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Message 1
From: Barbara Mason
Date: Tue, 02 Nov 2010 13:59:15 GMT
Subject: [Baren 42247] Re: Alma Print Show
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Linda,
I had Mark Mahaffey, a Master Printer in Portland, print for me once, doing
litho, and it was the height of luxury....I made the plates, he did the work.
It is too expensive to do it often but I thought it was just great! Those old
Moku Hanga Artists had their minds on the next print, not the grunt
work...hahaha

I admit, I do like the printing part myself. My last print for the current
exchange, due yesterday... My Prints are in the Mail, Diane.....was 8 blocks and
I might have done more if I had had more time. It just keep needing another
one....
My best to all
Barbara

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Message 2
From: Annie Bissett
Date: Tue, 02 Nov 2010 14:48:20 GMT
Subject: [Baren 42248] Re: Master Printers
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I chuckled a little when Linda B. brought up the topic of master
printers / contract printing vs. self printing. I have to say that I
was *appalled* when I first realized that my entries into juried
printmaking shows were competing with professionally printed works by
artists who would never refer to themselves as "printmakers." I
thought it was horribly unfair.

And yes, this is especially amusing for moku hanga artists, who are
working in a tradition that has forever been associated with the
"workshop" structure.

However, I've since met a few master printers and watched them work
with artists, and my attitude has softened considerably. Most master
printers work intimately with an artist to help them realize their
vision as closely as possible and in doing so act as a teacher as
well as a technician. It ain't easy.

Sometimes I definitely wish I could hire a master printer. :)

Annie

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Message 3
From: "Kalle Pihlajasaari"
Date: Tue, 02 Nov 2010 16:21:26 GMT
Subject: [Baren 42249] Alma Print Show (Linda Beeman)
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Hi All,

I think part of the panic we may feel is because of the different printing
technologies. Most of us have a relief printing background. With etchings
and dry point engravings the artistic component is supposed to take place in
the creation of the plate and the supervision of the printing until it
passes proof stage, after that it is handed over to the master printmaker
who makes an edition that are supposed to all be the same and no longer
include your input, it is not fair to have unique prints in an edition after
all, it is said. Much time is then spent of rubbing away spots and smudges
from the final prints by other assistants in the process leaving the artist
with time free to create some more art.

Many famous printers have progressed through the Tamarind Institute and the
process does not seen to have harmed them so there must be some method in
the system.

I enjoy (and suffer) printing my relief prints and am a bit wary of etchings
at this time but may try my hand at it one day if I want to try other
artistic outlets.

The reproductive arts come in many flavours and there is something for
everyone.

Regards

Kalle

--

Idyllic Press, Johannesburg, South Africa

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Message 4
From: "Maria Arango Diener"
Date: Tue, 02 Nov 2010 17:08:28 GMT
Subject: [Baren 42250] RE: Alma Print Show
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I like to "play" too much during the printing process to have someone else
do my printing. I'm not a "print-producer", I'm a "print-maker". I suppose
if I became famous and there was high demand for my woodcuts (uh huh), I
might hire someone to ink and run the woodcuts through the press but that
hardly takes a master printer.

My main problem with the division of labor approach is that I don't work
"that way", that is, I don't design everything to its fullest detail and
then print "that." My particular approach is to see how it goes, change
carving with the grain, experiment with papers and colors as I print, and so
on. I don't think I can design something to the point where I can just say
to someone else "print that"; to me, that would be making reproductions of a
drawing/painting/design, not making a print.

I'm not "dissing" the collaborative process, mind you, I don't feel it would
work for me. I did enjoy collaborating with a papermaker for a while; we
designed papers via email and, between my vague ideas and her incredible
craftsmanship, she always came up with the perfect paper.

Maria

[=o=][=o=][=o=][=o=]
www.1000woodcuts.com
www.artfestivalguide.info
[=o=][=o=][=o=][=o=]

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Message 5
From: "Ellen Shipley"
Date: Tue, 02 Nov 2010 17:39:50 GMT
Subject: [Baren 42251] Re: Alma Print Show
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I'm with Maria on this one. I do so much of the work on the fly and I
change things even in the printing stage. I try different colors, inks,
etc. I like the "playfulness" of the process more than the final result.

I'd never be accused of being a production printer, that's for sure. ;->

That said, I admire the skill involved, all the more so because I do not
possess it.

Ellen

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Message 6
From: "Maria Arango Diener"
Date: Tue, 02 Nov 2010 17:48:01 GMT
Subject: [Baren 42252] Re: Alma Print Show
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I forgot to add that most of these professional studios, certainly the
Tamarind, are all about expanding the invited artist's possibilities. That
is, they encourage experimentation of ideas and then have the master
printers to realize what an artist could not have possibly done on their
own. The master printer becomes instant additional expertise for the
designing artist.

So, in other words, it isn't just about the division of labor, it is more an
instant expansion of print-making ability with many more possibilities than
the artist could have on their own.

Maria

[=o=][=o=][=o=][=o=]
www.1000woodcuts.com
www.artfestivalguide.info
[=o=][=o=][=o=][=o=]

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Message 7
From: jcu
Date: Tue, 02 Nov 2010 18:01:16 GMT
Subject: [Baren 42253] Re: Alma Print Show (Linda Beeman)
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HI,

Generally, I lurk on this list. But this is an interesting discussion.

I can't imagine giving anyone my plate to print. Artists who print their
own plates uphold a tradition that goes back centuries (to Durer and
Rembrandt).
Rembrandt considered the wiping of the plate to be akin to making a
monoprint and was not concerned that each copy be printed identically
within the same edition. Sometimes he left a dark film of ink across
his
etching to create atmosphere and other times, he wiped it clean for
clarity.

Passing a plate off to someone else to print might only happen if the
edition was too large to manage. I have to question the notion of a
master printer doing everything for the artist. Part of the joy and
skill of printmaking is the alchemistic experimentation that happens
in every step of the process. Wiping the plate is part of that entire
process of printmaking (for etching/drypoint) and it would be awful
to entrust it to someone else.

joan
canada

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Message 8
From: Tibi Chelcea
Date: Tue, 02 Nov 2010 18:10:13 GMT
Subject: [Baren 42254] Printing relief on primed canvas
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I've recently tried to print some found objects in relief onto a
primed canvas (actually, a canvasboard). I've used Daniel Smith relief
inks. This happened about a week ago, and the inks are not dry (in
fact, they seem as fresh as when printed). There was no mention of
printing on primed canvases in the Baren Forum archives. So, this
little experiment left me with way more questions than I've bargained
for:

- Is printing on primed canvases a non-starter?
- Should I not print on canvasboards? Maybe loose canvas is better to
transfer the image and thus needs less ink, which dries faster/easier?
- Is there anything I could do at this point to dry the inks? Add
something to the printed image? Cover them in spray-on varnish?
- Should I have used different inks? DS were supposed to dry through
oxidation (like any other oil inks), and not through absorption (like
Akua inks). I normally use Caligo and DS inks.
- Should I not use primed canvas? I've never painted on canvas before,
and all intro information that I found mentioned using primed
canvases, but I know that some artists used non-primed ones.
- Should I use a different material to print on -- hopefully something
as good for further painting/stretching on frames?

Thanks,
Tibi

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Message 9
From: Viza Arlington
Date: Tue, 02 Nov 2010 18:37:25 GMT
Subject: [Baren 42255] Re: Printing relief on primed canvas
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The inks should eventually dry but it can take a long time. I have had
problems with DS inks not drying in a timely manner before so i
usually add a drop or two of cobalt drier to them. i called DS one
time and asked about it because my prints where still not dry after
three or four weeks they just said they would eventually dry. I don't
know of anything you can do after printing to make them dry faster. I
would keep experimenting with the canvas board if you like the prints
other than the drying problem next time just add cobalt drier i
usually just guess at how much but someone else could probably suggest
a percentage.
viza

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Message 10
From: ArtfulCarol # aol.com
Date: Tue, 02 Nov 2010 18:45:33 GMT
Subject: [Baren 42256] Re: Exchange #47 technique question
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I thought key block was the traditional way. One can do whatever works
for them but that may not be necessarily called traditional.
_http://rst-art.com/carolgallery.htm#Escheraria_
(http://rst-art.com/carolgallery.htm#Escheraria) Woodcuts
Carol Lyons
(http://rst-art.com/artfulcarol.htm) In a message dated 10/29/2010

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Message 11
From: "Ramsey Household"
Date: Tue, 02 Nov 2010 19:24:01 GMT
Subject: [Baren 42257] Re: Alma Print Show
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Well said!

Carolyn

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Message 12
From: Diane Cutter
Date: Tue, 02 Nov 2010 20:50:41 GMT
Subject: [Baren 42258] Re: Alma Print Show
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I had the unique experience of going on the Tamarind tour last time I was home
in Albuquerque. I believe they have it once a week and you need to call to
reserve a spot. It was wonderful getting a talk about the Institute, a meet and
greet with the resident guest artist, a viewing of past print editions, and then
a tour of the facility. Most of our group were collectors or non-printmaker
artists; I think I was the only printmaker, based on the kinds of questions
asked. It was an education to see how artist and master printer were working
together on some rather large prints.

I would love the opportunity to 'play' on that scale. It was much like a
surgical team, each with their expertise and knowledge, wanting a healthy
patient/beautiful print.

If you take a trip to New Mexico for the art (Santa Fe, Taos, and Albuquerque),
there are three stops in Albuquerque that will make your trip special...
Tamarind (of course), New Grounds Print Workshop (a well run printmaking
facility with adjacent gallery) and, finally, Takach Press. I always pick up
supplies there and lust after their presses; they are always accommodating with
a quick tour (you'd think they'd be tired of me by now).


Diane

www.DianeCutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com

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Message 13
From: Carol Montgomery
Date: Tue, 02 Nov 2010 21:23:45 GMT
Subject: [Baren 42259] Re: Alma Print Show
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This is a very interesting discussion. I thought printmaking was developed as a cheap and fast means for commercial reproduction of images. Thus, European as well as Asian methods were originally done in workshops to speed mass production with many people in different stages - artist/designer, platemaker, printer, apprentices, etc. The single artists who do every step themselves were a modern development when photographic methods came available and superseded etching and relief printmaking.
Carol Montgomery, Helena, MT

Sent from my iPad

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Message 14
From: Viza Arlington
Date: Tue, 02 Nov 2010 22:14:41 GMT
Subject: [Baren 42260] Re: Alma Print Show
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Carol,
I don't think that was entirely the case Rembrandt, Albrecht Durer and
Goya are artists/printmakers that immediately come to mind but there
are many others who made their own etchings, woodcuts, and
lithographs.
viza

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Message 15
From: Carol Montgomery
Date: Tue, 02 Nov 2010 22:55:29 GMT
Subject: [Baren 42261] Re: Alma Print Show
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Yes, I know those come to mind but I was remarking on the majority of prints made and the development of the technical process along with the book arts.

Sent from my iPad

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Message 16
From: David Bull
Date: Wed, 03 Nov 2010 09:14:59 GMT
Subject: [Baren 42262] Question about pigment dispersions
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One of the readers of my Your First Print book posted a question today
on the Support Forum:
http://woodblock.com/support/viewtopic.php?p=273#p273

He included a link to a type of pigment dispersion that I haven't seen
before:
http://www.naturalpigments.com/pigment_dispersions/default.asp

Anybody have any experience with these?

Dave

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Message 17
From: Barbara Mason
Date: Wed, 03 Nov 2010 11:30:33 GMT
Subject: [Baren 42263] Question about pigment dispersions
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No, but I spent quite a bit of time on their website... I think I will order
some and try them, just the basic set that is ON SALE....the whole world seems
to be on sale.
The color names are not exactly standard names for the industry but might be
more true to the real pigments. They are on Pacific Coast Time in Willits,
California... I have never heard of them. I tried to research the company but
could find little, but they are listed everywhere.
Looks like they do a lot of icon paint. An interesting company, they certainly
have a big range of stuff.
My best,
Barbara



He included a link to a type of pigment dispersion that I haven't seen before:
http://www.naturalpigments.com/pigment_dispersions/default.asp

Anybody have any experience with these?

Dave

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Subject: Gift Print 'season' is here!
Posted by: Dave Bull

This item is taken from the blog Woodblock RoundTable.
'Reply' to Baren about this item.

Subject: The Fine Print about a New Print
Posted by: Annie B

This item is taken from the blog woodblock dreams.
'Reply' to Baren about this item.

Subject: Crozet Meadows Fall Display of the Arts
Posted by: Pistoles Press

This item is taken from the blog Pistoles Press.
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Subject: 30th Annual Statewide Print Competition
Posted by: Linda Beeman

This item is taken from the blog Linda Beeman - Printmaker.
'Reply' to Baren about this item.

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