Baren Digest              Thursday, 9 January 2003      Volume 22 : Number 2088


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From: David Bull <davebull#woodblock.com>
Date: Wed, 8 Jan 2003 22:25:34 +0900
Subject: [Baren 20343] New print progression ... updated ... 

After just about a week of work on the 'collaboration' print with John 
Amoss, there are now 21 'steps' completed in the process. There are 
around 15 or so still to go ...

I've just updated the web section with images of all the woodblocks, so 
it's now 'easy' to see how each impression is made ...

http://woodblock.com/surimono/process/5

Note: it's easy to compare the prints and blocks, as the block images 
are the same size as the print images, and they will appear in a second 
browser window - always the same one, so just leave the two windows open 
side by side, and click back and forth.

Dave


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From: "PHARE-CAMP,PATTI (HP-USA,ex1)" <patricia_phare-camp#hp.com>
Date: Wed, 8 Jan 2003 09:16:50 -0500 
Subject: [Baren 20344] RE: Baren Digest V22 #2087 

"doesn't Murillo speak Portuguese? :>)"

Portuguese and Spanish have many similarities.  My mother speaks spanish to
her Portuguese friends,  they speak Portuguese to her and they converse;-)
Patti P-C

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From: GraphChem#aol.com
Date: Wed, 08 Jan 2003 10:19:21 -0500
Subject: [Baren 20345] Re:   Baren Digest V21 #2077 

This seems to be a bad time of year for fathers. Carol I'm sorry
to hear about your father passing away. This morning I was
notified that Debbie Fanning's father died in late December.
Debbie is a good friend to artists around the world as the
Director of the Arts and Creative Materials Institute (ACMI), the
group that certifies your materials for toxicity etc.

Also, I believe that I may have failed to mention that my father,
Vern Clark, also passed away in December (the 27th) following a
brief illness. He was 85 years old, and many of you knew him from
your sojourns to Graphic Chemical. Additional information is
available from our website by clicking on the picture of him at
the top of the home page.

Dean

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From: Mike Lyon <mikelyon#mlyon.com>
Date: Wed, 08 Jan 2003 09:26:08 -0600
Subject: [Baren 20346] Re: Oak Type Cabinets 

At 06:21 PM 1/7/2003 -0800, Imke Lewis wrote:

>Now I am wondering if anybody knows where I could find oak type cabinets 
>for sale. We would like to include those in our letterpress shop and are 
>willing to ship from any location.


Have you checked eBAY?  http://www.ebay.com  -- those are frequently 
auctioned these days...  But you'll have to consider the location, too.

- -- Mike


Mike Lyon
mailto:mikelyon#mlyon.com


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From: Mike Lyon <mikelyon#mlyon.com>
Date: Wed, 08 Jan 2003 09:45:15 -0600
Subject: [Baren 20347] Re: No hablo nada casi nunca 

At 07:57 PM 1/7/2003 -0900, you wrote:

>Mike, doesn't Murillo speak Portuguese? :>)
>
>Michelle Morrell
>jmmorrell#gci.net


I dunno...  But it doesn't matter, as I can't even make pigeon Portuguese 
:-)  I hope my English sufficed!

- -- Mike


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

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From: slinders#attbi.com
Date: Wed, 08 Jan 2003 10:37:36 -0600
Subject: [Baren 20348] Vern Clark 

Vern Clark was a strong supporter of printmakers and their art
in Chicago and throughout the world!  His influence on our art
form has been great, and he will be missed!

I'm sorry to hear of your loss, Dean, and send my condolences to
you and your family!

Sharen

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From: "marilynn smih" <marilynnsmih#hotmail.com>
Date: Wed, 08 Jan 2003 10:07:02 -0800
Subject: [Baren 20349] Re: Baren Digest V22 #2087 

My last Dick Blick flyer, catalog, contained a beautiful oak work station.  
I drooled over it and I checked and it is spendy but so spendy that it 
states on the back of the catalog that shipping is free for orders over 
$200.00.
Georgia my sheep/goat came out weird looking.  It looked so odd and funny 
and I decided that this is for fun and just go with it as I do not do 
animals anyway and probably would never do better.  I am having fun with it. 
  so maybe your Elvis goat/sheep would be fun to get! I think we need to 
remember, especially for the postcards that this is supposed to be fun.
Marilynn



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From: Jack Reisland <reislandj001#hawaii.rr.com>
Date: Wed, 08 Jan 2003 09:03:32 -1000
Subject: [Baren 20350] Re:   Baren Digest V21 #2077 

Hello Dean,

I would also like to sent my condolences to you and the whole Clark
family at Graphic Chemical on the loss of your father. Everyone in the
printmaking world, and especially etchers and lithographers owe a lot to
him for his years of work.

Jack Reisland


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From: Julio.Rodriguez#walgreens.com
Date: Wed, 8 Jan 2003 13:30:06 -0600
Subject: [Baren 20351] Re: New print progression ... updated ...


Dave, John.....this is a most impressive collaboration. The large number 
of blocks/impressions involves makes for such superior depth. I kept track 
thru the webcam of the live colaboration and decision making process and
can now see the effort involved. 

Split block ? Is that where you are printing different colors on the same 
block ? at the same time ?

thanks for sharing the images with us........Julio

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From: Aqua4tis#aol.com
Date: Wed, 8 Jan 2003 14:38:44 EST
Subject: [Baren 20352] Re:   Baren Digest V21 #2077 


many condolences dean    it was indeed a bad year    
georga


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From: "Maria Diener (aka Arango)" <maria#mariarango.com>
Date: Wed, 8 Jan 2003 13:05:28 -0800
Subject: [Baren 20353] thanks Dave 

Yeah! Thanks Dave for showing off your perfect 21+ blocks while I sit and
carve what I consider to be an outrageous 7 color blocks :-)

I'm with Furry, a reduction fool! What a waste of wood (said tongue in
cheek, of course). In any case, I am now finally enjoying the process of
planning and adjusting and planning and adjusting...which brings me to a
question:
Do you often carve additional blocks (more than initially planned) to adjust
this color and that shape and the other shadow...etc.? Or is the planning
process supposed to be pretty thought out so that little adjusting is
necessary later?
I'm finding it very interesting to work this way. I thought that I could
just do one of my regular prints  using water-pigment, but it ain't so! I
find myself thinking in advanced about things that usually don't creep up
into my process, such as:
The transparent inks, the fact that I can't "hide" stuff later (as with oily
opaque inks), the mixing of color on the cream paper...Then there is the
whole registration issue, a non-factor with dry paper and oily inks, now I'm
cutting all the blocks exactly, building traps and frames, and being
excruciatingly careful in carving; certainly much more so than on a
reduction oily cut. Pretty interesting how the change in process changes the
entire way that I think and work. Neat stuff.

Back to the studio,
Maria

<||><||><||><||><||><||>
     Maria Arango
  Las Vegas Nevada USA
  www.1000woodcuts.com
<||><||><||><||><||><||>



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From: FurryPressII#aol.com
Date: Wed, 8 Jan 2003 16:34:06 EST
Subject: [Baren 20354] Re: thanks Dave 

maria   you say what i am thinking   can i hire you as a writer?
john center

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From: ArtfulCarol#aol.com
Date: Wed, 8 Jan 2003 17:24:51 EST
Subject: [Baren 20355] Re:   Baren Digest V21 #2077 

Dean, I am sorry to hear of your loss and add my condolences to those of your 
many Baren  friends.
Carol Lyons

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From: David Bull <davebull#woodblock.com>
Date: Thu, 9 Jan 2003 08:03:58 +0900
Subject: [Baren 20356] Re: New print progression ... updated ...   

Maria wrote:

> ... showing off your perfect 21+ blocks while I sit and
> carve what I consider to be an outrageous 7 color blocks :-)


Well, what am I supposed to do ... just keep quiet about it?  :-)  And 
anyway, 'perfect' they're not - as John will see when he gets this first 
stack for signing once the remaining 15 or so impressions are done.


> Do you often carve additional blocks (more than initially
> planned) to adjust this color and that shape and the
> other shadow...etc.?


In the usual kind of old-style work I do - ukiyo-e reproductions - it's 
never been necessary; the prints are easily analyzable from the 
beginning, because everything is so transparent and clear. But in this 
kind of 'shin-hanga' print, there are so many overlays that it is indeed 
difficult to understand just what will happen later.

In this case, we _did_ need new cutting after starting the first proof, 
as we found that I wasn't able to do the proper gradations up in the 
smoke plumes - a couple of blocks had to be 'split' into two, as you can 
see from the images.

I think that in the case of a much more 'overlaid' print like many of 
those made by the Yoshida's, cutting new blocks as the proofing 
progresses is pretty much standard procedure. I saw this happening with 
a print that Toshi Yoshida was making at the time I was in their studio 
in late 1986.


> Or is the planning process supposed to be pretty thought
> out so that little adjusting is necessary later?


I don't think there is any shame in not being able to 'see' all the way 
to the end right from the start. I don't think an oil painter is 
expected to do this, and with these complex prints, I certainly can't ...

**

After a day off for drying and re-wetting the paper, printing will be 
resuming again this morning, and a couple more steps should be up there 
by tonight. (The pages are now linked in openly, and can be accessed 
from the Surimono Albums website, under 'How these prints are made' ...)

Dave


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From: "Robert Canaga Gallery" <rcg#robertcanagagallery.com>
Date: Wed, 8 Jan 2003 17:51:06 -0800
Subject: [Baren 20357] videos 

Hi, I need a couple of good videos on printmaking to show in class. Does 
anyone have a suggestion?
I showed the papermaking video a few weeks ago and now they all want to 
go make Hosho!
Thanks
RC




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From: "carolwagner" <carolwagner#softcom.net>
Date: Wed, 8 Jan 2003 22:06:45 -0800
Subject: [Baren 20358] Of Goats and Sheep 

Hi Lisa!

Your 'dainty' goat has ambled in, and  joined the herd being stabled in a
book constructed especially for this 2003 exchange, and yes, the   thread of
'connectivity' in baren with its
International bias is an awesome thing to contemplate -  not only do we have
others to communicate with who share our artistic interests, we also have a
unique opportunity to experience the 'Unity in Diversity' which our global
forum represents. And as Martha would say, "that is a very good
thing"...(although I'm not sure Martha would understand my context)

John center,

Well Sir! I never expected to be the proud recipient of TWO "Old Goats", as
I was one of the fortunate ones whose initial goat made it through the mail,
and was promptly placed in its waiting pouch and displayed. This second
offering, is so handsome, it begs to be framed and hung...Thank you ever so
much. The color is rich and effective. I'm afraid what you'll be getting in
return will be a feeble first effort from yours truly.

Frank Truba.

I must confess that I neglected  to take your card out of the plastic mailer
when it first arrived and thus missed the vital and informative information
on the reverse side which I have now read.                         I had not
quite understood that our New Year cards were expected to arrive on or about
the first of January as I had consulted with a Chinese friend who assured me
that a February arrival would coincide with the Chinese Luner New Year, of
which 2003 is a Water Ram year. This was further enforced for me when some
Tibetan friends also referred to the coming February New year of the Water
Ram. I therefore, incorrectly, assumed (forgetting that there is a popular
warning about 'assuming'...)that the Japanese New Year would be the same as
the Tibetan and Chinese. Thank you for the Sumerian addition to my growing
eclectic herd.

A very belated happy new year to you all,
Carol in Sacramento



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End of Baren Digest V22 #2088
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