Baren Digest               Monday, 8 October 2001       Volume 17 : Number 1580


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From: Cucamongie@aol.com
Date: Sun, 7 Oct 2001 09:53:25 EDT
Subject: [Baren 15879] papermaking 


Hi all, Bill, it was interesting to read your post.  I interned at Dieu Donne 
papermill in NYC and have taught papermaking classes to children in public 
schools, mostly in very poor areas of New York, and the kids absolutely loved 
it!  It seemed to have a very profound therapeutic effect on some of the 
children as well.  One of the kids (kindergarten class) was a new student 
from Mexico and so spoke very little English and was afraid to speak at all 
when the class began.  She enjoyed the papermaking so much and was such a 
natural that by the second or third class with her, she was talking and 
relating to us and her fellow students, really quite a delight to see!  
Another child told me she was dreaming about papermaking.
Sorry to post off printmaking topic, but I couldn't help myself!
best wishes all,
Sarah


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From: "David Stones" <stones@mb.i-chubu.ne.jp>
Date: Tue, 9 Oct 2001 01:34:23 +0900
Subject: [Baren 15880] Re: Prints, paper & good health

Dear Bill, and All,

Thanks for the input Bill - over my past few posts I've also tried (and
almost given up) to pass on the slower, yet no less effective ways of
creating prints by woodblock - as an alternative to racing ahead, chasing
deadlines etc. I don't think Japan, where I've lived for a long time, is at
all relaxing in many work areas but in paper, traditional-style woodblock
and quite a few other things, the clock gets replaced by something else...
if we could only export that "something else" as well as containers of
material products we'd maybe have a more peaceful and relaxed world to
create prints in? Em.

A bit idealistic or utopian Bill wondered? Don't think so. I started
printing some trial proofs 12 hours ago... they're just finished... now
will wait to see if the colours dry as I planned, tomorrow. This day's
gone - somewhere - but I've seven proof copies from my 21 blocks on some of
that hand-made paper... there's much more to it than just cut and print.

Dave S (Ishita)


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From: Graham <gscholes@home.com>
Date: Sun, 7 Oct 2001 09:41:12 -0700
Subject: [Baren 15881] Fwd: Re: Some solutions. 

Hi Nancy,

You saw my post on the Baren re your print. Both Marnie and I were 
quite taken by the effect you had achieved.

>>I do know you! At least I know your web pages and was so impressed with your
>>bootcamp that I signed up last summer!  I know I could learn a lot 
>>of wonderful details which might  take years and years to learn on 
>>my own.

That is for sure but only if you practice practice practice... Got 
the idea?  (<:

>>Also you seem like such a wealth of knowledge and your
>>environment looks wonderful and the people who attend
>>great to get to know.

It was a wonderful workshop and it looks like all but one of the 
people are returning this year.  They were a great mix.  Jan is 
saying she thinking of being here for both weeks.   We are fairly 
sure the that other week will be a go.  You indicated the time was 
better but did not say you might attend.  Should we hold a space?
http://members.home.net/woodblocks

>>I am attaching a .jpg of my image and a close up of some of the
>>problems I had. I think most of what you said is right on. Probably too much
>>ink, not enough paste, paper either too damp (at first) and then too dry. I
>>had trouble later with registration which you explained as the paper
>>changing size. I never thought of that and it seems exactly right.

That is pretty well it and it is very difficult to explain the amount 
of paste/pigment and how damp the paper should be.  If you are using 
a mulberry paper, mine is about the thickness of 125 gr paper... 
almost the thickness of 90lb watercolour paper.    At any rate the 
dampness of the paper should be just enough moisture to enable the 
paper to expand.  It does not feel wet to the touch... just damp. 
When I dampen my paper I have a damp box... actually two sheet of 
blotting paper in a plastic folder.  This is dampened and then with 
the very large Misu Bake brush which has most of the water shaken 
from it, I quickly run the brush over the Hosho so as to leave a 
drybrush trail of water on the paper.  One side only.  I continue 
this until all the paper has been dampened and then leave the pile 
for at least 4 hours and or overnight, 8 hours. By the next morning I 
am ready to motor.  By the way the thinner the paper, less  water is 
needed.

>>I try to order all my materials from the baren mall. So most of my brushes
>>are good quality ones from there.

I have ordered for the workshop the Sosaku Brushes which have been very good.
Is that the ones you ordered.

>>must say they do shed a lot!

I have never had any problem with bristles falling out of them.  Is 
it a lot and if so I would ask for a replacement.  A few can and will 
come out but not a lot and not for very long.

>>I actually saw on your site several months ago
>>how you should shape your big maru bake inking brush
>>and I haven't been able to do that--
>>I'm a little too nervous to do it on my own.

If you purchased the Professional Grade maru bake brushes they do not 
need shaping and fine tuning. The less expensive ones, Sosaku 
Brushes, should be shaped and the hair tapered as shown on my site. 
This is very important to get a good smooth lay of pigment.  I don't 
blame you for hesitating to do the shaping.  Scary enough for people 
in the workshop when I am close at hand to hold their hand. 
http://members.home.net/woodblocks/inkbrush

>>I have several barens, all quite cheap so I think that might be part of the
>>problem. I certainly would be SO happy to have the name of the person who
>>makes barens near you for $85 ish.

John Root  (johnroot@home.com)  is the name of the Baren maker.  I 
just talked to him and he would be please to make one for you.  He 
does not have any bamboo so I will tie on the Etegawa (bamboo sheath) 
for you.   The price is $85.00 (same as it was at boot camp) and on 
top of this is the shipping cost.  Let me know if you would like one 
and I will advise John.  It will take him about a week before he can 
make it.
If you want to know about the kind of job it does you can contact 
Marco, Jan, Richard, or Kent.... they all have one.

>>I have not felt ready to spend the big
>>bucks yet for a really authentic one.

Now you won't ever have to consider this. When you have to recover 
you can see the operation at 
http://members.home.net/woodblocks/tie-baren

>>I have been using pigment dispersions which I order from Guerra in New York
>>(a la Apritl) and mix it with methyl cellulose.

That is good. If you ever run out of Methyl Cellulose a good 
alternative is Corn Starch.... Do you know how to prepare it?

>>  I don't have a good concept of how wet or gooey the ink should be.

It should not be gooey but just reasonably thick ... like coffee 
cream would be the best comparison.  Thicker is OK but spread it 
thinly.   I can see by the close up jpg of the vase that your pigment 
was thick.  If and when I wanted to get that density of colour I 
would have to print it twice ... maybe three times.  This should be a 
clue for you.  You know I really like the painterly quality the vase 
has... so that which may not be Hanga standard, is actually better, 
because of the end results.  Remember how you did this and apply it 
in other imagery.  As I expressed in the e-mail today the  "never be 
concerned about the need to conform to the rigid discipline of 
technically correct Hanga"  I strongly believe that we are artists 
first and printmaking is our vehicle.

>>I used paper that, again, I ordered
>>from the baren mall. It is not the most expensive but it is mulberry paper
>>from "other Asian countries." It's about $6 a sheet. Do you need the exact
>>name?

I know the paper as Marco had some at last years boot camp.  It is 
adequate but thinner and less dense than the paper I order direct 
from Japan ... Yamaguchi's

>>The color issue was that in my drawing I had a bokashi (sp?) planned for the
>>background behind the vase but not behind the yellow flowers and I wasn't
>>able to get it looking right.

Bokashi is most difficult to master.  Practice is about all I can say 
if you know the principle of the technique. It really is something 
you have to see demonstrated to best understand the mechanics of it. 
I would have carried the bokashi behind the flowers and then printed 
the yellow of the flowers over the top.

>>So when at last I put the yellow of the
>>flowers in, they disappeared because the background was too similar in
>>color.

You know.... I like the effect.  Subtle and enough of a statement to 
pull the imagery off an make it work.  Each to his own...

Well that should about cover it.

Regards

Graham

ps. Maybe this should be posted to the Baren as a lot of others could benefit.
pps  Always check the:   http://barenforum.org/,  for more help.



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From: Wanda <robertson@canby.com>
Date: Sun, 07 Oct 2001 10:35:24 -0700
Subject: [Baren 15882] msg from Claude Aimee 

This message just in from Claude:

Bill:

I can vouch for the fact that papermaking is good for your peace of
mind. I've started making some last December first from recycled paper
and now I'm adding fibers I pick and cook myself and the whole process
brings you back to Nature and pulls you back together. It's like a
wonderful meditation. But then, I find printmaking, painting, drawing
and gardening equally good for my soul...

Claude Aimˇe

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From: Bossbumpy@aol.com
Date: Sun, 7 Oct 2001 14:24:50 EDT
Subject: [Baren 15883] Re: prints and more prints 

Barbara:

Thank you for all of your contributions to the world of printmaking.  I have 
learned a great deal from you and many others on Barens.

Thanks a lot,

Tim Scott

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From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Sun, 07 Oct 2001 20:43:31 -0400
Subject: [Baren 15884] Major mistakes 

I have learned probably the most important lesson yet in my young career as
an amatuer printmaker.
Don't carve faster than you can print!
See, I don't like the printing part of this stuff, I like the carving part
of it the best!
So, I carved one print, two prints, then three prints and four and finally
five, no wait, six blocks!   All with no printing of the blocks.
Each was a seperate image, prepared for 6 different prints.  Then I up and
decided that at least four of them were going to be reduction blocks!
Oh well, I just finished printing the third one of those images.
So, all the gang in the Flora exchange, mine is going out this week!
For everyone on my site update list, I'll let you know when they are up on
my site.
For anyone who wants to be added to my list, ping me off list and I'll add
you on. Giddy Up!!!
- -- 
Daniel L. Dew
Tampa, FL
http://www.dandew.com/
ddew0001@tampabay.rr.com

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From: Graham <gscholes@home.com>
Date: Sun, 7 Oct 2001 20:50:10 -0700
Subject: [Baren 15885] BootCamp 

Since all but one person is returning to Boot Camp from last years group and we have several persons on a waiting list we have decided to add another class. 

The new class is a week later giving Marnie and I a chance to recharge our batteries so we can keep up with the class.... Senior stuff sure makes one aware of
energy. 

At any rate we have a few space available and if any of you are interested you should contact us to hold a space. 

Details can be found at http://members.home.net/woodblocks 

Graham & Marnie 
Boot Camp 2002

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End of Baren Digest V17 #1580
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