--- Go to the Opening Page of the [Baren] web site ---

Message 1
From: Barbara Mason
Date: Mon, 06 Oct 2008 15:18:22 GMT
Subject: [Baren 37158] Re: Improving blog feeds ...
Send Message: To this poster

what Dave neglected to say is that it comes to your inbox with the photos in it like a newsletter, so easy to visually see if you are interested.. I have seen the tests and they are great
My best
Barbara

• [Back to message index]

Message 2
From: Marilynn Smith
Date: Mon, 06 Oct 2008 15:39:50 GMT
Subject: [Baren 37159] Re: New Baren Digest (HTML) V45 #4561 (Oct 5, 2008)
Send Message: To this poster

Sorry to say it was a professor at the college in oregon where I
attended several years of printmaking classes that taught me the wax
trick. Howard Neufeld was the man who taught me that trick.

Marilynn

• [Back to message index]

Message 3
From: "Ellen Shipley"
Date: Mon, 06 Oct 2008 16:01:31 GMT
Subject: [Baren 37160] Re: Ellen's hanga brush question
Send Message: To this poster

Thanx Sarah,

That's a good idea. But aren't the stencil brushes too stiff? I use them occasionally to apply oil-based ink to small areas.
I'll give'em a try. 8-]

Ellen

-(>-----~
Ellen Shipley
Trompt As Writ
~-----

• [Back to message index]

Message 4
From: Marilynn Smith
Date: Mon, 06 Oct 2008 16:17:43 GMT
Subject: [Baren 37161] Re: New Baren Digest (HTML) V45 #4562 (Oct 6, 2008)
Send Message: To this poster

OOps, I am thinking I may have had a brain fart as to who taught me
the wax thingy, so Graham, do not be offended with me. I seem to have
learned from so many and it is all useful info.

About the all Hanga exchange, some western papers have been used with
good result for hanga. I would say paper is not a huge issue as long
as it works well with water based pigment brushed onto a block. I
would like to see multi color, at least 2 colors. If we have to stay
pure, meaning cutting kento marks instead of a jig(or template), using
a key block, etc. I am in trouble. I have planned a multi block multi
colored print where I will hopefully use several blocks each a
different size and width. This will require some juggling and one of
my blocks may not be useful and I will have to find another
alternative. These decisions I reserve for experimentation in my
studio.

With these thoughts in mind:
1. Paper options can be a bit flexible, Japanese paper preferred.

2. At least 2 colors.

3. Water based pigment brushed on wood.

4. Other technical approaches left to the individual artist.

Marilynn

• [Back to message index]

Message 5
From: "Maria Arango"
Date: Mon, 06 Oct 2008 16:25:46 GMT
Subject: [Baren 37162] Re: question re hanga exchange
Send Message: To this poster

More thoughts on this:

The whole point of the technique challenge is to try out a certain
technique. I like working with other materials too and I'm the first to go
off and modify something traditional, but if I'm going to participate in the
moku-hanga exchange (or the white-line exchange or the wood engraving
exchange...), I really want to "feel" what printing in the particular
traditional technique will do for me artistically.
I see these challenges for myself as an artistic and intellectual exercise
for the exploration of some printmaking technique that otherwise I might not
have tried on my own.

Just my own opinion,
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

• [Back to message index]

Message 6
From: Graham Scholes
Date: Mon, 06 Oct 2008 17:57:39 GMT
Subject: [Baren 37163] Re: New Baren Digest (HTML) V45 #4562 (Oct 6, 2008)
Send Message: To this poster

Marilynn Smith wrote:

> OOps, so Graham, do not be offended with me. I seem to have learned
> from so many and it is all useful info.

O understand Marilynn.... around this house Marnie and I relate it to
being the privilege of a senior citizen )>:

• [Back to message index]

Message 7
From: "Mike Lyon"
Date: Mon, 06 Oct 2008 19:04:19 GMT
Subject: [Baren 37164] 'rules' for all-moku-hanga exchanges?
Send Message: To this poster

OK, MY two cents (non-participants needn't reply) for moku-hanga exchange
#39:



1. multiple blocks

2. kento registration - corner and side notches carved into each block
to facilitate registration

3. water-borne pigments

4. pigments applied by printing brush (different tool than paint
brush, brayer, or roller)

5. Washi -- Japanese paper optimized to hold up under numerous
printing passes

6. hand printed using baren



These seem to me to be the main characteristics which distinguish Japanese
woodblock printing (moku-hanga) from other relief printing methods during
the past several centuries. The 'challenge' here is to print and exchange
prints made using "Japanese" technique (moku-hanga) - to me, that means the
minimum 'threshold' might be "washi printed with water-borne pigments
applied by printing brush to multiple carved blocks registered using kento",




Just my recommendation - final decision must be made by our generous
Exchange Manager, Maria!



-- Mike



Mike Lyon

Kansas City, MO

http://mlyon.com/blog

• [Back to message index]

End of [Baren] Digest