Today's postings

  1. [Baren 40793] Re: buyers market on Ebay (Tibi Chelcea)
  2. [Baren 40794] Re: buyers market on Ebay (thadeenz97 # verizon.net)
  3. [Baren 40795] Re: Print progress (Margot Rocklen)
  4. [Baren 40796] white lines and craziness (Barbara Mason)
  5. [Baren 40797] Re: New exhibition up at Drury University's Pool Art Center Gallery (Ruth Leaf)
  6. [Baren 40798] Re: Chinese New Year cards (Louise Cass)
  7. [Baren 40799] Re: white lines and craziness (l k)
  8. [Baren 40800] Great Moku Hanga Prints (Annie Bissett)
  9. [Baren 40801] RE: Great Moku Hanga Prints ("Browder, Tina")
  10. [Baren 40802] Re: white lines and craziness (ArtfulCarol # aol.com)
  11. [Baren 40803] Re: white lines and craziness ("Oscar Bearinger")
  12. [Baren 40804] Re: Print progress (Georgina Leahy)
  13. [Baren 40805] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Tibi Chelcea
Date: Tue, 09 Mar 2010 13:28:52 GMT
Subject: [Baren 40793] Re: buyers market on Ebay
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Message 2
From: thadeenz97 # verizon.net
Date: Tue, 09 Mar 2010 14:13:28 GMT
Subject: [Baren 40794] Re: buyers market on Ebay
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Hey, if anybody in the Western New York area purchases any of these behemoths and needs help moving them, I'd LOVE to help!
Unfortunately, I'm busy that day. Sorry.
Jeff Dean
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Message 3
From: Margot Rocklen
Date: Tue, 09 Mar 2010 14:35:07 GMT
Subject: [Baren 40795] Re: Print progress
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Georgina,
The darker reflection with the stippled face and light eyelids is very mysterious. I just noticed the eyelashes on the top figure. They reflect the radiating veins in the lily pads and the rest of your line work, unifying the whole. The lily pads melding into the print of the woman's clothing is an appealing hide-and-seek element - the viewer has to take a second look to find both faces amidst the more stylized pattern. Will there be more blocks? How large are these?

Margot Rocklen
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Message 4
From: Barbara Mason
Date: Tue, 09 Mar 2010 16:14:21 GMT
Subject: [Baren 40796] white lines and craziness
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My first attempts were pretty funny...I decided to seal the block with shellac and found that was not necessary....
I thought the lines needed to be deep so carved them so and got them too wide...more funny prints
Finally used a v tool, my least favorite as I hate to sharpen it, and had better luck.
I think I had less control than a knife so am going to try that next.
I got too much water, used no paste at all, and finally printed some strange work.
Finally recut another block with simple shapes and got a decent print using way less water and way more paint.
I really like painting the block one little section at a time. I am using anything I have so part pigment and part watercolors.
The block is beautiful, much better than the print.
I am using the outside kento method of registration and it is working well, not one problem with that.
I was using rives heavy weight paper and it is not so great. I am going for the good Japanese paper soon to see how different it will be and then will try damp paper.
This is taking a lot longer than I anticipated to get a good print, but I am nothing if not tenacious.
My best
Barbara
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Message 5
From: Ruth Leaf
Date: Tue, 09 Mar 2010 18:41:25 GMT
Subject: [Baren 40797] Re: New exhibition up at Drury University's Pool Art Center Gallery
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Mike Size does make a difference. They;re wonderful. Ruth
On Mar 7, 2010, at 1:05 PM, Ruth Leaf wrote:

> Mike I would love to see the vidio. When I click on the url you
> left I can't find it. Any suggestions? Ruth Leaf
> On Mar 6, 2010, at 1:18 PM, Mike Lyon wrote:
>
>> Another solo exhibition of my work opened last night with a one-
>> hour slide lecture by yours truly (movies and photos and
>> lecture). I was SO warmly received and almost everyone stayed
>> awake the entire hour!
>>
>> Here’s video of a gallery walk-through with the director, Rebecca
>> Miller a couple hours before the opening. I think she did a
>> fantastic job hanging the show and... Well, aside from having had
>> one two many martinis at dinner with the arts faculty last night,
>> it just all went so wonderfully well! YAY!!!
>>
>> http://www.youtube.com/watch?v=nucPJy5Yl7A
>>
>> Let me know if you like em – mostly the usually big and small
>> woodcuts and giant drawings – a bit of new work included...
>>
>> -- Mike
>>
>> Mike Lyon
>> Kansas City, MO
>> http://mlyon.com
>>
>>
>>
>
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Message 6
From: Louise Cass
Date: Tue, 09 Mar 2010 18:50:13 GMT
Subject: [Baren 40798] Re: Chinese New Year cards
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Hi all - it's really nice to have this year's cards arriving ! Please
tell me who did the 'White Bengal' and 'Tiger in the Dark'? I hastily
disposed of the envelopes and can't read you signatures?!
thanks
Louise C.
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Message 7
From: l k
Date: Tue, 09 Mar 2010 18:54:24 GMT
Subject: [Baren 40799] Re: white lines and craziness
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Barbara...
I'm working on the third block. 
I'll post it when it's done...yeh, takes time.
I have to not only tape the paper down, but, I make sure it's tacked down also.
Too much time in each print to have it readjusting due to shrinkage or stretching.
Next print will be with the paper already shrunk.
Yes, the block is beautiful once the print is done....
an entirely different beast than the print.
The print, however, has it's own punch.
I am amazed at the watercolor pigment/color
Every one of my colors has a major voice!
Somewhere I read that it was developed as a way to mimic the Japanese printing quality,
but sidestepping the technical demands of the process....
I don't see it as any kind of shortcut, but a process/result all it's own.
There is a call for a printmaking show I just learned about at
http://womanmade.org/pdfs/printmaking2010
to which I'm going to submit the three prints...
because the juror of the show is Debora Wood, senior curator at the Mary and Leigh Block Museum of Art, Northwestern University, and her area of focus is in twentieth-century art and the history and study of prints.
Might as well run them by highly trained eyeballs.
I wonder how they'll stand up to all else that gets submitted.
I only wish I didn't come at these first blocks as experiments....but, I had no idea what I was going to get.
Linda
lindakelen-artings.blogspot
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Message 8
From: Annie Bissett
Date: Tue, 09 Mar 2010 19:30:54 GMT
Subject: [Baren 40800] Great Moku Hanga Prints
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Hi Bareners,

Check out these moku hanga prints by Philadelphia artist Katie
Baldwin. Found them on the Printeresting blog:
http://www.printeresting.org/2010/03/08/katie-baldwin/

best,
Annie B
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Message 9
From: "Browder, Tina"
Date: Tue, 09 Mar 2010 19:40:53 GMT
Subject: [Baren 40801] RE: Great Moku Hanga Prints
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Wow, these are great! Thanks, Annie!

Tina Browder
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Message 10
From: ArtfulCarol # aol.com
Date: Tue, 09 Mar 2010 20:38:54 GMT
Subject: [Baren 40802] Re: white lines and craziness
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I like the approach, Barbara. You remember what you find out on your own.
My most popular woodblock prints are the ones I did when I didn't know much
about what could and couldn't be done. I went my own usual idiosyncratic
way, Carolistic.
"Craziness" no. "Tenacious" , yes.
Carol Lyons
Irvington, NY


In a message dated 3/9/2010 11:14:23 A.M. Eastern Standard Time,
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Message 11
From: "Oscar Bearinger"
Date: Tue, 09 Mar 2010 20:49:02 GMT
Subject: [Baren 40803] Re: white lines and craziness
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hey Carol:

Carolistic ! I love it!

Oscar
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Message 12
From: Georgina Leahy
Date: Tue, 09 Mar 2010 21:43:09 GMT
Subject: [Baren 40804] Re: Print progress
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Hi Margot  thanks for that, I more or less just 'do it' it is very nice to read a well written description, I definately don't have that skill.  

The blocks are A3 size, there might be one more to come .  I have cut these specifically to fit the press I am going to use.    I will proof them with the baren first and I will do that soonish.  I have not proofed the first one yet as I am cutting with it along side this one.  I don't want to wash off the black paint.

Georgina

Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: Mystique Series - first progress report
Posted by: Dave Bull

Exactly six days ago, in the previous post here on the RoundTable, I showed a photo of my 'office', with a woodblock sitting on the desk where I had just pasted down the first of the tracings (hanshita) for the upcoming first pair of prints in the new Mystique series. Since then, I have been completely silent.

Silent - but busy.

Hmm. It's a bit difficult to see the surface of the wood clearly with the desk light on. If I turn it off and leave just the light from the window, it's better: (these are clickable)

And let's move in for a closer peek ... (although at this level, it sure looks messy!)

So there's six days of my life gone ... in a pile of tiny wood chips on the floor around the carving bench! But it has been a most enjoyable and peaceful six days of work - very nice to be 'back at it'!


This item is taken from the blog Woodblock RoundTable.
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Subject: One More Reduction
Posted by: Annie B

Caleb&JoelReduced2
Caleb&Joel#4
Above is the Caleb and Joel block reduced once more, and the impression printed in a wash of burnt umber. I think that might be all I need to do here. Once I add a few other elements to the print I'll re-evaluate to see if the color balance has changed and if I need to reduce the block once more to add even darker tones or not.

Caleb Cheeshahteaumuck, who I have imagined as the figure on the left, and Joel Iacoombs were the first two native American students at Harvard, enrolled in the class of 1665. Both young men were Aquinnah Wampanoag from Martha's Vineyard and both were from well-to-do families. Caleb was the son of a sachem (chief) and Joel was the son of a Wampanoag interpreter who worked with missionary Thomas Mayhew. Both would have attended preparatory school for five years before passing the exams to enter Harvard. They were probably both around age 15 when they arrived.


[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Woodblock Dreams.
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Subject: proof segments
Posted by: Georgina




I am liking them better now, at first I was a bit appalled! I think when I get to the press with some good paper I will be happier. I cannot get a good print at home ever. I don't know how every one else does it! I mean I do, but it just never works for me. There is something so clean and black that I cannot seem to get, even using thin paper. Also I like thicker paper, I find the flimsy paper drives me wild with anxiety that I get a crease or crinkle where I should not.

This item is taken from the blog The Linocutter has a new adventure.
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Subject: Very rough proofs
Posted by: Georgina





I did get to the proofing point today and did so. Cannot say I am thrilled. I need to leave them alone, maybe do a painting. The woman needs some cutting so that the lilly leaf disconnects from the side of her head. I am just sort of half liking her and the other one needs a good print on a press for me to really say. This one probably can amount to something with another layer. I always prefer to get it in one go but it does not always happen.

Now it has been a while since I had printed, but I could not believe how disgusting the graphic oil based was to clean up. I usually proof with a waterbased ink but it was to hot to do that with two prints, so i used the oil based. I softened it with vegetable oil, but it just would not seem to budge and even the turps stugggled. This is really black sticky ink!

Oh well, now to get back to the real world.

This item is taken from the blog The Linocutter has a new adventure.
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