--- Go to the Opening Page of the [Baren] web site ---

Message 1
From: Gayle Wohlken
Date: Wed, 15 Jul 2009 13:52:24 GMT
Subject: [Baren 39342] Re: New Baren Digest (HTML) V48 #4893 (Jul 15, 2009)
Send Message: To this poster

Julio, thanks for showing us your photos from the Tom Killion
workshop. I admire his prints, and it was good to see you had a
chance to watch him work.

Also, Annie, your changes on your Dorothy Bradford print are working
well, I think. How did you do the lettering? Did you actually carve
that? If so, that's some amazing carving.

~Gayle

• [Back to message index]

Message 2
From: "Sales"
Date: Wed, 15 Jul 2009 14:12:03 GMT
Subject: [Baren 39343] RE: New Baren Digest (Text) V48 #4893 (Jul 15, 2009)
Send Message: To this poster

Just a quick note of clarification:



Sturges presses don't come in a 24 x 48" size. They do come in a 25 x
48" - the Sturges CP-5. Current list price for a CP-5 is $7800, so it's
a great deal if you act on it. Sharen, you may want to post this on
Graphic's BBS, too.



If you are interested - be sure to find out if it works (it should), who
is responsible for moving it (probably you), are blankets included (a
toss up) and what shipping might cost to your studio (check with either
a motor freight carrier or a furniture mover. The approximate weight is
14-1600 lbs) Good luck



Dean

• [Back to message index]

Message 3
From: Annie Bissett
Date: Wed, 15 Jul 2009 14:28:19 GMT
Subject: [Baren 39344] Re: Photos from Tom Killion's workshop
Send Message: To this poster

Hi Bareners,

OK, I'll do what I can to spice up the conversation. Really enjoyed
the photos from Tom Killion's workshop. Thanks for posting them,
Julio. His prints are gorgeous. I like the interesting way he uses
black, both to shadow and to outline, but only outlining sometimes.

I read the description of Tom's method on his web site and was
curious about which part of his process is "traditional moku hanga."
In style his prints are clearly Japanese inspired -- multi block,
multi colored landscapes -- but his method seems all western to me.
He's using oil-based inks, a press, brayers. Granted, he's using
Japanese tools and paper and he works with a keyblock. Is a keyblock
unique to moku hanga? I don't know. How about registration? Kento?
I'm not trying to challenge him -- lord knows that talking like this
is printmaker hair-splitting -- but just curious to know if my own
definition of traditional moku hanga (waterbased pigments applied
with brushes and printed with a baren) is too tight.

best to all,

Annie

• [Back to message index]

Message 4
From: Marilynn Smith
Date: Wed, 15 Jul 2009 15:40:47 GMT
Subject: [Baren 39345] Re: New Baren Digest (HTML) V48 #4893 (Jul 15, 2009)
Send Message: To this poster

I am wondering why no one is signing up for this next exchange??? It
used to be that if you did not get to the sign up page very early that
you would not get a spot? Is it the economy, summer weather or just
not much interest? If it is the economy I might mention that this is
a small format, should be more economical for those on tighter
budgets. And, it is also open themed for those who like to have more
freedom of choice. I have also noticed that our exchanges have been
running short, lots of drop outs, even late drop outs. Maybe it is a
sign of the times, don"t know.

Yes it is quiet here. They must be chatting on facebook. Too bad, it
will change this list a lot, I think. Guess I am with Charles Morgan
on this one.
Marilynn

• [Back to message index]

Message 5
From: Louise Cass
Date: Wed, 15 Jul 2009 15:46:37 GMT
Subject: [Baren 39346] Re: Photos from Tom Killion's workshop
Send Message: To this poster

Julio - thanks for introducing me (for one) to Killion's prints -
they're super!
Louise C.

• [Back to message index]

Message 6
From: Louise Cass
Date: Wed, 15 Jul 2009 15:54:23 GMT
Subject: [Baren 39347] Re: New Baren Digest (HTML) V48 #4893 (Jul 15, 2009)
Send Message: To this poster

Marilynn Smith wrote:
> I am wondering why no one is signing up for this next exchange??? It
> used to be that if you did not get to the sign up page very early that
> you would not get a spot? Is it the economy, summer weather or just
> not much interest? If it is the economy I might mention that this is
> a small format, should be more economical for those on tighter
> budgets. And, it is also open themed for those who like to have more
> freedom of choice. I have also noticed that our exchanges have been
> running short, lots of drop outs, even late drop outs. Maybe it is a
> sign of the times, don"t know.
>
> Yes it is quiet here. They must be chatting on facebook. Too bad, it
> will change this list a lot, I think. Guess I am with Charles Morgan
> on this one.
> Marilynn
>
Marilynn - I can't see that there is that much chatting on Facebook - I
joined ages ago because an old friend sucked me in but I contribute next
to nothing - too time consuming - however publicity wise it's may not be
a totally bad idea for those who care...?!
Louise

• [Back to message index]

Message 7
From: Louise Cass
Date: Wed, 15 Jul 2009 16:06:11 GMT
Subject: [Baren 39348] Re: Photos from Tom Killion's workshop
Send Message: To this poster

P.S. to previous -
Apologies for 3 postings in a row but I've been meaning to inquire re
the printmakers in southern UK -I believe there's someone in Dorset?-(
have been in touch with Harry from up North who I hope to meet up with
in London and also possibly David H) I'm setting off for the ramshackle
old house in Normandy end of this month and then will be with my cousin
(owner of aforementioned house) in Bournemouth for Sept...have to check
on my work in the Chateau de Crosville sur Douve and hope to do yet more
sketching in places I'm fond of......I can get at email there so can
keep reading about what people are up to etc
bw to all
Louise

• [Back to message index]

Message 8
From: Jean Womack
Date: Wed, 15 Jul 2009 16:11:20 GMT
Subject: [Baren 39349] Re: New Baren Digest (HTML) V48 #4893 (Jul 15, 2009)
Send Message: To this poster

I am sure that Tom Killion will be remembered as one of the great woodblock
printmakers of all time. Has published books of his prints which are sold
all over the San Francisco Bay Area. He has defined his field of landscape
art in the tradition of the great Japanese woodcutters.. He has open studios
fairly often and he's on my list of things to do pretty soon one of these
days, because I am sure I will not be able to resist purchasing one of his
beautiful prints.

Jean Womack

• [Back to message index]

Message 9
From: Julio.Rodriguez # walgreens.com
Date: Wed, 15 Jul 2009 18:06:59 GMT
Subject: [Baren 39350] Re: Photos from Tom Killion's workshop
Send Message: To this poster

Well Annie, I certainly agree that some aspects of Tom's technique seems
to point more to the western/oil process than to moku-hanga. By his own
words it is a mix of both worlds.

He was influenced by Hokusai and Hiroshige's landscapes as mentioned on
his website and pays tribute to the two masters on several of his prints.
He studied with Toshi Yoshida in the 70's while visiting Japan and picked
up some of his technique there and had some very interesting comments
about his stay there. From what he mentioned at the lecture and we talked
on the side Tom's methods of visualization and creating color separations
pretty much follows moku-hanga (printing light to dark colors first,
etc.). He has much 'respect' for the Japanese water-based printing on
wet paper (baren, kento, etc) but always prints dry on special order
Torinoko paper (by Legion) using a press. A few times while I was there
and workshop students asked about water-based vs oil stuff he deferred to
me for input.

The 'process' further developed when he came back to the states and worked
out other details. He was encouraged and worked closely with the original
owners of McClains. He does not ever take photos but rather works off
detailed sketches. Tom considers himself an artist in that what he sees,
sketches and finally ends up on the final image are his artistic
interpretation but not always an exact representation of the land. He does
not use the kento for registration but rather uses the keyblock to create
copies (kyogos) for proofing the color blocks. His keyblocks and the use
of large black areas is more involved an plays a large role in the
composition of the image than the usual keyblock outline used in
moku-hanga. Registration occurs on the press based off the keyblock
outline (no kento that I saw). The blocks themselves can be small pieces
of thin shina plywood (from McClains I believe) which he temporarily
attaches to 1/2" thick particle board to bring up to standard press
height. I posted a closeup photo of some of his blocks on the
blog...they are for a print called "Bolinas Ridge Sunset" found here:
http://tomkillion.com/gallery/show?keyword=latest

Business is good for Tom and many of his editions have sold out......he
mentioned a current resurgence of interest in his works to the point that
he's been raising the prices on many of his prints (even the new stuff)
before they sell out. At Friday's lecture he showed us one of his
remaining copies of a handprinted large book which contains all original
prints on very special papers (many purchased from Aiko's in Chicago !)
and on which he also did the letterpress/font work. Copies of his
handprinted books sell for several thousands dollars when they come up on
the market..

Before meeting Tom I was very aware of his large body of work and his
magnificent landscapes. Above all I came away with a sense of Tom's great
passion for printmaking, his willingness to share his craft with others
and his undying love for the California landscape.

Julio

• [Back to message index]

Message 10
From: Andy English
Date: Wed, 15 Jul 2009 18:15:51 GMT
Subject: [Baren 39351] Re: Tom Killion's workshop
Send Message: To this poster

Re Tom Killion's workshop

Thank you very much, Julio, for posting this. I am a huge admirer of Tom Killion's work. I have a lovely book that sets his woodcuts alongside journal entries by Gary Snyder.
 
I have started to pack for Chicago - I am terribly excited.
 
Andy

• [Back to message index]

Message 11
From: slinders # comcast.net
Date: Wed, 15 Jul 2009 18:29:38 GMT
Subject: [Baren 39352] Re: Andy's visit to Chicago (was Tom Killion's workshop)
Send Message: To this poster

We're excited about Andy's coming, too!

I'd like to again invite those of you in the area, or those
willing to travel, to come join the Wood Engravers (WEN) on
Wednesday, July 22, at about 1:00 pm. We're setting aside that
afternoon for special time with him, and we'd love to have you
here, too!

Write to me for particulars!

Sharen
slinders at comcast.net

• [Back to message index]

Message 12
From: Daniel Dew
Date: Wed, 15 Jul 2009 20:13:33 GMT
Subject: [Baren 39353] From Whence Inspiration Comes?
Send Message: To this poster

Where do you get your inspiration? Alone, at a party, on a bus, by
seeing it, imagining it, etc.... Just curious if "lightning strikes"
at a time or place in particular?

Daniel L. Dew

• [Back to message index]

Message 13
From: Darrell Madis
Date: Wed, 15 Jul 2009 20:35:07 GMT
Subject: [Baren 39354] Re: From Whence Inspiration Comes?
Send Message: To this poster

Alone, always, and no place or time in particular. Sometimes from dreams, sometimes from seeing someone else's artwork and thinking "I can do better than that!" And sometimes nothing comes at all and it does no good to try and stir up inspiration.

Darrell

• [Back to message index]

Message 14
From: Gayle Wohlken
Date: Wed, 15 Jul 2009 20:52:15 GMT
Subject: [Baren 39355] Inspiration
Send Message: To this poster

Mine comes at odd moments when I get a thrill about something and I
feel restless, and I have to do something about it. Sometimes it
becomes poetry, other times a woodcut. I will admit this hasn't
happened in a while. I, too, usually have to be alone, but not
always. It depends on how strongly the thing captures my
imagination. Sometimes, like Darrel says, it comes from a dream. It
feels as though the mind is in a different realm when it happens, some
wonderful place full of possibilities like an empty canvas and a
stirring from within.

~Gayle

• [Back to message index]

Subject: IN Print and Business as Usual
Posted by: Andy English

This item is taken from the blog Wood Engraver.
'Reply' to Baren about this item.

• Subscribe/Unsubscribe to [Baren] here
• Switch your Digest subscription between 'Plain Text' and HTML here
• Upload your image to be used in these Digests here
• Send your 'ads' for the monthly Ad Roundup to [ads@barenforum.org], before the 15th of the month.
• Most recent statistics on our website are here
• Contact the group managers here
• [Baren] members: if you have a printmaking blog, or a website with a published ATOM feed, and wish it to be included in our daily checklist, please write to the Baren Blog Manager here. (If your blog also contains material other than woodblock-related items, we can only add you if the woodblock posts will be 'labeled' as such. The Blog Managers can provide details.)
• A list of Blogs/Sites currently being tracked by our feed scraper is here