concursos, exposições, curiosidades... sobre arte
escolhidos por MARIA PINTO
(Maria Regina Pinto Pereira)

http://maregina-arte.blogspot.com/

sábado, 23 de fevereiro de 2013

cursos online Plataforma/C para profesionales de arte y cultura

Nuevos cursos online Plataforma/C para profesionales de arte y cultura
Comunicación cultural: de la prensa tradicional a las redes sociales.
Inicio: 8 de abril, duración cinco semanas 
Formato: 
online 
Más información: www.plataformac.com
Matrícula abierta:  
inscripciones aquí

Precio: 95 Euros

Objetivos:
 Durante este curso combinaremos estrategias de comunicación offline con aquellas que ofrecen los nuevos medios y las redes sociales. También analizaremos los resultados de nuestras campañas con datos precisos, conoceremos las necesidades de nuestros públicos y aprenderemos a controlar nuestra reputación entre otras acciones.

CV Clara Merín: Entre 2002 y 2004 formó parte del equipo de comunicación de la Feria internacional de arte contemporáneo ARCOMadrid, hasta que asumió la dirección del Área de Comunicación y Marketing de MUSAC, Museo de Arte Contemporáneo de Castilla y León. En 2006 pasa a ser responsable de relaciones con la prensa en La Casa Encendida, de Obra Social Caja Madrid, cargo que ocupará hasta el 2012. En la actualidad dirige Ende comunicación.

Actividad organizada en colaboración con ENDE Comunicación:

Vivir del arte: estrategias de gestión, promoción y financiación para artistas en el mercado del arte.


Inicio: 4 de Marzo, duración cinco semanas
Formato: online 
Más información: www.plataformac.com
Matrícula abierta:
 inscripciones aquí
Precio: 95 Euros
Objetivos: Conoce el sistema del arte y las relaciones que un creador puede establecer con distintos agentes como galerías, ferias, comisarios o empresas de gestión. En esta convocatoria abordaremos también temas legales, valoración de nuestro trabajo, procesos de producción y difusión de obra, cómo presentar un proyecto artístico de la manera más atractiva posible, crear y administrar una agenda de contactos o saber cómo dirigir nuestras negociaciones con gestores culturales, representantes y galeristas.
CV Chema de Francisco: Actualmente dirige ESTAMPA, Feria Internacional de Arte Múltiple Contemporáneo, tarea que compagina con la dirección de 9915, Asociación de Coleccionistas Privados de Arte Contemporáneo de la cual es vocal. Desde 2010 es miembro del Consejo de Cultura de la Comunidad de Madrid.
Organizado en colaboración con ESTAMPA ,  Feria Internacional de Arte Múltiple:
Para cualquier duda puedes ponerte en contacto con nosotros en info@plataformac.com
Síguenos en Facebook y en twitter

Fonte: Forum Permanente

oficinas culturais - USP - Ribeirão Preto

Do Serviço de Comunicação Social do Campus de Ribeirão Preto

A Seção de Atividades Culturais da Prefeitura do Campus da USP em Ribeirão Preto (PUSP-RP) recebe inscrições, a partir do dia 12 de março, para suas oficinas de fotografia. Ao todo são 60 vagas, divididas em
20 vagas para a turma da tarde;
20 vagas para a da noite e mais
20 para iniciantes.

No dia 13 de março, começam as inscrições para as diversas turmas das
oficinas de pintura (30 vagas),
dança (60 vagas) e
 teatro (40 vagas).

E no dia 14 acontece as inscrições para a oficina de música.

Os interessados precisam comparecer na “Atividades Culturais” nos dias indicados (confira horários no site).
Data 12/03/2013 - 14/03/2013
Hora 09:00 - 12:30
Tipo de Evento Cultura e artes
E-mail cultura.pc@usp.br
Site http://ribeirao.usp.br/agenda.asp?id=964
Telefone (16) 3602-3530/3602-4936
Investimento Evento Gratuito
Inscrição Inscrição Prévia Obrigatória
Os interessados precisam comparecer na Seção de Atividades Culturais nos dias indicados.
Local Ribeirão Preto - CCRP - Coordenadoria do Campus de Ribeirão Preto
Endereço Avenida dos Bandeirantes, 3900 CEP: 14040-900 - Ribeirão Preto - SP

Importante As informações foram checadas na data de sua publicação, mas pode haver alterações ou cancelamentos. Recomendamos entrar em contato com a organização do evento para confirmação.
Fonte: Eventos USP

Pinacoteca – Ensino da Arte na Educação Especial e Inclusiva

 
O curso "Ensino da Arte na Educação Especial e Inclusiva", para profissionais das áreas de Artes, Museu, Educação, Turismo e Saúde, começa 21 de março.

Pré-inscrição de 19 de fevereiro a 8 de março. Mais informações nos telefones 
 (11) 3324-0945 ou 3324-0941.

La convention Euro-méditerranéenne des arts visuels



luz marginal procura corpo vago - Gal Oppido - mam


contatos com a arte - MAM


aquarela - Tuneu - mam














Escola Masp - cursos 1º semestre


Priscila Arantes - palestra gratuita no Senac Lapa Scipião

Curadora do Paço das Artes ministra palestra gratuita no Senac Lapa Scipião

Priscila Arantes ministra em 26/02/13, às 19h, uma palestra sobre curadoria na contemporaneidade no Senac Lapa Scipião. A pesquisadora e curadora do Paço das Artes apresenta uma análise da função do curador ao longo da história e no contexto da arte contemporânea. A palestra é aberta ao público e os interessados podem se inscrever através do site www.sp.senac.br/lapascipiao | Senac Lapa Scipião Lapa: r. Scipião, 67, tel. (11) 3475-2200.


Fonte: Mapa das Artes


sexta-feira, 22 de fevereiro de 2013

Mostra Internacional na Califórnia com Waldir Bronson


Exposição Empilháveis V 2013



Exposição Empilháveis V 2013, que será realizado na Galeria do DMAE.
Está definida a data da exposição em 28 de agosto até 27 de setembro de 2013.

O portfólio pode ser enviado pelo correio, para o 

Atelier de Arte Plano B: Av. Farrapos, 146/133 Centro – Cep 90220000, Porto Alegre RS, 

ou ainda pode ser deixado, aos meus cuidados (dentro de um envelope), na portaria nesse mesmo endereço.

Inscrições até 01 de maio.

Qualquer dúvida 

Kátia Costa


Regulamento de Seleção, para a Exposição Empilháveis V / 2013.
De 29/08/2013 a 27/09/2013, na Gal. Arte DMAE – Porto Alegre RS
O Projeto Empilháveis surgiu a partir da idéia de identificar artistas que tivessem, dentre seus trabalhos, obras que abordassem formas de empilhamento. Nestes foram considerados, não o simples empilhar de objetos, mas o processo e a proposta de construção do mesmo. A obra deveria conversar com o conceito literal de sobrepor coisas, dispor objetos uns sobre os outros, acumular ou amontoar, através da diversidade de formas, técnicas, representações, suportes, imagens, dentre outros, definindo-se assim processos inerentes ao universo do trabalho de cada artista.
Em 2008 foi lançada a primeira edição do Projeto Empilháveis, onde artistas convidados apresentaram seus trabalhos na II Bienal B, em uma exposição no Atelier de Arte Plano B. A esta primeira exposição, seguiram-se o Empilháveis II, III e IV, tendo sempre como característica, a duplicação do número de artistas a cada nova edição. Nesse processo, ocorre também a continuidade da participação dos artistas que se fizeram presentes nas edições anteriores. Todo o registro dessa produção está no endereço http://projetoempilhaveis.blogspot.com.br/
Em sua última edição, Empilháveis IV (2011), participaram 40 (quarenta) artistas. A esses se somarão mais 40 (quarenta) novos, que juntos atingirão o número de 80 (oitenta) obras, em um mesmo espaço expositivo, formalizando assim a quinta edição do Projeto: Exposição Empilháveis V.

REGULAMENTO

1. Poderá participar da seleção artista residente no Rio Grande do Sul - Brasil;
2. A Exposição Empilháveis V / 2013 se realizará em 29 de agosto de 2013 a 27 de setembro de 2013, na Gal. Arte DMAE – Porto Alegre RS.
3. A obra deverá ser individual, de produção recente ou não, com as características autorais evidentes do artista e adequação ao tema do Projeto Empilháveis;
4. Os portfólios deverão ser enviados, para seleção de obras que farão parte da Exposição Empilháveis V, até o dia 01 de maio de 2013, para o endereço do Atelier de Arte Plano B: Av. Farrapos, 146 / 133 - 13º andar, Bairro Centro, Porto Alegre/RS - CEP 90220-000, valendo o carimbo dos correios. Os portfólios não serão devolvidos. O edital encontra-se no site atelierplanob.com.br e em projetoempilhaveis.blogspot.com.br
5.  A inscrição é gratuita e o valor do rateio, da para cobrir os custos de produção, montagem e desmontagem da exposição, dentre outros, para os artistas selecionados, será de aproximadamente R$ 70,00. Esse valor será confirmado e recolhido na mesma data da divulgação da seleção.
6. Cada artista poderá inscrever quantas obras desejar, as que achar mais próprias, para com a proposta do Projeto Empilháveis, das quais será selecionada apenas uma.  
7. A dimensão e disposição da obra deverá respeitar as considerações:
a - o espaço expositivo da Galeria de Arte do DMAE, Centro Histórico e Cultural Antonio Klinger Filho, na Rua 24 de outubro, 200.
b - a exposição será coletiva e contará com a obra de 80 artistas, ou seja, 80 obras.
c - as propostas podem ser para o espaço interno ou externo (áreas do Jardim e 03 espaços/andares do Torreão), da Galeria de Arte do DMAE, sendo que obrigatoriamente deverão ser selecionados no mínimo 10 obras, para o espaço externo.
d. as obras poderão ser expostas na parede, no chão, suspenso, em suporte próprio feito pelo artista, em cubos, dentre outros.
8. Não serão aceitos trabalhos realizados com materiais ou técnicas que, de alguma forma, comprometam a integridade de pessoas, animais ou espaços físicos envolvidos no evento, ou que prejudiquem a apresentação de outros trabalhos participantes, bem como os que estejam fora da proposta do projeto Empilháveis;
9. O portfólio deve ser organizado em formato digital (CD ou DVD) contendo:
a. imagens de cada trabalho, acompanhadas de ficha técnica contedo título, técnica, dimensões e ano de execução. As imagens devem: mostrar da melhor forma possível as características da obra; estar no foco; com resolução 300dpi e tamanho 10x15cm; estar renomeadas com título da obra e nome do artista.
b. obras tridimensionais e instalação: acrescentar memorial descritivo de montagem e manutenção da obra;
c. obra de vídeo-arte: anexar uma cópia do vídeo em DVD e CD;
d. Currículo artístico resumido, em formato de texto, com até meia lauda, fonte 12, espaçamento entre linhas 1.5, contendo os seguintes dados: nome de divulgação, nome completo, cidade e ano  de nascimento, endereço, telefone, e-mail e site, blog, formação e principais atividades culturais, principais exposições individuais e/ou coletivas, obras em acervos, obras  públicas, publicações e prêmios se houverem;
e. um pequeno texto sobre a(s) obra(s) apresentada(s).
Observações: o portfólio poderá ser apresentado no programa powerpoint2003, ou em outro programa de fácil acesso (PDF, etc). Levando em consideração sempre: a organização dos arquivos e informações; tamanhos e resoluções adequados a visualização em qualquer computador; facilidade de compreensão e qualidade da apresentação.
10. A Ficha de inscrição deverá ser impressa, devidamente preenchida, assinada e enviada junto com o portfólio digital;
11. O trabalho que necessitar de estrutura e equipamentos especiais para sua exposição, caberá ao artista providenciá-los e montá-lo, em dia estabelecido e informado previamente;
12. Os portfólios serão  submetidos à Comissão de Seleção formada por 2 (dois) membros convidados e 2 (dois) representantes do Atelier de Arte Plano B. Essa Comissão é soberana nas suas decisões, as quais serão irrecorríveis , não cabendo recurso;
13. A seleção terá como critérios: adequação à proposta do Projeto Empilháveis, processo autoral do artista, a originalidade, a criatividade, a qualidade técnica e contemporaneidade do trabalho;
14. O resultado da seleção ocorrerá em meados de maio de 2013, por email.
15. A montagem da exposição será executada pela Comissão Organizadora da exposição, em data a ser previamente informada;
16. As obras deverão ser entregues no espaço expositivo, na data previamente informada por email. As mesmas deverão ser entregues em perfeitas condições para exposição, devidamente  identificadas e prontas para a montagem. A entrega e retirada da obra e as despesas de transporte correrão por conta do artista.
17. A data de retirada das obras será previamente informada por email, a qual deverá ser respeitada. A Comissão Organizadora da exposição e o Atelier de Arte Plano B, não se responsabilizam pela guarda das obras não retiradas na data a ser informada;
18. Montagens especiais serão feitas pelo próprio artista. Se necessário material especial, para a montagem de alguma obra, cabe ao artista responsável por esta, tomar as providências cabíveis. O Atelier de Arte Plano B e a Comissão Organizadora se isentam de responsabilidade por eventuais danos ou extravio de obras, tanto no recebimento, exposição e devolução das mesmas.
19. A forma de divulgação, exposição e publicação dos trabalhos ficará a critério do Atelier de Arte Plano B, que se reserva o direito de reproduzir tais obras, em todo e qualquer material institucional, colocando sempre os créditos do autor;
20. O participante autoriza o Atelier de Arte Plano B a reproduzir a imagem de sua obra para fins de exposição, divulgação, propaganda, junto à internet, jornais, mídia eletrônica e demais meios de comunicação, público ou privado, antes durante e após as exposições, doação e comercialização de impressos (catálogo), em qualquer data. Assim como os dados do artista, informados no currículo, texto e ficha técnica das obras. A presente autorização é concedida a título gratuito;
20. Ao efetuar a inscrição na presente seleção, o participante aceita todas as regras desse regulamento. O não cumprimento de qualquer dos ítens, poderá implicar, a critério da Comissão de Seleção, na eliminação do artista do processo expositivo.
21. Todo o cronograma, assim que definido, será prontamente informado ao artista.
22. Quaisquer dúvidas sobre o presente edital, entrar em contato através do email: contato@atelierplanob.com.br

         Porto Alegre, 21 de  fevereiro de 2013.
          Atelier de Arte Plano B











Ficha de Inscrição para seleção de obras para a Exposição Empilháveis V / 2013.
De 29/08/2013 a 27/09/2013, na Gal. Arte DMAE - Porto Alegre / RS.

Nome para divulgação: _____________________________________________________________________
Nome completo: __________________________________________________________________________
Profissão / atividade: ______________________________________________________________________
Endereço: _______________________________________________________________________________
Telefone: (____) _________________________                      Celular: (____) _________________________
E-mail: _________________________________________________________________________________
Blog/ site/ outros: ________________________________________________________________________

Ficha técnica das obras
Título:

Técnica:

Ano:
Título:

Técnica:

Ano:
Título:

Técnica:

Ano:



Li e concordo com os termos do Regulamento do
Projeto Empilháveis – Exposição Empilháveis V / 2013

________________________________________________
                               Assinatura do Artista

________________________________________________
                                  Local e data

Hamburger Bahnhof explores the private and public persona of the artist Martin Kippenberger


A visitor looks at the work "The Torture of Alcohol" (from the 15-part series "from the simplest to home") from 1981-82 by German artist Martin Kippenberger (1953-1997), on display at the exhibition "Martin Kippenberger Sehr Gut / Very Good" at Berlin's Hamburger Bahnhof museum for contemporary art on February 21, 2013. The exhibition, a retrospective of the artist's prolific and varied output opens from February 23 to August 18, 2013. AFP PHOTO / JOHN MACDOUGALL. 


BERLIN.- The 25th of February 2013 would have been Martin Kippenberger’s 60th birthday. To mark the occasion, the Hamburger Bahnhof – Museum für Gegenwart – Berlin is showing 300 of his works on an exhibition floorspace of 3000 sq. m. After a life of excess, Kippenberger died at the age of just 44. In the Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – an artist is being exhibited whose life cannot be separated from his works. He was a painter, actor, writer, musician, drinker, dancer, traveller, charmer, enfant terrible and someone who liked to stage himself, in short, an ‘exhibitionist’, as he himself said. The intention behind the show is to bring out this interpenetration of personality and oeuvre, along with the enormous variety of his artistic output across the total spectrum of his creative work. The foundation is the Friedrich Christian Flick Collection, which includes such central works as ‘Uno di voi, un tedesco in Firenze’ (1976–1977), ‘Martin, ab in die Ecke und schäm dich’ (1989), and Kippenberger’s numerous drawings on hotel paper. ‘Martin Kippenberger: sehr gut | very good’ does not however seek to be a retrospective, but rather an approach to Martin Kippenberger the private and public individual as well as the artist. Some 300 works – private photographs, books, record sleeves and films – will be on show from 23 February 2013 at the Hamburger Bahnhof – Museum für Gegenwart – Berlin. Even though he only spent a short time in West Berlin – he came in 1978 and left the city again in 1981 – he already developed here some of the major themes of his artistic cosmos. Thus he announced: ‘Berlin must be re-painted’, and made a name for himself as the co-proprietor (briefly) of the legendary punk club SO36 and by setting up the ‘Büro Kippenberger’ office, which he used as a base for the provision or delegation of a whole range of services. He also appeared as a musician in the band ‘Luxus’, and as an actor. While with his series ‘Uno di voi, un tedesco in Firenze’ created during a visit to Italy he was still working as a painter in oils on canvas, in Berlin he exchanged many of its numerous parts for free food and drink in the legendary ‘Paris Bar’, which he also painted. Shortly afterwards, though, with his series ‘Lieber Maler, male mir’ he undermined the cliché of the painter-genius once again by ordering the large-format paintings from a poster-painter, and made no secret of the fact either. Later he was to commission crucified frogs from a carver of devotional objects – one of his many works to give rise to scandal. Yet with works such as ‘Martin, ab in die Ecke und schäm dich’ [‘Martin, be ashamed of yourself and stand in the corner’] he managed to make positive capital from the public outrage which he was constantly causing. A multipart installation, often described as ‘White Pictures’ and hitherto seldom exhibited, is also on show. It consists of eleven white canvases, set in the white wall and, with the joins plastered, practically become one with the wall. On closer inspection, transparent but glossy writing in a child’s hand becomes visible. The texts are in the manner of school reports on Kippenberger’s works, which are, without exception given the top grade ‘very good’ – dictated of course by Kippenberger. Irony, concept and avant-garde rhetoric fuse here into the superficially empty ‘white cube’. Much as Martin Kippenberger liked exhibitions of his works, however, he had little time for art historians and their verdicts. The title of the exhibition ‘Martin Kippenberger: sehr gut | very good’ is not just a reference to the white paintings, however, but also to one of his hundred-plus publications – the 1978 magazine with the bilingual title ‘sehr gut. very good’. In the midst of all the irony, the exhibition also focuses on a man who knew how to put his approaching death to artistic purpose. He paints himself in the poses of the shipwrecked victims in Théodore Géricault’s famous 1819 painting: bloated, aged, exhausted. Quite generally, selfdepiction is an important part of his work and his life. Thus he appears also in a Picasso pose or in Joseph Beuys’s felt suit, stages himself as a Turkish charwoman and calls the result ‘Helmut Newton für Arme’ [‘The Poor Man’s Helmut Newton’]. The abundance of photographs, above all self-portraits, is thus enormous. The paintings, drawings, sculptures, posters, books and music will be supplemented by selected photographs, and thus allow a nuanced and comprehensive view of Kippenberger – thirty years after he left Berlin. Today he is regarded as one of the most important artists of his generation, and his name enjoys international renown. ‘Art is in any case only looked at in retrospect… I would say, 20 years is the period. […] What people will still say or not say about me then is what matters. Whether I spread a good mood around, or not. And I am working on people being able to say: Kippenberger was good mood!’ he commented in in an interview 1991. More Information: http://artdaily.com/index.asp?int_sec=2&int_new=60911[/url] Copyright © artdaily.org


A woman looks at the 1981 painting "Untitled" (From the series Dear Painter, Paint for Me) by German artist Martin Kippenberger (1953-1997), on display at the exhibition "Martin Kippenberger Sehr Gut / Very Good" at Berlin's Hamburger Bahnhof museum for contemporary art on February 21, 2013. The exhibition, a retrospective of the artist's prolific and varied output opens from February 23 to August 18, 2013. AFP PHOTO / JOHN MACDOUGALL.

More Information: http://artdaily.com/index.asp?int_sec=2&int_new=60911[/url]
Copyright © artdaily.org

curso de restauração de artefatos - Regina Gierlemger


quinta-feira, 21 de fevereiro de 2013

Vija Celmins - gravuras


Vija Celmins
Drypoint - Ocean Surface 1983
One-colour drypoint on Arches Satine paper (first state)
image: 186 x 239 mm
ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 Vija Celmins
 
Vija Celmins (born 1938)
Starfield
2010
Mezzotint
plate: 585 x 835 mm support: 674 x 912 mm
ARTIST ROOMS Tate and National Galleries of Scotland. Presented by the artist 2011
 
 
Vija Celmins (born 1938)
Untitled (Web 2)
2001
Mezzotint on paper
image: 177 x 194 mm
ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

papéis para impressão de xilogravuras - do blog da Maria Arango

Papers, the dreaded final chapter

More papers for your delight below.

Other books about paper that are worth building extra shelves for...not that it's something I would ever do!

Jules Heller Papermaking: How to Make Handmade Paper for Printmaking, Drawing, Painting, Relief and Cast Forms, Book Arts, and Mixed Media 

Bo Rudin Making Paper: A Look into the History of an Ancient Craft 

Herbert Holik Handbook of Paper and Board 

Leonard M Rosenband Papermaking in Eighteenth-Century France: Management, Labor, and Revolution at the Montgolfier Mill, 1761-1805 


Papers:

Magnani Incisioni

Snow white, thick and absorbent, this is very much like Arches 88 except somehow it behaves better. It is especially suited for wood engravings or for embossing (surprise, since those two print-acts require such different characteristics). 
For a white paper, this is definitely the king. It is very smooth and accepts buckets of ink, layer after layer. It is  a strong paper that tears smoothly.

Magnani Pescia Blue/Cream/White

This paper is thick and soft and of an unusual light blue color. Pescia also comes in a beautiful cream and pure white. The surface is very smooth with no grain. Tears or cuts remarkably well. Basically "acts" like Arches 88 but better quality all around. 
It works well wet or dry, shrinks evenly (so it registers well), and takes much abuse so it is equally suitable for hand or press printing.  It embosses well because of the thickness and will take many layers of ink. It also accepts engravings and other printmaking methods, truly a king of papers. 
Pine Creek Escapade is printed on Pescia.

 

Masa





This is a great practice paper but also very very very! suitable for wood engravings. It is a Japanese paper, so it is thin and strong. comes heavily sized on one side, smooth like typing paper--no, smoother. The other side clearly shows the typical long fibers of Japanese papers (a great and affordable teaching tool). 
Other than that, it is snow white, thin and affordable. I buy it by the roll and keep it for proofing but also for engravings to get all that wonderful detail.

Mexican Bark

 
This hand-made paper is expensive and difficult to work with. Another one of those challenges! Unsized, tough, thick; made by beating bark "to a pulp" then forming sheets. It feels like thin layers of bark and absolutely will not accept ink unless dampened thoroughly. This doesn't mean it has to be soaked, just let the dampness travel well overnight. Printing requires a gel additive or the paper will stay on the block. 
It comes in ivory, chestnut, buckskin, and marble (a mixture of chestnut/buckskin and ivory). It is specially suited for simple images and will emboss nicely.  
It will also tear nicely, not always where you want. It is impossible to cut or tear in straight lines, but wetting with a paint brush causes the paper to separate beautifully. 
A nice challenge for specially planned images.

Mulberry Natural




This is a thin, unsized, decorative paper that is tough to use in prints. The best use I can think of is for one-color prints, since the speckled greenish background of the paper adds plenty to the image. 
It behaves much like Japanese papers, that is, it loves ink and is strong, although not as strong and malleable as okawara or hosho. If you have a  specific image in mind like the Joshua Forest pictured, then it is a great paper and no other will do. I keep using it to print desert images.

Murillo Printmaking

This is a thick, cardboard-feeling, chunky and tough paper. It absorbs the ink well, but has to be soaked to print because in its dry state it is HARD! 
It comes in the pictured Chestnut and many other bright and buff colors. The cream Murillo is especially attractive. It has a distinct wavy pattern which will show in the finished print. After soaking and drying it is likely that it will buckle much like watercolor paper, so it has to be dried under weights between blotters. 
Murillo Chestnut was used for Hija Del Sol.

 

Niggeden

A meaty, German mould-made paper with very distinct waves running through the fibers. It is hard to the touch and medium weight, has to be dampened for printing. The waves will show through the finished print, so if you don't like that, don't use it. 
It absorbs the ink readily, although dry printing does not yield good results. The warmth of the tan paper is difficult to find in others, except Arches tan and Kitakata. Renaissance was printed on Niggeden.

 

Okawara




This is a thin, lightly sized on one side, beautiful paper that is a dream to print on. It works equally well dry or dampened, it is lightweight, warm in color. It prints equally well on the sized side and the unsized side, giving beautiful results either way (oil inks). Tears well, feels soft and strong.  
If you are planning a big run, get all your paper in one order because the rolls (36"x72") can vary quite a bit in color. Also, there are different qualities, some hand-made and some machine made which are cheaper but lack the "gorgeousness."

 

Rives de Lin





This very expensive paper is so full of personality that I can't help using it, even though it's really meant for drawing. When I try to explain to someone how beautiful paper can be, I merely show them  a sheet of this stuff. 
Rives de Lin is snow white and toothy, but don't let that stop you as it absorbs ink as well as any of the Magnani papers. The images are softer because the 'shallows' of the paper will remain white. It is a heavy Western type paper that I love using for soft effects. 
It will accept layer upon layer of ink and the final effect can look like a watercolor. Tears beautifully and in fact the tears are closer to a real deckle than when tearing any other paper. 
It is, however, expensive but well worth it and comes in rolls for the adventurous.

Rising Stonehenge



A very affordable all printmaking purposes paper. Advantages are numerous: comes in a variety of soft colors and black, it is a Western heavy paper ideally suited for both woodcuts and wood engravings, embosses well, prints great wet or dry. 
It is lightly sized internally, so it is a bit harder (non-spongy) than the Magnani papers. It tears great and with a nice imitation deckle edge. Comes in all sizes. Behaves in every occasion and comes in a wide range of creams, tans and off whites. I know we printmakers are supposed to use more expensive papers, but this is a definite winner with me and I can't see a downside. 
Also comes in rolls.

TUESDAY, FEBRUARY 19, 2013

Papers for Printmaking Part 2

Following are some of the papers I have tried and how they behaved for me. 
Generally I look for how papers behave for woodcut prints, but I have grown to love many papers that I use for sketching, watercolors and even painting.

Two more suppliers of awesome papers:
for a huge array of Japanese papers http://japanesepaperplace.com
and to enjoy the feel of handmade papers, learn a boatload and support smaller manufacturer
http://www.twinrocker.com 

And more book recommendations, of course, here are three GREAT BOOKS on papermaking, from a historical and craftsmanship perspective.
 
Dard Hunter's  Papermaking: The History and Technique of an Ancient Craft is the book to get for printmakers that want to delve into the history of paper. Really fascinating stuff!

A bit pricey but a Timothy Barrett's great book on Japanese Papermaking with great illustrations and photographs Japanese Papermaking: Traditions, Tools, Techniques 

And an out of print book, I confess one of my favorites, about the Craft of Japanese papermaking by Kiyofusa Narita with woodblock illustrations Japanese Paper-making

Maria's sampler of printmaking papers:

Arches 88 
This paper is one of the best I have found for all types of printmaking. It is thick and soft and snow white. The surface is very smooth with no grain. Tears or cuts remarkably well. 
It works well wet or dry, shrinks evenly (so it registers well), and takes much abuse so it is equally suitable for hand or press printing. Definitely use it for black and white oil based prints to achieve a most dramatic effect. It embosses well because of the thickness, but behaves otherwise much like the strong but thin Japanese papers  like Hosho. 
It works equally well for woodcuts and wood engravings.
Arches Black 
Delicious to print on. Not sized, that's why it likes the ink so well. Black paper presents a special challenge because you have to think your print in reverse/reverse. Whatever you cut out will be black.  
Arches Black is thick and soft. The surface is a bit more grained on one side, I usually use the back of the paper. It tears and cuts very well. Scuffs easy so be careful when handling. 
Gives a very crisp impression but you have to remember to use very opaque colors or you will end up with a much darker image than you intended.

Arches Tan 
Much like Arches Black. Same behavior, same feel. It gives prints a wonderful "warm" look and acts like a mid-tone. 
For some reason, the tan likes the ink the best of all the Arches family. By "liking" the ink I mean that the impressions are crisp, the ink lays evenly and layers well.  
Print damp or dry. 
It is a bit too "spongy" for wood engravings, but can be made to work well.

Bangla-Desh Handmade 
This wonderful thick and spongy paper I bought at a place called "1,000 Villages" in a small town in Kansas. It is unsized and will stick to the block unless an additive like Daniel Smith Miracle Gel is used. Too wet and it will desintegrate back into pulp. When dry it is cardboard hard. 
It tears well, cuts better, embosses deliciously and absorbs as much ink as you want to roll out. Gives clear and "stamp" like impressions. Every sheet is different. 
See the notes on Printing On Hand-Made paper for recommended procedures.
 

BFK Light
This is a very affordable and versatile paper. It comes in white and buff, which are very similar in color. This paper is lightweight and accepts both woodcuts and wood engravings (although somewhat fuzzy on the wood engravings). As all Rives papers, it seems to be thirsty for ink and works well damp or dry. Tears very easily and handles well. An extremely gentle and forgiving paper to work with and warmly toned. 
I am told some folk even use this very successfully for moku-hanga, Japanese water-based, prints.

Canson Me Teintes (Red) 
This is a paper made for pastel and drawing work. What I like about it is that it comes in a wide variety of bright colors. The "pastel" side is toothy. The reverse is smooth and ideal for printmaking. 
Canson is thinner than the Arches family, it prints well dry or wet but I recommend dry. It likes the ink despite being made for drawing. Second and third layers of ink will shine unless Set Swell Compound is used on earlier layers. Tears and cuts well but it is fragile when dampened.

Daphne 
 
               
Daphne hand-made papers from Nepal come in three weights.  
Lightweight is feathery, transparent and suitable only for special projects. My Life of a Tree Series was printed on Daphne. It's a bear to work with, tears easily but not where you want it to. 
Medium weight is suitable for woodcuts. It is sized but not too heavily. Being very strong, it doesn't tear easily, but using a brush and water makes it pull apart easily. 
Heavy weight is a wonderful paper resembling parchment and can look like leather. It looks a lot like the background of this page. It works better dampened but becomes fragile. It is heavily sized but not consistently from batch to batch. Sometimes fibery inclusions can dent a cherry block so it's not for the faint of heart.
Graphic Chemical Heavyweight 
For being so affordable, this paper surprised me in its ability to take ink well, layer well, tear well, dampen well...there is very little that this paper can't do. A sturdy Western paper with a light cream and slight toothy finish, it embosses well when dampened.  
It is ink thirsty, so it will take several layers of ink without complaining. A bit rough for engravings, but also surprising in that function. 
Did I mention affordable?

Hanhemulle 

 
This is really a pastel paper, a bit softer than Canson and also available in a wide array of colors. It is lightweight and accepts ink very well, one side being toothier than the other.  
The main advantage is the color range. Dampening makes this paper very fragile as it was meant for dry media. Tears well, use it dry. 
Inks seal the unsized paper quickly, so the top layers will shine.

Ingres/Fabriano

 

Another questionable choice by yours truly, but it works so well! 
This is really a drawing paper, thin and meant for dry media. Lo and behold, it takes the ink so well and comes in such warm unusual colors like "tobacco", "maple", "crimson", and "chocolate," among others. 
Fibers are shorter than on traditional printmaking papers so they are fragile if dampened but work great dry. 
This is also a nice affordable choice for the explorer in you.

Kaisuri 
This paper is randomly scattered with inserted material. It is a difficult paper to work with. It is thin and unsized and will tear under the pressure of a baren unless backed with a strong backing sheet. 
Will not work wet, tears poorly and cuts fairly with a very sharp blade. 
The inserted materials are random and large pieces, sometimes they have already torn the paper fibers. Printing around these intrusions will leave a lighter mark all around them. 
Why did I use it? It is exciting and lends an individuality to every print. It also lends a distinct quality to an otherwise simpler image if used well. 
 
Kitakata (Kitikata) 
This paper is light, translucent, strong and absorbent like many Japanese papers. It truly loves the oil based ink and my fellow Hanga-printmakers tell me it works very well with water based inks. 
The warmth and underlying texture of this paper is hard to beat for adding a nice warm tone to a print. Only complaint is that it comes in small (16"x20") sheets and it is expensive. 
It works equally well for woodcuts and wood engravings. In fact it might become one of my favorite wood engraving papers.
 

Next blog post, more papers!

MONDAY, FEBRUARY 18, 2013

Papers for Printmaking Part 1

Paper is beautiful and magic. Over the years I have developed an appreciation of paper, not only as an medium for art but as an art itself. Having said that, these notes about paper will not tell you anything about sizing, paper making, fiber composition, weight and traditional size or definitions about paper terms. You can find all that in the first section below, About Paper Sources and Resources. 
What I will discuss in these notes, however, are notes on how the paper feels and behaves under the attack of this artist. I say "attack" because often times we artists tend to abuse materials in many ways. As an experimental printmaker and lover of papers, I am guilty of paper use and abuse. 

How to Get to Know Paper

Here is what I do to get to know my papers: 
Buy paper samplers! For one thing they are so cute, little tiny squares of paper in a neat little book...
For another thing, no matter how much you look at a picture of a paper in a catalog or in the web, you cannot get to know a paper until you...
Paper sampler! Click to fill your screen with paper.See the paper. Hold it up to the light, all kinds of light, natural, fluorescent, incandescent; heck take your papers out to the campfire on a still desert night and look at them there. Turn them over and do it again. Notice the fibers, the weave, the patterns of the molds, the hills and valleys, the watermarks, the little chunks of inserted material.


 
Feel the paper. Touch it on both sides, learn what size feels like, feel the difference between papers and the likeness. When papers "behave" the same under your baren or press or charcoal stick, chances are they will feel similarly when touched. Close your eyes when you feel them.

If you can afford it, of course, buy full sheets of paper and actually TRY the paper in your daily business of drawing or printmaking. Learn from the book sources above, all about sizing and uses for papers. Purchase the large (full-sheet) paper samplers, or buy one sheet every week and by the end of the year you will have tried 52 different kinds of paper. Start out by purchasing the papers made for whatever medium you happen to be "arting" in, then move on to...

Experiment! (my favorite word). Learn all the rules first, then break them. Print on pastel paper, draw on watercolor paper, paint on printmaking paper, wet the paper, use it dry, paste it to cloth, prime it with gesso... This is how you get to really know paper, because you will learn how paper "behaves" under different whimsical treatments.

It is this paper "behavior" that I am looking for when I use a paper. I can look up the sizing and recommended uses and light-fastness and weight information in a chart. I can make sure (please make sure) that the paper is actually acid-free and will hold my art dearly for centuries to come. I can listen to recommendations from others, I can look up the most suitable paper for a particular use.

Next blog post I will post about various papers I have tried and how they behaved for me. In the meantime, here are a selected few selected sources and suppliers.

Few Selected Paper Sources and Resources 

Sylvie Turner's The Book of Fine Paper is an incredible resource for papermaking, history of paper, types of paper, and it even comes with a mini-sampler of fine papers from around the world. I highly recommend it if it's the only reference book on paper in your personal library.
The Book of Fine Paper: A Worldwide Guide to Contemporary Papers for Art, Design & Decoration 

If you must have two books, the next that I recommend is the classic Jules Heller book Papermaking:
Papermaking: How to Make Handmade Paper for Printmaking, Drawing, Painting, Relief and Cast Forms, Book Arts, and Mixed Media 
  • Shereen LaPlantz's Cover to Cover is a great source for bookmaking and I liked the book because of its respectful treatment of paper.
  • Cover To Cover: Creative Techniques For Making Beautiful Books, Journals & Albums 

  • Faith Shannon's The Art and Craft of Paper is a beautifully illustrated book on papermaking that will leave you with a great appreciation for the craft.
  • The Art and Craft of Paper 

  • Graphic Chemical & Ink Company has a great catalog with a paper chart. They are also one of the least expensive sources for Western papers, especially if you like to buy bulk. In fact their catalog will teach you more about tools than any other I know.           http://graphicchemical.com

  • Daniel Smith Art Supplies http://danielsmith.com publish a catalog that is worth getting even if you never order anything. Periodically they also publish a paper chart that lists a good quantity of papers with all the specifications (sizing, uses, sizes). Their printed catalog has thoughtful explanations of all their papers, with pictures.

  • McClain's Printmaking Supplies http://imcclains.com has a beautiful catalog that lists a wide variety of Japanese papers and their uses. If you request their paper sampler you also get a description of their papers in a neatly printed sheet.

  • Hiromi Paper http://hiromipaper.com has an astounding web site dedicated to Japanese papers, their making, history, much more. Do request their printed catalog even if you print out (like I did) their Adobe Acrobat version.