[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest              Sunday, 21 December 1997      Volume 01 : Number 021

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From: David Bull <davebull@asahi-net.email.ne.jp>
Date: Sat, 20 Dec 1997 23:06:43 +0900
Subject: [Baren 104] Re:  Mind of a printer 

Bill said:
> Quantity is a potential in
> printmaking, one that sets it apart from painting.  

Yes, of course I have to admit that printmaking is not _only_ about
large editions.  But if the printmaker doesn't have the ability to make
_two_ prints the same, then he doesn't have the ability to make _one_
the same (if you see what I mean!).

All of us who have tried woodblock printmaking know that feeling of
flipping the paper up off the block after an impression and saying 'Wow,
look at that!  Look at what came out!'  We maybe didn't quite plan it
that way, but something beautiful resulted.  That may be an interesting
'game' to play, but it sure doesn't leave the impression that the
'artist' had much to do with the result.

There is a wonderful passage near the beginning of Hiroshi Yoshida's
book about this.

> Such an artist may be likened to the skipper who sails out of a harbour 
> without any fixed destination in mind.  The ship proceeds over the sea 
> this way or that, as willed by the wind and tide, and then when he comes 
> in sight of land, the skipper points to it and says that that is his destination.  
> That is absurd.

So I guess what I'm getting at is that we must aim to develop the
ability to make _exactly_ the print we want to make.  If after reaching
that goal, we choose to make one beautiful print, or a hundred, it will
make no difference.  But a whole lot more people will be able to enjoy
it if it is the latter case ... 

Dave

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From: Ray Esposito <brassring@brassring.org>
Date: Sat, 20 Dec 1997 09:09:44 -0500
Subject: [Baren 105] Re:  Mind of a printer  

Dear Bill and Koinu

Speaking not as the novice printmaker I am but as a print collector of 37
years, I could not agree more.  I do not think Koinu is being uptight.  The
artist, and gallery, in the example presented, are misleading the
collecting public.  There is absolutely nothing wrong with printing even
radical variants but as a collector they should be signed and numbered as a
different series.  If the artists is pulling just one print before making a
variant, this is no different than pulling a monoprint and then reinking
the "ghost" to pull additional prints.

Taking a counter point however, I might be willing to accept the artist
doing this if as Koinu suggests, he is upfront about it.  If the collector
is told, in writing, that each print from the series is a complete varient
with the plate being unchanged but the inking was completely different, I
might buy such a numbered series.  I would have to think about it.

It is is interesting point I had not considered before and would love to
see other opinions, particularly from any artists who might practice this
way.  One of the great things about art is that it is always changing and
evolving.  Who is to say what is "right" or "wrong" and what tomorrow will
bring.

I hope everyone has a wonderful holday season.

Ray Esposito

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From: David Bull <davebull@asahi-net.email.ne.jp>
Date: Sun, 21 Dec 1997 18:36:45 +0900
Subject: [Baren 106] Season's Greetings! 

Xmas message for [Baren] ...

The Night Before a Printmaker's Christmas


'Twas the night before Xmas, and all through the shop
No printmaker was stirring, work was all at a stop;
The tools were hung up in their places with care,
The workbench was clean, on it nothing was there;
The gouges were nestled all snug in their rack,
Carved blocks were beside them, piled up in a stack;
The brushes on shelves, the chisels in a case,
The pigments in drawers, all was in place.
When up to my ears, there arose such a clatter,
I sprang from my bed to see what was the matter.
Down to the workshop I ran on the floor,
Turned the key in the lock, and flung open the door.

The moon in the window threw light on the scene;
I rubbed my eyes wildly, was all this a dream?
For my tools were all jumping, from rack and from shelf,
They came running and dancing, each moving himself!
On the bench stood the baren; to my disbelief,
He called them around him, he must be the chief.
More rapid than lightning, the tools they all came,
And he whistled, and shouted, and called them by name;
	"Now 'washi', now 'sumi', now 'nomi' and 'hake'!
	On 'hangi', 'enogu', with 'nori' and 'take'!
	To your place on the bench, from your place on the wall,
	Get to work! Get to work! Get to work all!"

I stood in amazement as they all started working,
The scene was a bustle, not one tool was shirking.
The knives and the chisels cut lines in the block,
As the baren stood watching, one eye on the clock.
While the carvers were busy, the others prepared
The paper and pigments, the work was all shared.
From the door where I stood I was able to see
all they were doing, no one looked up at me.
The woodchips were flying, two mallets were busy,
Just watching the action made me feel a bit dizzy.
Then the woodblock was ready, the chisels adjourned,
The baren sprang up "Now it's time for my turn!"

His cover of bamboo was tight like a bow,
And the oil on it glistened as he walked to and fro;
He was cocky and proud, a right jolly old elf,
And I laughed when I saw him, in spite of myself.
A brush ran on the block, mixing colour and paste,
The paper then followed, lying down with no haste.
Then up jumped the baren, his face a wide smirk,
He spoke not a word, and went straight to his work.
He slid to the left, and he slid to the right;
He pressed down the paper with all of his might.
At last it was finished, the print was pulled free;
The tools then all gathered, to inspect it with glee.

But just then I coughed, the sound was a boom;
Everybody froze solid, no one moved in the room.
The baren then shouted "It's the end of the game!"
And whistled, and shouted, and called them by name;
	"Now 'washi', now 'sumi', now 'nomi' and 'hake'!
	On 'hangi', 'enogu', with 'nori' and 'take'!
	From your place on the bench, to your place on the wall,
	Back with you! Back with you! Back with you all!"

The tools all ran back to their own proper place,
Of the night's busy action there remained not a trace.
In the space of a second, the bench it was bare,
And nothing remained but the print that lay there.
The work was well done and the printing was clear,
My tools are well-trained, and their message sincere.
On the paper I read, what a beautiful sight:
"Happy Christmas to all, and to all a good night!"


*          *          *

Cheeze!  You'd think I had nothing else to do!

I hope you all have a wonderful holiday.  Reach over and give your kids
a hug!

Dave Bull

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End of Baren Digest V1 #21
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