Today's postings
- [Baren 41135] Re: Keizaburo Matsuzaki printer - the Art of Utamaro (Linda Beeman)
- [Baren 41136] Keizaburo Matsuzaki clip (Tom Kristensen)
- [Baren 41137] printmaking video (Marilynn Smith)
- [Baren 41138] Michael Gorrie / Woodcut Prints (Michael Gorrie)
- [Baren 41139] Re: Michael Gorrie / Woodcut Prints (Lynita Shimizu)
- [Baren 41140] Michael Gorrie/Woodcut Prints (Gayle Wohlken)
- [Baren 41141] Re: Michael Gorrie / Woodcut Prints (Barbara Mason)
- [Baren 41142] white line update (Barbara Mason)
- [Baren 41143] Re: Michael Gorrie / Woodcut Prints (Michael Gorrie)
Message 1
From: Linda Beeman
Date: Tue, 27 Apr 2010 13:45:51 GMT
Subject: [Baren 41135] Re: Keizaburo Matsuzaki printer - the Art of Utamaro
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I watched this demo with amazement. What blew my mind was multiple kento's! I have never seen that before.
Message 2
From: Tom Kristensen
Date: Tue, 27 Apr 2010 14:29:35 GMT
Subject: [Baren 41136] Keizaburo Matsuzaki clip
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I've been moving house... but I did find time to attend the printing
demonstration by Keizaburo Matsuzaki at the Art Gallery of NSW
(Australia) which is where the clip was filmed. I can give an eye
witness answer to some questions. There were only 2 prints in
production and as described by Dave they were inside a large stack of
wet newspaper with a piece of card on top. The paper did not seem
overly wet to me but he was printing fast and the prints did spend a
lot of time out of the the stack. There were two impressions for the
hair on different blocks. As you can see in the clip he had a set of
brushes already charged with inks, so not much time was wasted
getting the right tone or density of colour, I suspect most of the
brushes would have worked fine without adding anything to the block
but still he did add a little colour and sometimes paste - perhaps
for demonstration purposes, but just as often he would just add some
water dribbled onto the brush. The mica was applied directly to a
fresh impression of ink, paste and I believe a hide gum, not gum
arabic. There were no clouds of dust and a little tea strainer was
all that he used. The impressions were perfect pink lustre, not a
spec out of place. Obviously the paper was not too wet at this stage.
And here is the real scoop, no rice paste was used on these prints -
wheat starch is the way to go. At the end of the demonstration I was
roped into being the clutzy student and I had my paper position
technique corrected and I was given his leftover starch as a
keepsake. It is still in my fridge some 6 weeks later, seems fine. It
is way stiffer than the nori I have always prepared, texture like
jam. I believe this is his preferred recipe, not just a traveller
making do with local produce.
At the end of the demonstration there were two entirely perfect
prints which he declined to sell, which was nice.
Matsuzaki san was amazing, entertaining, very skilled, proud of his
work but completely down to earth.
demonstration by Keizaburo Matsuzaki at the Art Gallery of NSW
(Australia) which is where the clip was filmed. I can give an eye
witness answer to some questions. There were only 2 prints in
production and as described by Dave they were inside a large stack of
wet newspaper with a piece of card on top. The paper did not seem
overly wet to me but he was printing fast and the prints did spend a
lot of time out of the the stack. There were two impressions for the
hair on different blocks. As you can see in the clip he had a set of
brushes already charged with inks, so not much time was wasted
getting the right tone or density of colour, I suspect most of the
brushes would have worked fine without adding anything to the block
but still he did add a little colour and sometimes paste - perhaps
for demonstration purposes, but just as often he would just add some
water dribbled onto the brush. The mica was applied directly to a
fresh impression of ink, paste and I believe a hide gum, not gum
arabic. There were no clouds of dust and a little tea strainer was
all that he used. The impressions were perfect pink lustre, not a
spec out of place. Obviously the paper was not too wet at this stage.
And here is the real scoop, no rice paste was used on these prints -
wheat starch is the way to go. At the end of the demonstration I was
roped into being the clutzy student and I had my paper position
technique corrected and I was given his leftover starch as a
keepsake. It is still in my fridge some 6 weeks later, seems fine. It
is way stiffer than the nori I have always prepared, texture like
jam. I believe this is his preferred recipe, not just a traveller
making do with local produce.
At the end of the demonstration there were two entirely perfect
prints which he declined to sell, which was nice.
Matsuzaki san was amazing, entertaining, very skilled, proud of his
work but completely down to earth.
Message 3
From: Marilynn Smith
Date: Tue, 27 Apr 2010 15:26:23 GMT
Subject: [Baren 41137] printmaking video
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Thanks Julio,
Very instructive video of Matsuzaki. I had to watch it several times
to catch all the details. One thing I noticed was how he wet his
brush before applying the pigment. (not sure he always does it that
way) He had a long wide Brush in a bowl of water that he dragged
across the brush before brushing the pigment on the block. Anther
thing I noticed was at times he did not put the pigment on the block
but instead on another surface and wiped the corner of the brush onto
this and than brushed the pigment on the block. Experience must be
the best teacher to know when to do what and how much of everything.
Also, he sure has a feather light stroke when brushing on that
pigment. I guess being gentle is important. Most certainly I would
think conditions for doing a demo would be slightly different than
printing a run in ones studio and one would need to adjust to that.
Barbara, you are too hard on yourself. I think we can vary techniques
to get the look we want. Personally, knowing that I will never be a
master Japanese printmaker I think I would prefer to enjoy what
happens. I know if I do finally get this block carved and try white
line it will not be anything traditional, I am not looking for
traditional, I am looking to have a result I am personally happy with.
I don't think there is "wrong" art, just individual art.
Marilynn
Very instructive video of Matsuzaki. I had to watch it several times
to catch all the details. One thing I noticed was how he wet his
brush before applying the pigment. (not sure he always does it that
way) He had a long wide Brush in a bowl of water that he dragged
across the brush before brushing the pigment on the block. Anther
thing I noticed was at times he did not put the pigment on the block
but instead on another surface and wiped the corner of the brush onto
this and than brushed the pigment on the block. Experience must be
the best teacher to know when to do what and how much of everything.
Also, he sure has a feather light stroke when brushing on that
pigment. I guess being gentle is important. Most certainly I would
think conditions for doing a demo would be slightly different than
printing a run in ones studio and one would need to adjust to that.
Barbara, you are too hard on yourself. I think we can vary techniques
to get the look we want. Personally, knowing that I will never be a
master Japanese printmaker I think I would prefer to enjoy what
happens. I know if I do finally get this block carved and try white
line it will not be anything traditional, I am not looking for
traditional, I am looking to have a result I am personally happy with.
I don't think there is "wrong" art, just individual art.
Marilynn
Message 4
From: Michael Gorrie
Date: Tue, 27 Apr 2010 16:52:44 GMT
Subject: [Baren 41138] Michael Gorrie / Woodcut Prints
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My name is Michael Gorrie and I joined Baren Forum about three weeks ago. I currently live in the eastern panhandle of West Virginia. I make mostly color reduction woodblock prints using oil-based inks and heavy rag paper. Stylistically I rotate back and forth between what I call "landscape/figural" and "surreal/symbolic" imagery. You can see my prints at my website: www.michaelgorrieart.com
Message 5
From: Lynita Shimizu
Date: Tue, 27 Apr 2010 17:11:11 GMT
Subject: [Baren 41139] Re: Michael Gorrie / Woodcut Prints
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Welcome to the Baren Forum, Michael!
Your work is exciting! I'm sure you'll have a lot to contribute
to all of us. The Salmon River Slideshow is so well made and great
fun to watch. http://www.michaelgorrieart.com/
www.michaelgorrieart.com/SRT.swf.html
Thanks for sharing.
Best wishes,
Lynita
> My name is Michael Gorrie and I joined Baren Forum about three
> weeks ago. www.michaelgorrieart.com
>
Lynita Shimizu
734 Brayman Hollow Rd
Pomfret Center, CT 06259
860-974-1393
http://shimizuwoodcuts.com/
Your work is exciting! I'm sure you'll have a lot to contribute
to all of us. The Salmon River Slideshow is so well made and great
fun to watch. http://www.michaelgorrieart.com/
www.michaelgorrieart.com/SRT.swf.html
Thanks for sharing.
Best wishes,
Lynita
> My name is Michael Gorrie and I joined Baren Forum about three
> weeks ago. www.michaelgorrieart.com
>
Lynita Shimizu
734 Brayman Hollow Rd
Pomfret Center, CT 06259
860-974-1393
http://shimizuwoodcuts.com/
Message 6
From: Gayle Wohlken
Date: Tue, 27 Apr 2010 17:47:56 GMT
Subject: [Baren 41140] Michael Gorrie/Woodcut Prints
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Michael, your work is lively and seems imbued with the spirit of the
places you are interpreting. I particularly like Germany Valley,
Turkey Knob, Halloween on the Farm and Teay's River. You have a good
sense of design and color. Welcome to Baren.
~Gayle Wohlken
places you are interpreting. I particularly like Germany Valley,
Turkey Knob, Halloween on the Farm and Teay's River. You have a good
sense of design and color. Welcome to Baren.
~Gayle Wohlken
Message 7
From: Barbara Mason
Date: Tue, 27 Apr 2010 18:09:13 GMT
Subject: [Baren 41141] Re: Michael Gorrie / Woodcut Prints
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Michael
these are lovely, welcome to the Baren
My best to you
Barbara
these are lovely, welcome to the Baren
My best to you
Barbara
Message 8
From: Barbara Mason
Date: Tue, 27 Apr 2010 18:35:35 GMT
Subject: [Baren 41142] white line update
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We again fought with the white lines last night....
Sounds like a boxing match. What we discovered is the first print was pretty good...the second one fair and the third one not so good.
We used Gampi dry and the block was dry. Painted on watercolor and printed both one section at a time and the whole block and then misted it
We found one section at a time gave the smoothest coverage but doing the entire block and misting it gave very interesting results.
I am using the kento method since I could never keep an attached piece of paper clean...that would be a joke.
We found that after we had printed a few (our blocks are small so pretty fast to do) that the blocks started absorbing ink in weird ways and the prints did not look as good.
It was almost like they took the ink in and released it strangely.
Our decision is to seal the blocks and then lightly sand them and try again next week to see if we can get consistent good prints.
I also used Rives heavyweight and rives lightweight... mediocre results on both papers.
So the tests continue and we will figure this out...we are making a lot of mess but having a good time
I am anxious to hear what Carol learns at her class...I still think the whole answer is the paper since our results have been so different on different papers.
Getting a smooth print without paste is a real trick.
My best to all
Barbara
Sounds like a boxing match. What we discovered is the first print was pretty good...the second one fair and the third one not so good.
We used Gampi dry and the block was dry. Painted on watercolor and printed both one section at a time and the whole block and then misted it
We found one section at a time gave the smoothest coverage but doing the entire block and misting it gave very interesting results.
I am using the kento method since I could never keep an attached piece of paper clean...that would be a joke.
We found that after we had printed a few (our blocks are small so pretty fast to do) that the blocks started absorbing ink in weird ways and the prints did not look as good.
It was almost like they took the ink in and released it strangely.
Our decision is to seal the blocks and then lightly sand them and try again next week to see if we can get consistent good prints.
I also used Rives heavyweight and rives lightweight... mediocre results on both papers.
So the tests continue and we will figure this out...we are making a lot of mess but having a good time
I am anxious to hear what Carol learns at her class...I still think the whole answer is the paper since our results have been so different on different papers.
Getting a smooth print without paste is a real trick.
My best to all
Barbara
Message 9
From: Michael Gorrie
Date: Tue, 27 Apr 2010 21:33:38 GMT
Subject: [Baren 41143] Re: Michael Gorrie / Woodcut Prints
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Lynita,
Thank you for your nice comments! And I like the look of your website. A couple of your prints that caught my eye were: Almost Altoona, Monadnock, Pennsylvania Patterns, & Treetop Twitter.
It has been interesting to learn a little bit about "eastern" woodblock printmaking techniques and the shop talk of Baren Forum, as well as seeing more art! (A little info overload, but thats ok.)
Keep on printing!
Michael
Thank you for your nice comments! And I like the look of your website. A couple of your prints that caught my eye were: Almost Altoona, Monadnock, Pennsylvania Patterns, & Treetop Twitter.
It has been interesting to learn a little bit about "eastern" woodblock printmaking techniques and the shop talk of Baren Forum, as well as seeing more art! (A little info overload, but thats ok.)
Keep on printing!
Michael