Today's postings
- [Baren 27370] Roosters and Monkeys (GWohlken)
- [Baren 27371] RE: Baren Digest (old) V30 #2988 ("marilynn smih")
- [Baren 27372] Re: Color Blocks (Mike Lyon)
- [Baren 27373] Re: Color Blocks (Daniel Dew)
- [Baren 27374] Re: Roosters and Monkeys ("Bea Gold")
- [Baren 27375] Re: Color Blocks (Robin Morris)
- [Baren 27376] exchange 24 (Barbara Mason)
- [Baren 27377] SGC International Conference (fami # clix.pt)
- [Baren 27378] New member and reduction prints ("John C. Gernon")
- [Baren 27379] Re: SGC International Conference ("MPereira")
Message 1
From: GWohlken
Date: Tue, 8 Mar 2005 09:52:48 -0500
Subject: [Baren 27370] Roosters and Monkeys
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Sharri, you asked if your roosters have been arriving. Yes!!! A
splendid rooster, too.
Sorry I have not responded to the people sending out monkeys and
roosters. They are
coming in (Dan and Meagan's monkeys arrived the other day) and John
Center's,
and Sylvia's red and black rooster, among others. Thank you,
everybody. I told Jim
I think these last couple of New Year's postcard exchanges have been
the best of them all.
Each is turning out to be a little jewel. I've been putting them on
the black refrigerator
to admire a while before they are sent to their keeping place. Good
creative work, everyone!
~Gayle/Ohio
splendid rooster, too.
Sorry I have not responded to the people sending out monkeys and
roosters. They are
coming in (Dan and Meagan's monkeys arrived the other day) and John
Center's,
and Sylvia's red and black rooster, among others. Thank you,
everybody. I told Jim
I think these last couple of New Year's postcard exchanges have been
the best of them all.
Each is turning out to be a little jewel. I've been putting them on
the black refrigerator
to admire a while before they are sent to their keeping place. Good
creative work, everyone!
~Gayle/Ohio
Message 2
From: "marilynn smih"
Date: Tue, 08 Mar 2005 07:16:47 -0800
Subject: [Baren 27371] RE: Baren Digest (old) V30 #2988
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Dan some folks use a jig with the kento marks on that. It is basically an L
shaped piece of wood, foam core, mat board or whatever with the kento glued
or nailed to it. You do nto have to carve to the kento marks if you have
2-3 inches space from your design, just cut it deep enoughAnd relax and
enjoy. I once had a watercolor prof put it well , it is only a piece of
paper. Well in this case it is only a piece of wood. If you mess up the
first time I am sure there is more wood. Keep at it.
Marilynn
shaped piece of wood, foam core, mat board or whatever with the kento glued
or nailed to it. You do nto have to carve to the kento marks if you have
2-3 inches space from your design, just cut it deep enoughAnd relax and
enjoy. I once had a watercolor prof put it well , it is only a piece of
paper. Well in this case it is only a piece of wood. If you mess up the
first time I am sure there is more wood. Keep at it.
Marilynn
Message 3
From: Mike Lyon
Date: Tue, 08 Mar 2005 09:24:49 -0600
Subject: [Baren 27372] Re: Color Blocks
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Dan Dew wrote:
>I've tried looking at the pictures, and reading, but I want to ask a
>question: Do you have to carve to the kento marks? I understand clearing
>out a space of about 3 inches around the area to be printed, but do you
>need to go to the kento marks or not?
Dear Dan,
This 'hanga' stuff really isn't very complicated -- honestly!
In hanga you don't put ink EVERYwhere -- you just brush it on the printing
surfaces and you can't help but brush it into the carved-away areas around
the printing surfaces as well -- you don't want the baren to tip into those
carved away but inky areas and you don't want the paper to sag into them on
its own, either. So a good rule of thumb is to clear out about the width
of three of your fingers (on my hand that's about two inches) around areas
which print -- that will leave plenty of un-inked block to support baren
and paper and keep either from sagging down into inky gouged-out
areas... I usually clear depending on what sort of brush I'll likely use
to ink that area -- if it's a huge flat area which I will brush out rapidly
and freely with my largest brushes (big shoe-brush size), then I may clear
more like three or a little more inches around (so I won't get ink on
non-printing paper-support areas of the block even if I'm a little wild
while brushing) -- if I'm printing only a few tiny dots close together,
then I'll use one of my tiny 1/2" brushes and I'll clear only 3/4 inch
around or so.
The less you clear, the more block remains to support both paper and baren
(I sand non-printing edges round so they don't sharply emboss the paper
during printing).
Imagine that you want to print a black 1/4 inch circle-shape in the center
of an 8x10 inch sheet. I'd carve my kento as usual, so they were cleared
out just about the thickness of my printing paper with nice straight
dead-vertical walls against which to 'bump' my paper (bump is too strong a
word, but I do it by feel, not by sight, so use your imagination). THEN
(no point in carving my design if I blow the kento carving, right?) I'd
carve my design -- in this case, clearing out about an inch around my 1/4
inch circle. The channel I'd clear would begin at the 1/4" circle whose
sides would slope down steeply (between 45 and 60 degrees) no more than
1/16 inch, and the deepest part of my cleared-out channel wouldn't go much
deeper than that... And I'd sand the edge on the outside of my cleared out
channel so it wouldn't crease the paper. Then I'd ink the 1/4" circle
using a small split-bamboo hanga bake, register my damp paper and print
using baren (PRESTO)!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>I've tried looking at the pictures, and reading, but I want to ask a
>question: Do you have to carve to the kento marks? I understand clearing
>out a space of about 3 inches around the area to be printed, but do you
>need to go to the kento marks or not?
Dear Dan,
This 'hanga' stuff really isn't very complicated -- honestly!
In hanga you don't put ink EVERYwhere -- you just brush it on the printing
surfaces and you can't help but brush it into the carved-away areas around
the printing surfaces as well -- you don't want the baren to tip into those
carved away but inky areas and you don't want the paper to sag into them on
its own, either. So a good rule of thumb is to clear out about the width
of three of your fingers (on my hand that's about two inches) around areas
which print -- that will leave plenty of un-inked block to support baren
and paper and keep either from sagging down into inky gouged-out
areas... I usually clear depending on what sort of brush I'll likely use
to ink that area -- if it's a huge flat area which I will brush out rapidly
and freely with my largest brushes (big shoe-brush size), then I may clear
more like three or a little more inches around (so I won't get ink on
non-printing paper-support areas of the block even if I'm a little wild
while brushing) -- if I'm printing only a few tiny dots close together,
then I'll use one of my tiny 1/2" brushes and I'll clear only 3/4 inch
around or so.
The less you clear, the more block remains to support both paper and baren
(I sand non-printing edges round so they don't sharply emboss the paper
during printing).
Imagine that you want to print a black 1/4 inch circle-shape in the center
of an 8x10 inch sheet. I'd carve my kento as usual, so they were cleared
out just about the thickness of my printing paper with nice straight
dead-vertical walls against which to 'bump' my paper (bump is too strong a
word, but I do it by feel, not by sight, so use your imagination). THEN
(no point in carving my design if I blow the kento carving, right?) I'd
carve my design -- in this case, clearing out about an inch around my 1/4
inch circle. The channel I'd clear would begin at the 1/4" circle whose
sides would slope down steeply (between 45 and 60 degrees) no more than
1/16 inch, and the deepest part of my cleared-out channel wouldn't go much
deeper than that... And I'd sand the edge on the outside of my cleared out
channel so it wouldn't crease the paper. Then I'd ink the 1/4" circle
using a small split-bamboo hanga bake, register my damp paper and print
using baren (PRESTO)!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 4
From: Daniel Dew
Date: Tue, 8 Mar 2005 10:43:28 -0500
Subject: [Baren 27373] Re: Color Blocks
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Awesome, thank you sooooo much.
First, I am carving my kento's way too deep.
second, I am carving away too much support.
Thanks!
Daniel L. Dew
First, I am carving my kento's way too deep.
second, I am carving away too much support.
Thanks!
Daniel L. Dew
Message 5
From: "Bea Gold"
Date: Tue, 8 Mar 2005 09:30:44 -0800
Subject: [Baren 27374] Re: Roosters and Monkeys
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I love getting majestic Roosters (got yours Sharri) and frisky Monkeys in
the same mail. Slows time a bit. Thanks to all the slow and the fast. Bea
Gold
the same mail. Slows time a bit. Thanks to all the slow and the fast. Bea
Gold
Message 6
From: Robin Morris
Date: Tue, 8 Mar 2005 12:02:10 -0800
Subject: [Baren 27375] Re: Color Blocks
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Mike, this is a wonderfully clear explanation of much that is not hard
to do perhaps but surely hard to explain succinctly. You write so
visually it is really easy to "see" what you're talking about.
Thanks for this- most instructive.
Peace,
RM
to do perhaps but surely hard to explain succinctly. You write so
visually it is really easy to "see" what you're talking about.
Thanks for this- most instructive.
Peace,
RM
Message 7
From: Barbara Mason
Date: Tue, 8 Mar 2005 13:39:08 -0800 (PST)
Subject: [Baren 27376] exchange 24
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I just sent a welcome message For #24 and Tyrus Clutter, your email bounced.
So if you read this, please email me.
Thanks,
Barbara Mason - exchange 24 coordinator
So if you read this, please email me.
Thanks,
Barbara Mason - exchange 24 coordinator
Message 8
From: fami # clix.pt
Date: Wed, 09 Mar 2005 03:07:41 +0000
Subject: [Baren 27377] SGC International Conference
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Dear bareners:
I am sorry for posting a message that doesn't relate directly to woodblock.
I am a portuguese printmaker and I have been lurking for long time. I don't the possibility to enter in the discussions generally, but I have learnt, in the past years, very much indeed with your messages. I try to read all of them, but sometimes is not so easy to be up-to-date.
I want to thank you all for the precious informations in many of your eamails and specially to David Bull for this superb site.
Hiroshi Maruyama, is a japanese printmaker who gave us a 5 day workshop on japanese woodblock two years ago in our Printmaking Association Agua-Forte in Lisbon, but we keep making prints more in other techniques than in woodblock (etching, aquatint, collagraph, photopolymer mostly...).
Our Association has twelve members right now and three of us have just decided to attend SGC in Washington later this month.
Unfortunatelly I presume we have decided too late, so we can not find any places at Hilton Hotel with good rates. It is our fault, of course being late.
I wonder if any of you could know well the city and could give us any suggestions about non expensive hotels around the Conference place ? any suggestions would be great for us.
You may email me off list, of course.
Also and finally, I would like to meet other bareners that may go to SGC. Although you don't know me, I know some of you through the discussions and finally I will have the possibility to present myself, once that I have been lurking for so long. I think it will be a very good occasion and oportunity for that and for exchange informations.
I thank you very much in advance,
Fatima
I am sorry for posting a message that doesn't relate directly to woodblock.
I am a portuguese printmaker and I have been lurking for long time. I don't the possibility to enter in the discussions generally, but I have learnt, in the past years, very much indeed with your messages. I try to read all of them, but sometimes is not so easy to be up-to-date.
I want to thank you all for the precious informations in many of your eamails and specially to David Bull for this superb site.
Hiroshi Maruyama, is a japanese printmaker who gave us a 5 day workshop on japanese woodblock two years ago in our Printmaking Association Agua-Forte in Lisbon, but we keep making prints more in other techniques than in woodblock (etching, aquatint, collagraph, photopolymer mostly...).
Our Association has twelve members right now and three of us have just decided to attend SGC in Washington later this month.
Unfortunatelly I presume we have decided too late, so we can not find any places at Hilton Hotel with good rates. It is our fault, of course being late.
I wonder if any of you could know well the city and could give us any suggestions about non expensive hotels around the Conference place ? any suggestions would be great for us.
You may email me off list, of course.
Also and finally, I would like to meet other bareners that may go to SGC. Although you don't know me, I know some of you through the discussions and finally I will have the possibility to present myself, once that I have been lurking for so long. I think it will be a very good occasion and oportunity for that and for exchange informations.
I thank you very much in advance,
Fatima
Message 9
From: "John C. Gernon"
Date: Tue, 8 Mar 2005 22:34:01 -0500
Subject: [Baren 27378] New member and reduction prints
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Hello everybody, I'm new to the forum and just wanted to give you a
little background info on myself.
My name is Jon Gernon and I've been a printmaker, mostly in Mezzotint
for the past ten years. I learned
mezzotint from Japanese Master Katsunori Hamanishi and Carol Wax. I've
done woodcut and linocut for a
while but not as my main thing. I have in the last year become very
interested in reduction prints. I've done three too date on birch
plywood with o.k. results,
getting gradually better at but I'm no Mike Lyons!
Does anyone know about his technique for this or if he has any photos
available on his website
demonstrating this. My main question is how do you know where to cut
next after each time you print?
I mean, his prints look almost photo-realistic, Incredible!
Well thanks and hope to here from you all in future postings!
Jon Gernon
little background info on myself.
My name is Jon Gernon and I've been a printmaker, mostly in Mezzotint
for the past ten years. I learned
mezzotint from Japanese Master Katsunori Hamanishi and Carol Wax. I've
done woodcut and linocut for a
while but not as my main thing. I have in the last year become very
interested in reduction prints. I've done three too date on birch
plywood with o.k. results,
getting gradually better at but I'm no Mike Lyons!
Does anyone know about his technique for this or if he has any photos
available on his website
demonstrating this. My main question is how do you know where to cut
next after each time you print?
I mean, his prints look almost photo-realistic, Incredible!
Well thanks and hope to here from you all in future postings!
Jon Gernon
Message 10
From: "MPereira"
Date: Sun, 6 Mar 2005 17:18:09 -0300
Subject: [Baren 27379] Re: SGC International Conference
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Note: This message is a repete of Message 8 from Fatima