Today's postings
- [Baren 26852] Cliff Hanga No.2 ("Harry French")
- [Baren 26853] RE: New Baren Digest (Text) V30 #2926 (Jan 18, 2005) ("maurice fykes III")
- [Baren 26854] western paper for moku hanga? ("Eva Pietzcker")
- [Baren 26855] Re: western paper for moku hanga? (Wanda Robertson)
- [Baren 26856] American Print Alliance (Barbara Mason)
- [Baren 26857] Re: American Print Alliance ("Robert Canaga")
Message 1
From: "Harry French"
Date: Tue, 18 Jan 2005 14:24:27 -0000
Subject: [Baren 26852] Cliff Hanga No.2
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Greetings and belated Happy New Year to you all,
In my last Baren exchange (Surimono) you may recall my thoughts about the agonies of getting the edition together and the disasters incurred. At the end I declared never again : for me it was too stressful as an expressionist with only rudimentary discipline and craft skills. The swap shop seemed a better idea. Then the edition arrived via Bette and the whole experience was forgotten because of the fabulous prints that arrived in Lincolnshire.
I have short term memory.....two exchanges later I subscribed to another exchange (Tribute to a most influential printmaker).
I thought I would be OK with all the previous learning experience and guidance from you all.
None of the previous calamites associated with the Surimono Exchange occurred, but what I didn't anticipate was a wheel barrow load of other problems just waiting to be tipped on top of me!
I opted to make a tribute to William Blake (18th century) using transposed skills of the German Expressionists (20th century) a cool idea I thought and for the first time I did a full design on paper before cutting.
Whilst wandering around the art shop in Lincoln I saw the 'new' style, composite linoleum, thick and inexpensive. It was quite unlike the hard brown "battleship" linoleum I used as a lad. I bought it and decided to use it for my print. It cut so brilliantly and the first broad colours were done in a day, but when serious fine cut overprinting began the original spring and ease of use, for me, became a nightmare : the lino expanded and it eventually collapsed creating misprints.
Another mistake for me was to volunteer for an exchange in the hard winter when it is freezing cold in the studio.The linseed inks refused to work and the damp atmosphere inhibited even the cobalt dryers. At the time some Bareners were discussing using the kitchen as a studio. This is an excellent option, but a kitchen studio is not for me (at the moment) after accidentally spilling ultramarine ink last year onto the floor and carpet!!!!
Bareners, I seem incapable of learning in a logical, linear manner.
My Baren 23# exchange prints are on their way to Maria, our coordinator, in Las Vegas.
Regards,
Harry
Lincoln
England, UK
www.harryfrenchartworks.co.uk
In my last Baren exchange (Surimono) you may recall my thoughts about the agonies of getting the edition together and the disasters incurred. At the end I declared never again : for me it was too stressful as an expressionist with only rudimentary discipline and craft skills. The swap shop seemed a better idea. Then the edition arrived via Bette and the whole experience was forgotten because of the fabulous prints that arrived in Lincolnshire.
I have short term memory.....two exchanges later I subscribed to another exchange (Tribute to a most influential printmaker).
I thought I would be OK with all the previous learning experience and guidance from you all.
None of the previous calamites associated with the Surimono Exchange occurred, but what I didn't anticipate was a wheel barrow load of other problems just waiting to be tipped on top of me!
I opted to make a tribute to William Blake (18th century) using transposed skills of the German Expressionists (20th century) a cool idea I thought and for the first time I did a full design on paper before cutting.
Whilst wandering around the art shop in Lincoln I saw the 'new' style, composite linoleum, thick and inexpensive. It was quite unlike the hard brown "battleship" linoleum I used as a lad. I bought it and decided to use it for my print. It cut so brilliantly and the first broad colours were done in a day, but when serious fine cut overprinting began the original spring and ease of use, for me, became a nightmare : the lino expanded and it eventually collapsed creating misprints.
Another mistake for me was to volunteer for an exchange in the hard winter when it is freezing cold in the studio.The linseed inks refused to work and the damp atmosphere inhibited even the cobalt dryers. At the time some Bareners were discussing using the kitchen as a studio. This is an excellent option, but a kitchen studio is not for me (at the moment) after accidentally spilling ultramarine ink last year onto the floor and carpet!!!!
Bareners, I seem incapable of learning in a logical, linear manner.
My Baren 23# exchange prints are on their way to Maria, our coordinator, in Las Vegas.
Regards,
Harry
Lincoln
England, UK
www.harryfrenchartworks.co.uk
Message 2
From: "maurice fykes III"
Date: Tue, 18 Jan 2005 14:33:15 +0000
Subject: [Baren 26853] RE: New Baren Digest (Text) V30 #2926 (Jan 18, 2005)
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Dan,
I just entered www.speed-mat.com in my browser And BINGO! Their site poped up. You can buy blades on line also.
Maurice
Message 3
From: "Eva Pietzcker"
Date: Tue, 18 Jan 2005 21:15:19 +0100
Subject: [Baren 26854] western paper for moku hanga?
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Dear Bareners.
I have a question regarding paper. Has anyone of you, who is doing the Japanese woodblock technique, good experience with Western papers and if yes, with which? I know that the Japanese paper is perfect for moku hanga, as this developed from the available paper, but anyway I am asking myself.
Thank you in advance,
Eva
I have a question regarding paper. Has anyone of you, who is doing the Japanese woodblock technique, good experience with Western papers and if yes, with which? I know that the Japanese paper is perfect for moku hanga, as this developed from the available paper, but anyway I am asking myself.
Thank you in advance,
Eva
Message 4
From: Wanda Robertson
Date: Tue, 18 Jan 2005 12:26:59 -0800
Subject: [Baren 26855] Re: western paper for moku hanga?
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I went on a search for locally available (western) papers for moku
hanga a few years ago. To give you a complete rundown I'd have to go
check my sample drawer. Some of my favorites were (and still are)
Stonehenge (all colors), Masa, Lana laid, and one of the tan colored
German engraving papers which is no longer available (can't think of
the name).
Another note - not all Japanese papers are good for Hanga printing.
Hosho is really hard to do Hanga with - student or professional grade.
It is just too absorbent & cottony. You *can* do it, but your
paste/pigment/moisture content has to be near perfect.
Hope this is of some help....
Wanda
hanga a few years ago. To give you a complete rundown I'd have to go
check my sample drawer. Some of my favorites were (and still are)
Stonehenge (all colors), Masa, Lana laid, and one of the tan colored
German engraving papers which is no longer available (can't think of
the name).
Another note - not all Japanese papers are good for Hanga printing.
Hosho is really hard to do Hanga with - student or professional grade.
It is just too absorbent & cottony. You *can* do it, but your
paste/pigment/moisture content has to be near perfect.
Hope this is of some help....
Wanda
Message 5
From: Barbara Mason
Date: Tue, 18 Jan 2005 15:11:49 -0800 (PST)
Subject: [Baren 26856] American Print Alliance
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Please see the info below...
For those of you who do not know, the Alliance is a group of organizations that promote printmaking, you can see their web site here www.printalliance.org Most print organizations belong to the Alliance and several Baren members have a print in the 9-11 memorial portfolio that is still circulating the country in exhibition.
Baren Members can belong to the Alliance through Baren by sending me their name, address and email to forward to the Alliance. This obligates you in no way but might generate an email once or twice a year. If you want the password to the full Print Alliance site and the magazine that goes with it, the alliance asks for a $35 yearly contribution, but Baren members get a discount of $5. See the site for infomation.
Best to all,
Barbara
From the Print Alliance:
Happy New Year 2005
New in 2005! The American Print Alliance invites our Contemporary Impressions subscribers to show their original prints or artists’ books in a simple list — like the unframed, shrink-wrapped prints in a brick-and-mortar gallery’s “Print Bin.” Collectors and curators can easily browse through many artists’ works and contact you directly for purchases. It’s FREE (we ask that you make a 15% donation to the Alliance on sales due to this exposure). Subscriptions are for the calendar year: if you send your payment in January, you can have a website password and an image in the Print Bin for the full 12 months. If you subscribe later in the year, you’ll still receive both issues of the journal, but your password and presence in the Print Bin will expire in December even if that’s less than 12 months away. So send your subscription, slide and permission form now! See the Gallery at www.PrintAlliance.org; click on the journal cover to get to the subscription form.
The Alliance is looking for additional venues for the Memorial Portfolio (be sure to see it during the SGC conference at the Wesley Theological Seminary, 4500 Massachusetts Ave NW, Washington, DC) and our Theater of the Mind exhibit; please contact Carol at director@printalliance.org.
Here’s another new way to help the American Print Alliance as well as your own printmaking: the authors will donate their profit to the Alliance for all books ordered with this coupon!
Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials,
by Karin Schminke, Dorothy Simpson Krause, & Bonny Pierce Lhotka.
Watson-Guptill, 2004, 160 pages, incl. 300 full-color illustrations with step-by-step instructions.
This manual of innovative techniques was developed to integrate inkjet printing with traditional artist’s tools and processes, with information from ten years of experimentation previously available only within limited workshops. Topics include creating unique surfaces on which to print, underprinting and overprinting, wet transfers, dry emulsion transfers, gelatin (fresco) transfers, layered printing, dimensional images and fabric printing.
>> All profits will go to the American Print Alliance ONLY for orders on this form
For those of you who do not know, the Alliance is a group of organizations that promote printmaking, you can see their web site here www.printalliance.org Most print organizations belong to the Alliance and several Baren members have a print in the 9-11 memorial portfolio that is still circulating the country in exhibition.
Baren Members can belong to the Alliance through Baren by sending me their name, address and email to forward to the Alliance. This obligates you in no way but might generate an email once or twice a year. If you want the password to the full Print Alliance site and the magazine that goes with it, the alliance asks for a $35 yearly contribution, but Baren members get a discount of $5. See the site for infomation.
Best to all,
Barbara
From the Print Alliance:
Happy New Year 2005
New in 2005! The American Print Alliance invites our Contemporary Impressions subscribers to show their original prints or artists’ books in a simple list — like the unframed, shrink-wrapped prints in a brick-and-mortar gallery’s “Print Bin.” Collectors and curators can easily browse through many artists’ works and contact you directly for purchases. It’s FREE (we ask that you make a 15% donation to the Alliance on sales due to this exposure). Subscriptions are for the calendar year: if you send your payment in January, you can have a website password and an image in the Print Bin for the full 12 months. If you subscribe later in the year, you’ll still receive both issues of the journal, but your password and presence in the Print Bin will expire in December even if that’s less than 12 months away. So send your subscription, slide and permission form now! See the Gallery at www.PrintAlliance.org; click on the journal cover to get to the subscription form.
The Alliance is looking for additional venues for the Memorial Portfolio (be sure to see it during the SGC conference at the Wesley Theological Seminary, 4500 Massachusetts Ave NW, Washington, DC) and our Theater of the Mind exhibit; please contact Carol at director@printalliance.org.
Here’s another new way to help the American Print Alliance as well as your own printmaking: the authors will donate their profit to the Alliance for all books ordered with this coupon!
Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials,
by Karin Schminke, Dorothy Simpson Krause, & Bonny Pierce Lhotka.
Watson-Guptill, 2004, 160 pages, incl. 300 full-color illustrations with step-by-step instructions.
This manual of innovative techniques was developed to integrate inkjet printing with traditional artist’s tools and processes, with information from ten years of experimentation previously available only within limited workshops. Topics include creating unique surfaces on which to print, underprinting and overprinting, wet transfers, dry emulsion transfers, gelatin (fresco) transfers, layered printing, dimensional images and fabric printing.
>> All profits will go to the American Print Alliance ONLY for orders on this form
Message 6
From: "Robert Canaga"
Date: Tue, 18 Jan 2005 15:16:47 -0800
Subject: [Baren 26857] Re: American Print Alliance
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Hi Barbara, Please include me and I will send?give you the $5 this weekend.
Thanks
Robert
new email rcg#opus6ix.com
Thanks
Robert
new email rcg#opus6ix.com