Baren Digest                Monday, 21 May 2001        Volume 15 : Number 1426


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From: Cucamongie@aol.com
Date: Sun, 20 May 2001 10:19:08 EDT
Subject: [Baren 14495] rice paste 

Jeanne, go ahead and dilute the rice paste with some water, that's fine to 
do.  I put my rice paste in a little plastic squeeze bottle and dilute it til 
it's the thickness I like, then I squeeze a few dabs out onto the block - I 
find for hanga this is better than brushing it on, as it doesn't 
inadvertently pick up color from the block as you go - also find it useful 
for when I'm glueing things, as I already have it diluted.
Sarah

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From: Sunnffunn@aol.com
Date: Sun, 20 May 2001 13:01:57 EDT
Subject: [Baren 14496] Re: Baren Digest v15 #1421 


I disagree that it is a sin not to be archival.  The work is what counts and 
some  non archival papers will last some good time.  If the paper works for 
my project, I use it.  I prefer archival , but it is not a sin not to be.  I 
have run prints on all sorts of things and in history many artists have drawn 
or painted on surfaces that did not last forever.  Even archival will with 
time begin to slide away.  I guess my experimenter nature is showing here as 
I will use anything that makes the piece work well for me.
marilynn


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From: slinder@mediaone.net
Date: Sun, 20 May 2001 12:05:36 -0500
Subject: [Baren 14497] Vandercook proof press... 

There is a (tabletop) Vandercook Proof Press available today on
ebay.  Anyone near Dallas/Fort Worth needing one?  It will print
type high blocks (as in linoleum mounted on wood, or wood
engraving block height) on a 15"x42" bed.  Thus far the bidding
is $2.76.  Transportation seems to be it's challenge.  Mine was
heavy but not big...easy fit into the back of a van or SUV.

<http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=589216935>

Sharen

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sun, 20 May 2001 10:09:34 -0700
Subject: [Baren 14498] UKansas acceptance of Baren portfolio charset="iso-8859-1" 

Dave, this really is very good news.  Thanks very much Stephen, for taking
the Baren collection.  It is possibly the first internet print exchange
ever.  No doubt it is the first internet wood block print exchange!  It
certainly looks into the future of international communication and
friendship, not to mention promoting wood block printmaking, Japanese style.
I remember encountering Mr. Goddard at 2 am on the internet, in 1995, when
the World Wide Web was first being colonized.  He sent me a message and I
wrote back, what are you doing awake at this time in the morning?  We were
trying to get our web sites up and running.  I was incredibly excited at
what the web would do for art education.

I used the Baren folios in my presentation of hanga printmaking at San
Francisco State University last week.  The art department chair was totally
pleased and wanted to see more of the prints.

Thanks again, Stephen Goddard, for your acceptance of the Baren prints!

Jean Eger Womack
http://www.jeaneger.com



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From: FurryPressII@aol.com
Date: Sun, 20 May 2001 14:57:06 EDT
Subject: [Baren 14499] Re: Vandercook proof press... 

If you live where this press is  snap it up.  It is the perfect tool for 
printing western method relief prints.  It will work for other printing 
methods as well.  Works great for the oil based method of zerox transfer (if 
you want more info on that e-mail me) will work for paper  & plate litho as 
well.  As i have an etching press i have not tried it for that but i think it 
would work on a small etching as well.  It would be a good buy for the price 
of moveing it.  Rember a very small prof. quality etching press new cost 
1200$ and my vandercook proofing press will print block 14 by 18" and if i 
take off the gripper bar i can print blocks that are longer than that if i 
run it through the press twice (has worked for 14" by 36".

    Back to editioning of prints.  Editioning of prints as we know it is a 
modern idea. There is a printmaking organization that defined the terms and 
generally accepted meanings (i have forgoten its name but i could look it up 
if necessary)  Letterpress printing (wood cuts & woodengraving) and Japanese 
relief printing both grew in the commerical printing of there time and not as 
an art form the idea of editioning prints came to them both at amuch later 
time of there development,.   Thomas Buick the inventer and/or popularizer of 
wood engraved illustations had been told he would only make 100 copies of one 
of his blocks he would  ROFL  (roll on the floor laughing) a block he cut for 
an english newspaper head was printed for over 250,000 times.   And the 
Japanese publishers printed as many as they though they could sell.  Some 
wood engraved blocks were sterotyped and printed in houndreds of places at 
the same time.    And another aspect of the idea behind editioned prints was 
the concept of origanality vs. reproductivty both of which were not as 
important as viewed today.  The majority of prints before the modern period 
were reproductions of another image with or without the approval of the 
origanal artist.  A famouse case of this was Durer case agaist Mantaga  at 
the time Albrect could sue over his signature  "AD" and not the use of his 
image.

    As  wood blocks have a long and well known history one could enter them 
at any time you would like and it would be historiclly accurate but mono 
prints (types) came in as a modernist activity. they can be of two different 
types one uses a matrix (such as a wood block) and the other uses a plain 
plate of some kind.  The kind using a matrix can be reproduced as an edition 
but it may not be this being at the descrition of the printer or artist.  The 
type using a plain plate will at most give you two copies the first darker 
copie and its goast usually a lighter copie.  It would be imposible to make 
more exact copies. 

    On  editioning intaligo prints the generally accepted practice is to make 
them the same in an eddition.   A beginner should get the same image each 
time or give it to another printer and get the same image.   In the past the 
artist would make the plate and make a final proof give that and the plate to 
the printer and expect to get the plate printed as it was given to the 
printer.  At this time engraved plates were generally commerical products.   
Only after you know how to pull an edition is it a good idea if you want to 
make "custom" wipes  the issue here is the control needed.  If you are not 
getting the same image each time and that was not your intent (see 
mono-printa) it could be a number of factors (pressure, inking, wiping or 
different paper)  with practice and more practice you will get these 
undercontrol.  These prints should not be put in an edition if they are too 
differnt (don't want to define these terms)  If i define these these too 
narrow i might get an argument.

john of the furry press

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From: Sunnffunn@aol.com
Date: Sun, 20 May 2001 17:56:33 EDT
Subject: [Baren 14500] Re: A question of ethics 


Tell everyone you know you are an artist.  That is marketing, that is how i 
got a gallery.  Do not be shy say I am a pro and mean it.  I have a degree 
and I have ribbons first place ones and I have sold so I am all pro!  It is 
not unethical to spread the word, lying is unethical.  You are merely blowing 
your horn and for me that is hard because i am shy about being big headed and 
not wanting to sound too bold, but you can never have enough nice things said 
about you nor tell too many about your work.  I put my heart into what I do 
so why should I not tell others about my work, that is all you are doing, 
telling others about your work.  Good luck!
Marilynn



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From: Mike Lyon <mikelyon@mlyon.com>
Date: Sun, 20 May 2001 18:57:57 -0500
Subject: [Baren 14501] Re: Baren Digest v15 #1425 

At 10:00 PM 05/20/2001 +0900, you wrote:
>I am doing chine colle' on some prints and my rice paste is getting very
>stiff and gluey. Is it possible to loosen it up with some water or would
>that be thinning it down so much that it would lose the glue quality? The
>rice paste is Nishikinori from McClain's.
>
>Jeanne N

Just add water -- it won't change a thing except the consistency -- it gets 
thick from evaporation, and you need to add the water back...

Mike


mikelyon@mlyon.com
http://www.mlyon.com

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From: Wanda <robertson@canby.com>
Date: Sun, 20 May 2001 17:23:47 -0700
Subject: [Baren 14502] Re: Rice Paste 

Hi Jeanne,

I think you should feel free to do some (or a lot) of thinning of the rice paste.
It dries out while your using it so fast that it is really thick after a while.
Almost to the point of being unusable.

Wanda




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From: Legreenart@cs.com
Date: Mon, 21 May 2001 01:32:34 EDT
Subject: [Baren 14503] Re: Baren Digest v15 #1424 


More about invitations...
       I wrote Gayle off list, then it seemed really incomplete when I reread 
Gayle's message..
       

Dear Gayle,
      Start by contacting the gallery and asking them if they are doing a 
press release.
IF yes,
Tell them you want to write one for your local paper that features your 
participation, because you know that they will be more likely to print one 
about a local resident.
Ask them to send you a copy of the one they are sending. Start the media 
release with a paragrah about you, then Include the information the gallery 
had in its p.r.. It is a good ideas to include the names of the others in the 
show, because their friends could still buy your work, and you get networking 
points.
      IF no, write one, In general same as above, but send it to the 
Cleveland press as well. 
             Invitations... Do the same thing basically. You should make it 
clear it is a group show, but lead with one of you images and a line that 
says Featuring Gayle Wohlken.  Be sure to include the City in the gallery's 
address.
end of original note


Write a version for each town if that will get a copy, if you like. Combine 
with the artist if you like.
I would call the other artist... They may be a media wiz,,, Or they may need 
the help... you don't want anyone feeling left out and making the opening a 
downer.
 P. S.
Anyone who wants me to send a copy of a media release from Stonemetal Press 
as a template, tell me off-group to send one.
Yours, 
Le Green
Stonemetal Press
Email: legreenart@cs.com



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From: "Patricia" <patricia26@optushome.com.au>
Date: Mon, 21 May 2001 19:36:50 +1000
Subject: [Baren 14504] Re: Baren Digest v15 #1421

If not working with archival paper is a sin I am in big trouble.
When I first went to art school everyone used to go on about archival =
paper and mounts, I just wanted my work to last until the end of the =
semester when it would be marked. I now try to work on Khadi paper.=20
I have scanned a whole lot of watercolours into my computer and print =
them out on watercolour paper. I frame them and give them for presents. =
Will the paper outlive the image? I don't know but they look great.
Patricia

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End of Baren Digest v15 #1426
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