[Baren] Daily Digest

Today's postings

[Baren 37070] Exchange #39 Open NOW ("Maria Arango")
[Baren 37071] RE: Future exchange change suggestion ("Maria Arango")
[Baren 37072] I can add paper to the envelope. (Rosposfe # aol.com)
[Baren 37073] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) (Marilynn Smith)
[Baren 37074] RE: small block, big paper problem ("Maria Arango")
[Baren 37075] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) ("Mike Lyon")
[Baren 37076] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) ("Browder, Tina")
[Baren 37077] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) ("Mike Lyon")
[Baren 37078] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) ("Browder, Tina")
[Baren 37079] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) (Graham Scholes)
[Baren 37080] Paste. (Graham Scholes)
[Baren 37081] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008) (Charles Morgan)
[Baren 37082] Baren Member blogs: Update Notification (Blog Manager)

Message 1
From: "Maria Arango"
Date: Wed, 01 Oct 2008 14:00:27 GMT
Subject: [Baren 37070] Exchange #39 Open NOW
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Exchange # 39 is officially open for sign-ups.
Information and sign-up page is here:

http://www.barenforum.org/exchange/exchange_sign-up.html

Good luck! Be speedy...
Maria

O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O

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Message 2
From: "Maria Arango"
Date: Wed, 01 Oct 2008 18:54:20 GMT
Subject: [Baren 37071] RE: Future exchange change suggestion
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> Since most everyone in an exchange makes more than 31 prints AND since
> most
> exchanges have a few artists on the waiting list, WHY NOT consider ALL
> those
> folks in the exchange...
>...in the case of Exchange 38,
> the alternates might have taken the exchange more seriously and
> finished
> their prints.

We "kinda" do? Usually we advise that ALL folks on the waiting list should
prepare prints as if they were in the exchange AND strongly recommend that
the first 2-3 "wait-listers" do so. In reality this doesn't happen, unless
the wait list person is really really bored with life. The alternates SHOULD
take very seriously their wait-list status.

This is MUCH more important in the case of an exchange like #39, where a
multi-color traditional moku-hanga print can't just be popped from the press
in a day or two. Hear that everyone?

We customarily have 2-5 drop outs in every exchange. The drop-out deadline
is designed to allow people to bow out at the 7th hour, that is, when there
is still plenty of time for a wait-lister to prepare prints even if they
haven't started.
Most but not all of the drop-outs occur at that time.

After the drop-out deadline, people that have not even responded to the
first "commit or quit" emails begin to worry the coordinator. At that time
emails (and chunks of hair) start flying back and forth between the
coordinator and the exchange manager as to how to proceed. If we haven't
heard from and don’t readily recognize the names, we drop the silent
non-responders and either move people into the exchange from the wait list
or request additional participants.

Nothing is "cut and dry" as there are many circumstances that may be in
play, for example misspelled email addresses, no access to email for a
length of time, busy people, etc.

> For example, 35 people sign up for an exchange and each one sends in 36
> prints (one for the archive). If, in the eleventh hour, 4 people get
> lost in
> the mix there would still be 31 prints in the coordinator¹s hands

The last time we suggested more than 30 prints, there was a riot. For many
of the participants that customarily print multiple block/color prints by
hand, 30 prints is about the edge of a reasonable limit. With that and
taking into account previous exchanges and the number of participants that
actually "finished" an exchange, that is why and how we came up with the
magic number: 30.
If, however, there are more than double the number of excited participants
that sign-up, then we do "make it a double" and everyone is automatically
"in". What happens then is there is no waiting list, no cushion, and
therefore often the double exchanges are short in the end.

Other "off-list" exchanges have also sprouted from exchanges where there was
a nice enrollment and much interest, so as not to tax one coordinator.

Anyhow, I hope this helps explain. Good suggestions BTW but the theory and
practice of exchanges are two different things and we have to go with what
works most of the time for most of the people.

Maria

PS And if anyone can revive the Swap Shop ANY WHICH WAY!!! Yeah! Go go go!!!
That would be cool.

O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O

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Message 3
From: Rosposfe # aol.com
Date: Wed, 01 Oct 2008 19:38:47 GMT
Subject: [Baren 37072] I can add paper to the envelope.
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I wrote the 38 exchange coordinator offline yesterday that I too, barely
missing out on sign up for the 38 exchange was still carving and printing a block
that will be printed in Oban size. So, Add my name to the heroic last minute
volunteers to keep the exchange packets plump.
Barring end-of-the-world disasters I can have prints ready for Nov.1st.
(Will tight credit markets prevent me from obtaining loans to buy handmade
Japanese Hosho in quantities sufficient to print an edition of 31?).
Andrew

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Message 4
From: Marilynn Smith
Date: Wed, 01 Oct 2008 21:01:09 GMT
Subject: [Baren 37073] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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I just received an order of Guerra pigment dispersions. I am certain
the color they give me will be superior. However I failed to order a
binder.
There are several on this list that use these pigments can you tell
what binder i should order? Also, I must say the folks at Guerra are
super. I had ordered one pigment they did not have and happily we
were able to substitute a similar pigment, they were very nice and
very helpfu, they called within ours of my order.
Thanks,
Marilynn

Oh yes, I took a look through my existing woodblocks for carving and
most are small. I mean sizes that do not fit the 15 inch format we
have used in the last 2 exchanges. I do work small a lot, probably
mostly due to traveling between two locations and living with a full
house remodel. I would like an exchange that uses a smaller size, some
time down the road. If not I guess I will just have to get creative!

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Message 5
From: "Maria Arango"
Date: Wed, 01 Oct 2008 21:07:32 GMT
Subject: [Baren 37074] RE: small block, big paper problem
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> Oh yes, I took a look through my existing woodblocks for carving and
> most are small. I mean sizes that do not fit the 15 inch format we
> have used in the last 2 exchanges.

I have more of these planned, but here's an alternative!
All you have to do is secure the blocks with a foamboard "jig" so they will
print in the same place.

http://1000woodcuts.com/thumbs2006/twoseeds.jpg

O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O

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Message 6
From: "Mike Lyon"
Date: Wed, 01 Oct 2008 21:45:40 GMT
Subject: [Baren 37075] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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For moku-hanga, use rice paste, methyl cellulose, whatever (to allow
'wmooth' printing of color) -- these all work GREAT with the Guerra
dispersions -- all you need is the pigment and a bit of paste (actually, the
pigments work very well without paste if you prefer grainy printing --
colors are fast and permanent -- won't bleed, etc.

--Mike

Mike Lyon
Kansas City, MO
http://mlyon.com

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Message 7
From: "Browder, Tina"
Date: Wed, 01 Oct 2008 21:50:17 GMT
Subject: [Baren 37076] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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This may be a dumb question, but you know what they say about dumb questions...
I found some Rice Starch in the art store and was curious if this can be used for water-based ink printing? Is this the same as "rice paste"?

Thanks!
Tina B

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Message 8
From: "Mike Lyon"
Date: Wed, 01 Oct 2008 21:57:37 GMT
Subject: [Baren 37077] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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Yes, that's the same stuff, but in dry powder form -- it's cheaper than
buying ready-made paste in tubes and only takes a few minutes to cook up a
batch in a small double boiler. Follow the directions on the bottle, but
use a bit more water than recommended -- bring water in bottom of double
boiler to a boil, mix the rice starch and water in the top of the double
boiler (it really only lasts a day, so don't mix more than you can use) and
stir it constantly as it heats -- when it's thick, it's done and ready to
use (soon as it cools)...

Mike

Mike Lyon
Kansas City, MO
http://mlyon.com

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Message 9
From: "Browder, Tina"
Date: Wed, 01 Oct 2008 22:00:17 GMT
Subject: [Baren 37078] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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Great! Thanks Mike. I found it really cheap so I wasn't sure if it was the right stuff. Now I just have to find a double boiler...

Thanks!
Tina B

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Message 10
From: Graham Scholes
Date: Wed, 01 Oct 2008 22:50:27 GMT
Subject: [Baren 37079] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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Hi Marilynn.....

Do you remember the sample pigments that I supplied at Boot Camp a few
years ago.
How do the Guerra pigments compare.

Some of you here know that I cannot get these anymore and I need to
find a replacement.

Any other former bootcampers have any feedback about this....

Thanks,
Graham

I posted a quick way to make a paste from Corn Starch.... this stuff
work great for moku hanga
I have shown almost every bootcamp class the method of making this
stuff... even when we
had ample supply of the commercial paste.

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Message 11
From: Graham Scholes
Date: Wed, 01 Oct 2008 22:50:36 GMT
Subject: [Baren 37080] Paste.
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Rice starch or Corn starch work great....

Mix about ½ teaspoon full of the powder in cold water... make
sure there are no lumps in the mix that should be the consistency
thick cream.
Pour boiling water (I let it boil of 2 or 3 minutes) into this mix
while stirring. It will start to thicken up and become translucent.
That is the clue to know you got a good paste.

If the mix is not nicely translucent (not cooked) then a quick
zap in a microwave does the trick nicely.

You can keep this mix in the fridge of about a week before
the creepy crawlies start to take over....

Cheers,
Graham

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Message 12
From: Charles Morgan
Date: Wed, 01 Oct 2008 22:50:50 GMT
Subject: [Baren 37081] Re: New Baren Digest (HTML) V45 #4554 (Oct 1, 2008)
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If you do water based stuff, then as Mike has already said, just use whatever paste suits you ... rice paste, wheat paste, methyl cellulose, etc.

I use the Guerra dispersions with either clear etching medium or with burnt plate oil. For relief work, you can mix the dispersions with clear etching medium and then thin to taste with artist's grade linseed oil. Alternatively, you can mix the dispersions directly with burnt plate oil of the desired viscosity ... burnt plate oil ranges in grade from #000 (very thin) to #8 (very thick). I think about a #3 or #4 should be about right for relief. Graphic Chemical and Ink, Daniel Smith, and a number of others carry burnt plate oil.

For oily work, I first mix the color I want by using small quantities of the dispersions. Then I add the mixed dispersion to a few tablespoons of the desired medium ... mix very thoroughly with a spatula or putty knife. Some pigments tend to ball up a little, but continue mixing, perhaps adding a bit of linseed oil to loosen it up. By mixing small quantities, I do not wind up with large batches of some weird color that I will not use before it hardens up.

Cheers ...... Charles

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Message 13
From: Blog Manager
Date: Thu, 02 Oct 2008 03:57:21 GMT
Subject: [Baren 37082] Baren Member blogs: Update Notification
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[Baren] - the International Forum for Woodblock Printmaking

Volume: 45 / Number: 4555

Thursday, 2nd of October, 2008

Today's postings

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