Baren-suji, the newsletter of Baren International Woodblock Printmakers
Baren-suji is the newsletter of [Baren], The International Forum for Woodblock Printmaking. The official internet site of [Baren] is

Baren-suji are the marks left by the baren when printing. Similarly, this newsletter assumes the role of recording the marks left by the woodblock printmakers that constitute [Baren].

Comments and contributions are welcomed. Please contact:
Baren-Suji Editor

Baren and The Encyclopedia of Woodblock Printmaking were created by David Bull in 1997 to promote the art of and share information about woodblock printmaking.

Baren activities include an international discussion forum, a network of woodblock printmakers, workshops and get-togethers, and the very successful Exchange and Exhibition Programs.

To join [Barenforum], simply point your browser to:
and click on Administration Links. Be sure to read the FAQ's and Guidelines of the Forum.

ISSUE 11: January/February 2004

NOTE! To return to this Table of Contents from anywhere in the Newsletter, just click on the barens scattered about.


Aiko's of Chicago
     by Sharen Linder

Peek Into Our Resident Experts' Studios
     by Maria Arango

Book Reviews
     by Barbara Mason Benefits the Community
     by John Amoss


Editor's Notes

Exchange & Exhibition News

Members in the Spotlight

Opportunities for Printmakers

Printmaking Supplies from Traditional Japanese Makers

Copyright © [], 2000-2004
Masthead design by John Amoss Illustration (706) 549-4662 - e-mail:
No part of this newsletter may be reproduced without permission from its publishers
To subscribe to Baren-suji, change your subscription format, or unsubscribe, please go to

Welcome to the January/February issue of Baren-Suji, the newsletter of

This issue was prepared carefully long ago by our tireless editor Julio Rodriguez. In any all-volunteer organization, a few individuals continue to plow forward in order to continue what is now a tradition. I decided to take the reins of Baren-Suji back to alleviate Julio's load. Long ago my life got so busy I did not even have time to read Baren emails; the same is now true for Julio's life.

Recently I had the immense pleasure of hosting a visit by Barbara Mason, another tireless Council member and Baren Mall Manager. Barbara is also president (and many other things) of the Northwest Print Council, a printmaking organization that spans the Northwestern U.S. states. Barbara volunteered to help me with the now infamous (and completed!) puzzle project. We both spent some 30 hours printing the project.

In more personal conversations with Barbara and in many conversations with Julio and other members of the council, I realized that our lives are also busy outside of printmaking. We share personal family burdens and other "life things" that keep us all extremely busy in and out of Baren.

So why do we continue to volunteer and spend every ounce of free time on activities like Baren and the Northwest Printmaking Council and Skokie, New York, Ohio and other exhibitions? Why do individuals continue to step forward to coordinate exchanges and extra exchanges and other exciting projects? I can only speak for myself on the answer, but the questions are worth introspection by all the Baren members.

I simply do what I do to give back to the priceless contribution that this spunky organization has given my life. I sign up for exchanges because I love to make prints and I want to share with other people who love to make prints. In short, I do things for the love of printmaking and for the love of Baren, corny as that may sound. Why do you? and perhaps more importantly...What have you done for Baren lately?

Maria Arango

- David Bull, Baren founder

"We must, indeed, all hang together,
or most assuredly we shall all hang separately"
-Printmaker Benjamin Franklin

*Print above by Barbara Mason, "Red Bridge" from Exchange #15- Hanga-only

A special thank YOU! to the contributors this issue:

Julio Rodriguez
April Vollmer
Sharen Linder
Barbara Mason
Mike Lyon
 David Bull
John Amoss
As always, an extra thank you to our friendly Baren graphic designer, John Amoss, for the Baren-suji masthead design and the many logos that keep popping up in the Barenforum web site and also to our webmasters David Bull, Maria Arango and Mike Lyon for all the behind the scenes work.

Julio Rodriguez, Editor of Baren-Suji hereby giving the reins to Maria Arango
Please direct letters to the editor and comments to: Editor

Remember that your contributions will continue to make this newsletter interesting and palatable for all. To contribute a feature article or an item of interest, please contact: Contributions


Print by Bea Gold, Yellow Bird

First and foremost, I think we all owe a standing ovation to Mike Lyon. Without much of the membership noticing, Mike Lyon took over as Exchanges Coordinator, undertaking the responsibility of overseeing all exchanges and related activities. It is indeed Mike who coordinates with coordinators, updates the website, uploads new exchange pages that seem to come faster every year, communicates with members, guides newbies, and a host of other activities that some of us don't even want to think about. Thank you, Mike Lyon for keeping us all in line.

And now...can you believe sign up for Exchange #20 is closed? 20 exchanges, 30 prints each, do the math...some of us have been accumulating awesome collections! As usual, think of volunteering to coordinate the next exchange; it is a huge job and pays nothing, but the intangible rewards are many. Or just sign up for the next exchange and get involved in the fun.

Remember! General information and links to all exchanges can always be found here:
And in case you missed them, the prints in the Exchange Gallery can delight you here:

"WHAT IS BAREN?" A fun collaborative puzzle project idea by Maria Arango. Complete update on this project in next issue, after the mailing tube dust has settled. The project has been printed thanks to Barbara Mason and the ink is drying as we speak. Each participant will receive their prints and a colophon. Details are here: (Secretly, Maria is already thinking of the next all-encompassing collaboration among Baren members).
CALENDAR-2004 Project. Another project has been completed! Full update on next issue. Julio Rodriguez and some of his Chicago buddies managed to put together a huge number of calendars which are on their merry way to participants. Baren members created prints for several calendar types. Each participant will receive a free calendar and the remaining stock is currently on sale with funds going to help cover the operating costs of For more information and details on Calendar-2004, head over to the Calendar Page
LARGE PRINT Exchange II. Format for this exchange is open, maximum size 22" X 32", 25 prints required. For more information and details on LPE II, head over to the Large Print Information Site. Coordinator Sharri LaPierre and Rudolf Stalder. Prints are due March 1st, 2004.
CHINESE LUNAR NEW YEAR is here! This is the Year of the Monkey, with Julio Rodriguez coordinating (again). The current page is here:
We do one of these every year, with the advantage that cards will come in throughout the first few months of the year. In the past, some participants have been quite late, so be patient as this is the nature of this particular fun exchange.
DECK OF CARDS Exchange. Member Colleen Corradi (Italy) is coordinating a side exchange at Each participant is assigned a playing card to print and will make an edition of 53 prints to exchange with the group.

LEFTIES CAN CARVE! Member Carol Lyons has started a great project for lefties and wannabe lefties. Contact her about all the details

For those wanting to work at their own pace and perhaps do smaller editions, The Baren International Swap Shop is awaiting your prints. James Mundie presides over the Swapshop and is looking forward to adding your prints to those already received.

The Swapshop Gallery can be seen at:

This program is also open to non-members. We hope that you will also encourage non-members to participate so that we can promote the traditional exchange of prints among printmakers throughout the world.

*Print left "Jake, Rescue Dog" by Sarah Hauser

contributed by Sharen Linder

University of Virginia
"The Moon Has No Home: Japanese Color Woodblock Prints from the Collection", Exhibition through March 7, 2004
SYMPOSIUM February 6-7 Friday-Saturday, Ukiyo-e Symposium - Japanese Color Woodblock Prints in the Museum
Friday 4:30 Keynote Address by Sebastian Izzard, formerly with Christie's and author of Kunisada's World
Saturday 10:00 - 3:00 Symposium Herman Ooms, University of California, LA
Dr. Sandy Kita, University of Maryland and co-curator of the Exhibition "The Moon Has No Home" Mr.Timon Screech, University of London
Feb 21 Saturday 12:30 - 4:30pm Japanese Family Festival

New York Museum of Modern Art

Kiki Smith: Prints, Books, and Things December 5, 2003-March 8, 2004

If you are missing out on the exchanges and exhibitions, be sure to tune into the Baren forum and take a gander through the Encyclopedia. Opportunities abound and await!

(Although these are outdated, I chose to leave here to give overdue credit to our members. Apologies for the delay.)

Georga Garside - 3 of my woodcuts are included in the summer issue of the BLACK BEAR REVIEW and 2 more will be coming out in the LYNX EYE both are literary magazines Black Bear Review

Steve Goddard - Just thought you'd like to know that the exhibition "Inspired by Japan" which includes selections from the Baren Moku-hanga portfolio received a very positive response. I neglected to mention that Kat's print is also on display.

Member John Center took part in two group printmaking shows at Anchor Graphics, Chicago. "Printmaker's Ball benefit and art auction" exhibition took place April 26-may 3, 2003. The Art auction was held on Saturday, May 3 7-10 PM. The second show was a group print show of relief printmaking. The opening was held on May 17. Anchor graphics, 119 west Hubbard Street, Chicago, IL 60610

Members Sarah Hauser and Myron Turner exhibiting their prints at the recent International Print Center of New York's New Prints/Spring . Myron's print was an image taken from a Muybridge image of a cat walking, and it had been distorted and pixelized. Sarah had two solarplate etchings on display. Congratulations to both!

by Sharen Linder

For printmakers visiting Chicago, a stop at Aiko's, on Clark Street, heads the agenda!

Aiko Nakane, the founder of Aiko's Art Materials, has been instrumental in bringing handmade Japanese paper and its aesthetic to the United States. Born in Seattle in 1908, Aiko attended high school in Japan and was exposed to such traditional crafts as calligraphy and Ikebana, flower arranging. She remembers the daily household use of Japanese paper whether to simply wrap a gift or to present an item of food at a meal. She likes to tell of the time her mother tightly rolled a piece of paper to tie her daughter's hair back when a ribbon or hair band could not be found. Back in the United States as a student at the Chicago Institute of Art in the early 1950's, Aiko would give Japanese art supplies and papers as omiyage (gifts) to fellow students and friends in the art community upon returning from trips to Japan. Her friends loved the items and clamored for more--thus the beginning of Aiko's Art Materials.

Since the mid-1950's Aiko's Art Materials has provided both supplies and services to its customers. What began as a small concern for a select few in the Midwest has gradually evolved into a world-wide business with orders routinely shipped out to such far-flung destinations as Mexico, England, South Africa and Switzerland. Yet, in spite of this expansion, Aiko's still provides that personal, distinctive style that has been a hallmark of the store since its inception.

Specializing in washi, handmade Japanese paper, Aiko's carries over five hundred types of paper. Japanese handmades, both plain and decorated, make up over ninety-five percent of the inventory. An infinite variety of colors, textures and designs is displayed - enough to tempt every imagination with endless possibilities. The shop serves paper and book artists, bookbinders, painters, and crafters and those in book restoration and conservation. To buy paper at Aiko's is to participate in a ceremony!

Aiko's also carries Japanese woodcut tools, bookbinding tools and supplies, watercolors, inks, and a large selection of imported brushes.

Brushes are an important aspect of Aiko's Art Materials. One hundred different brushes can be found in the store. They are made up of materials ranging from badger and horsehair to sheep and cat hair. Shapes and sizes are specially formulated for use, be it calligraphy, brush painting, stencil dying or painting. Almost all of the brushes are produced in Japan.

Although the specialty of the house is art materials - books on Japanese art and culture, contemporary prints, pottery, cards and stationery, calligraphy supplies and gift items are also available. Contemporary Japanese prints and reproduction prints of the old Japanese masters are on hand. Also, Aiko's carries a large selection of pottery, tea sets, and vases from various kilns in Japan. Included in Aiko's gift area are iron teapots and teacups from Iwachu.

The Aiko Fellowship is an endowed fellowship which honors Aiko Nakane. The Aiko Fellowship is given yearly to an MFA or MA graduate student in the Book & Paper Subdivision of the Interdisciplinary Arts Department at Columbia College, Chicago, in order to encourage young artists, as Mrs. Nakane has done for so many years.

Aiko's Art Materials Import, Inc.
3347 N. Clark St.,
Chicago, IL 60657
773.404.5600, Fax 773 404 5919


In preparing for this issue, I thought it might be of benefit to all to find out what some of our more experienced members keep in their studios. Conversing in Barenforum usually brings out the recommended tools and supplies from many of our members, but in order to improve, what I wanted to know is the real stuff that the pros use in the privacy of their studios when newbies aren't I asked!
What I received in reply will fill a dozen Baren-Sujis, so I decided to divvy up the stuff into sections. The topics of this issue (let's start at the beginning!) are wood and tools.

The Experts' Favorite Wood

"Hmmm... Well, honestly that varies. I've tried a lot of different woods which I admire for different reasons -- planks tend to warp when one side is wetter than the other -- plywood is more stable but presents a characteristic surface as the veneer seems to 'micro-crack' when it is shaved from the logs...
- Cherry -- relatively hard wood resists the knife and very consistent throughout the plank -- not perceptibly harder and softer when cutting across the grain. Easy to carve very fine details and very thin lines and dots which hold together well during extended printing. Cherry's relatively stable when reduction printed in that fibers hold together very tight, so wood doesn't change overmuch during repeated wettings and dryings and recarvings of reduction printing. Planks are capable of lightly reproducing their attractive grain pattern during printing, both relief grain (grain pores print light) and intaglio (grain pores print dark). Heart wood and sap wood on same plank feel similar during carving print very differently. Sap wood (lighter in color) absorbs much more water and expands more than heart wood. Best to pick planks which do not contain sap wood.
- Basswood -- relatively soft wood very easy to carve. Very consistent throughout the plank. Has pronounced grain which tends to reproduce unaesthetically in printing as open areas are softer and more absorbent (and hence print darker) than grain lines. After repeated printings, grain lines can stand up quite a bit above areas between and print very pronounced. This can be a problem in reduction printing.
- Luan Plywood -- splintery during carving (and glue can be quite hard between plys) so carving fine details can be problematic, but prints very pronounced straight-line grain
- Red Oak -- softer than cherry, harder than basswood, tremendous variation in hardness between grain lines -- the grain is very large and open, so the knife tends to skip through them. Prints extremely pronounced grain (intaglio) when pigment is brushed across the grain, and more subtle grain (relief) when pigment is brushed with the grain.
ash -- similar to oak, but a bit harder and grain a bit less open.
- Spanish Cedar -- very soft and very aromatic, it has an open straight grain which prints (relief) in a pronounced way. Fibers don't hold together very well, so it is difficult to retain small islands.
pine -- grain prints very pronounced and runs from very, very hard to very very soft crossing grain lines. Grain tends to 'raise' during repeated rewettings of reduction printing.
- Shina Plywood -- soft like basswood and 'cracked' like birch ply, the splitting process seems to leave little parallel 'bumps' in the wood which print sort of goma-like. Difficult to carve fine details as plys tend to delaminate.
- Birch Plywood -- the process of splitting the veneers from the logs seems to leave little bumps and cracks parallel to the center of the log and those tend to show up in the printing like very mild luan, sort of...
- Magnolia -- I've heard this is good and look forward to trying it."

"Mostly birch or cherry veneered plywood (3/4") but more and more turning to solid cherry or maple for delicate carving of lines. Most blocks I use are salvaged from construction sites or rescued from the dumpster of the local cabinet-making shop. Lumber stores specializing on hardwoods and exotic species are good sources for cutoffs at reduced prices. Ideally for the style of prints I make, a good compromise is to cut the keyblock on solid cherry and the less demanding color blocks on birch-plywood."

"Yamazakura (mountain cherry), tsuge (boxwood). Nothing else used."

"I love clear bass, and the sharp detail of cherry, but I have to admit I mostly stick to 5-ply all-shina from McClain's because it is so light, easy to carve, and can be cut on both sides. My editions are small so I don't loose too much detail."

The Experts' Favorite Tools

"I guess my favorite tool is a 1 1/4" wide ultra-shallow Swedish gouge which I've had since my days as a sculpture student in the early 1970's. Now I use it as you'd use a bull-nose, for smoothing large carved-out areas. Very shallow blade angle and very hard (but somehow durable) steel stays super-sharp almost forever, it seems.

Next-most favorite is a Japanese 12mm shallow gouge, a relatively cheap one with blade fixed in a long wooden handle -- stays sharp, cuts easily, I do all my clearing with this.

Actually, any very sharp tool seems to be my 'favorite' of the moment."

"My favorite tools are a set of three japanese knives I got from David Bull. I think they were hand-me-downs from his teenage daughter Fumi. The set consists of a traditional hangi-to for cutting lines, a small 1/8" aisuki (bull-nose chisel) for delicate clearing around lines and a wider 3/8" aisuki for clearing out larger areas. I have used these three tools exclusively for the last three years but I am looking to supplement the set with 2-3 similar tools for added flexibility in carving."

"Easy question to answer ... a knife given to me by the widow of Mr. Susumu Ito, the carver who was most helpful to me in my earlier days here:

I oil it and preserve it ready for instant use, but will never touch it to wood ..."

"If you can afford it, get the best toh, aisuki and u-gouge you can afford, McClain's has been a good source for me. The inexpensive 7-piece Power Grip set from Japan woodworker is a good beginner's set.

Best Places to Shop:
Baren Mall (See bottom of newsletter!)
Japan Woodworker"

by Barbara Mason
“One Hundred Aspects of the Moon” Japanese Woodblock Prints of Yoshitoshi, by Tamara Tjardes, published by the Museum of New Mexico Press

Tsukioka Yoshitoshi (1839-1892) was born in Tokyo shortly before Japan’s violent transition from a feudal agrarian to a modern industrial society. In the midst of shifting values Yoshitoshi struggled to make woodblock prints for the changing tastes of the general public. Woodblock prints were designed by the artist, carved by master carvers, printed by master printers and sold by publishers. His work reflected the violence of his times but later in his career his work underwent a distinctive stylistic change. Influenced by western art he experimented with concepts of perspective, space and dissonant color combinations. By the 1880’s his series “100 Aspects of the Moon” took on a quieter feel, still using native themes in his prints. His approach to creating individual portraits of the ordinary citizen became groundbreaking. Yoshitoshi was considered a leading designer at the time of his death.

The prints and poetry are beautiful and as always, give a new appreciation for a complex society that we in the west barely understand. Collected from all over the world by Else and Joe Chapman of Santa Fe over two decades, this wonderful collection, in almost pristine condition, is housed in the Museum of International Folk Art. The only thing better than the book would be seeing these prints in person.

“Arthur Wesley Dow and American Arts and Crafts” by Nancy E Green and Joseph Poesch, published by Harry Abrams, Inc. New York

Arthur Wesley Dow taught at Pratt Institute, Columbia University, the Art Students League and his own Ipswich Summer School of Art in the late 1800’s early 1900’s. He was interested in all forms of American art and craft as well as the international art and craft he studied in Paris. His interest were far-ranging and eclectic but the art of the east, specifically the woodblock prints from Japan were the ultimate source for the essential principals of his teaching. . In an oft quoted letter to his future wife, Dow wrote “It is now plain to me that Whistler and Pennell whom I have admired as great originals are only copying the Japanese. One evening with Hokusai gave me more light on composition and decorative effect than years of study of pictures. I surely ought to compose in an entirely different manner and paint better.”

Dow’s students reads like a who’s who of 19th century leaders in the field of Art and Art Education and included such notables as Max Weber and Georgia O’Keeffe. And they carried his teaching ideas with them as they moved away from the east coast to the west. Dow’s approach to art was universal; it could be translated by any artist into any form based on a few simple principles. Composition was the key and he always maintained it was a learned skill, available to all.

This is a great book to add to your collection. It is a always very interesting to see how the East and West borrowed from each other and were sometimes better for it.

by John Amoss

John Amoss
would like to announce that Mr. Antoon Speters from Georgia University has been named the recipient of's second Printmaking award. Along with his award for his winning woodcut, Mr. Speters also received a Hiroshige calendar. Sponsorship made possible by the generosity of contributing members. Photos and website update coming soon.



Print by Mr. Antoon Speters

Ms. Kay Hackl, student at William Rainey Harper College has been named the recipient of's third Print Award for exceptional achievement in relief printmaking. Along with her award Ms. Hackl received a calendar of Japanese Art from The Art Institute of Chicago. She will continue her studies next year at Columbia College, Chicago. Sponsorship made possible by the generosity of contributing Baren members.


PRESS for Sale. Polymetaal press for sale: 4 years old/ bed 24" x 47". 5" upper roller. star wheel. $1750. w/blankets contact: Press is located in CT

Print by Ruth Leaf, Untitled

Lower East Side Printshop
59-61 East 4th Street
NYC, 10003 212-673-5390 or at

Frogman's Press & Gallery, Workshops.
105 North Third Street, P.O. Box 142
Beresford, SD 57004 - 0142
Phone/Fax: (605)763-5082

Kala Art Institute, 1060 Heinz Ave, Berkeley, CA 94710. Workshops and class schedule.

Zea Mays Printmaking
Located in beautiful western Massachusetts and offering a wide array of summer workshops. Zea Mays Printmaking is a studio/workshop dedicated to safer approaches to printmaking. Workshops are limited to 6 people. For further information and images, visit their website, or call the studio at 413.584.1783

Course title: "Special Woodcut Workshop"
Instructor: Mike Lyon (Back by popular demand)
Dates: April 21 - 25 2004
Location: Center for Contemporary Printmaking, Norwalk, CT

Mike Lyon, "Jessica", 2003, Ukiyo-e woodcut, 6.25" x 10.5"
Japanese woodblock printmaking offers precise registration and the luminous brilliance of watercolor using non-toxic materials, minimal workspace and simple hand tools. Japanese woodblock technique differs radically from western relief-printing in that no press is used, no solvent other than water is needed, the pigment sinks deeply into the paper and colors may repeatedly be overprinted practically without limit.

Participants will design, carve and print images using primarily traditional techniques and materials. The instructor will demonstrate kento registration, image transfer methods, tool maintenance and technique, characteristics of wood and paper, types and uses of color brushes, special techniques including over-printing, goma-zuri (grainy printing), bokashi (gradation printing), metallic pigments, mica, and more.

Mike Lyon (b. 1951), BA. University of Pennsylvania, BFA, Kansas City Art Institute. Mr. Lyon manages the quarterly print exchanges for the Baren International Forum of Woodblock Printmaking His solo print show in Kyoto, Japan opens October, 2004.

"Mike taught this class last fall with patience and provided clear, detailed instructions. I recommend this class for any printmaker, beginner to advanced. This technique is adaptable to any artistic style." -- Leslie Giuliani

Course title: "Moku Hanga: Japanese woodblock printmaking"
Instructor: Mike Lyon
Dates: June 21 - 25 2004
Location: Anderson Ranch Arts Center, Snowmass, CO

Mike Lyon, "Dana", 2003, Ukiyo-e woodcut, 16" X 11"

Skill level: Open to all

Concept: Japanese woodblock printmaking enjoys the luminous brilliance of watercolor using non-toxic materials, minimal workspace and simple hand tools. Japanese woodblock technique differs radically from western relief-printing in that no press is used, no solvent other than water is needed, the pigment sinks deeply into the paper and colors may repeatedly be overprinted practically without limit.

Media: Transparent water colors, gouache, paper, rice paste, carving materials and wood blocks

Techniques: Mike will describe and demonstrate kento registration, image transfer methods and carving tools and techniques including sharpening. The workshop will cover the characteristics of a variety of wood and paper; types and use of color brushes and the use and maintenance of the baren, a traditional printing disk. Students will also delve into a variety of special printing techniques including over-printing, goma-zuri (grainy printing), bokashi (gradation printing), metallic pigments, mica and much more.
Activities: Participants in this five-day intensive workshop will design, carve and print images using primarily traditional techniques and materials. The instructor will provide a broad overview of the history of the medium, showing masterpieces of 19th- and 20th- century Japanese printmaking from his own collection.

Prerequisites: All are welcome, so a wide range of skill levels may be represented in the workshop.

Faculty: Mike Lyon will be featured in his first solo exhibition in Kyoto, Japan in October, 2004. He is an avid collector of 18th- and 19th-century Japanese prints, and manages the quarterly print exchanges for the Baren International Forum of Woodblock Printmaking

Tuition: $575.00
Studio Fee: $60.00
Location: Anderson Ranch Campus
Workshop: R0301
Enrollment Limit: 12

Final Opportunity
Considering the date on which this newsletter is being published, the editors thought it might be a good idea to send you off on a little journey to a place that you might not have stumbled across if left to your own devices. Once you have clicked this link, will you ever be able to return ...?


The Wood Engraver's Network (WEN).
Since 1994 WEN is an organization dedicated to the education and enjoyment of relief printmaking and, in particular, engraving upon end-grain wood.
WEN offers the delicate and engaging Block & Burin, a quarterly newsletter (soon to be semi-annual) filled with wood engraving history and wisdom. Members design the cover and it is always a beautiful surprise. Members also exchange prints, called Bundles, on a quarterly basis.
Membership information can be found at WEN's new and improved web site:

Here are a few more:

American Historical Print Society
American Print Alliance
California Society of Printmakers
David Bull - World of Woodblock Printmaking
Lower East Side Printshop
Maryland Printmakers - Welcome
Print Europe
Printmakers Council
Printmaking by Women in Austin, Texas
Southern Graphics Council-Welcome
The Old Print Shop.
The Print Consortium
The Society of Wood Engravers
The Spanish Printmakers Collective
The Wood Engraver's Network Entry Page
Welcome to the International Fine Print Dealers Association (IFPDA) -- Print Fairs, Print Colle
Wood Engravers' Network
World Printmakers

Print at left (untitled) by Horacio Soares Neto from Exchange #14A.


Well, as you can see, this section is empty! I can refer you to several places to gather information and I am requesting a Baren member get involved in gathering these for us.

When I first took the plunge into full-time art, I did not know how to get calls for entries and exhibition notices. Now I get them daily! The strategy goes something like this:

Here are some for starters, do send me additional resources if you know any:


Art Calendar - The Business Magazine For Visual Artists
Art on Paper - Navigation
ArtNexus magazine - Latin American Art
Arts JournalDaily Arts News
Festival Network Online art & craft show, music festival, fair & event guide
Maryland Printmakers - Welcome
Seattle Public Library - Fine and Performing Arts Department, Informed Artist
The Journal of the Print World


The search for good tools and materials is a never-ending activity for the woodblock printmaker. Unlike days of old, when the technology had wide commercial applications and supplies were thus readily available, in the modern world woodblock printmaking has ... how shall we put this ... a rather limited appeal.

In consequence, supplies - good supplies - are difficult to come by in many parts of the world. But there is one place where woodblock printmaking is still practiced widely, and that is Japan. Hobby-level supplies are available locally in any town, in stationery shops and do-it-yourself centers, and professional tools are still made for those who need them.

But Japanese suppliers are focused on their domestic market and have no ability or experience in dealing overseas. The foreign customer too, finds it very difficult to obtain knowledge about the products that are available in Japan, and how to get them.

This is where the printmakers of the [Baren] group are stepping forward - to put these two 'worlds' together.

The [Baren] Mall is a buying service - it has no physical store, there is no inventory, and there are no employees. Orders placed on this website are transmitted to the mall manager (a [Baren] member), who also processes the payment. The manager forwards the order to the appropriate suppliers in Japan, where the goods are immediately packaged and shipped directly to the customer (by Air Post). [Baren] settles the account with the Japanese suppliers later - receiving a small commission in return for acting as 'go-between'.

The dealers are happy to have their products exposed to a global market - the consumers are happy to be able to have easy access to the supplies - and the [Baren] group gets a small boost to its treasury, to help this non-profit group fund some of the exhibitions and activities it undertakes around the world.

Copyright © [], 2000-2004
Masthead design by John Amoss, Illustration (706) 549-4662 - e-mail:
No part of this newsletter may be reproduced without permission from its publishers
To subscribe to Baren-suji, change your subscription format, or unsubscribe, please go to