Baren Digest               Thursday, 23 May 2002       Volume 19 : Number 1838


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From: David Bull <davebull@woodblock.com>
Date: Wed, 22 May 2002 22:21:14 +0900
Subject: [Baren 18140] Interesting Chinese prints ... 

Over on Yahoo Auctions here in Japan, a bunch of new prints were listed 
this evening. They are oil-based woodblocks, by a Chinese artist whose 
name might be read as 'Dashin' ...

These URLs are the auction listing pages, and are all in Japanese, which 
will be Greek to you, but each print is shown, along with closeups in 
which you can see details ...

http://page3.auctions.yahoo.co.jp/jp/auction/c19800289
http://page2.auctions.yahoo.co.jp/jp/auction/b23755967
http://page2.auctions.yahoo.co.jp/jp/auction/b23755828
http://page5.auctions.yahoo.co.jp/jp/auction/e11480635
http://page5.auctions.yahoo.co.jp/jp/auction/e11480562
http://page5.auctions.yahoo.co.jp/jp/auction/e11480248
http://page4.auctions.yahoo.co.jp/jp/auction/d17063271
http://page4.auctions.yahoo.co.jp/jp/auction/d17063140
http://page.auctions.yahoo.co.jp/jp/auction/46710998

Just thought these might be interesting ...

Dave


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From: GraphChem@aol.com
Date: Wed, 22 May 2002 09:56:09 -0400
Subject: [Baren 18141] Re: packaging prints for sale 

Linda - 
You are right on target about the art buying public. My only 
disagreement with what you've said is that $500 is overly optimistic. 
We attend numerous art fairs during the course of the year (including 
Ann Arbor which is, in my mind, one of the top outdoor fairs in the country), 
and for the most part what sells is far less than that figure.

Remember that the outdoor art fair is attracting a vastly different audience. 
Size does matter, price does matter, and it is the entire package that makes a difference.

Your comments mirror what I've been telling artists for 30 years, so hopefully 
your flak jacket won't be put to use - yet.

Dean Clark

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From: Lezle Williams <lezlewilliams@gwtc.net>
Date: Wed, 22 May 2002 09:28:11 -0500
Subject: [Baren 18142] matting 

I used to do the show circuit in the Midwest.  I usually did an
off-white mat with a liner that picked up a color in the painting or
print.  I would have the matted ones available at one price, then I also
had framed examples in (standard sizes with 16" x 20" being the most
popular) and a catalog of available frames to be ordered directly if
they desired something else other than I had in stock.  I used Graphik
Dimensions http://www.pictureframes.com.  They have complete framing
kits available for someone who wants to do it themselves, or if the
customer wanted me to do it, then I would order the frame they selected
and put it all together for them for an additional fee.  This is the
direction that they usually went - and they always enjoyed the process
of looking through the catalog and choosing their own frame.

Lezle 


> Never have done the show circuit with prints.... but one 
> of the most successful printers in the area uses a off 
> white top mat and then one or two of several different 
> colors for inner mats. She always complements the colors 
> in her prints, usually one of the blues or russets, and 
> being in the Pacific Northwest they sell 
> like "gangbusters". She also keeps her matted prints to 
> standard sizes and finds it a big plus for those who 
> don't feel they can afford the framed item. Knowing they 
> can pick up an inexpensive frame and pop their new print




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

From: Mike Lyon <mikelyon@mlyon.com>
Date: Wed, 22 May 2002 09:40:02 -0500
Subject: [Baren 18144] Re: Interesting Japanese prints ... 

Thanks for those links, Dave -- the prints all use color which has a heavy 
and opaque appearance un-appealing to me -- they look almost like screen 
prints --

Here's another site -- this one for an upcoming June 1 JPAA print auction 
which has several hundred (mostly moku-hanga, inlcuding 18th & 19th century 
ukiyo-e, plus 20th century shin-hanga, and sosaku-hanga prints for 
sale).  A number of great and timeless prints offered along with many less 
important ones: http://www.xs4all.nl/%7Eukiyoe/JPAA/jpaa10.html

Hope you enjoy these, too -- the page takes quite a while to load, as the 
scrolling menu on the left contains 300+ thumbnails...


Main link with 320+ thumbnail menu: 

http://www.xs4all.nl/%7Eukiyoe/JPAA/jpaa10.html

Individual prints I particularly like:
Eisen okubi-e: http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/005.html
Hokusai landscape http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/009.html
Hiroshige chuban tokaido http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/020-3.html
** LOVE this Kuniyoshi landscape 
http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/068.html
Late Kuniyoshi warrior http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/076.html
Yoshitoshi 32 aspects http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/105.html
** Shinsui bijin http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/148.html
** Shoson kacho aizuri-e http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/165.html
Hiroshi Yoshida urban night http://www.xs4all.nl/%7Eukiyoe/JPAA/pages/260.html

- -- Mike



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From: "Maria Arango" <maria@mariarango.com>
Date: Wed, 22 May 2002 07:51:21 -0700
Subject: [Baren 18145] Re: Ink and paper  

Basingwerk was "designed" for wood engravings, which require a very smooth
surface. When used with very little oil based ink it performs like a champ.
My last batch was from Daniel Smith. I ordered some from Graphic Chem but
they were still looking for a new supplier last I heard (about 2 months
ago).
Stonehenge, for being so affordable, is desirable in many ways. It almost
(almost) works as well as Arches 88 although it is a bit grainier (for wood
engravings). For woodcuts with oil based ink, it is the champ of all and
comes in a variety of warmer colors. Also, when torn dry it gives the best
false deckle.
Did I mention it is affordable?
Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


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

From: jimandkatemundie@juno.com
Date: Wed, 22 May 2002 11:32:07 -0500
Subject: [Baren 18146] Re: Baren Digest V19 #1837 

Maria wrote:


> An artist even bragged that he was more a reseller of frames at a

handsome profit than an artist.

I can't tell you how many times I've watched people coo all over some
crazily gilded baroque monstrosity of a frame, and pay no attention
whatever to artwork inside!  I worked for a while at an antique print
gallery (evil) and found that the more gilded and ridiculous the frame
the more attention it received from a certain class of patron with more
money than sense, and hence, the price tag was higher for that piece
(two, three or four hundred percent!) regardless of the quality of the
work the frame contained.  These were people more concerned with objects
befitting opulent displays of wealth -- not taste nor aesthetics.

So, sure, that's one branch of clientele to court, if one wishes.  But I
would rather sell my work to someone who appreciates what I've done; let
the framemaker find his own audience.  I want my frames to be sturdy and
understated -- and yes, they go with the couch.  They go with everything!


>> -- they really don't understand the difference between normal framing

and

>> archival framing, so any price difference is lost on them

> To this I say...screw THEM. This is MY art and it is meant to last and

I will use only archival materials.

Right on!  If buyers don't care about archival materials, they are sure
going to care when that puce accent mat turns muddy brown and starts to
eat the print it contains -- especially if it was some overpriced giclee
or Thomas Kincade masterpiece...  although, perhaps that's its own sort
of poetic justice?

Cheers,
James Mundie
http://missioncreep.com/mundie/index.htm

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

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Wed, 22 May 2002 09:46:51 -0700
Subject: [Baren 18147] Chineese prints and Scotland 

Dave,
These look so much like they are taken from photos, I always think work done
totally from photography is missing a bit of information. I have used them
for prints in the past and always felt like I was making up a bunch of stuff
so sort of made it up as I went along. Maybe I am wrong here, but they just
feel that way to me. I liked them though. Not hangs, but nice.

Wanda, Sharri and I are getting pretty excited about going to Scotland, one
week from today we will be holding that plane up by flapping our arms for 13
hours. I have a love-hate relationship with flying. Wish more of you were
going with us, maybe there are more going that we do not know about. Anyone
from Europe or England able to make it? Greg had found us a classy little
west end hotel....his very words. Built in 1893 but updated a bit. The
pictures on the internet look great. www.melvinhouse.co.uk This looks pretty
nice for three printmakers and one long suffering husband. Anything we
shouldn't miss seeing from those of you who have been to Scotland before????
We have 10 days so that is a lot of time for a small country, or very little
time, depending on how you look at it. We are hoping to meet a lot of
printmakers and see a lot of art, with a few castles thrown in.
Best to all,
Barbara


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

From: "PHARE-CAMP,PATTI (HP-USA,ex1)" <patricia_phare-camp@hp.com>
Date: Wed, 22 May 2002 09:56:48 -0700
Subject: [Baren 18148] RE: Baren Digest V19 #1837 

You Guys are so AWESOME!  This news list is the coolest!  The framing
discussion was fascinating and informative!  I got lots of new ideas.
Interestingly my presentation technique takes a little from what all of you
do.  I tend toward 16 X 20, generous white museum mat.  I have some black
and pewter frames for gallery exhibition and a FEW color frames for fairs
and alternative exhibitions.  I try to arrange these in a pleasing and eye
catching manner. I've on occasion amended the mats with paint or collage
(those works sold immediately).  I try to make it intrinsic to the art work.

With unframed works I use white or off white museum board and archival
shrink-wrap this protects the works in storage and travel; the added
advantage is that it stands out in gallery print racks of unmatted works.
The cost is minimal since a group of us printmakers bought a shrink wrap
contraption and we do our own at cost.  Since many inexpensive preassembled
frames come with the glass most buyers don't need the glass.  Yet with the
prematting they can choose a frame of their liking and then just pop in the
matted work with shrink wrap removed of course).  

In regards to the public ignorance of archival framing...I educate whenever
I can, especially someone whose interested in buying my work.  That person
may become a paying client and I would not be serving my client by not
informing him on how to get the best out of his investment.  If the person
does not buy at that time, he may remember me later and become a client
simply because he knows I will give him quality.

Rarely, I have reframed works for buyers in collaged or colored frames &
mats that enhanced the works.  The buyer pays extra for this and I will work
with them in the selection process.  The person who ops for this usually
becomes a collector and a friend.  One of my works hangs in a college
library and has become tied to a scholarship application process only
because I went that extra yard. You know that piece is getting a lot of
attention!  And of course the buyer became a good friend.

Another thing I do is print Christmas cards every year.  I make sure past
clients get one of those cards.  Even if the last purchase they made was
decades ago.  Customer relations is the artist's most valuable investment in
a career.  Art is more than a pleasant picture, art is an experience, I try
to do what I can to make that experience a valuable and lasting one.  


Patti Phare-Camp

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

From: "Diane Tigue" <dtigue@kscable.com>
Date: Wed, 22 May 2002 13:49:23 -0500
Subject: [Baren 18149] Re: Ink and paper 


> Basingwerk was "designed" for wood engravings, which require a very smooth
> surface. When used with very little oil based ink it performs like a

champ.

> My last batch was from Daniel Smith. I ordered some from Graphic Chem but
> they were still looking for a new supplier last I heard (about 2 months
> ago).
> Stonehenge, for being so affordable, is desirable in many ways. It almost
> (almost) works as well as Arches 88 although it is a bit grainier (for

wood

> engravings). For woodcuts with oil based ink, it is the champ of all and
> comes in a variety of warmer colors. Also, when torn dry it gives the best
> false deckle.
> Did I mention it is affordable?
> Maria
>
> <><><><><><><><><><><><><><>
> Maria Arango
> Las Vegas, Nevada, USA
> http://www.1000woodcuts.com
> maria@mariarango.com
> <><><><><><><><><><><><><><>
>



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

From: b.patera@att.net
Date: Wed, 22 May 2002 23:42:42 +0000
Subject: [Baren 18150] Re: Interesting Japanese prints ... 

Mike,

You took the words right out of my mouth. Those prints 
looked like screen prints to me too.

It is interesting though to see what printmakers in 
different parts of the world are doing.

Barbara P. 

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

From: Julio.Rodriguez@walgreens.com
Date: Wed, 22 May 2002 18:50:00 -0500
Subject: [Baren 18151] Re: Wood engravings and more..... 05/22/2002 06:51:02 PM 

For those with graver & burin in hand....these are exquisite!

http://www.michaelmccurdy.com/prints.htm

and/or

http://www.michaelmccurdy.com/index.html

enjoy.......Julio Rodriguez (Skokie, Illinois)


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From: FurryPressII@aol.com
Date: Wed, 22 May 2002 20:11:35 EDT
Subject: [Baren 18152] Re: Chineese prints and Scotland 

HAGAS ANYONE?

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From: "Cathryn BACKER" <cbacker@bigpond.com>
Date: Thu, 23 May 2002 08:41:24 +0800
Subject: [Baren 18153] re:baren 18151 

Hi, Thankyou Julio for posting Michael Mccurdy's website. Have been =
feeling pretty flat and un-inspired lately. His work has given me the =
boost I needed! Just beautiful!
Cheers
Cathryn Backer
The Land of Oz


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

From: Myron Turner <mturner@Ms.UManitoba.CA>
Date: Wed, 22 May 2002 20:02:06 -0500
Subject: [Baren 18154] Re: Ink and paper 

Arche 88 used to be the paper of choice up here for screen 
printing.  Personally, I found it too soft and "fluffy" for woodcuts. 
Equally important to me is that its one third more per sheet than Rives BFK 
(Dan Smith) and when you start thinking Canadian dollars, that's a lot of 
difference, especially in the larger sizes.  Stonehenge, on the other hand, 
while it's very affordable, I've found it too hard for woodblocks (probably 
has to be soaked, as for intaglio, rather than dampened, as for woodcuts).

Myron Turner

At 07:51 AM 22/05/2002 -0700, you wrote:


>Stonehenge, for being so affordable, is desirable in many ways. It almost
>(almost) works as well as Arches 88 although it is a bit grainier (for wood
>engravings). For woodcuts with oil based ink, it is the champ of all and
>comes in a variety of warmer colors. Also, when torn dry it gives the best
>false deckle.
>Did I mention it is affordable?
>Maria
>
><><><><><><><><><><><><><><>
>Maria Arango
>Las Vegas, Nevada, USA
>http://www.1000woodcuts.com
>maria@mariarango.com
><><><><><><><><><><><><><><>


Myron Turner
  http://www.room535.org/mt/
--land safely in cyberspace--


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

From: slinders@attbi.com
Date: Wed, 22 May 2002 21:09:57 -0500
Subject: [Baren 18155] Re: Ink and paper <20020519001039.E835C2D1@ml.asahi-net.or.jp> <20020522004352.7D7A7310@ml.asahi-net.or.jp> <20020522062341.AB938331@ml.asahi-net.or.jp> Someone reported, in April, (perhaps on another list) that the
company that makes Basingwerk, is no longer in business.
Sharen

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End of Baren Digest V19 #1838
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