Baren Digest Monday, 19 May 2003 Volume 23 : Number 2227 ---------------------------------------------------------------------- From: John and Jan Telfer Date: Sun, 18 May 03 21:27:09 +0800 Subject: [Baren 21535] Re: Trip to Japan Dear Mike, >Activities" which you can find here: >http://www.barenforum.org/activities/activity_frame.html -- it's the link >near the top left, "Mike Lyon visits BarenForum founder, David Bull" Thank you for sharing your trip to see David in Japan and the beautiful clear photographs. It is really nice to be able to share these experiences with you all when we are all so widely scattered across the world. It brings you all closer to "home". I am really lucky to have travelled to Japan twice, to see Niko, Oyama, Tokyo, Narita, Nagoya and Kyoto and Hiroshima and for the last two years to Bootcamp and to meet so many Bareners there and Seattle, Portland, San Francisco and LA. I hope to be back again one year and sooner than later... we are planning a New York trip next year. Thanks, Mike. Cheers, Jan ------------------------------ From: David Bull Date: Sun, 18 May 2003 22:59:35 +0900 Subject: [Baren 21536] Re: Why the rag? Kent wrote: Kent wrote: >>Hi Dave. Looking forward to seeing you at Kansas City. >Since I am printing this weekend and=A0looking at what you have on >the Baren website for printing a Bokashi, I am wondering when doing a >Bokashi, why do you use a piece of cloth clipped on a block to >moistenthe wood rather than another brush to perform this task? >Does it make much of a difference? Using a brush would basically work I guess, although there could be a couple of difficult points: - - it might be difficult to control the exact amount of water going onto the block each time. Using a folder-over rag that holds quite a lot of water, it's possible to wipe it over the block just ... so ... to let it 'drop' just the amount of water you need. - - you might get trouble with pigment building up on the brush. After printing a bunch of copies, the rag starts to get 'dirty' with pigment at one end, and this starts to move down to the area where you don't want it. When this happens, a quick flip and re-wrap of the cloth, exposes a fresh clean area. With the brush, you would have to wash the thing, then try to get it dried down to the level you need ... But if you aren't doing too many copies, there should be no reason that you couldn't get used to using a brush for this job ... *** Interesting to read Mike's version of his visit here. I say 'version' because I'm not really sure that I recognize the person he visited! But I guess any of us would say the same thing ... we never really know how others see us ... Anyway, at the Summit you'll be able to separate myth from reality! I should perhaps mention what I have in mind for my 'corner' at the Summit sessions. I'm coming in on the evening of the 17th, and will be there 'til Sunday. I'm going to bring my basic printing stuff: brushes, barens and pigments. I probably won't bring many (if any) carving tools, due to airline security concerns. I'll also have a deck of paper at my side, and would like simply to spend my time there making sample prints from whatever blocks people choose to throw at me. (I was mentioning this in an email to somebody the other day, and he mentioned that in that case, he would be there on the tarmac at KC airport when my plane arrived, standing next to the guy who waves those little paddles, bringing the plane in to the gate. That way, he would get to be first in line ....) The basic idea would be to work with people, acting as the 'hands', while they tell me what they would like the print to be ... I'll try as well as I can to see if I can get their ideas down on paper ... I don't promise miracles, as compared to a professional 'jobbing' printer from Tokyo, my own experience with using blocks carved by other people is quite limited, and my experience with all this modern 'funny stuff' is non-existent, but anyway, we should have some fun I think ... Looking forward to this holiday from my printmaking work! :-) Dave ------------------------------ From: Artsmadis#aol.com Date: Sun, 18 May 2003 16:59:31 EDT Subject: [Baren 21537] Escher woodcut site Ran across this by accident, well worth a look. I especially like the earlier works, none of which I'd seen before. http://www.mcescher.com/Gallery/gallery.html Darrell ------------------------------ From: Wanda Date: Sun, 18 May 2003 20:02:58 -0700 Subject: [Baren 21538] Re: stuff Not as of yet, Julio. Although there are some things (net-wise) in the works. I'll let you know when it works out. Thanks for asking, though. Wanda on 5/16/03 3:35 PM, Julio.Rodriguez#walgreens.com at Julio.Rodriguez#walgreens.com wrote: > Georga, congratulations on your published prints, wonderful news. > > Wanda, is there an online place to see the exhibit of your prints ?, > congrats ! > > Mary Green, so sorry we missed you in Chicago last week, we'll meet up in > June/KC. > > April, Frank and Steve, welcome to the KC Summit....wait a minute, > hey......Steve IS already in KC {;-) > > Mike, thanks for sharing your trip to Japan and visiting Dave, great > photos, good reading ! > > thanks.....Julio Rodriguez (Skokie, Illinois) ------------------------------ From: Julianne Date: Mon, 19 May 2003 22:07:23 +1000 Subject: [Baren 21539] creased paper. Heres a question - I cannot decide which one of two prints (monotypes) to send into a competition. Number 1 is just right (to me), but unfortunetly the paper creased in a couple of places when it went through the press. The creases are not on the actual image area. Number 2 is not quite so good, the colours not so striking etc, but it's printed well enough (in my opinion), and not bad overall. Which one should I send? I assume that in a print competition, all details of the printing process would be judged, not just the subject, concept etc? To what extent is creased paper frowned upon? Any comments? Julianne Kershaw ------------------------------ End of Baren Digest V23 #2227 *****************************