Baren Digest             Tuesday, 26 November 2002     Volume 21 : Number 2040


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

From: G Wohlken <blueman#pantek.com>
Date: Mon, 25 Nov 2002 09:31:09 -0500
Subject: [Baren 19954] Thanks re framing 

I appreciate everyone's input about framing.  It seems what everyone's 
saying is:  if you have the equipment and room to work, (or in Sarah's 
case a framer who is on the side of the starving artist)   then doing it 
yourself, either alone or as a co-op with other artists (and especially 
using metal rather than wooden frames  [unless you find ready made 
wooden frames at a special price]) is the only way to save money.  Lots 
to think about.  I appreciate Thea's (and welcome to Baren, Thea)  
input  as she is a professional framer who admits the prices for 
materials are high even for her.  Oh, to be resourceful,  good at it 
all, and love doing it all!  Like Sarah, I'd far rather be carving and 
printing.  Second best, then:  Oh, to find a framer like Sarah's.   
Thanks everyone. Greatly appreciated.

* * * *

Mike, are you going to be putting this Kansas City Summit sign-up online 
when some of us are away for the Thanksgiving holiday??????  :-(

Gayle
Ohio        




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

From: ArtfulCarol#aol.com
Date: Mon, 25 Nov 2002 10:20:17 EST
Subject: [Baren 19955] Re: Date: Sun, 24 Nov 2002 14:51:23 -0900 

Love all those woodblocks, Carole,
Especially the Iris and the Poppy.

There is no credit to you for this beautiful work, or did I miss it?  Do you 
mind?   What about copyright?

Carol Lyons 
Irvington, NY

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

From: "PHARE-CAMP,PATTI (HP-USA,ex1)" <patricia_phare-camp#hp.com>
Date: Mon, 25 Nov 2002 07:31:40 -0800
Subject: [Baren 19956] RE: Baren Digest V21 #2038 

Regarding Framing:

The first nice thing about metal framing is you can break it down for
storage and quickly put back together again for unexpected exhibition
opportunities.  The next nice thing about metal framing is that it is easy
to repair or repaint.  Last nice thing about metal framing is you can buy
two sides at a time and put them together any size you want.  I have an old
wine case with dividers and it's great for storing the wrapped sections on
end when not in use. I have a designated "gallery" toolbox that I store only
framing hardware and tools in.  Inside are framing tack/brads, small brass
nails, picture hanging nails/assemblies, frame wire of various strengths,
the hardware to attach frame sides to each other, a hammer, a wire
cutter/needle nose pliers, ratchet screwdriver with various bits that store
in the handle, paper tape, scissors, a level and masking tape (used for
marking walls for frame placement).  This is in addition to other my
standard tool kit, ceramics tool box, craft toolbox and a separate toolkit
just for stretching canvas.  My printmaking tools are stored in two of those
little drawer sets that can be hung on the wall of a garage (in my case a
studio) those little hardware drawers are just the right size to store
knives, tubes of ink, barens and brayers.

As for archival matting, I sometimes buy a few sheets of ivory and white
archival matt board and have them cut for backing.  I have several different
standard size precut archival mats as well the most common size I use is 16"
x 20").  These can be stored flat under the bed in portfolio pouches.  One
important thing to remember is that if you have mats with color than you
need to put them back to back and slip paper in between them, you don't want
them touching as even archival colored mats will scratch marks onto one
another.

I use the stored items for exhibitions.  Sometimes these framed prints will
sell.  I always offer to frame a print that was purchased (for a price).
Then if the customer wants it I can get fancy.  I have frame catalogs and
will leaf through them pick out a few frames I think will compliment the art
and let the customer select one.  I am not a professional framer and I will
only frame art that is mine.  I will also direct them to a friend of mine
who does great framing work and will give my customers a nice discount. (he
knows my work)

I rarely cut my own mats, I'm a lousy mat cutter.  I let my friend do that
for me.

Now one word about framing your own stuff.  Make sure you use GOOD framing
tape and "hinge" your artwork.  I was just at the gallery of my framer
friend and he has an artist that did his own framing.  These large beautiful
nudes with jewel like colors are not selling.  First of all they are priced
in the $900-$1000 range and he used cheap frames.  And most of all he used
double sided tape to mount the works floating directly onto to black matt
board (black being one of the most fugitive colors) and the adhesive didn't
support the weight of the watercolor paper.  OOPS, how tacky to have your
art falling inside the frame, especially when the potential customer can see
how cheap you were as to use cellophane tape on high priced art!

My friend is too nice, he simply called the guy and told him to come fix it.
I would have pulled it off the wall and told him to come get it!

Patti P-C  

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

From: "marilynn smih" <marilynnsmih#hotmail.com>
Date: Mon, 25 Nov 2002 10:16:00 -0800
Subject: [Baren 19957] Re: Baren Digest V21 #2039 

Carol loved seeing your work.  Always a treat when someone shares.  Welcome 
to our new memeber and one who is a framer.  You will probably be giving 
advice.  Yes I have a hard time not expressing my thoughts, just me!  I 
tried to make it fun and light because each person who entered that exchange 
did so in good faith.  They wrapped their parcels and addressed their 
packages and sent their postage all in good faith.  They cared and they want 
their work back in good shape.  It was an attempt to educate so that 
happens.  No one wants to get back a suite of prints that is destroyed by 
bad packaging. And we want our volunteers happy so they will continue to 
help.
Marilynn


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

From: Legreenart#cs.com
Date: Mon, 25 Nov 2002 13:33:51 EST
Subject: [Baren 19958] Re: Baren Digest V21 #2039 

StoneMetal Press is encouraging artists who are comong to the Press for their 
projects to consider woodblock for their propject. Most come with etching and 
litho on their minds, but we show them the energetic possibilities of a 
woodblock. 

Kathleen lucked out this summer when she found George Yepes, well known  L.A. 
muralist and painter, struggling to hand print a woodblock in the parking 
lot. She offered our services, and we  have been able to show how experienced 
printers (although oily) can bring out both the strong dark forceful marks 
and the delicate detail and woodgrain.
After I pulled a proof that met with George's approval, I brought my 
printmaking daughter, Crystal Dittert Green, to San Antonio to edition it. (I 
don't have the stamina for large scale, 25" x36" ). It has not been an easy 
block, (driving over it with a car may have something to do with the 
uneveness of the plate, but I am thrilled we can offer a woodcut from a major 
artist for sale. The edition still isn't finished, we have one more session 
to go. The final edition size will be between 30 and 45 prints.
       Check out the image on our web site at 
http://www.stonemetal-press.com/printsales.htm.
       


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

From: Cyndy Wilson <crwilson#icehouse.net>
Date: Mon, 25 Nov 2002 12:02:12 -0700
Subject: [Baren 19959] Re: Thanks re framing 

Regarding the framing thing....
I'm a professional framer so I usually enjoy it, but for those who don't,
etc. you should try to find a framer/owner who would be interested in
trading you framing for your prints.  The woman I work for part-time loves
original prints and sells them in her shop.  She's very willing to work out
trades if people can do/make something that she needs in the shop.
Worth trying.

Cyndy


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

From: "Maria Arango" <maria#mariarango.com>
Date: Mon, 25 Nov 2002 14:12:24 -0800
Subject: [Baren 19960] RE: framing 

I agree with the framing tips and tricks. I mat and frame all my stuff and
would not have it any other way. One good thing about this that was not
mentioned is that customers know how expensive it is to frame and appreciate
good framing at low cost. I have increased the sales of my framed pieces a
great deal over these couple of years; people like ready to hang art.
I would also suggest buying quantity of framing supplies (matboard by the
case, frames in quantities, glass by the box) to take advantage of
discounts. You can get great deals on wood frames, which travel better than
metal in my experience and look much better to the popular audience. Wide
metal frames also look good, but people are shying away from the standard
Nielsen frames. Almost everyone that buys expensive pieces wants glass, not
plexi. Glass also travels better (if you can believe that!). I have only had
two broken pieces in all my travels, while I have replaced at least 20
plexiglass due to scratches.

Another comment is that you need to keep your particular audience in mind.
It is true that galleries and collectors of fine prints prefer simple
framing, usually one neutral mat and an unobtrusive frame. I frame prints
that I keep that way.
However, if you sell directly to the public they tend to prefer elegant
items with double or triple mats. Actually I also started double matting my
gallery entries (in call for entry competitions) despite their recommended
"neutral" mat bias. Since I started double matting I have sold more even in
academic competition settings. Keeping the principal mat a neutral color, a
print looks better with a thin accent mat, just MHO.
If you sell public direct, triple matting looks scrumptious, still keeping
the main mat and the frame neutral. I use black or dark walnut frames
mostly; hunky metal sectionals on the larger pieces. People gobble them up
and once you get used to mat cutting it really isn't that much work. I keep
a record of the frame and mat dimensions for the pieces that sell
consistently so I don't have to think and/or measure all the time. I just
look at my tiny file and chop chop.

I think when you make a living as an artist exclusively, you find out that
you have to become a decorator as well. You can't match everyone's house,
nor should you try, but people expect good quality framing in addition to
your wonderful images.

Happy dressing up your prints!
Maria

<><><><><><><><><><><><><><>
Maria Arango 1/1
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria#mariarango.com
<><><><><><><><><><><><><><>


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

From: Mike Lyon <mikelyon#mlyon.com>
Date: Mon, 25 Nov 2002 16:36:40 -0600
Subject: [Baren 19961] Re: framing 

At 02:12 PM 11/25/2002 -0800, Maria wrote:

>Almost everyone that buys expensive pieces wants glass, not
>plexi. Glass also travels better (if you can believe that!). I have only had
>two broken pieces in all my travels, while I have replaced at least 20
>plexiglass due to scratches.


Agreed (or just 'learned' from) everything you wrote, Maria, except this 
one comment...  Glass is less expensive than plexi, and 'clearer', but 
there's a BIG risk with glass which is why the really fine work on paper is 
so frequently glazed with UV-plexi...  Because there's less risk to the 
work.  When the glass breaks (which we all know it occasionally does), 
those shards can damage the artwork just as surely as they can damage your 
fingers!

Don't mean to be nit-picking here, though...  Nice essay!
Mike Lyon
mailto:mikelyon#mlyon.com
http://www.mlyon.com 

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

From: "Maria Arango" <maria#mariarango.com>
Date: Mon, 25 Nov 2002 14:43:45 -0800
Subject: [Baren 19962] Re: framing 


> there's a BIG risk with glass which is why the really fine work
> on paper is
> so frequently glazed with UV-plexi...  Because there's less risk to the
> work.  When the glass breaks (which we all know it occasionally does),
> those shards can damage the artwork just as surely as they can
> damage your
> fingers!


Yes indeedy! One of the pieces that broke skewered my Newel print. Funny
thing about that, both times that I broke the glass on a piece (usually my
careless unloading, not during the drive) I placed an "injured" sign on it
and sold it for the price of the framed piece minus the price of the glass.
People like taking wounded prints home I guess :-)

Maria


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

From: Mike Lyon <mikelyon#mlyon.com>
Date: Mon, 25 Nov 2002 17:34:15 -0600
Subject: [Baren 19963] BAREN SUMMIT SIGN UP BEGINS TOMORROW 

OFFICIAL NOTICE:

Tomorrow morning at around 11am, Central US time zone, the BAREN SUMMIT 
SIGN UP link will GO LIVE.  You'll be able to link to the sign-up form from 
our main page at that time http://www.barenforum.org at that time...

Unfortunately, I'll be travelling during our Thanksgiving holiday from 
Wednesday through Sunday this week, so I won't be available to post 
participant information during that time.  Please be patient -- I'll get 
your names up there Monday, December 2...

GOOD LUCK !!!

Here's a preview:

- ----------
In recent years, [Baren] members have talked about organizing a 
get-together on a grand scale - a real [Baren] convention. Planning 
discussions have been going on among the Council members for a long time, 
always listening to suggestions from group members, and we are ready to 
make the formal announcement.

The first group convention - to be known as the [Baren] Summit - will be 
held at the Lyon Art Studio 2026 Broadway, Kansas City, Missouri, USA from 
June 14 through June 22, 2003 and is open to the first 30 [Baren] 
subscribers who register.

WHO: The first 30 [Baren] subscribers to complete the sign-up (we'll 
consider opening up some more places if it turns out to be so popular)...

WHAT: The Baren Summit -- a gathering of printmakers interested in Japanese 
polychrome woodblock printing.

WHEN: The studio will be available from 3 pm Saturday, June 14, 2003. The 
[Baren Summit] will continue for one week, from Sunday morning June 15 
through the following Saturday evening June 21. Participants must depart by 
2 pm Sunday, June 22, 2003.

WHERE: Lyon Art Studio, 2026 Broadway, Kansas City, Missouri, 64108, USA 
816-421-1110. The studio includes a large parking lot West of the building 
accessible from Washington Street (one block West of Broadway). <link to a 
zoomable map>

ACCOMMODATIONS: Bring your sleeping bag and mat and sleep on the floor in 
the studio, or make reservations at any of numerous nearby hotels and 
motels. You can help [Baren] by using the Expedia.com link below to make 
your air, hotel, and auto reservations, as [Baren] will receive a small 
commission from any travel arrangements you make that way (thanks!).

<link to expedia.com air/hotel/auto reservation system>

EVENTS: What will happen at the [Baren] Summit? Will it be just an empty 
room filled with printmakers milling around, or will it be a series of 
'lectures' from 'experts'? It will be both, and neither. A full schedule of 
presentations and activities is not being prepared. Participants are 
expected to be generally self-motivated; the [Baren] Summit is intended to 
be a 'framework' for exchange of information. The physical environment will 
consist of a large open workroom, filled with tables ready for work to 
begin. Participants will bring their own tools, supplies, and planned 
projects.

We fully intend that as we get started, and as the general interests and 
abilities of the participant group become apparent, specific training 
activities will be initiated. These may include:
    * fundamentals of 'hanga' printmaking ... (printing, color separation, 
etc.)
    * baren tying and maintenance
    * paper moistening
    * gradation printing
    * mica, metallics, lusters
We know already from prior group discussions that there will be a good mix 
of people there, from relatively inexperienced workers right through to 
people with world-class skills, but there will be no 'instructors' and no 
'students' - the emphasis will be on sharing and learning from each other, 
irrespective of ability.
    * We do plan to gather together each evening for a brief and very 
informal slide show and tell so that you may show and discuss your own work 
and also enjoy the presentations made by others. There will be no more than 
three artists per evening limited to 15 minutes per presentation. If you'd 
like to be a 'presenter', please so indicate when you sign up.
    * We do plan to take some 'field trips' during the week (participation 
is entirely optional, of course, and there may be a modest cost for 
transportation and entry)...
    * The Spencer Museum in Lawrence, Kansas (an hour drive) -- they will 
be showing a special exhibition of prints of interest to us during that time.
    * The Nelson-Atkins Museum of Art(a 10 minute drive) -- they have one 
of the nation's finest Chinese art collections.
    * The Kemper Museum of Contemporary Art (a 10 minute drive) -- 
contemporary prints, paintings, sculpture, photography.
    * A viewing of the best examples from the studio's collection of 
ancient Japanese woodblock prints (more than 500 prints).
    * The Hallmark Cards Visitor's Center about a mile away.
    * The studio is in "The Crossroads Arts District" of Kansas City, so 
there are more than a dozen retail art galleries within easy walking distance.
Some participants may simply carry on their regular work, listening with 
half an ear to whatever is going on; others may wish to spend their time 
explaining and demonstrating their own working methods; some may start up 
an informal print exchange; some may watch others work and take pictures or 
videos; some may spend time on 'After-Five' activities! We have no doubt at 
all that the mix of several dozen woodblock printmakers in the same room 
for a week or so will result in plenty of dynamic activity!

WHAT TO BRING:

You may want to consider including the following when you pack:
    * Money for food and supplies
    * Quarters for the soda machine
    * Washer and drier are available free of charge (bring your own detergent)
    * Printmaking supplies:
        * drawing paper and supplies
        * wood blocks
        * carving tools
        * razor knife
        * paper towel
        * cloth rags
        * water-soluble colorants
        * mica / metallics / interference
        * shallow pigment dishes, or jars
        * nishiki (rice paste)
        * brushes
        * baren(s)
        * masking tape
        * straight edge or ruler
    * Sleeping Bag
    * Pillow
    * Sleeping mat or airbed (Eddie Bauer makes an airbed for $50 that self 
inflates in about 5 seconds with four D batteries)
    * Casual but neat clothing (don't forget underwear)
    * bath robe, pajamas
    * Towel(s)
    * Soap & Shampoo
    * Toothbrush/Toothpaste and other personal toilet articles
    * Medications and first-aid including gauze, tape, scissors, Band-Aids, 
Betadyne, alcohol wipes, or other disinfectant to sterilize wounds :-o
    * Cooler for drinks and any perishable food
    * Travel alarm clock or alarm watch
    * Books
    * CD player or radio w/ headphones.
COST: Basically, FREE (no food, materials, transportation, or hotels 
provided, only "floor space"). Because registration must be limited it 
would be unfair to allow frivolous registration. So we require you to make 
a "good faith damage deposit" of $75 plus a non-refundable $5 handling 
charge. At the conclusion of the [Baren] Summit, assuming that the studio 
is left in the same condition as at the beginning, your deposit will be 
refunded in full. But if you sign up and subsequently don't show up, or if 
the studio and/or contents are damaged, we will keep your deposit. Fair enough?

- ----------
<participant list and waiting list go here>

- ----------
We hope you find the idea of attending the Summit interesting, and we hope 
that you can make it! Please join us! Sign up should take about five 
minutes to complete. It consists of the following steps:
    * Thoroughly read the "BAREN SUMMIT ASSUMPTION OF RISK, RELEASE OF 
LIABILITY, AND INDEMNIFICATION AGREEMENT"
    * Signify your agreement by clicking the [Register for Baren Summit 
Button].
    * When you click the button you will be logged into Pay Pal -- follow 
the directions to sign in or sign up (outside USA use International 
Account) and pay $80 ($75 refundable deposit+$5 handling) US$
    * When you have completed payment, you will be directed to a final form 
- -- required fields are marked with an *
    * Watch for you name to appear over the next several days in the 
"REGISTERED" list above.
Questions? mailto:summit#barenforum.org


- ----------
BAREN SUMMIT ASSUMPTION OF RISK, RELEASE OF LIABILITY, AND INDEMNIFICATION 
AGREEMENT

In consideration for being allowed to be a participant in the [Baren] 
Summit at the studio of Lyon Art, Ltd. and elsewhere from June 14, 2003 
through June 22, 2003, I understand there are dangers in printmaking, sharp 
tools, power tools, pigments, solvents, other chemicals and substances, 
meeting, carving, printing, cutting, attending class, demonstrating, 
presenting, travelling, driving, visiting, taking field trips, living in 
close quarters with people from diverse cultures and circumstances 
[together called "Summit Activities"] with the possibility of serious 
permanent physical and emotional injury, and possibility of death.

I understand that no amount of care, caution, instruction or supervision 
can eliminate the dangers inherent in Summit Activities.

I hereby personally and volitionally assume all these risks, and I waive 
any liability for negligence which may result from the conduct, acts or 
omissions, land or building conditions, equipment or facilities of 2026 
Broadway, LLC, Lyon Art, Ltd., Michael R. Lyon, their domestic affiliates, 
and their employees, agents, officers, directors, volunteers, instructors, 
independent contractors, and guests [called "Released Parties"].

I agree to hold these Released Parties harmless, release, and discharge the 
above named Released Parties from any and all liabilities, claims, demands, 
or causes of action that I may have.

I also agree to indemnify the Released Parties in the event I or my family 
cause personal injury or property damage to any person or property during 
the Summit Activities.

I understand that this indemnification includes payment for all loss, 
including any court or arbitration costs, attorney's fees, awards incurred 
by or adjudged against the Released Parties.

I certify that I have adequate insurance to cover any injury or damage I 
may cause or suffer while participating, or else I agree to bear the costs 
of such injury or damage myself. I further certify that I am willing to 
assume the risk of any medical or physical conditions I may have.

I stipulate and agree that in the event of any dispute regarding this 
Agreement or pertaining to the Summit Activities, that the venue, forum and 
jurisdiction shall only be in Kansas City, Missouri, USA. In the event that 
I file a lawsuit against any Release Party, I agree to do so solely in the 
State of Missouri, and I further agree that the substantive law of Missouri 
shall apply in that action.

If any portion of this agreement is found to be void or unenforceable, I 
agree that the remaining portions shall remain in full force and effect.

By clicking on the [REGISTER for BAREN SUMMIT] button below and making a 
payment through PayPal.com to Lyon Art, Ltd., I signify that I am at least 
18 years old and that I understand and agree to the above.

- ----------


Mike Lyon
mailto:mikelyon#mlyon.com
http://www.mlyon.com 

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

From: Mike Lyon <mikelyon#mlyon.com>
Date: Mon, 25 Nov 2002 18:18:16 -0600
Subject: [Baren 19964] Re: BAREN SUMMIT SIGN UP BEGINS TOMORROW 

At 05:34 PM 11/25/2002 -0600, I wrote:

>Tomorrow morning at around 11am, Central US time zone, the BAREN SUMMIT 
>SIGN UP link will GO LIVE.  You'll be able to link to the sign-up form 

>from our main page at that time http://www.barenforum.org at that time...

Just a quick reminder for you 'early birds' out there: At around 11:00 when 
you are repeatedly clicking on the 'Baren Summit' button and it seems like 
11am has come and gone and you still get the NOT YET page...  Try hitting 
the "Refresh" button on your browser !

Goin' to dinner now!

Mike
Mike Lyon
mailto:mikelyon#mlyon.com
http://www.mlyon.com 

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

From: John and Jan Telfer <jtelfer#iinet.net.au>
Date: Tue, 26 Nov 02 19:01:46 +0800
Subject: [Baren 19965] Re:Printing with a warped woodblock! 

Printing a little warped wood block.

I thought I might share my experience with you!

If it is warped before you start...straighten it!!  Dampen it on both 
sides or give it a quick bath and then on the bowed side (convex side) 
put something heavy on it and increase the weight after a few 
hours...don't put it in a book press or vice straight away or you may 
spit the block and have to carve it all over again!!

My block is one I had printed before... it is about 5 inches square ... a 
3 ply cherry block with lines reasonably fine (not Japanese fine, but 
fine for me) which held up well to a linear design.  It is my current 
Christmas Card Design and I wanted to print some extra copies but was too 
impatient to wait to flatten the block, so suffered the initial 
consequences.  The design was cut on the side of the block that was 
concaved - the middle of the block touched the table the ends were like 
rocking horse rails!  The paper (Fabriano smooth 200 gsm) did not adhere 
to the fine lines with the oil based ink and by using the baren over the 
entire block the paper moved slightly as I worked from end to end giving 
the print a ghosting, that is movement .... a bad print!  After the 5th 
print I changed my printing technique.

Solution:  After rolling the ink on to the block (same as before), I 
placed the paper on differently, holding the paper up and registering it 
across the middle of the block first, and worked it towards each end.  I 
used the baren first on the top half and then on the bottom half, but did 
not return to the top half...

Result:  Perfect.    But to save you this stress, flatten the block 
first!  I then hand coloured them all with watercolour. The first batch I 
did 70 ... the second lot, 24 minus 5!!

Happy printing everyone.
Jan
Western Australia.

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

End of Baren Digest V21 #2040
*****************************