It's an ongoing issue, but I assume people know theyĬan't take prints into the bathtub with them! LOL Wanting to do hand-coloring, and never really figured out what to doĪbout that. I was struggling with the issue of inks, and Of small prints using water-based inks on lino and am working on a I've recently picked up my gouges again and since have done a string Wellll, let's just say that I didn't give up my I got a call from an art consultant who wanted three paintings for a
MOKU HANGA BARENS FULL
Moved, I packed away or gave away almost all my art supplies,ĭeciding to write full time, THEN, just as I'd packed up everything, Had over 36 years and launch a second career. Postage-stamp lot and Husband's about to quit his good job that he's The country on acreage, bought a much smaller house in town on a Had a few rough years there where we sold our "dream" custom home in I'm a returning ex-member, and am so glad to find the group again! I so if it is a majority wish, it will happen. I guess, in many words, I'm trying to say that the squeaky wheels get the moku hanga. I'm not sure a hard and fast yearly moku hanga would work because we draw from so many types of relief printmakers but there is enough discussion before each sign-up that if the majority wishes one, it will happen. I've almost exclusively abandoned lino (only because I keep replenishing my wood supply) but find it difficult to abandon my oil inks. I have to admit that Baren has been very instrumental in getting me into wood. Fortunately there is enough good information in the Baren library and members' blogs that it is less intimidating than it could be. For myself, a total moku hanga is a true challenge since I have only seen it done a few times and then have had to 'reinvent the wheel' in my own studio. I did not feel that you were disrespectful of other relief methods. I learn so much from the forum and particularly I am looking forward to a printout of the notes and comments on all the papers and their different qualities and requirements, that I believe some good soul in the forum is collecting the data for.
MOKU HANGA BARENS TRIAL
I still am using a wide range of papers depending on trial and just what results I am aiming for, but a machine Hosho is a always a useful fallback. With some softer papers I have found that a thin coat of gum arabic on the back of the damp paper immediately before embossing, helps to keep the shape set. I also work with blind embossing and find that fingers work best for pressure.
I also use mica and other metallic powders, and so far have found most success with these using gum arabic and a stencil for the powder, but I am still trying to improve all the time. (I would love to justify a better quality one!).
All pressure in printing is by hand with inexpensive barens. I do also use tube watercolours, but less as the years go by and my range of powdered pigments increase. I mostly use powdered pigments made up with water and alcohol, and sometimes add gum arabic. I have yet to locate a source of cherry blocks (in the UK), so work from various ply and from lino. It is helpful to show them work other than my own and the very small collection I have of 19th century Japanese prints and of Dave Bull's works. I am finding that many of the people who come to my small exhibitions and who go to the local art clubs are wholly unfamiliar with this method, and become very fascinated. However, for the last few years I have worked on improving my own skills in moku hanga, and I would just love to have a collection of works by those artists among you who choose this method, to show to interested observers just what a range of results can be obtained. In suggesting an annual moku hanga exchange, I had no intention to be disrespectful to other print methods, most of which I have had a go at over the years.
0 kommentar(er)
