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Message 1
From: Jeanne Norman Chase
Date: Tue, 24 Aug 2004 07:15:51 -0700 (PDT)
Subject: [Baren 25820] Re: Large Print Exchange
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Large Print Exchange

Thanks for the wonderful treat.
The large prints were all soo fantastic, hope we have another one soon.
BARBARA PATERA
While I always enjoy your whimsical people, they just keep getting better and better. This to me was my favorite of your prints, thanks

Jeanne N.

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Message 2
From: James G Mundie
Date: Tue, 24 Aug 2004 10:19:18 -0400
Subject: [Baren 25821] Re: Brayers... and new SwapShop prints
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John Jeremies wrote:

> I just started cutting wood and I was wondering what size brayer to
buy.

John,

One important point that hasn't been brought up yet in the discussion of
what sort of brayer (or "roller" for our friends across the pond) you
need is the importance of the diameter of the cylinder.

For instance, Speedball brayers, regardless of length, all tend to be
about 1.25 inches in diameter. This means that you can roll a fresh
thin layer of ink only about 4 inches long before you overlap the
beginning of the cycle again. So, if you were using this brayer to ink a
woodcut 9 inches long in a single pass, the first four inches would be
perfect, the next four would be a bit too dry, and the last inch would
have received hardly any ink at all. The only way to remedy that it is
to recharge the brayer and ink the block from different directions until
you get even dispersal all over the block.

With a brayer of a larger diameter - say three inches across - you could
probably ink the entire length of that 9-inch board in one pass without
needing to recharge the brayer. It hardly feels like work at all.

Visually, I might describe the difference as [{XXXXxxxx...}] versus
[{XXXXXXXXX}]

I have no problem with the Speedball brayers, because they are cheap,
serviceable, easily replaced, and come in a variety of sizes. I own a
6-inch-long by 3 inch diameter brayer of medium hardness that is a
beautiful thing and is worth every penny I paid for it; but my workhorse
brayer is a 4-inch Speedball because many of my blocks are too small for
the magnificence of the larger brayer. The large brayer is like Rolls
Royce I keep under a tarp in the garage and bring out on special
occasions, and the Speedball like a beat up pickup truck that is ideal
for running errands around town.

I recommend that you get yourself a variety of brayers in a variety of
sizes. If you work in color, those really wee Speedball brayers are
perfect for small areas of color (you might want one for every color
family so that your colors always stay clean - 'cause so matter how
carefully you clean a Speedball brayer, in time it takes on tiny
particles of pigment; not a big deal if you're only printing in black,
but if you decide to use an old blacked brayer to print a pass of yellow,
it won't be pretty).

Find a size of brayer that is comfortable for the majority of the work
you do, then decide whether you want to invest in one of the big Rolls
Royces available from Graphic Chemical or others. When you are ready for
one of those, you will also need to decide on what sort of hardness you
prefer - soft, medium, or hard. Your need may vary from board to board,
in which case you might want one of each, but I find the medium hardness
(can't remember the durometer rating off the top of my head) to be
adaptable to most situations.

******

In other news: three new prints have just been added to the SwapShop
galleries (http://www.barenforum.org/swapshop/intro.html). Go now and
take a look at prints by Jeanne Norman Chase (Sarasota, Florida USA),
Michael Heenan (Harper Woods, Michigan USA) and Bernard Holvoet
(Brussels, Belgium).

And while you're gawking, think about how you yourself might get
involved. It's very simple: all you do is send in prints and when we
have enough for a swap, you get a bundle of new prints back in the mail.
The more swappers, the faster the swap. So, CUT! PRINT! SEND!


________________________________________
James Mundie
Philadelphia PA, U.S.A.
Prodigies: Anomalous Humans by James G. Mundie
http://www.missioncreep.com/mundie/images/

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Message 3
From: Bette Norcross Wappner
Date: Tue, 24 Aug 2004 14:20:21 -0400
Subject: [Baren 25822] Attn: Patsy Wilson!!! (for Surimono Exchange #21)
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One last call for Patsy Wilson regarding her prints for Surimono
Exchange #21.

I realize that this is still vacation time, so I've given her time to
respond.

Would Patsy or anyone knowing her where-a-bouts, PLEASE contact me
OFFLIST ASAP.

Lovely Claudia Coonen is waiting patiently to replace Patsy's
participation spot.

Thank you,

Bette Wappner
bettewappner#fuse.net
Surimono Exchange #21 Coordinator
Northern Kentucky, USA

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Message 4
From: "claudia g coonen"
Date: Tue, 24 Aug 2004 09:21:02 -1000
Subject: [Baren 25823] Re: Baren Digest (old) V28 #2765
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alohas
does anyone out there know of Dolphin Papers some where in Indiana? I need
the phone # please.(or web)
thanks ,
claudia coonen

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Message 5
From: "Bill H. Ritchie, Jr."
Date: Tue, 24 Aug 2004 12:48:16 -0700
Subject: [Baren 25824] RE: New Baren Digest (Text) V28 #2765 (Aug 24, 2004)
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Open reply to Daniel Dew ?

Your email message on baren listserve really interested me. I
wonder if you would keep me posted on the results of your quest. Read on and
I'll explain why your message interests me.

I'm a printmaker and for 19 years I taught printmaking at the UW in
Seattle. It is a big school and I went up in the ranks rapidly to be
a full professor of art, with tenure and all. But the school was too
conservative for me. I was hired to teach printmaking, and I did my job in
that area. But I stretched print to include non-print, like video and
computer.

Universities, you may know, put emphasis on research and practice, sometimes
at the expense of teaching. I did all three well, though, and ironically
that got me into trouble. My research showed printmaking needed to change
with the times.

I recommended using new technologies both to teach and to open new pathways
to students and faculty. "No", this department said,
"we just want to be like everyone else as far as printmaking
goes." So I resigned.

My dream, had it come true on that campus, would by now offer you some
distance learning courses in media arts so you could finish your degree.

What I'm wondering is that if you are going to find credits for art
courses you can take online or in what they call hybrid fashion, where you
meet several times a term face to face with the teacher(s) and the other
students in that program.

Maybe it's not even art courses you're looking for. Hmm.

Because, Dan, that is what I want to do. I'm older now (62)
and I think my vision of teaching both face to face and online is coming
about. What I'm not sure of is if a person like you can not only
get credit for such a course but would also find the content of the course
challenging, manageable and useful, i.e., worth the cost, time and resources
it takes.

I hope you'll think about my interest in your quest and share your
thoughts. You are, in my artist/teacher's imagination, a person
that is part of the wave of the future, when students in the arts
can tap vast resources that are bottled up in institutions of art like
schools and museums.

And this doesn't even open the subject of continuing education!
Think of the possibilities. Actually, barenforum is my daily upgrade in my
woodcut education.

- Bill

Emeralda Dev Site: http://www.emeralda.com
Original Web Site: www.seanet.com/~ritchie
Snail Mail: 500 Aloha #105, Seattle 98109
e-mail: ritchie#seanet.com

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Message 6
From: "Anne F. Bessac"
Date: Tue, 24 Aug 2004 15:54:50 -0400
Subject: [Baren 25825] Re: New Baren Digest (Text) V28 #2765 (Aug 24, 2004)
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Have you looked at U.of Georgia at Athens, U of Tenn at Knoxsville. They are
just what you have described wanting above.

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Message 7
From: Daniel Dew
Date: Tue, 24 Aug 2004 16:03:35 -0400
Subject: [Baren 25826] Re: New Baren Digest (Text) V28 #2765 (Aug 24, 2004)
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I have checked out a multitude of online schools, most don't meet my
criteria.
I wanted a respectable university that would "work" with someone like
me, 42 years old and working full time.
I could jpg, mail or scan my work.
I was hoping there was a professor in this group I could work with.
I respond off list Bill to you.


Daniel L. Dew

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Message 8
From: "Anne F. Bessac"
Date: Tue, 24 Aug 2004 16:04:17 -0400
Subject: [Baren 25827] Re: New Baren Digest (Text) V28 #2765 (Aug 24, 2004)
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I would not do an online school. You would miss so much not having the
tactile experience and the people experience in a 3-d classroom. You might
find somehting on line, but it would be a poor subsitute for the real thing.

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Message 9
From: "Maria Diener (aka Arango)"
Date: Tue, 24 Aug 2004 13:23:51 -0700
Subject: [Baren 25828] Re: New Baren Digest (Text) V28 #2765 (Aug 24, 2004)
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Dan you might also want to check Art News or Art In America mags for
distance learning. I know I have seen some there; most have programs
where you go for 6 weeks and then do the rest of the curriculum off
site. I don't know if this would work for you. Then check them out and
see if they are reputable.

Maria

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Message 10
From: GraphChem # aol.com
Date: Tue, 24 Aug 2004 17:06:17 EDT
Subject: [Baren 25829] Re: Brayers from Graphic
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We'll let you know as soon as they are online -should be pictures, too. I'll
look at the sizes and weigh one. The quality is not as good as the Graphic
or English brayers, but good quality. They also come in the very narrow sizes
that seem to be popular right now.
Susan

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Message 11
From: "marilynn smih"
Date: Tue, 24 Aug 2004 14:56:25 -0700
Subject: [Baren 25830] RE: Baren Digest (old) V28 #2765
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John,
I have done mostly oil based printmaking, just really beginning to learn
Hanga. For brayers I bought what I had learned on at my local art store.
They are speedball, I have a 6", which I have used for most of what I do, a
3" which is great for small plates. My 6" is beginning to show wear, after
about 5 years and yes it is hard to clean. As with most things the better
quality will give you longer and better service, so get the best you can
afford.
For a palette I have always used heavy glass to roll out my ink. I was
taught to roll it out and keep rolling until the ink on the pallette looks
like an orange peel. Then you go to your block and roll it out in thin
layers. You need to cover the block completely, you will have to learn to
look and determine when you have put on enough ink. Too little and it will
not transfer to the paper, too much and your design will begin to fill in.
Barbara Mason described her technique and it is an excellent one, she
teaches a lot so she knows how to describe this. The ink on your plate will
have the orange peel look as well. Good luck and happy printing.
Marilynn

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Message 12
From: "Mary Ann Brooks-Mueller"
Date: Tue, 24 Aug 2004 19:22:29 -0500
Subject: [Baren 25831] Re: Frank's email
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Frank,
This is all my fault! I saw your post and thought it was a source for health insurance.I should never try to real email after bedtime!
My apology.
And I agree with Jeanne!
Mary Ann
Mexico

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Message 13
From: "Carol Myers"
Date: Tue, 24 Aug 2004 22:11:12 -0500
Subject: [Baren 25832] Re: Baren Digest (old) V28 #2765
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Wow, here is a question I can answer. Dolphin Papers in in Indianapolis. Of
course, their catalogue is in my studio, across town. Their local # is
317-822-3846. If you can wait until tomorrow evening, I'll try to remember
to call them or look up their 800 number and website if they have one.
Carol L. Myers
Indy

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Message 14
From: "Carol Myers"
Date: Tue, 24 Aug 2004 22:16:49 -0500
Subject: [Baren 25833] Re: Baren Digest (old) V28 #2765
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I just googled Dolphin Paper, Indianapolis and got their website
http://homepage.mac.com/dolphinpapers/Catalog2004.htm

and their # 1-800-346-2770.

Hope this helps. If you need a local contact, let me know. I never mind an
excuse to hop downtown!
Carol L. Myers
Indy

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End of [Baren] Digest