Today's postings
- [Baren 39851] Re: Impact Conference in Bristol! (Annie Bissett)
- [Baren 39852] Re: Impact Conference in Bristol! ("Mark Mason")
- [Baren 39853] Re: Cressida Campbell (alexg # riseup.net)
- [Baren 39854] Re: EX41 (Robin Zebley)
- [Baren 39855] Re: Cressida Campbell (Sharri LaPierre)
- [Baren 39856] Re: EX41 ( slinders # comcast.net)
- [Baren 39857] Re: Cressida Campbell (Viza Arlington)
- [Baren 39858] Re: Cressida Campbell (Bobbi Chukran)
- [Baren 39859] Re: Washington Lottery Ad (Bobbi Chukran)
- [Baren 39860] Re: printmaking residencies (Barbara Mason)
Message 1
From: Annie Bissett
Date: Wed, 30 Sep 2009 13:33:34 GMT
Subject: [Baren 39851] Re: Impact Conference in Bristol!
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April, thanks for the links to your photos from Impact 6 and the
Surimono moku hanga portfolio. What wonderful work! I also enjoyed
connecting faces with some names I've heard often over the years.
http://picasaweb.google.com/aprilvollmer/
IMPACT6SurimonoInternationalPortfolio#
best,
Annie
Surimono moku hanga portfolio. What wonderful work! I also enjoyed
connecting faces with some names I've heard often over the years.
http://picasaweb.google.com/aprilvollmer/
IMPACT6SurimonoInternationalPortfolio#
best,
Annie
Message 2
From: "Mark Mason"
Date: Wed, 30 Sep 2009 17:01:45 GMT
Subject: [Baren 39852] Re: Impact Conference in Bristol!
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Hi April,
Did you manage to get to Kari Laitinen's talk/demonstration on new materials
for woodblock printmaking?
I was reading his profile on the Impact website, and was interested in the
results of his 3 year, funded research on the subject.
Would you be able to share with us his findings as I can't find anything on
the internet relating to it?
Here's the excerpt from his profile:
In 2008 he received 3-years funding from Emil Aaltonen's Foundation to
complete his material research entitled, New Block Material for Japanese
Woodblock Printmaking; into finding new block material from Scandinavian
wood and to replacing cherry wood for Japanese watercolor woodcuts.
The research will be made by co-operation with University of Joensuu, Dept.
of Physics and Mathematics; Mikkeli University of Applied Sciences and the
team in Kyoto: Keizo Sato, Master Printer, Ukiyo-e Printing Studio, Shoichi
Kitamura, Master Carver and printmaker Tuula Moilanen.
Cheers,
Mark.
Did you manage to get to Kari Laitinen's talk/demonstration on new materials
for woodblock printmaking?
I was reading his profile on the Impact website, and was interested in the
results of his 3 year, funded research on the subject.
Would you be able to share with us his findings as I can't find anything on
the internet relating to it?
Here's the excerpt from his profile:
In 2008 he received 3-years funding from Emil Aaltonen's Foundation to
complete his material research entitled, New Block Material for Japanese
Woodblock Printmaking; into finding new block material from Scandinavian
wood and to replacing cherry wood for Japanese watercolor woodcuts.
The research will be made by co-operation with University of Joensuu, Dept.
of Physics and Mathematics; Mikkeli University of Applied Sciences and the
team in Kyoto: Keizo Sato, Master Printer, Ukiyo-e Printing Studio, Shoichi
Kitamura, Master Carver and printmaker Tuula Moilanen.
Cheers,
Mark.
Message 3
From: alexg # riseup.net
Date: Wed, 30 Sep 2009 21:33:28 GMT
Subject: [Baren 39853] Re: Cressida Campbell
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I saw a full exhibition of Cressida Campbell's work only six months ago.
It was at the Art Museum of the University I work at. Most of her pieces
are very large (over a meter high) and where ever possible she displays
the block and the print together.
Here's a blurb from the pamphlet I picked up at the show:
----------
Technique:
The artist creates a composition which is drawn from life directly onto a
plywood block using a linear drawing technique. The line drawing is then
precisely carved out of the wood block using an engraving tool. The block
is lightly sanded by hand, removing the pencil lines from the surface of
the block. The colouring of the block takes place on an easel in her
studio. Campbell uses watercolour paint which is densely applied to the
surface of the block with a fine brush in two separate coats and the
process can take from one week to two months to complete. The dry block is
placed flat and then lightly sprayed with water before a piece of paper
moistened with a sponge is placed on top of the block. A lino roller is
used to apply pressure to the back of the Dutch Etching paper and the
moistened paint transfers onto the paper to create a print. This process
of printing onto paper reveals an image that is the reverse of the
woodblock print. The mottled surface of her prints is the result of the
spraying of the painted woodblock to subtly reveal the colour over a
period of time. The resulting woodblock itself also becomes an artwork and
the two complete works are exhibited together.
-----------
Her prints have a real 3d feel to them, you can see the layers of colour
and often there will be layers of cracked watercolour paint (like decades
old paint on a house). I think that the process of printing for her takes
so long (weeks for one registration) that she only ever does one.
Her work was very impressive and unique seeing as she only ever carves out
the outlines within the image, 95% of all of the print is essentially a
transfered watercolour painting.
Alex
Brisbane, Australia.
It was at the Art Museum of the University I work at. Most of her pieces
are very large (over a meter high) and where ever possible she displays
the block and the print together.
Here's a blurb from the pamphlet I picked up at the show:
----------
Technique:
The artist creates a composition which is drawn from life directly onto a
plywood block using a linear drawing technique. The line drawing is then
precisely carved out of the wood block using an engraving tool. The block
is lightly sanded by hand, removing the pencil lines from the surface of
the block. The colouring of the block takes place on an easel in her
studio. Campbell uses watercolour paint which is densely applied to the
surface of the block with a fine brush in two separate coats and the
process can take from one week to two months to complete. The dry block is
placed flat and then lightly sprayed with water before a piece of paper
moistened with a sponge is placed on top of the block. A lino roller is
used to apply pressure to the back of the Dutch Etching paper and the
moistened paint transfers onto the paper to create a print. This process
of printing onto paper reveals an image that is the reverse of the
woodblock print. The mottled surface of her prints is the result of the
spraying of the painted woodblock to subtly reveal the colour over a
period of time. The resulting woodblock itself also becomes an artwork and
the two complete works are exhibited together.
-----------
Her prints have a real 3d feel to them, you can see the layers of colour
and often there will be layers of cracked watercolour paint (like decades
old paint on a house). I think that the process of printing for her takes
so long (weeks for one registration) that she only ever does one.
Her work was very impressive and unique seeing as she only ever carves out
the outlines within the image, 95% of all of the print is essentially a
transfered watercolour painting.
Alex
Brisbane, Australia.
Message 4
From: Robin Zebley
Date: Wed, 30 Sep 2009 21:53:05 GMT
Subject: [Baren 39854] Re: EX41
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I got mine today and was thrilled!! Some of you oldies may not remember
just how educational exchanges are for us relative newbies. There's a
treasure trove of info to be gleaned from these.
And now I have to go buy more frames. I just can't bear to put them
away...but I have room, that's half the battle!!
Thanks so much Joe for your hard work on this! I truly appreciate being a
part of this exchange. Robin
just how educational exchanges are for us relative newbies. There's a
treasure trove of info to be gleaned from these.
And now I have to go buy more frames. I just can't bear to put them
away...but I have room, that's half the battle!!
Thanks so much Joe for your hard work on this! I truly appreciate being a
part of this exchange. Robin
Message 5
From: Sharri LaPierre
Date: Wed, 30 Sep 2009 22:12:17 GMT
Subject: [Baren 39855] Re: Cressida Campbell
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Carole,
To answer your question - yes, I do. I haven't done monoprints of wood
blocks, but the way I am printing my intaglio solarplates, they would
be very difficult to edition. Some of the technique I've developed is
described in my latest blog entry, I don't recall if it was included
in the Digest, or not - I think it probably was, but since it was not
woodblock per se, probably no one bothered to look at it. If you're
interested the address is I tried to
edition this method once and it was a disaster. Mainly because it is
very easy to get too dark too fast and then there is little going
back. Each print is an adventure and it sure is fun! I don't know
that I would do only 1/1 of a woodblock, but for a commission it
really wouldn't be any different than a painting and I would just
charge accordingly...
Cheers,
Sharri
Message 6
From: slinders # comcast.net
Date: Wed, 30 Sep 2009 22:16:03 GMT
Subject: [Baren 39856] Re: EX41
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The EX41 prints are on display at William Rainey Harper College,
Palatine, Illinois, in Building P for three weeks.
The exhibit was only half up, and already folks were stopping,
talking among themselves about the prints, admiring and enjoying
the work!
And in the printmaking studio, papers were felt, including
handmade papers from around the world, prints were analyzed,
inks/pigments were discussed, ---and we gulped at the wonderful
delicate reduction print sent by Carole! It is a very strong
set of prints!
Robin, I agree! The exchanges are educational for everybody!
Best wishes,
Sharen
Palatine, Illinois, in Building P for three weeks.
The exhibit was only half up, and already folks were stopping,
talking among themselves about the prints, admiring and enjoying
the work!
And in the printmaking studio, papers were felt, including
handmade papers from around the world, prints were analyzed,
inks/pigments were discussed, ---and we gulped at the wonderful
delicate reduction print sent by Carole! It is a very strong
set of prints!
Robin, I agree! The exchanges are educational for everybody!
Best wishes,
Sharen
Message 7
From: Viza Arlington
Date: Wed, 30 Sep 2009 22:26:31 GMT
Subject: [Baren 39857] Re: Cressida Campbell
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I am sorry if i am being dense but is this part of the process repeated over
and over? "The dry block is placed flat and then lightly sprayed with water
before a piece of paper
moistened with a sponge is placed on top of the block. A lino roller is
used to apply pressure to the back of the Dutch Etching paper and the
moistened paint transfers onto the paper to create a print." Also what is a
lino roller?
thanks
viza
and over? "The dry block is placed flat and then lightly sprayed with water
before a piece of paper
moistened with a sponge is placed on top of the block. A lino roller is
used to apply pressure to the back of the Dutch Etching paper and the
moistened paint transfers onto the paper to create a print." Also what is a
lino roller?
thanks
viza
Message 8
From: Bobbi Chukran
Date: Thu, 01 Oct 2009 00:14:24 GMT
Subject: [Baren 39858] Re: Cressida Campbell
Send Message: To this poster
>. The dry block is
>placed flat and then lightly sprayed with water before a piece of paper
>moistened with a sponge is placed on top of the block. A lino roller is
>used to apply pressure to the back of the Dutch Etching paper
>
Oh my gosh, all this time I've been fighting like mad to keep my
prints dry, it never occurred to me to make a print this way. It's
almost like a transfer process, isn't it?
Thanks for taking the time to tell us how she does them, Alex.
bobbi c.
grackle stew studio
http://www.bobbichukran.com
>placed flat and then lightly sprayed with water before a piece of paper
>moistened with a sponge is placed on top of the block. A lino roller is
>used to apply pressure to the back of the Dutch Etching paper
>
Oh my gosh, all this time I've been fighting like mad to keep my
prints dry, it never occurred to me to make a print this way. It's
almost like a transfer process, isn't it?
Thanks for taking the time to tell us how she does them, Alex.
bobbi c.
grackle stew studio
http://www.bobbichukran.com
Message 9
From: Bobbi Chukran
Date: Thu, 01 Oct 2009 01:58:21 GMT
Subject: [Baren 39859] Re: Washington Lottery Ad
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> this is the link to the online ad you click on the apple at the top
>after the $10k=
> http://www.walottery.com/sections/LotteryGames/Match4.aspx?Page=win10k
>viza
>
I think that's the best commercial use of a woodblock print I've ever
seen. Congratulations!
bobbi c.
grackle stew studio
http://www.bobbichukran.com
>after the $10k=
> http://www.walottery.com/sections/LotteryGames/Match4.aspx?Page=win10k
>viza
>
I think that's the best commercial use of a woodblock print I've ever
seen. Congratulations!
bobbi c.
grackle stew studio
http://www.bobbichukran.com
Message 10
From: Barbara Mason
Date: Thu, 01 Oct 2009 05:30:58 GMT
Subject: [Baren 39860] Re: printmaking residencies
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Jenn,
The southern graphics council, http://www.southerngraphics.org/ had a vendor that had a compiled list from the entire usa...I also think the American Print Alliance can help you out. There site is http://www.printalliance.org/
my best
Barbara
The southern graphics council, http://www.southerngraphics.org/ had a vendor that had a compiled list from the entire usa...I also think the American Print Alliance can help you out. There site is http://www.printalliance.org/
my best
Barbara