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Subject:   Baren Digest V10 #891
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Baren Digest             Saturday, 5 February 2000     Volume 10 : Number 891


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

From: Gayle Wohlken <blueman@pantek.com>
Date: Fri, 04 Feb 2000 08:51:15 -0500
Subject: [Baren 8198] Re: Baren Digest V10 #890 

Jeanne, I think the way you are rolling out your colors is called a
Rainbow Roll.

* * *
I gave one of my blocks to a museum in Canada.  I may have mentioned
this before.  It was the cover design for a magazine called  PLAIN,
which is a publication for Amish and Quaker people (now about to print
its last issue as the editor is moving on to publish a book, and work
more with the neo Luddite movement).  The people at the museum requested
the block for its collection.  At first I didn't want to give it because
I was attached to it, but after a while I thought it would be quite an
honor.  So this is a possibility for your blocks.  If your work is
admired for some unusual reason, you might find your block in a museum!

I could scan in a copy of the magazine cover and post it on Show and
Tell.  It's a very simple design and works perfectly for the intent of
the magazine.

Gayle

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

From: Cucamongie@aol.com
Date: Fri, 4 Feb 2000 09:02:25 EST
Subject: [Baren 8199] paper 

Hi all, as I told Graham in a private post, I finally got up the nerve to use 
some of the wonderful paper which I bought from him.  I had been having a lot 
of trouble printing an image (about 11"x16") with a number of large flat 
areas of color.  I printed the first color with this paper yesterday, and it 
was almost like magic the way the paper picks up the color so smoothly, etc.  
Anyway, I know this must sound like an advertisement, but this paper really 
is made for this type of printing (I mean hanga-style woodblock printing).  
The paper I had been using before (Nishinouchi from McClain's) is a very good 
paper but for a larger image with big solid areas of color, the paper I got 
from Graham is a lot thicker and picks up the color better.  I know it's 
expensive, but in the end it's worth it, then you don't end up throwing 
prints out because they didn't come out the way you wanted them to.
just my 2 cents
Sarah

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

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Fri, 04 Feb 2000 09:21:35 -0500
Subject: [Baren 8200] Paper 

I don't print wet, but dry.
I only use water based inks.
Most of my work is very fine reduction blocks (i like the term suicide
blocks!).  I mean very fine lines.
I also like to do a minimum of ten to fifteen colors.
I have been using MASA paper, which is very white but not soo great.
Any recommendations based on the above for a new paper type?
Really like the bright white.

Dan Dew
Tampa, FL

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

From: Brad Schwartz <bschwartz1@uswest.net>
Date: Fri, 04 Feb 2000 06:24:18 -0800
Subject: [Baren 8201] Re: Woodblock printing on Textiles - History 

on 1/26/00 11:13 AM, Meredith Hoar at mhoar@mindspring.com said:

> Hello! My name is Meredith and I have a question about the history of
> woodblock printing. My sister and I have a fashion company in which my
> sister is the designer and I do the marketing. Her niche in the market is
> her uniquely designed textiles. This season she designed her fabrics using
> woodblock printing with pigments on textiles. All of the printing is done in
> India. Anywho...I am working on our marketing materials and would like to
> include some history of the woodblock technique. I asked my sister but she
> does not know about the history. I have done some searching on the internet
> but this is the only site I was able to find. Now, I know that this sight
> focuses on printmaking and not textile printing but I am really at a loss.
> If anyone could help point me in the right direction I would REALLY
> appreciate it.

This is slightly related to the printing on fabric question... but you may
be able to widen your search with some of this information..

I just came back from the University of Iowa and they had an very fine
exhibit called Carved Paper. It was a show of hand carved (heavy weight from
the look of it) Japanese papers... very finely carved and higly detailed.
These stencils were were laid on top of fabric and fabric dye/pigment was
forced through... the patterns and textures I was were very, very nice.

Dave may know the name for this style of 'printing... yes?


Hope this helps a little bit,

Brad

- --
Brad Schwartz <brads@iea.com>
http://www.baschwar.com/


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

From: Arye Saar <saar1@degania-b.org.il>
Date: Fri, 04 Feb 2000 16:36:48 +0200
Subject: [Baren 8202] EX #4 

Maria,
Got it today.
Exited.
Thanx.
As for your image - beautiful! What are the dimensions?
Arye

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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 4 Feb 2000 08:04:11 -0800
Subject: [Baren 8203] Re: Baren Digest V10 #890 

Gayle wrote.....
>Jeanne, I think the way you are rolling out your colors is called a
>Rainbow Roll.

Split fountain is the term used in the printing industry.

>* * *
>I gave one of my blocks to a museum in Canada.

I hope you defaced them slightly..... little tap with a hammer insures that
somebody could not print them for personal gains.

Graham



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

From: Ruth Leaf <ruth@ruthleaf.com>
Date: Fri, 04 Feb 2000 08:12:55 -0700
Subject: [Baren 8204] Re: Baren Digest V10 #890 

Jeanne what you are doing with the laying the colors side by side and
rolling them individually is called a rainbow roll.  If you had a roller
wide enough with the diameter being 4 or 5" you could roll them
together.  Also if you put a bit of transparent base between each color
and move the roller slightly from side to side you get a wonderful
blending of the color.

- --
http://www.ruthleaf.com



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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 4 Feb 2000 08:19:25 -0800
Subject: [Baren 8205] Re: Paper 

Dan wrote....
>I don't print wet, but dry.
>I only use water based inks.
>I also like to do a minimum of ten to fifteen colors.
>I have been using MASA paper, which is very white but not soo great.
>Any recommendations based on the above for a new paper type?
>Really like the bright white.

Using water base pigements on dry paper causes the paper to; Where the
paper gets wet it expands. Where the paper is dry is does not and results
in a warp or crinkle. How do you maintain register with even two or three
colours let alone 15.?

Using damp paper none of the above happens.....

Have you read Sarah's testimonial about Hosho paper that she posted.
Locate a source and try some.

>Most of my work is very fine reduction blocks (i like the term suicide
>blocks!).
Great term..... That should be recorded in the encyclopedia Dave......

The part I hate about reduction plates is there nothing there when you finish.
Us guys that cut a block for every colour have (usually) lovely works of
art to pass down to the family sell, hang on the wall or more wood to start
the morning fire.


Graham



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

From: Maria Arango <Maria@mariarango.com>
Date: Fri, 04 Feb 2000 07:52:21 -0800
Subject: [Baren 8206] Re: EX #4 

Hi Ayre,
The image is 12 x 19 inches roughly.
Thanks for your comments.
Maria

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



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

From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Fri, 4 Feb 2000 11:36:37 -0500
Subject: [Baren 8207] Re: Baren Digest V10 #890 charset="iso-8859-1" 

Thanks Ruth. Gayle and Graham

I just ordered a large roller from Rembrant. It should be here any day now.
I hope so as my next print will also be the same technique; a rainbow roll
or split fountain, whatever!!  The rollers I have been using are about 2".
Maybe that is one reason I am having trouble with my backgrounds!
Hmmm , just a few taps on the woodblocks will do the trick?  Might be an
interesting print with some nice texture.

Jeanne N.


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

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Fri, 04 Feb 2000 12:17:05 -0500
Subject: [Baren 8208] Re: Paper 

Graham, have I ever told you that I love your sense of humor? Truly, no 
joke.

- ----------
>From: Graham Scholes <gscholes@home.com>


>
> Using water base pigements on dry paper causes the paper to; Where the
> paper gets wet it expands. Where the paper is dry is does not and results
> in a warp or crinkle.

With the MASA paper I have not experienced this wrinkling, just that the
paper where printed gets thicker and thicker....


> How do you maintain register with even two or three
> colours let alone 15.?

I developed my own registration system.  One for actual blocks using a base
line and metal registers, one for the lino's with no backing block using
dowel rods and a hole punch.  Very primitive, but effective.  Without the
benefit of a group like this, I had to figure stuff out one step and mistake
at a time.  Or I could just say I'm good, but....

> Using damp paper none of the above happens.....
>
I have the image on the wood, ready to carve and try the "hanga" style, just
need the guts and the time.
>
>>Most of my work is very fine reduction blocks (i like the term suicide
>>blocks!).
> Great term..... That should be recorded in the encyclopedia Dave......

Me too. someone said it a few days ago here and I have adopted it.
>
> The part I hate about reduction plates is there nothing there when you finish.
> Us guys that cut a block for every colour have (usually) lovely works of
> art to pass down to the family sell, hang on the wall or more wood to start
> the morning fire.

I love that part!  I don't want anything left when I'm done.  When it's
done, it's done.  My model for one of my prints wanted the block when I was
done, so I gave it to him.  He was confused about where all the lines went.
The final block conssisted of about three or four minor lines!!!! What a
hoot!

Dan Dew
Tampa, FL
>
>
> Graham
>
> 

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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 4 Feb 2000 09:19:05 -0800
Subject: [Baren 8209] Re: Baren Digest V10 #890 

Jeanne N.
>Hmmm , just a few taps on the woodblocks will do the trick?  Might be an
>interesting print with some nice texture.
>

Yes it is useful.

I have taken fine sand and/or course sand and pounded it with a mallet or
hammer to achieve texture....

Works like a tin whistle....

Graham




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

From: "Rich" <darich@prodigy.net>
Date: Fri, 4 Feb 2000 09:30:47 -0800
Subject: [Baren 8210] flat files boundary="----=_NextPart_000_0015_01BF6EF2.84C7F0A0" 

This is a multi-part message in MIME format.

- ------=_NextPart_000_0015_01BF6EF2.84C7F0A0
Content-Type: text/plain;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

in response to Patsys inquiry about drying racks.  I have a small studio =
and must make use of every inch.  There is no room for drying racks.  =
Instead I have an arrangement that works very well.  I built a long =
frame 30'' x10 feet out of one by two's across this frame you can =
stretch heavy wire every two inches. Thread the wire through two clothes =
pins.  I'm sorry I can't just show you a picture as it is very simple to =
build, easier than discribing.  It looks like a ladder with wire for =
rungs and two clothespins on each wire.

The frame can then be suspended from the ceiling out of the way and =
preserving floorspace.  Your prints when wet canbe hung from the =
clothespins to dry.  I have two of these drying frames in my studio and =
can work on several editions at once.  I am able depending on the size =
of the print to hang about 400 prints at a time.

Andrea
darich@prodigy.net=20

- ------=_NextPart_000_0015_01BF6EF2.84C7F0A0
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>in response to Patsys inquiry about =
drying=20
racks.&nbsp; I have a small studio and must make use of every =
inch.&nbsp; There=20
is no room for&nbsp;drying racks.&nbsp; Instead I have an arrangement =
that works=20
very well.&nbsp; I built a long frame 30'' x10 feet out of one by two's =
across=20
this frame you can&nbsp;stretch heavy wire every two inches.&nbsp;Thread =
the=20
wire through two clothes pins.&nbsp; I'm sorry I can't&nbsp;just show =
you a=20
picture as it is very simple to build, easier than discribing.&nbsp;=20
It&nbsp;looks like a ladder with wire for rungs and two clothespins on =
each=20
wire.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The frame can then be suspended from =
the ceiling=20
out of the way and preserving floorspace.&nbsp;&nbsp;Your prints when =
wet canbe=20
hung from the clothespins to dry.&nbsp; I have two of these drying =
frames in my=20
studio and can work on several editions at once.&nbsp; I am able =
depending on=20
the size of the print to hang about 400 prints at a time.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Andrea</FONT></DIV>
<DIV><FONT face=3DArial =
size=3D2>darich@prodigy.net</FONT>&nbsp;</DIV></BODY></HTML>

- ------=_NextPart_000_0015_01BF6EF2.84C7F0A0--


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

From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Fri, 04 Feb 2000 08:01:25 -1000
Subject: [Baren 8211] Re: Woodblock printing on Textiles - History 

Brad Schwartz wrote:

> on 1/26/00 11:13 AM, Meredith Hoar at mhoar@mindspring.com said:
>
>
> I just came back from the University of Iowa and they had an very fine
> exhibit called Carved Paper. It was a show of hand carved (heavy weight from
> the look of it) Japanese papers... very finely carved and higly detailed.
> These stencils were were laid on top of fabric and fabric dye/pigment was
> forced through... the patterns and textures I was were very, very nice.
>
> Dave may know the name for this style of 'printing... yes?

These stencils are called "katagami". The dying technique in which they are used
is called "katazome" and the specialized paper used to make the stencils is
"shibugami". In katazome, the pigment is not forced through the stencil, a resist
paste made of rice flower is forced through the stencil and into the fabric. It
is then dried, sized, and dyed. Then the resist is washed out, and a new stencil,
with another part of the pattern, can be used to block out a different section of
color.

Jack



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

From: "Ittai Altshuler" <ittai_a@zahav.net.il>
Date: Fri, 28 Jan 2000 13:32:38 +0200
Subject: [Baren 8212] New member, New question charset="windows-1255" 

Hello EveryOne

My Name is Ittai altshuler an artist from Israel . I am a painter and
printer. I am working on site on my own , so in the coming future you can
see my works which includes of course wood cut  works in which I started my
way as graphic artist. I am also intresting in making hand made paper and i
try to combine some sheets I made in work, yet is is very difficult to print
on what i produce manually.

Now is my question. What is the best way to register multi color print when
you print manually and on papers with soft edges Japanese paper.

Thank you and nice to be part of the group
Ittai


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

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Fri, 04 Feb 2000 14:49:50 -0500
Subject: [Baren 8213] Re: New member, New question 

I can answer on how I do it (no pun intended).
Use a hole puncher, and punch all the paper.  Lay down one sheet of punched
paper and trace the holes.  Drill out the circles and insert dowel rods of
the same size as the hole punch into the printing base (or temporary base).
Works great with dry paper, don't know about wet paper, but should work the
same way, I think.

Graham, a little help here.  Don't you have this explained out on one of
your pages?

Dan Dew
Tampa, FL

- ----------
>From: "Ittai Altshuler" <ittai_a@zahav.net.il>
>To: <baren@ml.xx.or.jp>
>Subject: [Baren 8212] New member, New question
>Date: Fri, Jan 28, 2000, 6:32 AM
>

> Hello EveryOne
>
> My Name is Ittai altshuler an artist from Israel . I am a painter and
> printer. I am working on site on my own , so in the coming future you can
> see my works which includes of course wood cut  works in which I started my
> way as graphic artist. I am also intresting in making hand made paper and i
> try to combine some sheets I made in work, yet is is very difficult to print
> on what i produce manually.
>
> Now is my question. What is the best way to register multi color print when
> you print manually and on papers with soft edges Japanese paper.
>
> Thank you and nice to be part of the group
> Ittai
> 

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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 4 Feb 2000 12:07:39 -0800
Subject: [Baren 8214] Re: flat files 

>    in response to Patsys inquiry about drying  racks.  I have a small
>studio and must make use of every inch.  There  is no room for drying
>racks.  Instead I have an arrangement that works  very well.  I built a
>long frame 30'' x10 feet out of one by two's across  this frame you
>can stretch heavy wire every two inches. Thread the  wire through two
>clothes pins.  I'm sorry I can't just show you a  picture as it is very
>simple to build, easier than discribing.   It looks like a ladder with
>wire for rungs and two clothespins on each  wire.   The frame can then be
>suspended from the ceiling  out of the way and preserving
>floorspace.  Your prints when wet canbe  hung from the clothespins to
>dry.  I have two of these drying frames in my  studio and can work on
>several editions at once.  I am able depending on  the size of the print
>to hang about 400 prints at a time.   Andrea darich@prodigy.net 

Ya..... lets here it for Hanga prints that do not require a drying rack....
Stick them between pile of chip board and a few brick on top for pressure.
Presto .... in three days they are dry and flat as the proverbial

Graham .



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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 4 Feb 2000 12:28:43 -0800
Subject: [Baren 8215] Re: New member, New question 

>Hello EveryOne
>
>My Name is Ittai altshuler an artist from Israel .
>
>Now is my question. What is the best way to register multi color print when
>you print manually and on papers with soft edges Japanese paper.
>
>Thank you and nice to be part of the group
>Ittai

Welcome a board.....

Kento marks.  You can see the corner one at
http://members.home.net/woodblocks/kento.html
which is located on the bottom left corner of the carved plate.
The second (not illustrate) is a flat kento located about 3/4 the distance
along the bottom from the corner kento.  The paper is cut clean on the
corner and in the appropriate position matching the bottom edge kento.

If this is not clear let me know and I will make a page with pictures.
Maybe some one here knows where there is detailed pictures and discription
in the encyclopedia about this.


Graham




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

From: B Mason <bemason@concentric.net>
Date: Fri, 04 Feb 2000 15:24:15 -0800
Subject: [Baren 8216] New print 

Dave,
I have been watching every day as you print the new bird print and want
you to know how much I am enjoying it coming to life! Seeing it one step
at a time is very helpful.
Barbara

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

From: baren_member@w.com (Dan Dew)
Date: Fri, 4 Feb 2000 19:10:22 -0500 (EST)
Subject: [Baren 8217] cool site 

Message posted by: Dan Dew

check this site out, it's really cool.

Dan Dew
USA


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

From: baren_member@w.com (Dan Dew)
Date: Fri, 4 Feb 2000 19:10:54 -0500 (EST)
Subject: [Baren 8218] cool site 

Message posted by: Dan Dew

check this site out, it's really cool.
http://www.gibbes.com/Jap.htm

oops on previous psot.

Dan Dew
USA


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

From: Julio.Rodriguez@walgreens.com
Date: Fri, 4 Feb 2000 18:12:46 -0600
Subject: [Baren 8219] exhibit update & dragons 

Just a small reminder....if you have participated in exchanges #1 - #4 and would
like to contribute to the
Skokie library exhibit....this is the time to take a couple of minutes and send
your check. So far
I have received mail from 15 out of the 58 participants. I am finalizing the
frame order and need to know what
kind of budget I am dealing with. The agreed amount was $15 per participant
regardless of number of your prints
that will be on exhibit.

 As is quoted somewhere in the Baren intro from one of our founder fathers and
printmakers...Ben Franklin...

"We must all hang together...or surely we will all hang separately".


For those in the dragon exchange.....there are a few stragglers...including my
own sick dragon that is having a
hard time learning to fly. I need to know for those still working away.....size
of print and orientation of image (vertical or horizontal)....if you signup but
won't be able to complete it by mid-march, no problema!, but send me a private
email so I know not to make room or include you on the large dragon display
panel. Right now I have four rows of vertical dragon cards and three rows of
horizontal dragons to account for the 23 dragons I have received so far  ...the
original measurements for the display was going to be 4' X 4'....but a few of
you have been feeding your dragons multi-vitamins or something....and I am going
to have to resize to accomodate the larger prints....this may give Maria's
monster-block a run for the money...

Please let me know....construction is currently going on!!!!!

Julio Rodriguez
3801 Dobson
Skokie, Illinois
60076


Thanks..............Julio



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

From: inklinepress@inetnebr.com (Jaime)
Date: Fri, 4 Feb 2000 22:40:43 -0600
Subject: [Baren 8220] Re: flat files 

Graham,

Flat as the proverbial... What?

jaime



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

From: slinder@mediaone.net
Date: Fri, 04 Feb 2000 21:43:27 -0600
Subject: [Baren 8221] Re: Need replacement for Exchange #5 

Hello, Jean!

I am new to Baren, but have been keeping up with the 'mailings' for at least a
year.  Is your 'spot' still open in the latest exchange?  Do you have the due
date for that exchange?  I expect that I've paused long enough that the place
has long been filled....    I don't know if that's good or bad news for me.  I'm
lingering at the edge of the 3' end of the pool, and it's taking me a long time
to dangle my foot in, notwithstanding taking that jump!

Congratulations on your "outstanding" in preparedness!  In teaching that will
always stand you in good stead with your students!

Best wishes!
Sharen Linder

Jean Eger wrote:

> Dear Bareners,
> Well, it is the third week of my student teaching and I am ready to
> surrender to the fact that I don't have enough time to print 30 prints for
> the Baren exchange.  If there is someone out there who wants to take my
> place in Exchange #5, please letl me know.  You'll be pleased to know that I
> did get an "outstanding" in preparedness.
> Jean Eger


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

From: David Bull <davebull@w.com>
Date: Sat, 05 Feb 2000 12:41:21 +0900
Subject: [Baren 8222] Couple of things ... 

First: Julio has set up a page for collecting information needed for his
Chicago show.  _All_ people who will be involved with this - that means
anybody who has participated in a [Baren] Exchange - please head over
there and fill out the information that he needs for the display panels,
etc.

It'll only take you a moment, and will save him a lot of time.

Thanx

http://w.com/temporary/julio.html

***

Second: to all of you who are not living in Japan, you perhaps don't
know that 'our' day is coming up soon.  Yes, there are signs all over
town announcing the special day set aside to honour this printmaking
group of ours.  Next door in the convenience store there are signs
announcing our day prominently displayed over racks of merchandise.  And
the stuff is flying off the shelves!

Yes, just a little bit over one week to go ... until _our_ day is here!

Our day?

Yes!    February 14th!

Ba
re
n
ta
i
n
de
e
!

:-)

Dave


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

From: slinder@mediaone.net
Date: Fri, 04 Feb 2000 22:30:48 -0600
Subject: [Baren 8223] Hello! 

Hello to all of you!

My name is Sharen Linder, and I'm a printmaker and painter from the Chicago
suburbs.  I found your group a year ago, and have followed postings in the Digests.
In them I found enthusiasm, mutual encouragement, and information.  I look forward
to finally being part of your group.

Sharen


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

End of Baren Digest V10 #891
****************************