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Baren Digest              Tuesday, 18 January 2000      Volume 10 : Number 865


----------------------------------------------------------------------

From: elizuno <elizuno@midcoast.com>
Date: Mon, 17 Jan 2000 09:50:44 -0500
Subject: [Baren 7774] Name&gender 

To Le Green...........and Josephine
I long ago learned to sign my art work with just initials........E.B.Atwood
I have found many differences in treatment with the disclosure of gender
and none so stark as in the art market. The most hurtful came from a New
York gallery that discovered I was a middle-aged mom from the suburbs.
After what seemed to be a promising relationship, they simply stopped
speaking to me.
Back when we were doing commercial art, most of my work went out under my
husband's name....very useful.....and more profitable.
I can see where being connected with academia might carry one over this
obstacle. Or does it? I'd like to hear from some of our University gals on
this subject.

Josephine........ your tree porposal....if it is not too confining....trees
are it, for me!

Welcome all new Bareners.............ElizA



------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Mon, 17 Jan 2000 08:28:02 -0800
Subject: [Baren 7775] Re: Name&gender 

ElizA wrote....
>Josephine........ your tree porposal....if it is not too confining....trees
>are it, for me!

I have not followed the goings on re this.  Can you bring me up to date. I
may find time to get involved.

Graham



------------------------------

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Mon, 17 Jan 2000 11:42:45 -0500
Subject: [Baren 7776] Re: Name&gender 

I know "me too" is not allowed, so, suffice to say I would be interested
also in participating.

Dan Dew

P.S. I don't have my own website, would someone care to work with me in
setting up a questionare?  Or, I could set it up and some one could post it.
- ----------
>From: Graham Scholes <gscholes@home.com>
>To: baren@ml.xx.or.jp
>Subject: [Baren 7775] Re: Name&gender
>Date: Mon, Jan 17, 2000, 11:28 AM
>

> ElizA wrote....
>>Josephine........ your tree porposal....if it is not too confining....trees
>>are it, for me!
>
> I have not followed the goings on re this.  Can you bring me up to date. I
> may find time to get involved.
>
> Graham
>
> 

------------------------------

From: Gregory Robison <grobison@swiftuganda.com>
Date: Mon, 17 Jan 2000 19:20:26 +0300
Subject: [Baren 7777] Re: happy day 

Kampala, 17 January 2000

Dear John: Congratulations on the arriveal of RMA.  Great career move!  Y'see,
now that you have two kids, they can take care of each other!  More time for you
and Margaret to go out to restaurants, hang out on the corner, make prints!  In
a couple of months, one'll change the other's diapers before he goes off to
clear the table and do the dishes...

Truly impressive that Margaret did it all without pain meds.  My wife Liane did
the same thing...ten hours or so of labor and not a peep out of her...even tho'
at the end it was Dr. Ripp and Nurse Paine, attending (I kid you not).

Yours,
Greg

PS I'm sure you did a great job, too, John buddy...all that waiting around 'n'
stuff.

John Amoss wrote:

> Happy Day!
> Please allow a proud papa to introduce Robert Malcolm Amoss. The 8lb 7oz
> boy was born this morning 01/13/2000. Mother and baby are doing well. Wife
> Margaret was amazing- a natural delivery with no pain relief!
>
> -John Amoss
>
> P.S. I think he will be a good printmaker as he made such a fine impression!
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>        AMOSS ILLUSTRATION, INC.
>     (706)549-4662 FAX(706)549-3962
>          amoss@mindspring.com
>        www.mindspring.com/~amoss
> 365 Ponderosa Dr.,Athens, GA 30605 USA




------------------------------

From: Gregory Robison <grobison@swiftuganda.com>
Date: Mon, 17 Jan 2000 19:41:15 +0300
Subject: [Baren 7778] Re: Hello boundary="------------3A460F81996024D6D2D8D3D5" 

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Kampala, 17 January 2000

Welcome Kevin Foley of Alexandria.  I also saw that Yoshida exhibit at
the Smithsonian while passing through Washington in October, and was
impressed and delighted by three things: (1) The almost watercolor-like
quality of some of those prints.  (2) The sheer volume he turned out.  I
think it said somewhere that he did thirty-odd prints from that trip.
Partly as a result of my visit to that show I have revised my concept of
artistic greatness to include quantity as well as quality.  We may know
the Great Ones from a few famous works, but the more you get to know
them, the more you realize that they operated at an awesome level of
productivity in terms of numbers of works produced at a consistently
high standard; and (3) the wonderful displays of several prints from the
same set blocks but colored differently, such as that view of the
village of Darjeeling and the distant Himalayas in morning, at midday
and in the evening.   Although I was practically alone in the rooms of
the gallery, I am happy to hear someone (else) found it so inspiring!

Gregory Robison

Kevin Foley wrote:

> Greetings, My name is Kevin Foley and I am writing from Alexandria
> Virginia.  I recently viewed an exhibit of Yoshida Hiroshi's (?)
> woodblock prints of India and Southeast Asian themes. I was thoroughly
> amazed at the depth and subtle gradations of color that could be
> produced from a relief printing process.  I searched the web for
> information on the process -- naturally I found this group and the
> Encyclopedia.  I've been reading the encyclopedia and postings to the
> group and have decided that this is something I have to try myself.  I
> have wood, paper, pointy metal objects, pigment and paste.  This
> weekend, into the fray! Thanks David, for creating this site and
> thanks to all who contribute. Learning opportunities like this are
> really the web at its very best. Kevin

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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
<body bgcolor="#FFFFFF">
Kampala, 17 January 2000
<p>Welcome Kevin Foley of Alexandria.&nbsp; I also saw that Yoshida exhibit
at the Smithsonian while passing through Washington in October, and was
impressed and delighted by three things: (1) The almost watercolor-like
quality of some of those prints.&nbsp; (2) The sheer volume he turned out.&nbsp;
I think it said somewhere that he did thirty-odd prints from that trip.&nbsp;
Partly as a result of my visit to that show I have revised my concept of
artistic greatness to include quantity as well as quality.&nbsp; We may
know the Great Ones from a few famous works, but the more you get to know
them, the more you realize that they operated at an awesome level of productivity
in terms of numbers of works produced at a consistently high standard;
and (3) the wonderful displays of several prints from the same set blocks
but colored differently, such as that view of the village of Darjeeling
and the distant Himalayas in morning, at midday and in the evening.&nbsp;&nbsp;
Although I was practically alone in the rooms of the gallery, I am happy
to hear someone (else) found it so inspiring!
<p>Gregory Robison
<p>Kevin Foley wrote:
<blockquote TYPE=CITE><style></style>
<font size=-1>Greetings,</font>&nbsp;<font size=-1>My
name is Kevin Foley and I am writing from Alexandria Virginia.&nbsp; I
recently viewed an exhibit of Yoshida Hiroshi's (?) woodblock prints of
India and Southeast Asian themes. I was thoroughly amazed at the depth
and subtle gradations of color that could be produced from a relief printing
process.&nbsp; I searched the web for information on the process -- naturally
I found this group and the Encyclopedia.&nbsp; I've been reading the encyclopedia
and postings to the group and have decided that this is something I have
to try myself.&nbsp; I have wood, paper, pointy metal objects, pigment
and paste.&nbsp; This weekend, into the fray!</font>&nbsp;<font size=-1>Thanks
David, for creating this site and thanks to all who contribute. Learning
opportunities like this are really the web at its very best.</font>&nbsp;<font size=-1>Kevin</font></blockquote>

</body>
</html>

- --------------3A460F81996024D6D2D8D3D5--



------------------------------

From: "Bea Gold" <bnj50@earthlink.net>
Date: Mon, 17 Jan 2000 10:08:10 -0800
Subject: [Baren 7779] cutting & clearing detail- wood? charset="iso-8859-1" 

Dave, master, your response to Maria's question about the carving of the
little triangles" together with
http://www.w.com/surimono/process_2.html
make an excellent word/picture lesson.  I have been getting chipping out on
the shina when I try for thin lines, I think it's because of the layers in
the plywood. Or is it that I'm carving too deeply? Your boxwood is a solid
plank but you said "this wood isn't quite as hard and dense as I would like
it to be". I have some cherry and will use it next for the key block and
then the shina for the color blocks.  Do you sand and varnish your blocks
first? Thanks for everything, Bea

------------------------------

From: Brian Lockyear <brianl@synopsys.com>
Date: Mon, 17 Jan 2000 10:22:33 -0800
Subject: [Baren 7780] cutting & clearing detail- wood? <200001171803.DAA47706@ml.xx.or.jp> 

Over the last few months I've been having a lot of trouble with chipping on
the shina.  Was driving me crazy.  My thoughts were that the quality of the
shina had gone down significantly or that I was simply carving too
agressively.  I knew that I used to be able to good cuts. 

But then last week I impulsively bought several new tools from Elaine at
McClains and *WOW*.  Its like carving butter again.  I can leave the finest
lines I've ever worked.  I'd just let my old tools slowly degrade in
sharpness over a long period of time.  The new blades were back to having a
razor edge again.

So!  Keep your tools sharp.  Angle your blade away from the line you wish to
leave and don't put any pressure on that line once you've defined it.  The
top layer of the shina pops off very easily.  For detail areas I incise just
through the top ply layer, do a back cut to clear a "v" grove around my
space, and then carefully use a chisle to pop the top ply loose areas that I
want to clear.  In larger cleared areas I gouge down further to avoid leaving
stray marks on the print.

But if you push against those fine lines they will pop off.  And if you are
carving very deeply you apply more pressure and so have a greater chance of
applying it to the wrong place.  

Sincerely-

    - Brian -

------------------------------

From: Maria Arango <Maria@mariarango.com>
Date: Mon, 17 Jan 2000 10:42:33 -0800
Subject: [Baren 7781] Re: cutting & clearing detail- wood? 

While we're at it, anyone tried plank maple for detail work? I just
bought meself a beautiful board to practice some detailed images I have
in mind. Seems quite a bit harder than cherry and also very dense.
How does it compare to boxwood?

Re: What's Maria up to... I'm working on
Chinese-grand-landscape-ink-drawings type images, Dave, which will
require large blocks of harder wood, but much detailed carving. My first
one is 32" x 11" a-la-scroll. Can you spell masochism? Or as you say, if
you love doing something, isn't it better if takes a long time?

Gottakeepatit
Maria
- --
<><><><><><><><><><><><><><><><><>
Maria Arango, Printmaker
The Printmaking Studio
http://www.printmakingstudio.com
<><><><><><><><><><><><><><><><><>




------------------------------

From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Tue, 18 Jan 2000 09:59:05 -1000
Subject: [Baren 7782] Re: cutting & clearing detail- wood? 

Bea Gold wrote:

> I have some cherry and will use it next for the key block and
> then the shina for the color blocks.  Do you sand and varnish your blocks
> first?

That seems, at first, like a good solution, but I suspect that you will have
problems with registration as the cherry and the shina will expand quite
differently when wet.

Jack



------------------------------

From: Studio Dalwood <severn@acay.com.au>
Date: Tue, 18 Jan 2000 08:01:33 +1100
Subject: [Baren 7783] Trees again 

Hi everyone

having mouse problems today. 

I hope I havent stuffed up again. again! If I have, please realise its
just youthful enthusiasm, or not so youthful. I'm talking about exchange
#6. Is there a 'rule' I didnt know about that says those in #5 cant be
in #6? Where do we go from here, David? Please help.

Graham, I wondered why you were being so quiet. I bet you've been doing
that 'work' thingy again?

Maria, large landscape type scrolls. Yum Yum. I thought you said
'gottatakeapee' for a minute.

Does anyone know anything about electo etching on aluminium? I have had
a query and know nothing about this. replies offlist please.

Josephine

------------------------------

From: Wanda <robertson@canby.com>
Date: Mon, 17 Jan 2000 15:17:23 -0800
Subject: [Baren 7784] Re: questionaire 

Hi Daniel,

I think I could do the questionaire on my (sort of) web site for you.
Just write me an e-mail with the questions & I'll put it up & people can
send the answers to you & you can compile them for Baren. How does that
sound? Simple but effective.

Wanda



Daniel Dew wrote:

> P.S. I don't have my own website, would someone care to work with me in
> setting up a questionare?  Or, I could set it up and some one could post it.

------------------------------

From: David Bull <davebull@w.com>
Date: Tue, 18 Jan 2000 08:09:42 +0900
Subject: [Baren 7785] Trees, trees, and more trees ... 

Boy oh boy ... everything is happening all at once here ...  The set-up
for my annual exhibition is tomorrow, the phone is going crazy with
inquiries; I did two newspaper interviews yesterday, who knows what's
going to hit today, still haven't got everything together for the
gallery yet ... this is almost like having a baby or something!  (Just
kidding, John!)

And now [Baren] is clamoring for attention too ...

Gayle wrote:
>  Is this tree thing
> separate from Baren Exchanges? Is it like the dragons, an exchange on
> the side?  I have this feeling if it becomes the next Baren Exchange, a
> lot of us who want to be in it, won't get in it because we are in Baren
> #5.  

Trees, trees, trees ...  There certainly does seem to be quite a lot of
interest in this tree idea of Josephine's - perhaps too much!  Here I
thought we were just getting started with Exchange #5, which from a few
of the postings I've read, seems to be giving people plenty to think
about, and plenty to chew on.  And now you want to make trees, too ...
and you want to make them right now!

I've been batting around ideas on this with a number of you to try and
find the 'best' way to handle some of these issues, and that has helped
clarify things considerably.  (Actually it's been more than 'batting
around', but more on that a bit later ...)

Let's handle the tree thing the same way we did with the dragon thing -
not as an 'official' [Baren] exchange, but as an 'event' directed by one
(or more) of the members, in this case Josephine, obviously. The idea
came from her, and she has quite clear ideas on what she wants on the
tree concept - including a number of points that are not really
compatible with our Exchanges.  (50 prints, jurying, her private
exhibition, etc. etc.)

So Josephine, over to you; make a posting announcing just what it is
you want people to do, along with all the why, where, how, etc.

Once this tree activity gets going, it is going to generate a _fierce_ 
amount of email - coordination discussion, tree ideas, you name it. 
In order that this doesn't engulf [Baren] in a wave of arboreal activity, 
why don't you yourself Josephine, set up a 'side' mailing list to handle 
it all? I don't know if your server down there will run mailing lists, 
but if not then you can use any one of the free list servers available 
on the web. (I think [Baren] member Brad Schwartz set one up a while 
ago; you could ask him for input on this perhaps.)

As for our 'own' next exchange [Baren Exchange #6], it is still way too
early to get started with that one (especially as so many of you will be
making a tree), but let me just leak out at this point that it will be
'open' - there will be no theme. After portraits, ten colours, and now
trees, it's time to let you loose on your own ideas ...  

And now, excuse me please, but duty calls.  It's just turned 8 in the
morning here, and the phone is about to start ringing again, I'm sure
...

Dave


------------------------------

From: "John Ryrie" <johnry@hotkey.net.au>
Date: Tue, 18 Jan 2000 13:39:56 +1100
Subject: [Baren 7786] wood? charset="iso-8859-1" 

Maria said:
> While we're at it, anyone tried plank maple for detail work? I just
> bought meself a beautiful board to practice some detailed images I have
> in mind. Seems quite a bit harder than cherry and also very dense.
> How does it compare to boxwood?
>
I use maple end grain for wood engraving if that's what you mean.  It's good
but you won't get really fine detail as you do with box wood.  but  on the +
side it is about 1/2 the price and I fined it works well for certain images.
I have used a maple plank for woodcuts as well but it was back in 1983 so I
don't remember what it was like to cut.

    John


------------------------------

From: "John Ryrie" <johnry@hotkey.net.au>
Date: Tue, 18 Jan 2000 13:52:50 +1100
Subject: [Baren 7787] exhabition charset="iso-8859-1" 

Good luck with the exhibition David.
    John

------------------------------

From: Gregory Robison <grobison@swiftuganda.com>
Date: Tue, 18 Jan 2000 08:00:28 +0300
Subject: [Baren 7788] Trees; Kampala Show 

Kampala, 18 January 2000

I did not respond to Josephine on the sacred trees proposal but I would be
happy to do one on a 'parallel exchange' ("//X"?) basis .  My first 'plein
air' relief print -- drawing on the block 'in situ' as if it were a piece of
paper and carving & printing away from the studio -- was of one of those
thousand-year-old olive trees on the Greek island of Thasos a couple of years
ago.

I will shortly have an update on the X5 show in Kampala.  I have become the
development advisor to the gallery, and have submitted a draft financing plan
for a range of initiatives, which the director will use in speaking to the
Minister of Gender, Labour and Social Development on Thursday.  (That's the
Ministry to which the national gallery is attached.)  We're going to have
about half a dozen local printmakers exhibit at the same time as Baren, will
organize demos and educational displays about the art form, and will have a
"leave behind" consisting of a printmaking studio at the gallery for demos,
workshops and workspace for upcoming artists.  I myself am going to be
donating some work tables, inks and additives, etc., to the gallery's
studio.  I'm very excited by the whole thing, in part because the Ugandan
principals are so excited by it.  I'm still hopeful that X5 will shine
through with a clear 'Junin Toiro' theme (although I'm having a devil of a
time with it myself), and would welcome other Baren members not participating
in the exchange to nevertheless join us in the show, if they can produce on
that theme.   Next big hurdle is the budget for the show, which I'm working
on.  More soon (unless David would prefer that I switch to a private channel
for X5 and Kampala Show participants only...)

Gregory Robison




------------------------------

From: "Keri & Tom Marion" <smarmy@att.net>
Date: Mon, 17 Jan 2000 21:18:26 -0800
Subject: [Baren 7789] HI! boundary="----=_NextPart_000_0005_01BF6130.64A7B460" 

This is a multi-part message in MIME format.

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Some of you may have this message already, but this is for the Baren group.
I thought I'd introduce myself.

My name is Keri, and I'm a recent abductee of the printmaking world. I
carved my first linoleum just last week and have been looking forward to
carving more and more and more.

I have been drawing (seriously) for about 10 years and have been painting in
oil and watercolour for only about 2 years. I just recently abandoned
community college in favour of going to a university (not sure which) in the
fall of 2000.

 I have always lived on the West Coast (USA), and most recently, Spokane,
WA. I am married and childless. We have 2 cats (one's a bit gimpy and the
other has a social disorder) and a dog with ADD. So far, things are good.

So I look forward to getting to know all of you and your special insights to
printmaking. I am absolutely in favour of learning new techniques and
incorporating traditional methods with new methods.

 See ya!
 ~km

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<DIV>&nbsp;</DIV>
<DIV><FONT size=3D3>I have been drawing (seriously) for about 10 years =
and have=20
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recently=20
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which)=20
in the fall of 2000.</FONT></DIV>
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most=20
recently, Spokane, WA.<SPAN class=3D510001205-18012000> =
</SPAN></FONT><FONT=20
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and the=20
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good.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D3>So I look forward to getting to know all of you and =
your=20
special insights to printmaking. I am absolutely in favour of learning =
new=20
techniques and incorporating traditional methods with new =
methods.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D3>&nbsp;See ya!</FONT></DIV>
<DIV><FONT size=3D3>&nbsp;~km</FONT></DIV></FONT></BODY></HTML>

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------------------------------

From: Studio Dalwood <severn@acay.com.au>
Date: Tue, 18 Jan 2000 17:51:03 +1100
Subject: [Baren 7790] Trees trees 

I always seem to have my big foot in my big mouth!

Sorry Dave, I should have realised how busy you are. Thankyou for being
so helpful and understanding. 

Ok. I will try to put together my first mailing list re the sacred tree
exchange and then post to that so anyone who wants to get involved
please mail me offlist with name and email address so I can include you.
This will then be the last on-list tree discussion. I have about 18
people jotted down to start this with. They are dimitris, curtis, eliza,
dan, liz, jean and jeanne, brad, maria, julio, wanda, christy, john,
jandi, gayle, jan, georga sarah and me. You all dont need to mail me I
have your addresses already filed.

I will also put together an equivalent of the baren exchange page so you
can all see what is required and who is on the list. I guess this is the
claytons [baren] exchange, the exchange you have when you are not having
an exchange.

For financial reasons re postage, with most of you stateside we will
need a volunteer to coordinate the exchange, cos I'm too far away. Oh,
and what about boxes?

Please any suggestions directly to me until I've done the mail list.
Lets repect Dave's wishes please. I may need to post one more to pass on
the page url.

On another note I just came up from the studio where I proofed the #5
print and I'm a happy camper *grin* 
Off to buy paper and new ink later this week then the editioning begins.
yippee!

Josephine

------------------------------

From: David Bull <davebull@w.com>
Date: Tue, 18 Jan 2000 17:06:22 +0900
Subject: [Baren 7791] Re: activities  

Greg wrote, re Yoshida Hiroshi:
> (2) The sheer volume he turned out.=A0 =

Remember though that Yoshida didn't work alone. The art was of course
totally his own, but he had professional carvers and printers working
for him full-time, doing the actual manufacture of the prints.

And the printers are still at it, on the same blocks ...

***

Bea wrote:
>  I have been getting chipping out on
> the shina when I try for thin lines, =


Well, 'thin lines' and 'shina' in the same sentence ...?  This might be
your problem.  Layered wood like shina plywood is really most useful for
wide areas of colour; it's not so suitable for line work.  The
'equation' is pretty straightforward ... the thinner the lines you're
after, the harder the wood you will need.

> Do you sand and varnish your blocks first? =


Plenty of other [Baren] members will disagree with me on this one, but
no, I neither sand, seal, varnish, nor anything ...  The wood works just
fine by itself, in its natural condition.

***

Greg wrote:
> More soon (unless David would prefer that I switch to a private channel=

> for X5 and Kampala Show participants only...)

... and Josephine added:
> This will then be the last on-list tree discussion ...

Did I speak too strongly this morning about 'too many' emails?  If so,
then I hope I didn't leave the wrong impression - I'm not trying to ban
any of this stuff from the forum. It's just that I want to try and find
the best balance between _discussion_ and _organization_. Do you see
what I mean?  Discussions are wide open and free flowing - they are the
heart of this list, and are of interest to everybody.  But once an event
has begun, and most of the emails on the topic start to become devoted
to details of _organization_ - these emails should best be 'aimed' just
between the people involved.  We've done this with each Exchange so far;
once the participants list has been set, we set up a CC: field with all
the names in it, for messages to go back and forth just between those
people.

The 'get together' that is happening soon in LA is also a good example 
- - it was set up out on the main forum, the participants were gathered 
that way, and it has now switched to off-line for the myriad details of
organization.

So Josephine and Greg, please don't be afraid to talk about your plans
out here on [Baren]. You still need to get a bunch more people involved
I think, and perhaps you even still need feedback on just what sort of
exchange/show to be having. But after that, once you've got everything
set, you can then handle the details on the side between the
participants directly. That should give us the best balance I think!

For all of us then, when posting on whatever topic, think about whether
your message is 'discussion', and thus for everybody on the list, or
'organization', just for a few people.

Dave


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End of Baren Digest V10 #865
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