspot to do. It would keep the Forum blog notifications specifically to printmaking issues, and, as David mentions, if people want to see other entries, they can easily navigate blogs once they're in.
If this is a solution should we all agree on a set of Labels or Categories for specific print related Forum notifications? It would save everyone submitting their own categories which could be a bit of a headache for Julio.
Suggestions to kick off: "Woodblock" - "Print" - "Engraving" - ...?
I look forward to hearing what David (B) concludes about the Forum software. I quite often add 3 or more labels to a posting, for example "Woodblock Print" and "Illustration". Would this effect any software functionality?
Cheers to all,
Mark.
Message 4
From: Ruth Leaf
Date: Tue, 16 Oct 2007 09:44:20 -0700
Subject: [Baren 34269] Re: Reduction Prints
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Dear Annie. Although I've only done oil based reduction prints, I
discovered by using the light colors first and keeping them quite
transparent I could get a remarkable range of color. I used
transparent base, you are using water. I never tried to print light
over dark
. I saved my darkest colors for the last cut. I hope this helps.
Ruth
discovered by using the light colors first and keeping them quite
transparent I could get a remarkable range of color. I used
transparent base, you are using water. I never tried to print light
over dark
. I saved my darkest colors for the last cut. I hope this helps.
Ruth
Message 5
From: "Grassell, Mary"
Date: Tue, 16 Oct 2007 13:21:23 -0400
Subject: [Baren 34270] Re: Reduction Prints
Send Message: To this poster
Hello, Annie,
I have printed oil based reduction prints with many colors for a while now,
both dark over light and even sometimes light over dark. I have found, with
oil based inks, that coverage is remarkable. I also add transparent base
when I want the colors to be more transparent and mixing with the colors
underneath, and use straight white or tinted white over darker colors.
I also print by hand. I find in this way I do not miss spots and I can print
an even color every time. Actually, I use a combination of multiple blocks
and reduction printing on all the blocks (My prints can never be
duplicated). Hand printing take longer but the results are better when my
goal is to use many colors on a complicated print.
My experience with water based inks is minimal on larger prints. I have only
used them on smaller prints. I prefer oil based inks for color, permanence
and coverage. Of course cleaning up is a major part of the printing.
But I wanted to tell you that I have printed light over dark with good
results. A reduction print takes some advanced planning. I think of them as
one series of prints for the background (which is sometimes only color), and
another series of prints for the foreground. My work is figurative and I
find this method to serve me well.
Mary Grassell
--
Mary Grassell
Professor of Design
Marshall University
Department of Art & Design
One John Marshall Drive
Huntington, WV 25755
Office: Smith Hall 626
Office phone: (304) 696-2894
email: grassell#marshall.edu
I have printed oil based reduction prints with many colors for a while now,
both dark over light and even sometimes light over dark. I have found, with
oil based inks, that coverage is remarkable. I also add transparent base
when I want the colors to be more transparent and mixing with the colors
underneath, and use straight white or tinted white over darker colors.
I also print by hand. I find in this way I do not miss spots and I can print
an even color every time. Actually, I use a combination of multiple blocks
and reduction printing on all the blocks (My prints can never be
duplicated). Hand printing take longer but the results are better when my
goal is to use many colors on a complicated print.
My experience with water based inks is minimal on larger prints. I have only
used them on smaller prints. I prefer oil based inks for color, permanence
and coverage. Of course cleaning up is a major part of the printing.
But I wanted to tell you that I have printed light over dark with good
results. A reduction print takes some advanced planning. I think of them as
one series of prints for the background (which is sometimes only color), and
another series of prints for the foreground. My work is figurative and I
find this method to serve me well.
Mary Grassell
--
Mary Grassell
Professor of Design
Marshall University
Department of Art & Design
One John Marshall Drive
Huntington, WV 25755
Office: Smith Hall 626
Office phone: (304) 696-2894
email: grassell#marshall.edu
Message 6
From: Reneeaugrin # aol.com
Date: Tue, 16 Oct 2007 14:00:20 EDT
Subject: [Baren 34271] Re: Reduction Prints
Send Message: To this poster
Hi Bareneers,
Annie, it seems that all I do anymore are reductive prints. I work with
oily ink, but the color factors will be the same. I found I need two blocks to
reduce from as there is the great battle between the blues and yellows.
Since most of my work is landscape the blue of the sky takes priority, and it is
easy to layer transparent yellows(for the greens), reds, violets and browns
over the blue as you progress from light to dark. However, If you need a
pure yellow somewhere it is not possible to add after you have printed blue, and
white -- already carved away-- so I have a second block for yellows, carving
away the blue where I want yellow only. I hope this is not making your head
swim even more. Sometimes I'll make a few thumbnail color sketches in order
to figure out where I wish to place the melding blocks/prints and I don't
mind if the two do not register exactly, it adds a little interest when the
colors and forms are not so precise. Of course this is also true if you start
with yellow -- you'll not be able to have a pure blue over the yellows or
whites --already carved away. Naturally, you don't need to have a full range of
colors on every print, and sometimes if there is just a little yellow, or
perhaps a little blue sky or water peeking through I'll watercolor it in.
Hope this helps!
Cheers to all!
Renee U.
_www.reneeaugrin.com_ (http://www.reneeaugrin.com)
Annie, it seems that all I do anymore are reductive prints. I work with
oily ink, but the color factors will be the same. I found I need two blocks to
reduce from as there is the great battle between the blues and yellows.
Since most of my work is landscape the blue of the sky takes priority, and it is
easy to layer transparent yellows(for the greens), reds, violets and browns
over the blue as you progress from light to dark. However, If you need a
pure yellow somewhere it is not possible to add after you have printed blue, and
white -- already carved away-- so I have a second block for yellows, carving
away the blue where I want yellow only. I hope this is not making your head
swim even more. Sometimes I'll make a few thumbnail color sketches in order
to figure out where I wish to place the melding blocks/prints and I don't
mind if the two do not register exactly, it adds a little interest when the
colors and forms are not so precise. Of course this is also true if you start
with yellow -- you'll not be able to have a pure blue over the yellows or
whites --already carved away. Naturally, you don't need to have a full range of
colors on every print, and sometimes if there is just a little yellow, or
perhaps a little blue sky or water peeking through I'll watercolor it in.
Hope this helps!
Cheers to all!
Renee U.
_www.reneeaugrin.com_ (http://www.reneeaugrin.com)
Message 7
From: Dave Bull
Date: Wed, 17 Oct 2007 07:54:04 +0900
Subject: [Baren 34272] Re: Blogs.
Send Message: To this poster
Mark wrote:
> Suggestions to kick off: "Woodblock" - "Print" - "Engraving" ...
> I look forward to hearing what David (B) concludes about the Forum
> software. I quite often add 3 or more labels to a posting, for example
> "Woodblock Print" and "Illustration". Would this affect any software
> functionality?
What we would need to be able to implement this is simple - your
'Category' (or Label/Tag/etc.) _must_ appear in your RSS feed.
For those of you who are using the Blogger software (most of you), all
you have to do is start using what they call 'Labels'. The information
page on how to do this is here:
http://help.blogger.com/bin/answer.py?answer=44498&topic=10275
Let's take Mark's suggestion of the word 'Woodblock' (with capital W)
as a good starting point. If you have a blog - like his - that contains
mixed content, please use this Label on each of the relevant posts. I
can then target our feed reader script to watch out for just those ...
(The Label will have to match _exactly_.)
If we can get this alteration up and running, we'll no longer have to
plough through all the blog posts about watercolour painting, etc. etc.
Thanx!
Dave
> Suggestions to kick off: "Woodblock" - "Print" - "Engraving" ...
> I look forward to hearing what David (B) concludes about the Forum
> software. I quite often add 3 or more labels to a posting, for example
> "Woodblock Print" and "Illustration". Would this affect any software
> functionality?
What we would need to be able to implement this is simple - your
'Category' (or Label/Tag/etc.) _must_ appear in your RSS feed.
For those of you who are using the Blogger software (most of you), all
you have to do is start using what they call 'Labels'. The information
page on how to do this is here:
http://help.blogger.com/bin/answer.py?answer=44498&topic=10275
Let's take Mark's suggestion of the word 'Woodblock' (with capital W)
as a good starting point. If you have a blog - like his - that contains
mixed content, please use this Label on each of the relevant posts. I
can then target our feed reader script to watch out for just those ...
(The Label will have to match _exactly_.)
If we can get this alteration up and running, we'll no longer have to
plough through all the blog posts about watercolour painting, etc. etc.
Thanx!
Dave
Message 8
From: Annette Haines
Date: Tue, 16 Oct 2007 21:42:32 -0400
Subject: [Baren 34273] Thanks for help with uneven color problem
Send Message: To this poster
I just want to thank all of you who responded to my post about getting
uneven color. I got so many wonderful suggestions and I'm in the process of
trying them all. I found that I got less blotchiness when I:
-didn't add any water at all. Many of you cautioned against too much water
and since I am using tube watercolor, I was able to get enough viscosity
with just the watercolor and nori.
-made sure my nori was fresh - defying gravity :-)
-printed the block twice - this worked really well at evening out the
blotches.
-printed on thinner paper.
-learned to appreciate the blotches. Actually I already did, but more so
now. I just wanted this particular area smooth so the thin carved out lines
would stand out.
I still plan to try different barens (I have a Murasaki baren on order and
may be able to borrow another type from the school). I also haven't tried
alcohol with the pigment, but plan to try that as well.
I will post the resulting print in my next blog entry.
Thanks again.
Annette
uneven color. I got so many wonderful suggestions and I'm in the process of
trying them all. I found that I got less blotchiness when I:
-didn't add any water at all. Many of you cautioned against too much water
and since I am using tube watercolor, I was able to get enough viscosity
with just the watercolor and nori.
-made sure my nori was fresh - defying gravity :-)
-printed the block twice - this worked really well at evening out the
blotches.
-printed on thinner paper.
-learned to appreciate the blotches. Actually I already did, but more so
now. I just wanted this particular area smooth so the thin carved out lines
would stand out.
I still plan to try different barens (I have a Murasaki baren on order and
may be able to borrow another type from the school). I also haven't tried
alcohol with the pigment, but plan to try that as well.
I will post the resulting print in my next blog entry.
Thanks again.
Annette
Message 9
From: Diane Cutter
Date: Tue, 16 Oct 2007 19:11:13 -0700 (PDT)
Subject: [Baren 34274] Re: Blogs.
Send Message: To this poster
Hi, Dave...
So, just to clarify, the tag has to be 'woodcuts', not woodblock, etc. If it is anything but woodcuts, we make sure it doesn't have a woodcut tag (no linocuts, relief solar prints, monotypes, etc.)... only woodcuts.
Diane
www.dianecutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
So, just to clarify, the tag has to be 'woodcuts', not woodblock, etc. If it is anything but woodcuts, we make sure it doesn't have a woodcut tag (no linocuts, relief solar prints, monotypes, etc.)... only woodcuts.
Diane
www.dianecutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
Message 10
From: "Ellen Shipley"
Date: Tue, 16 Oct 2007 11:55:29 -0700
Subject: [Baren 34275] Re: Reduction Prints
Send Message: To this poster
Good luck Annie,
My forrey into reduction block printing took months to plan/worry over. I
had a hard time gettng my mind around the concept, especially color order.
I did oily inks and had to do lights first. I still got some color mixing I
hadn't planned for, but it was a happy accident (thank goodness!).
Can't wait to see what you come up with.
Ellen
print blog:
http://pressing-issues.blogspot.com/
etsy shop:
http://ellenshipley.etsy.com/
My forrey into reduction block printing took months to plan/worry over. I
had a hard time gettng my mind around the concept, especially color order.
I did oily inks and had to do lights first. I still got some color mixing I
hadn't planned for, but it was a happy accident (thank goodness!).
Can't wait to see what you come up with.
Ellen
print blog:
http://pressing-issues.blogspot.com/
etsy shop:
http://ellenshipley.etsy.com/
Message 11
From: Dave Bull
Date: Wed, 17 Oct 2007 11:33:44 +0900
Subject: [Baren 34276] Re: Blogs.
Send Message: To this poster
> So, just to clarify, the tag has to be 'woodcuts', not woodblock, etc.
Ummm ... well, no. I proposed that we fly with Mark's suggestion of
using the word 'Woodblock' ...
But actually, now that I think of it, the actual wording of the tag may
not be so important. Once you start using those Labels in Blogger, your
feeds will be automatically written to match. Then, you just inform
Julio of what you've done, and the particular Label you are using, and
we'll point our script at the appropriate feed (as long as it _is_
woodblock stuff ...).
Dave
> --- Previous Message ---
> For those of you who are using the Blogger software (most of you), all
> you have to do is start using what they call 'Labels'. The information
> page on how to do this is here:
> http://help.blogger.com/bin/answer.py?answer=44498&topic=10275
>
> Let's take Mark's suggestion of the word 'Woodblock' (with capital W)
> as a good starting point. If you have a blog - like his - that contains
> mixed content, please use this Label on each of the relevant posts. I
> can then target our feed reader script to watch out for just those ...
>
> (The Label will have to match _exactly_.)
Ummm ... well, no. I proposed that we fly with Mark's suggestion of
using the word 'Woodblock' ...
But actually, now that I think of it, the actual wording of the tag may
not be so important. Once you start using those Labels in Blogger, your
feeds will be automatically written to match. Then, you just inform
Julio of what you've done, and the particular Label you are using, and
we'll point our script at the appropriate feed (as long as it _is_
woodblock stuff ...).
Dave
> --- Previous Message ---
> For those of you who are using the Blogger software (most of you), all
> you have to do is start using what they call 'Labels'. The information
> page on how to do this is here:
> http://help.blogger.com/bin/answer.py?answer=44498&topic=10275
>
> Let's take Mark's suggestion of the word 'Woodblock' (with capital W)
> as a good starting point. If you have a blog - like his - that contains
> mixed content, please use this Label on each of the relevant posts. I
> can then target our feed reader script to watch out for just those ...
>
> (The Label will have to match _exactly_.)
Message 12
From: Blog Manager
Date: 17 Oct 2007 03:55:52 -0000
Subject: [Baren 34277] 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. (39 sites checked, five minutes before midnight Eastern time)
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Islands of White
http://woodblockdreams.blogspot.com/2007/10/islands-of-white.html
*****************
Site Name: Mike Lyon's Moku Hanga
Author: Mike Lyon
Item: gallery walk through -- Mike Lyon: Large Scale Drawings and Woodblock Prints
http://mlyon.com/blog/2006/09/gallery-walk-through-mike-lyon-large.html
Author: Mike Lyon
Item: Mike Lyon: Large Scale Drawings and Woodblock Prints Exhibition
http://mlyon.com/blog/2006/08/mike-lyon-large-scale-drawings-and.html
Author: Mike Lyon
Item: "Sara" 42x77 inch woodblock print complete from 17 blocks on 10 sheets
http://mlyon.com/blog/2006/08/sara-42x77-inch-woodblock-print.html
Author: Mike Lyon
Item: Printmaking movie -- "Sara" underway 43 x 77 inches
http://mlyon.com/blog/2006/07/printmaking-movie-sara-underway-43-x.html
*****************
Site Name: Pistoles Press
Author: Pistoles Press
Item: Yeeeeeeeeeeeeeeehaw!
http://pistolespress.blogspot.com/2007/10/yeeeeeeeeeeeeeeehaw.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
For reference, sites/blogs currently being checked are:
http://barenforum.org/blog
http://woodblock.com
http://woodblock.com/roundtable
http://woodblockdreams.blogspot.com
http://studiodiary.blogspot.com
http://larimerart.blogspot.com
http://artflights.blogspot.com
http://printmakersmaterials.blogspot.com
http://mlyon.com/blog
http://room535.blogspot.com
http://mleeprints.blogspot.com
http://snowgum.blogspot.com
http://pressing-issues.blogspot.com
http://www.1000woodcuts.com
http://theitinerantartist.blogspot.com
http://PLawing-Printmaker.blogspot.com
http://readdevine.blogspot.com
http://mokuhankan.com/conversations
http://mokuhankan.com
http://belindadelpesco.blogspot.com
http://vizart.blogspot.com
http://phare-camp.blogspot.com
http://amymstoner.blogspot.com
http://williamleeholtfineart.blogspot.com
http://web.mac.com/g_wohlken/iWeb/Site/Blog/Blog.html
http://curiousmatthew.blogspot.com
http://laine.lainegreenway.com/index.html
http://azuregrackle.com/blogs/index.php?blog=2
http://blog.olansa.co.uk/
http://bea-gold-retrospective.blogspot.com
http://www.jauntyrakes.blogspot.com
http://sheiko.blogspot.com
http://studio-window.blogspot.com
http://alynn-guerra.blogspot.com
http://web.mac.com/barebonesart/iWeb/site/blog/blog.html
http://curiouslydrawn.blogspot.com
http://veloprint.blogspot.com
http://kathewelch.blogspot.com
http://serendipityartist.wordpress.com
http://ainescannell.blogspot.com
http://www.pistolespress.blogspot.com
The following new entries were found on the listed printmaker's websites during the past 24 hours. (39 sites checked, five minutes before midnight Eastern time)
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Islands of White
http://woodblockdreams.blogspot.com/2007/10/islands-of-white.html
*****************
Site Name: Mike Lyon's Moku Hanga
Author: Mike Lyon
Item: gallery walk through -- Mike Lyon: Large Scale Drawings and Woodblock Prints
http://mlyon.com/blog/2006/09/gallery-walk-through-mike-lyon-large.html
Author: Mike Lyon
Item: Mike Lyon: Large Scale Drawings and Woodblock Prints Exhibition
http://mlyon.com/blog/2006/08/mike-lyon-large-scale-drawings-and.html
Author: Mike Lyon
Item: "Sara" 42x77 inch woodblock print complete from 17 blocks on 10 sheets
http://mlyon.com/blog/2006/08/sara-42x77-inch-woodblock-print.html
Author: Mike Lyon
Item: Printmaking movie -- "Sara" underway 43 x 77 inches
http://mlyon.com/blog/2006/07/printmaking-movie-sara-underway-43-x.html
*****************
Site Name: Pistoles Press
Author: Pistoles Press
Item: Yeeeeeeeeeeeeeeehaw!
http://pistolespress.blogspot.com/2007/10/yeeeeeeeeeeeeeeehaw.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
For reference, sites/blogs currently being checked are:
http://barenforum.org/blog
http://woodblock.com
http://woodblock.com/roundtable
http://woodblockdreams.blogspot.com
http://studiodiary.blogspot.com
http://larimerart.blogspot.com
http://artflights.blogspot.com
http://printmakersmaterials.blogspot.com
http://mlyon.com/blog
http://room535.blogspot.com
http://mleeprints.blogspot.com
http://snowgum.blogspot.com
http://pressing-issues.blogspot.com
http://www.1000woodcuts.com
http://theitinerantartist.blogspot.com
http://PLawing-Printmaker.blogspot.com
http://readdevine.blogspot.com
http://mokuhankan.com/conversations
http://mokuhankan.com
http://belindadelpesco.blogspot.com
http://vizart.blogspot.com
http://phare-camp.blogspot.com
http://amymstoner.blogspot.com
http://williamleeholtfineart.blogspot.com
http://web.mac.com/g_wohlken/iWeb/Site/Blog/Blog.html
http://curiousmatthew.blogspot.com
http://laine.lainegreenway.com/index.html
http://azuregrackle.com/blogs/index.php?blog=2
http://blog.olansa.co.uk/
http://bea-gold-retrospective.blogspot.com
http://www.jauntyrakes.blogspot.com
http://sheiko.blogspot.com
http://studio-window.blogspot.com
http://alynn-guerra.blogspot.com
http://web.mac.com/barebonesart/iWeb/site/blog/blog.html
http://curiouslydrawn.blogspot.com
http://veloprint.blogspot.com
http://kathewelch.blogspot.com
http://serendipityartist.wordpress.com
http://ainescannell.blogspot.com
http://www.pistolespress.blogspot.com