Baren Digest                Sunday, 29 June 2003        Volume 23 : Number 2280


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

From: Mike Lyon <mikelyon#mlyon.com>
Date: Sat, 28 Jun 2003 09:07:41 -0500
Subject: [Baren 21988] Re: Keeping focus 

 Liz Horton wrote:
>Mike--What are some of the best discussion groups (a la BarenForum) for oily work?

I haven't a clue which are the 'best'...  But the list of oily
and general printmaking forums, etc is HUGE...  Here, by way of
example, are SOME of the Yahoo! groups devoted to printmaking --
to subscribe to any of them, just click the mailto link...  None
of these mentions Japanese technique, moku-hanga, hanga, water,
etc. I don't think...

mailto:printmaking-subscribe#yahoogroups.com OFFERS A FORUM FOR
QUESTIONS AND ANSWERS ABOUT PRINTMAKING AND PRINTMAKING
TECHNIQUES ~78  members
mailto:digitalprintmaking-subscribe#yahoogroups.com Fine art
digital printmakers, hang out here to exchange your idea and
experience on wide-ranging topics related to digital printmaking.
The original files are frequently photographic captures so
photographers may find themselves at home here. Bring to the
forum your insights and queries, from digital and film capture,
..., processing, scanning, file manipulation and finally the
ultimate product the digital prints, via lightjet, inkjet, ...,
the profile, paper and ink. ~533 members
mailto:zybooks-subscribe#yahoogroups.com Welcome to the Zybooks
group. The subject matter of this group is art, artists' books,
printmaking, small press publishing, mail art, poetry, resources
for artists. The picture is the cover of The Suitcase, a book of
poems sent to zybooks by Bob Dombrowski featuring the poem he
wrote just after 9/11 If you want to promote your art event or
exhibition please email Gandha with the information and it will
be posted in the monthly bulletin to all group members.  ~113 
members mailto:erasercuts-subscribe#yahoogroups.com This is a
group open to discussing the printmaking artform of erasercuts
and eraser carving. Please enjoy yourself and have a great time! 
~42  members open to the public
mailto:artchicago-subscribe#yahoogroups.com Any stuff relating to
the VISUAL ARTS in the CHICAGOland area. SUCH AS „ Future art
events in Chicago (i.e. shows, exhibits, openings, performances,
talks, art fairs) „ Opinions, reviews, thoughts on art events
you've seen „ Opinions on art galleries and musuems in Chicago „
Artists living in Chicagoland area „ Future art contests „ Jobs
available and jobs needed postings „ Quotes on Art „ Good Books,
magazine article recommendations „ Any Questions „ Creativity
tips „ Technique,material tips  ~110  members open to the public
mailto:PrintAustralia-subscribe#yahoogroups.com The Print
Australia mailing list exists to support the activities of the
Print Australia community and website. http
//www.acay.com.au/~severn Print Australia's aims are - * To
promote printmaking as a contemporary artform and to promote and
market the work of individual printmakers through exhibition
strategies. * To raise the profile of Australian printmaking
throughout the international community. * To provide an on-line
resource for information relating to printmaking, papermaking and
 ... more ~201 members
mailto:Printmakers-subscribe#yahoogroups.com The Printmakers list
is for all artists involved in printmaking; whether it be
intaglio, relief, lithography, monotype, collagraphy, fish
printing... Everyone is welcome. Feel free to ask questions on
techniques, troubleshoot problems you're having or show off your
latest edit ~201 open to the public
mailto:Monotype-subscribe#yahoogroups.com This list will be
restricted to discussions about Monotypes and Monoprints. It will
bring together artists, dealers and others who love this form of
printmaking. We will discuss marketing, technical issues and
share experiences. It is NOT a general printmaking forum. An
excellent source for this is the Printmakers forum at
http://www.onelist.com/community/Printmakers   ~ 55  members open
to the public mailto:gaia_-subscribe#yahoogroups.com _gaia is a
collective of women, for women, for the making of textiles,
clothing, printmaking, painting, architecture, music, film,
photography, science, the performing arts, writing,
environmental, social and political activismÉ.all things which
color the lives of the women involved. We actively promote and
support the work of local women artists while developing
programming to reach out to and help emerging artists in need of
studio space, facilities and resources.  ~16  members
mailto:monoprints2-subscribe#yahoogroups.com Feel free to post
messages and exchange ideas on printmaking techniques or other!
~21 members mailto:GAWfriends-subscribe#yahoogroups.com The
Graphic Arts Workshop is a cooperative of approximately 40
artists who work primarily in traditional printmaking techniques.
It was founded in San Francisco in 1952. ~54 members open to the
public mailto:cavershampress-subscribe#yahoogroups.com Newsletter
and notices from The Caversham Press, a fine art professional
printmaking studio situated in the Natal Midlands, South Africa.
The Press was established in 1985 by Master Printer, Malcolm
Christian, who trained in Natal and the U.K. Printmaking
techniques offered include screenprint, lithography, intaglio and
relief processes. There is a facility for hand book binding.
Accommodation is available for up to six artists. A Caversham
Press Educational Trust, which provides workshops and ... more
~98  members mailto:digital-fineart-subscribe#yahoogroups.com A
discussion list for anyone interested in the process of digitally
produced fine art including inkjet prints and/or "giclŽes." If
you're involved in the digital medium for photography,
traditional fine art, alternative process, or any hybrid
combination, this is the place to ask questions and share your
experiences about this new process that is revolutionizing the
art world. Topics include using a printing service vs. printing
it yourself, photographing original art, scanning, digital image
... more ~3077 members
mailto:Wood-Engravers-Network-subscribe#yahoogroups.com Since
1994, a group of printmakers, especially interested in wood
engraving, have gathered and formed an organization called the
Wood Engravers' Network (WEN). The group pursues communication,
encouragement, and education in this historic, yet contemporary
relief medium. This E-Groups forum is part of WENÕs efforts to
network with wood engravers and wood engraving enthusiasts. The
forum is open to the public, though we ask list members to
refrain from abuse of the list, including spam and ... more  ~89
members

Do a search with your favorite search engine for 'printmaking
forum' you'll see what I mean...  tens of thousands of them and
many, many forums, discussion groups, etc.   The only Japanese
Printmaking Forum I've been able to find is this one:
http://www.BarenForum.org I'd be interested to learn of others,
of course!

-- Mike


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




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

From: Myron Turner <mturner#Ms.UManitoba.CA>
Date: Sat, 28 Jun 2003 09:21:04 -0500
Subject: [Baren 21989] Re: Oily VS Water 


I did a quick count of the "Year of the Sheep" prints which I received and 
of the 30 relief prints submitted (one appears to be a linocut), 19 were 
printed with oil-based inks and 11 with water-based.  I can't know how 
representative this is of the list's membership, but it does suggest that 
there's a significant interest among active members in oil-based techniques.

In my own case, while I print exclusively in oil-based inks (and in black 
and white), 25 years ago I used water-based inks, so I have no innate 
prejudice against them--though I have to confess to some sympathy with 
Philip's view of prints that, as he says, attempt to "imitate" 
watercolor.  I think of my experience last summer at Yale U.'s exhibition 
of prints by Helen Frankenthaler, in which as many as 104 colors were used 
to produce prints that were--though different and beautiful--still very 
much like paintings.  In any event, speaking for myself, and looking 
forward to the next summit, I personally wouldn't be interested in a summit 
which focused again on water-based printing.  I wouldn't be surprised if 
there were others like me on the list.

When I mentioned this oil vs water dispute to my wife, who years ago taught 
intaglio, she suggested that it might be more fruitful to worry about why 
printmaking seems to have lost so much importance as an art form over the 
last 20 years.  I think this goes to April's point that "moku hanga is 
special because it is so under-recognized in the US and Europe".  I think 
the problem is part of a more general devaluation of printmaking.  (This is 
particularly true in Canada which, for various historical reasons, has 
created an art culture in which printmaking has very little place, so much 
so that a few years ago the printmaking department at the University of 
Manitoba was in danger if disappearing for lack of enrollment.)

As for the other printmaking lists which Barbara Mason recommends, as she 
herself said, none of them are as active as baren.  I've been subscribed, 
for instance, to printsL for six months.  Only once, possibly twice, in all 
that time has a technical question about making prints come up, and there's 
very little traffic, an average of a few e-mails every few weeks--not 
infrequently from dealers.

I think that the important thing is not whether people are printing in oil 
or water but that the baren is contributing, one hopes, to a critical mass 
in which printmaking will regain some of its lost centrality.


Myron Turner

As I was writing this Mike's list of printmaking lists arrived.  I think 
his list makes the point--none of them appear to be devoted to woodblock 
printing, oil or otherwise.




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

From: barebonesart <barebonesart#attbi.com>
Date: Sat, 28 Jun 2003 09:35:13 -0700
Subject: [Baren 21990] Re: Baren Digest V23 #2279 

Hi Y'all,

A word in defense of we who hold tenaciously to our oily heritage:  you no
longer need even one solvent in your studio.  A large container of any old
veggie oil the local supermarket has on sale will do.  Follow that with some
rubbing alchohol, also a frequent sale item at your local pharmacy, and
you're in business.  The little bit of ink you may, or may not if you
remember to put your gloves on, get on your hands will wash off with Lava
soap.  So, East meets West in the non-toxic studio setting - solvents are no
longer an issue.  However, the appreciation of moku-hanga is truly an
aesthetic adventure - and Phillip, some of the contemporary mh prints are
every bit as vibrant and saturated as their oily cousins. Don't rule out any
of the possibilities!

I've forgotten who sent the info about the Sierra Club mag., but the Killion
prints are wonderful and brought back many fond memories of living in the
foothills of the Sierra Nevada for 29 years, albeit on the Eastern side -

Cheers,
Sharri


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

From: michael schneider <mikasch#t0.or.at>
Date: Sat, 28 Jun 2003 20:55:56 +0200
Subject: [Baren 21991] Re: Hanga 


I do not want to sound like a teacher, but I think there are some 
corrections to be made. First, it is not necessary to have a press for 
oil base woodblock prints. Second, it is possible to get a black printed 
with sumi that is richer than the oil color. Third, the development of 
the water color painting and the moku hanga are not directly related and 
when looking through the esthetics do not resemble each other.

I do agree that sometimes it seems that nowadays moku hanga has taken 
the form of watercolors and that the design and the reasons for 
realizing it as moku hanga are more important than the technique. But if 
technical skills are not sufficient to realize the idea adequately, 
practice on the technique comes first.

michael schneider

Philip238#copper.net wrote:


> I for one am a oily printer.
> I really don't care for the Japanese methods.
>  It seems to me that research will keep you interested in all forms of 
> printmaking.
> The oily technique does require a press but it's so enjoyable to see 
> those rich blacks come up in one pass.
> Multi color prints, hanga, seem to be trying to imitate water color 
> painting.
> Limited color prints and black on   white are far more effective I 
> think. It's the design that's important, technique  comes second.
> Philip
> Hammond, OR




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

From: "Gilda Zimmerling" <gemzeditionz#earthlink.net>
Date: Sat, 28 Jun 2003 12:27:5 -0700
Subject: [Baren 21992] RE: tom killion 

Dear Wanda,
 Yes your right it was Tom Killion I was think of, been looking up some of
his work the last couple of days. I guess it the California landscapes that
just grab my attention. I love his prints. I am looking into joining April
in her class in Santa Cruz and Tom has his studio there. I am going to see
if maybe he will let me come by . Frank if you are going to be there maybe
we can go together. Let me know. Gilda


> [Original Message]
> From: Wanda <robertson#canby.com>
> To: <gemzeditionz#earthlink.net>

 > Date: 6/28/03 8:56:26 AM

> Subject: Prints & the Summit
>
> Hi Gilda,
> 
> Tom Killion is the name we were trying to think of at the Summit = the one
> that Gary Leudtke's prints reminded you of.  He does a lot of prints about
> the California scenery.  I think Gary's are mostly of Hawaiian scenes,

which

> he sells in the gift shops & galleries in Hawaii.  He sure is a nice guy!
> 
> It was so nice to be able to meet you.  I enjoyed our conversation about
> "body language" with Marco.  He's such a nice, talented guy!  I'll never
> forget your story about the human chain with your family!
> 
> Wanda




- --- Gilda Zimmerling
- --- gemzeditionz#earthlink.net
- --- EarthLink: The #1 provider of the Real Internet.



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

From: "April Vollmer" <april#aprilvollmer.com>
Date: Sat, 28 Jun 2003 16:57:06 -0400
Subject: [Baren 21993] Paul Furneaux Class 

The Center For Contemporary Printmaking in Norwalk CT is offering a class in
Japanese woodcut this summer taught by Paul Furneaux. Barbara and a group of
Bareneers visited him last year. Evidently his studio burned recently and he
lost most of his life's work. As a result he has been invited for a
residency at the CCP, including this class.

The class is offered August 11 to 15 and costs $390 plus a $20 materials
fee. The workshop is an hour and a half by train from Grand Central Station
in NYC. It is located in a beautiful old gatehouse of the Lockwood Matthews
Mansion. If you are interested in taking the class call CCP at 203-899-7999.

Paul's class coincides with my trip to California, where I'll be teaching a
weekend at Kala Art Institute Aug 9 & 10 and Santa Cruz Aug 16 and 17 for
those of you on the West coast!

best,

April
www.aprilvollmer.com



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

From: Reneeaugrin#aol.com
Date: Sat, 28 Jun 2003 21:17:56 EDT
Subject: [Baren 21995] (no subject) 



Dear Bareners and Barenesses,

I have been lurking about for a while now and have enjoyed the lively 
discussions, passionate debates and intelligent camaraderie of Baren.

I have been working with woodblock printmaking for 25 + years and am 
delighted to find a group of fellow enthusiasts.

I usually use oily inks (and vegetable oil for cleaning up), but would love 
to learn more about moku hanga.  I once attempted this beautiful method in 
college and am inspired by 'you all' to  try it again.

Thank you all for sending so many inspiring links of woodblock work.

Renee in Damascus, Oregon

PS.   Hi Barbara M. !



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

From: FurryPressII#aol.com
Date: Sat, 28 Jun 2003 23:02:46 EDT
Subject: [Baren 21996] woodcuts    yes!!!! 


I spend at least 90% of my time cutting my blocks and 10% printing       Up 
until the summit there seems to be very little desention over which vehicle 
held the pigment water or oil.  I would prefer to go back to that sense of unity. 
    

I am on one of the lists mentioned      w.e.n. in the time baren sends out 
100+ emails the engravers list sends out one.

I for one would never say one method is better than any other      the choice 
is up to the artist for esthetic reasons.  In fact in my next artist book I 
intend to use both.

I view myself as a relief print maker.

John "furrypress" Center

P.s. currently printmaking is on its death bed in local colleges.     
Computer art is the opposition    


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

End of Baren Digest V23 #2280
*****************************