Today's postings
- [Baren 29171] Re: New Baren Digest (Text) V33 #3247 (Nov 3, 2005) (Dan Allegrucci)
- [Baren 29172] Giant Prints (Cate Fitt)
- [Baren 29173] Re: New Baren Digest (HTML) V33 #3248 (Nov 4, 2005) ("robert")
- [Baren 29174] Re: New Baren Digest (HTML) V33 #3248 (Nov 4, 2005) (Mike Lyon)
- [Baren 29175] #26 (Reneeaugrin # aol.com)
- [Baren 29176] RE: Baren Digest (old) V33 #3248 ("marilynn smih")
- [Baren 29177] Re: 36 Views (Julio.Rodriguez # walgreens.com)
- [Baren 29178] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Dan Allegrucci
Date: Fri, 4 Nov 2005 05:51:31 -0800 (PST)
Subject: [Baren 29171] Re: New Baren Digest (Text) V33 #3247 (Nov 3, 2005)
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Joshua,
Nice new prints. Makes me want to do some reduction block printing!
Dan
Nice new prints. Makes me want to do some reduction block printing!
Dan
Message 2
From: Cate Fitt
Date: Fri, 4 Nov 2005 09:03:43 -0500
Subject: [Baren 29172] Giant Prints
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I saw an exhibition in Frankfort (Germany) of a print the artist had
made by carving his studio floor! He used a piece of roadwork equipment
as a moveable press. Needless to say, the ink was not waterbased.
Cate Fitt
Richmond Virginia
made by carving his studio floor! He used a piece of roadwork equipment
as a moveable press. Needless to say, the ink was not waterbased.
Cate Fitt
Richmond Virginia
Message 3
From: "robert"
Date: Fri, 04 Nov 2005 14:54:01 +0000
Subject: [Baren 29173] Re: New Baren Digest (HTML) V33 #3248 (Nov 4, 2005)
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to Julio:
>I don't know about mass production but with a bed that size I bet Mike
> could rent it and the studio to printmaking artists wanting to work
> large....I mean very large.
> A little advertising to the right group and I bet you have people from all
> over interested in droppping by KC to use the press...
Hey Mike could be the next Ken Tyler!
Mike- be careful of those very precious and gifted hands. They are one of your greatest treasures!
I am on block two of my first real woodcut and I was wondering if I could get some opinions? What is the depth that you all try to achieve in the relief between the printing areas? I realize that in smaller areas with more peaks that the depth may vary compared to larger blank no color areas, but I want to pull clean hanga prints. I have always done slightly shallow relief on my linocuts due to the "allure" of the cut printed areas. I will have fun with a lot of trial and error, but in general? Thanks folks!
Cheers, Rob
>I don't know about mass production but with a bed that size I bet Mike
> could rent it and the studio to printmaking artists wanting to work
> large....I mean very large.
> A little advertising to the right group and I bet you have people from all
> over interested in droppping by KC to use the press...
Hey Mike could be the next Ken Tyler!
Mike- be careful of those very precious and gifted hands. They are one of your greatest treasures!
I am on block two of my first real woodcut and I was wondering if I could get some opinions? What is the depth that you all try to achieve in the relief between the printing areas? I realize that in smaller areas with more peaks that the depth may vary compared to larger blank no color areas, but I want to pull clean hanga prints. I have always done slightly shallow relief on my linocuts due to the "allure" of the cut printed areas. I will have fun with a lot of trial and error, but in general? Thanks folks!
Cheers, Rob
Message 4
From: Mike Lyon
Date: Fri, 04 Nov 2005 09:58:36 -0600
Subject: [Baren 29174] Re: New Baren Digest (HTML) V33 #3248 (Nov 4, 2005)
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Robert wrote:
>What is the depth that you all try to achieve in the relief between the
>printing areas? I realize that in smaller areas with more peaks that the
>depth may vary compared to larger blank no color areas, but I want to pull
>clean hanga prints. I have always done slightly shallow relief on my
>linocuts due to the "allure" of the cut printed areas.
Dear Rob,
You're right about the depth varying -- very narrow cuts can be slightly
shallower than the width of the cut, and large cleared non-printing areas
deeper. In my experience, there is no need to clear deeper than 1/10"
(highest peaks cleared to 1/10" deep) even in the largest cleared
areas. This assumes that cleared areas are never wider than, say 3 to 4
inches... You need to retain support -- support for the paper to prevent it
from sagging into cleared areas and picking up stray blotches of ink and
causing mis-registration, and support for the baren to help prevent the
baren from tipping off the printing areas, thereby pushing the paper down
into inky parts of cleared away areas -- sometimes we talk about a 'three
finger rule' -- clear away from printing areas the width of 'three fingers'
-- the actual width of the area cleared depends on the size brush you
need/want to use during inking -- clear more for larger brushes and less
for smaller brushes. I prefer to slope down at about 45 degrees from the
printing surface to the deepest cleared areas, but some very experienced
carver/printers cut a shallow (1/64"), almost vertical 'cliff' around each
printing area before beginning to slope out to the bottom of the
clearing. My own experience is that a sharp edge like that is more likely
to scrape extra fluid from the brush which can collect in little 'pools'
and is more likely to produce some small blotching around the edges during
printing -- it seems easier to me to quickly brush up the block smoothly if
the cuts slope right from the surface, but this is a fine point you'll have
to decide from your own experience, since the argument can be made that
sloping at 45 degrees from the surface makes it more likely that pressure
from the baren during printing will cause moisture within the fiber-bundles
of the end-grain to squeeze out during printing creating a dark outline
around the printing area...
That said, when reduction printing it may be impossible to retain support
in non-printing areas -- in that case you may want to clear more deeply, or
be careful not to brush ink very far outside printing areas.
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>What is the depth that you all try to achieve in the relief between the
>printing areas? I realize that in smaller areas with more peaks that the
>depth may vary compared to larger blank no color areas, but I want to pull
>clean hanga prints. I have always done slightly shallow relief on my
>linocuts due to the "allure" of the cut printed areas.
Dear Rob,
You're right about the depth varying -- very narrow cuts can be slightly
shallower than the width of the cut, and large cleared non-printing areas
deeper. In my experience, there is no need to clear deeper than 1/10"
(highest peaks cleared to 1/10" deep) even in the largest cleared
areas. This assumes that cleared areas are never wider than, say 3 to 4
inches... You need to retain support -- support for the paper to prevent it
from sagging into cleared areas and picking up stray blotches of ink and
causing mis-registration, and support for the baren to help prevent the
baren from tipping off the printing areas, thereby pushing the paper down
into inky parts of cleared away areas -- sometimes we talk about a 'three
finger rule' -- clear away from printing areas the width of 'three fingers'
-- the actual width of the area cleared depends on the size brush you
need/want to use during inking -- clear more for larger brushes and less
for smaller brushes. I prefer to slope down at about 45 degrees from the
printing surface to the deepest cleared areas, but some very experienced
carver/printers cut a shallow (1/64"), almost vertical 'cliff' around each
printing area before beginning to slope out to the bottom of the
clearing. My own experience is that a sharp edge like that is more likely
to scrape extra fluid from the brush which can collect in little 'pools'
and is more likely to produce some small blotching around the edges during
printing -- it seems easier to me to quickly brush up the block smoothly if
the cuts slope right from the surface, but this is a fine point you'll have
to decide from your own experience, since the argument can be made that
sloping at 45 degrees from the surface makes it more likely that pressure
from the baren during printing will cause moisture within the fiber-bundles
of the end-grain to squeeze out during printing creating a dark outline
around the printing area...
That said, when reduction printing it may be impossible to retain support
in non-printing areas -- in that case you may want to clear more deeply, or
be careful not to brush ink very far outside printing areas.
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 5
From: Reneeaugrin # aol.com
Date: Fri, 4 Nov 2005 11:06:59 EST
Subject: [Baren 29175] #26
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Hello all,
Joshua, great prints, but I could not find any prices.
John C. , I sent my 31 prints via priority mail, yesterday.
I am thinking of making a series of '36 Views of Stonewood'(our name for the
little bit of paradise), before it disappears. The instinct to preserve is
very strong and inspirational. As things change, my work will reflect those
changes, sometime you may see something like 'the new garden', 'a planting
of new trees', 'transplanting vintage grapevines', and so on. I hope you all
will enjoy the adventure as it unfolds in my prints, whatever that may
be.
Thank you all for the continued support, encouragement, knowledge and
motivation.
I am inclined to agree that Mike should drive that contraption out here to
Oregon next year!
My very best to you all,
Renee
Leaves and Rain Everywhere.
Joshua, great prints, but I could not find any prices.
John C. , I sent my 31 prints via priority mail, yesterday.
I am thinking of making a series of '36 Views of Stonewood'(our name for the
little bit of paradise), before it disappears. The instinct to preserve is
very strong and inspirational. As things change, my work will reflect those
changes, sometime you may see something like 'the new garden', 'a planting
of new trees', 'transplanting vintage grapevines', and so on. I hope you all
will enjoy the adventure as it unfolds in my prints, whatever that may
be.
Thank you all for the continued support, encouragement, knowledge and
motivation.
I am inclined to agree that Mike should drive that contraption out here to
Oregon next year!
My very best to you all,
Renee
Leaves and Rain Everywhere.
Message 6
From: "marilynn smih"
Date: Fri, 04 Nov 2005 09:31:15 -0800
Subject: [Baren 29176] RE: Baren Digest (old) V33 #3248
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Joshua, great strong bold images.
Yes Mike, I can see you now with a truck engine mounted under that press, big wheels and huge headlights heading out to the pacific side of the world. Look out semis here comes Mike hard hat and all!
Sounds like that press got its initiation via your blood. Around here we keep a lot of those nice fabric band aids ready. Have you ever closed a wound with a hot glue gun? Here it works well, but it might scar and ouch, but it would be cauterized! Hope your tetnus shot is up to date.
As for your comments on retiring, well my husband went out early and now has time for all those things he just never could do before. It is not retirement, it is working differently, doing what you want because now finally you do not have to push hard to pay the bills. Maybe??? Depends on what you want to do, but definitely from my experience artists never retire, neither do inventors. Looking forward to seeing the first prints from that huge press!
Marilynn
Message 7
From: Julio.Rodriguez # walgreens.com
Date: Fri, 4 Nov 2005 14:48:17 -0600
Subject: [Baren 29177] Re: 36 Views
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Renee writes: "I am thinking of making a series of '36 Views of
Stonewood'(our name for the little bit of paradise), before it
disappears...."
I often thought of starting a similar series about my town....maybe
reduced to "Eight Special Places to Visit in Skokie".....there are some
great landmarks here and I thought they would serve as a good source of
inspiration and worthwhile project with some local appeal. A common
practice in the east this approach has also served well for artists in the
west. Most recently I have enjoyed looking at barener Tom Kristensen's
Green Island series....just some wonderful
images there....here is a link to an intro page and then a link down the
page to go thru each of the prints... also don't miss the wonderful essay
by Tom on
woodblock printmaking...
http://www.artelino.com/articles/tom-kristensen.asp
thanks.....Julio Rodriguez (Skokie, Illinois)
Stonewood'(our name for the little bit of paradise), before it
disappears...."
I often thought of starting a similar series about my town....maybe
reduced to "Eight Special Places to Visit in Skokie".....there are some
great landmarks here and I thought they would serve as a good source of
inspiration and worthwhile project with some local appeal. A common
practice in the east this approach has also served well for artists in the
west. Most recently I have enjoyed looking at barener Tom Kristensen's
Green Island series....just some wonderful
images there....here is a link to an intro page and then a link down the
page to go thru each of the prints... also don't miss the wonderful essay
by Tom on
woodblock printmaking...
http://www.artelino.com/articles/tom-kristensen.asp
thanks.....Julio Rodriguez (Skokie, Illinois)
Message 8
From: Blog Manager
Date: 5 Nov 2005 04:55:02 -0000
Subject: [Baren 29178] Baren Member blogs: Update Notification
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This is an automatic update message being sent to [Baren] by the forum blog software.
The following new entries were found on the listed printmaker's websites during the past 24 hours. (8 sites checked, just before midnight Eastern time)
*****************
Site Name: Mike Lyon's Moku Hanga
Author: Mike Lyon
Item: Press bed in place and frame leveled
http://mlyon.com/blog/2005/11/press-bed-in-place-and-frame-leveled.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
The following new entries were found on the listed printmaker's websites during the past 24 hours. (8 sites checked, just before midnight Eastern time)
*****************
Site Name: Mike Lyon's Moku Hanga
Author: Mike Lyon
Item: Press bed in place and frame leveled
http://mlyon.com/blog/2005/11/press-bed-in-place-and-frame-leveled.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php