Today's postings
- [Baren 39727] Re: Moku Hanga ("Mike Lyon")
- [Baren 39728] Re: Moku Hanga ("Oscar Bearinger")
- [Baren 39729] Water Based Inks and Printing (Margot Rocklen)
- [Baren 39730] Re: New Baren Digest (HTML) V48 #4963 (Sep 17, 2009) (Marilynn Smith)
- [Baren 39731] Re: New Baren Digest (HTML) V48 #4963 (Sep 17, 2009) (Jean Womack)
- [Baren 39732] RE: Water Based Inks and Printing (andrea # starkeyart.com)
- [Baren 39733] Re: New Baren Digest (Text) V48 #4962 (Sep 16, 2009) (Julio.Rodriguez # walgreens.com)
- [Baren 39734] Re: Moku Hanga (jennifer kelly)
- [Baren 39735] Hi everyone. Although I have printed in relief usi... (jennifer kelly)
- [Baren 39736] Re: Hi everyone. Although I have printed in relief usi... (Mike Lyon)
- [Baren 39737] Re: Hi everyone. Although I have printed in relief usi... (jennifer kelly)
Message 1
From: "Mike Lyon"
Date: Thu, 17 Sep 2009 14:31:40 GMT
Subject: [Baren 39727] Re: Moku Hanga
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"Moku-hanga" is Japanese -- in English it translates simply "Woodblock
Print".
On BarenForum, we usually write 'moku-hanga' as shorthand for "polychrome
woodblock print produced using traditional Japanese technique: kento
registration of multiple blocks, water-borne pigments and rice paste brushed
onto blocks which are printed by baren onto handmade Japanese paper)."
That's such a mouthful that we usually resort to just 'moku-hanga'.
In EVERY BarenForum exchange, our aim is to carve and print woodblocks (this
is the mission of BarenForum). Special exchanges have special requirements.
Moku-hanga exchanges are intended to include only woodcuts produced by
traditional Japanese methods. In ALL exchanges, the idea is for
participants to push themselves to produce OVER-THE-TOP BEST quality prints
within the boundaries defined for each exchange (NOT taking some EASY way
around the definitions and requirements to just get something done with as
little effort as possible).
Our 'aim' is WOODBLOCK for exchanges -- each participant is honor-bound to
restrict materials and techniques to those defined for any exchange --
usually the requirements are pretty loose and allow about ANY relief-method
including linocuts, collagraphs, any pigments, any vehicles, spoon, baren,
press, steamroller, etc etc etc... BUT -- when an exchange calls for
'moku-hanga', we do NOT intend participants to carve a single block, roll it
up with water-clean-up ink, print it with a press or spoon and call it
'moku-hanga'.
(my two cents)
Mike
Mike Lyon
Kansas City, MO
http://mlyon.com
Print".
On BarenForum, we usually write 'moku-hanga' as shorthand for "polychrome
woodblock print produced using traditional Japanese technique: kento
registration of multiple blocks, water-borne pigments and rice paste brushed
onto blocks which are printed by baren onto handmade Japanese paper)."
That's such a mouthful that we usually resort to just 'moku-hanga'.
In EVERY BarenForum exchange, our aim is to carve and print woodblocks (this
is the mission of BarenForum). Special exchanges have special requirements.
Moku-hanga exchanges are intended to include only woodcuts produced by
traditional Japanese methods. In ALL exchanges, the idea is for
participants to push themselves to produce OVER-THE-TOP BEST quality prints
within the boundaries defined for each exchange (NOT taking some EASY way
around the definitions and requirements to just get something done with as
little effort as possible).
Our 'aim' is WOODBLOCK for exchanges -- each participant is honor-bound to
restrict materials and techniques to those defined for any exchange --
usually the requirements are pretty loose and allow about ANY relief-method
including linocuts, collagraphs, any pigments, any vehicles, spoon, baren,
press, steamroller, etc etc etc... BUT -- when an exchange calls for
'moku-hanga', we do NOT intend participants to carve a single block, roll it
up with water-clean-up ink, print it with a press or spoon and call it
'moku-hanga'.
(my two cents)
Mike
Mike Lyon
Kansas City, MO
http://mlyon.com
Message 2
From: "Oscar Bearinger"
Date: Thu, 17 Sep 2009 14:50:45 GMT
Subject: [Baren 39728] Re: Moku Hanga
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Thanks, Mike.
That is a useful clarification for me.
"polychrome
> woodblock print produced using traditional Japanese technique: kento
> registration of multiple blocks, water-borne pigments and rice paste
> brushed
> onto blocks which are printed by baren onto handmade Japanese paper)."
There is always a danger of slipping into comparisons in these types of
discussions--and comparisons often lead to judgements (one person's work
better than another's, etc)
This group has given me (and many others) an opportunity to participate and
LEARN.
Right now, I might be ready for a reduction process print; moku hanga is a
little further off for me yet :o)
(Amusing self-reflection: I started printing with water-based ink, and an
old pipe-bowl baren. It was so easy to arrive at a print (lino-cut and
woodblock) that I was hooked. Alas, I've gone off to getting a proof press
and working in the hard stuff - maple, cherry...... )
However, still there is nothing like the layered, coloured, other-worldly
moku hanga print. I study my Hokusai (One Hundred Poets) with reverence--as
well as David Bull and some other Bareners.
Thanks again, Mike.
Oscar
That is a useful clarification for me.
"polychrome
> woodblock print produced using traditional Japanese technique: kento
> registration of multiple blocks, water-borne pigments and rice paste
> brushed
> onto blocks which are printed by baren onto handmade Japanese paper)."
There is always a danger of slipping into comparisons in these types of
discussions--and comparisons often lead to judgements (one person's work
better than another's, etc)
This group has given me (and many others) an opportunity to participate and
LEARN.
Right now, I might be ready for a reduction process print; moku hanga is a
little further off for me yet :o)
(Amusing self-reflection: I started printing with water-based ink, and an
old pipe-bowl baren. It was so easy to arrive at a print (lino-cut and
woodblock) that I was hooked. Alas, I've gone off to getting a proof press
and working in the hard stuff - maple, cherry...... )
However, still there is nothing like the layered, coloured, other-worldly
moku hanga print. I study my Hokusai (One Hundred Poets) with reverence--as
well as David Bull and some other Bareners.
Thanks again, Mike.
Oscar
Message 3
From: Margot Rocklen
Date: Thu, 17 Sep 2009 15:08:32 GMT
Subject: [Baren 39729] Water Based Inks and Printing
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Thank you Andrea, Michele and Barbara, for your input r.e. AkuaKolor & moku hanga...also Jennifer for describing your technique of applying gum Arabic on the back of an area to be embossed, to better hold the embossing. I have added white to my pigments for more opacity- that helps.
Andrea and Barbara, do you print moku hanga using dry paper? I was thinking maybe you are making monotypes. For Japanese woodblock I would think dry paper might distort.
I haven't tried adding any of the modifiers to the AkuaKolor when printing Japanese woodblock. I am wary of colors drying too fast, not drying quickly enough, or leaching out, as Andrea described, and that happened to me before when using AkuaKolor, even with no additives. The printed areas looked crisp & confined directly after printing. I placed them in the moistening packet, between sheets
of newsprint overnight, and in the a.m. some of the colors, especially the blues had blurred and crept into white areas or other colors.
This didn't happen using gouache on Reeves lightweight, and I never had to interleave my papers because the gouache didn't offset. When I had this problem my Asian paper may have been too damp, or the AkuaKolor too watery. Air drying the AkuaKolor did help to thicken it, but then I had to balance that with more paste and water to spread the color on the blocks, and for flowing gradations.
I have been referring to the gallery of Keiji Shinohara's prints in Wesleyan University's video of his printing techniques. There is an example of one of his works - a hilly landscape in the distance, with leaves & tree forms in the foreground. The latter are opaque red, and the landscape, darker, more neutralized, textured gradations. The disparity between the subtle background and the strong, opaque red trees creates dimension and mystery. The artist's sensitivity and color sense and his mastery of technique create this simple imagery that says so much.
Margot R
Andrea and Barbara, do you print moku hanga using dry paper? I was thinking maybe you are making monotypes. For Japanese woodblock I would think dry paper might distort.
I haven't tried adding any of the modifiers to the AkuaKolor when printing Japanese woodblock. I am wary of colors drying too fast, not drying quickly enough, or leaching out, as Andrea described, and that happened to me before when using AkuaKolor, even with no additives. The printed areas looked crisp & confined directly after printing. I placed them in the moistening packet, between sheets
of newsprint overnight, and in the a.m. some of the colors, especially the blues had blurred and crept into white areas or other colors.
This didn't happen using gouache on Reeves lightweight, and I never had to interleave my papers because the gouache didn't offset. When I had this problem my Asian paper may have been too damp, or the AkuaKolor too watery. Air drying the AkuaKolor did help to thicken it, but then I had to balance that with more paste and water to spread the color on the blocks, and for flowing gradations.
I have been referring to the gallery of Keiji Shinohara's prints in Wesleyan University's video of his printing techniques. There is an example of one of his works - a hilly landscape in the distance, with leaves & tree forms in the foreground. The latter are opaque red, and the landscape, darker, more neutralized, textured gradations. The disparity between the subtle background and the strong, opaque red trees creates dimension and mystery. The artist's sensitivity and color sense and his mastery of technique create this simple imagery that says so much.
Margot R
Message 4
From: Marilynn Smith
Date: Thu, 17 Sep 2009 15:31:17 GMT
Subject: [Baren 39730] Re: New Baren Digest (HTML) V48 #4963 (Sep 17, 2009)
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Margot, I would be interested in the product akua puts out that keeps
the pigments vibrant. I do a lot of monotypes and find akua does fade
pretty badly and would like to have the pigments stay more vibrant.
Keep us posted on what you find out, please,
Marilynn
the pigments vibrant. I do a lot of monotypes and find akua does fade
pretty badly and would like to have the pigments stay more vibrant.
Keep us posted on what you find out, please,
Marilynn
Message 5
From: Jean Womack
Date: Thu, 17 Sep 2009 16:40:29 GMT
Subject: [Baren 39731] Re: New Baren Digest (HTML) V48 #4963 (Sep 17, 2009)
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Re: Moku Hanga
I had studied oil-based printmaking in college at San Francisco State. At
that time I was going through treatment for breast cancer, so I began to
become aware of the need to avoid toxic art materials. That's when I got
interested in Moku Hanga, though I didn't have a name for it back then. I
went through quite a time, mixing raw pigment with rice paste, making my own
rice paste, looking through Asian markets for rice starch and rice flour,
and even sizing my own papers (don't do it, it's not worth the effort).
Along the way you discover that the MokuHanga has its own aesthetic which is
more subdued, calm and friendly, than the brash boldness of the oil-based
inks. If you can't hang with that aesthetic, then you might feel better
going back to oil. I remind myself that the reason I got into it in the
first place was for my health. Also, you can use Createx pure pigments with
a monotype medium to get colors nearly as bright as oily inks, if that's
what you desire. Think about it: when you learned printmaking in elementary
and high school, you were using Speedball water-based inks. Maybe that's
why people resist leaving the oily inks. They feel like they are being put
back into elementary school.
I'm trying to talk myself into going down to Santa Cruz for April's October
workshop. Maybe I'll call it a birthday present.
Jean Womack
I had studied oil-based printmaking in college at San Francisco State. At
that time I was going through treatment for breast cancer, so I began to
become aware of the need to avoid toxic art materials. That's when I got
interested in Moku Hanga, though I didn't have a name for it back then. I
went through quite a time, mixing raw pigment with rice paste, making my own
rice paste, looking through Asian markets for rice starch and rice flour,
and even sizing my own papers (don't do it, it's not worth the effort).
Along the way you discover that the MokuHanga has its own aesthetic which is
more subdued, calm and friendly, than the brash boldness of the oil-based
inks. If you can't hang with that aesthetic, then you might feel better
going back to oil. I remind myself that the reason I got into it in the
first place was for my health. Also, you can use Createx pure pigments with
a monotype medium to get colors nearly as bright as oily inks, if that's
what you desire. Think about it: when you learned printmaking in elementary
and high school, you were using Speedball water-based inks. Maybe that's
why people resist leaving the oily inks. They feel like they are being put
back into elementary school.
I'm trying to talk myself into going down to Santa Cruz for April's October
workshop. Maybe I'll call it a birthday present.
Jean Womack
Message 6
From: andrea # starkeyart.com
Date: Thu, 17 Sep 2009 16:56:38 GMT
Subject: [Baren 39732] RE: Water Based Inks and Printing
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Margot,I've watched the Shinohara video as well, and thoroughly enjoyed seeing him work...I've been trying out the bokashi he demonstrates with the print on which I'm currently working. I also have to add that I like your description of his print.I'm using the Akua Kolor to print multiple impressions (6-10) on dry, tissue thin Japanese handmade papers from linoleum or more recently wood. I haven't had much luck with damp paper, which may be do to impatience, and have only had registration problems with the damp. I think the weight of the paper I'm using could have a lot to do with the trouble free dry registration? I started out using heavier papers but realized that I really like to see the image come through to the other side while printing.I can relate to many of the issues you've had. Before Akua Kolor, I started out with watercolor and gouche, but often had similar problems with getting crisp impressions and bleed (paper too damp, maybe) and the reverse of that, the color drying out too quickly or the paper too dry. Next I had a brief stint with oil paints, where I discovered that making gradients is what I am after. I've found that Akua Kolor has a similar drying time as the oils which leaves me with loads of time to feather out ink or blend colors on the block. The slow drying time has caused me some trouble as well - I'm often too impatient to wait for a print to dry to make the next impression. It seems to me that the consistency of the ink is the key to getting the entire process to work out the way I've planned, and I am still struggling with getting that right. But I think I might be getting closer.Andrea www.starkeyart.blogspot.com Send
Message 7
From: Julio.Rodriguez # walgreens.com
Date: Thu, 17 Sep 2009 18:27:40 GMT
Subject: [Baren 39733] Re: New Baren Digest (Text) V48 #4962 (Sep 16, 2009)
Send Message: To this poster
Sharri...congratulations on your exhibit, good luck, keep us updated on
the events.....
Bobbi.... welcome back, it's been a while, good you did not throw your art
supplies away !!!
Le....that was an excellent and to the point description of the relief
process....thank you, you explained it so well !
Mike....totally agree with your points and description....after all that
is what Baren exchanges are all about making 'woodblock' prints and
enhancing our experience of the medium. By trying moku-hanga techniques we
learn and keep alive the old techniques in use for hundreds of years.
While the exchanges have always been mostly a mix of oily and water I
believe in the last ten+ years we have only had two exchanges (most
recently #39) that required moku-hanga. If anyone wants to see what we
achieved in the past here are the links:
http://www.barenforum.org/exchange/exchange_15/exchange_frame.html
http://www.barenforum.org/exchange/exchange_39/exchange_frame.html
thanks...Julio
the events.....
Bobbi.... welcome back, it's been a while, good you did not throw your art
supplies away !!!
Le....that was an excellent and to the point description of the relief
process....thank you, you explained it so well !
Mike....totally agree with your points and description....after all that
is what Baren exchanges are all about making 'woodblock' prints and
enhancing our experience of the medium. By trying moku-hanga techniques we
learn and keep alive the old techniques in use for hundreds of years.
While the exchanges have always been mostly a mix of oily and water I
believe in the last ten+ years we have only had two exchanges (most
recently #39) that required moku-hanga. If anyone wants to see what we
achieved in the past here are the links:
http://www.barenforum.org/exchange/exchange_15/exchange_frame.html
http://www.barenforum.org/exchange/exchange_39/exchange_frame.html
thanks...Julio
Message 8
From: jennifer kelly
Date: Fri, 18 Sep 2009 01:33:16 GMT
Subject: [Baren 39734] Re: Moku Hanga
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Here Here Mikey.
> From: mikelyon@mlyon.com
>
> "Moku-hanga" is Japanese -- in English it translates simply "Woodblock
> Print"...
Message 9
From: jennifer kelly
Date: Fri, 18 Sep 2009 01:59:52 GMT
Subject: [Baren 39735] Hi everyone. Although I have printed in relief usi...
Send Message: To this poster
Hi everyone. Although I have printed in relief using wood over a number of years, I am close to printing my first moku hanga, ie to the traditional standards outlined by Mike Lyon. I only discovered baren a few months ago. Since then I fell like I have embarked on a masters degree in the technique - with the support of the knowledge base of the forum.
I have purchased barens, pigment (which I have since hand ground), appropriate paper, shina ply (which I have carved seven blocks of thus far), purchased and prepared 4 horse hair shoe brushes for the applicarion of pigment and am close to ready to start. For the registration I took note of Tom Kristensen' s approach, albeit with a little modification. I have poured over information supplied on baren, both recent and past, thanks particularly to David Bull"s input. I only have one or two blocks to carve.
Two questions.
The sizing of the paper. Could somebody please explain it again. I think I am getting a bit lazy!
Am I too ambitious to use so many blocks for a first print?
Message 10
From: Mike Lyon
Date: Fri, 18 Sep 2009 03:21:01 GMT
Subject: [Baren 39736] Re: Hi everyone. Although I have printed in relief usi...
Send Message: To this poster
Suggestions...
Try to limit variables at the start (and after, maybe?).
Buy good already sized paper.
Dampen 10 sheets overnight (not too much water - when you print, the
paper should feel cool to the touch but not too soft - it picks up
more moisture with each printing and must rest between).
Get started with ONE of your blocks which has a large printing
surface. Dampen the block 10 minutes before printing so it's ready.
As a test, first brush it up with water and pigment and NO paste.
Print two sheets like that (block should look matte -- not glossy
before printing). You may (hopefully will see) see pronounced goma-
zuri (sesame seed printing - dotty or grainy quality in printed
areas). Then add some paste and print another (smoother)? Keep adding
paste and printing until you've moved beyond goma into smooth
coloration and beyond into brush marks very visible in print.
Now you have experienced the effect of paste on your printing. That
is important.
Try a gradation (bokashi) in a different color along an edge of the
same block and re-print several sheets several times to strengthen the
smoothness and richness of the bokashi.
Then move to you next block/ color area and... You are off and running!
Figure it takes 500 impressions to get the general idea, 5000
impressions to begin to feel comfortable, 50000 to acquire some
unconscious facility (I am not exaggerating)! There are MANY factors
to balance and control all at once and only experience will allow you
to 'feel' these and allow consistent and reliable results.
LOVE that you are getting started with it - very exciting stuff!!!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Sent from my iPhone
Try to limit variables at the start (and after, maybe?).
Buy good already sized paper.
Dampen 10 sheets overnight (not too much water - when you print, the
paper should feel cool to the touch but not too soft - it picks up
more moisture with each printing and must rest between).
Get started with ONE of your blocks which has a large printing
surface. Dampen the block 10 minutes before printing so it's ready.
As a test, first brush it up with water and pigment and NO paste.
Print two sheets like that (block should look matte -- not glossy
before printing). You may (hopefully will see) see pronounced goma-
zuri (sesame seed printing - dotty or grainy quality in printed
areas). Then add some paste and print another (smoother)? Keep adding
paste and printing until you've moved beyond goma into smooth
coloration and beyond into brush marks very visible in print.
Now you have experienced the effect of paste on your printing. That
is important.
Try a gradation (bokashi) in a different color along an edge of the
same block and re-print several sheets several times to strengthen the
smoothness and richness of the bokashi.
Then move to you next block/ color area and... You are off and running!
Figure it takes 500 impressions to get the general idea, 5000
impressions to begin to feel comfortable, 50000 to acquire some
unconscious facility (I am not exaggerating)! There are MANY factors
to balance and control all at once and only experience will allow you
to 'feel' these and allow consistent and reliable results.
LOVE that you are getting started with it - very exciting stuff!!!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Sent from my iPhone
Message 11
From: jennifer kelly
Date: Fri, 18 Sep 2009 03:52:17 GMT
Subject: [Baren 39737] Re: Hi everyone. Although I have printed in relief usi...
Send Message: To this poster
Thanks soooo much Mike. How many thousands have u printed? Is it my imagination, or do u keep very odd hours? Its 1.50 pm Australian time. What time does that make it in Kansas?Jenny