Baren Digest Wednesday, 15 August 2001 Volume 16 : Number 1522 ---------------------------------------------------------------------- From: GWohlken Date: Tue, 14 Aug 2001 17:33:08 -0400 Subject: [Baren 15393] Re: Baren Digest V16 #1521 -- Maria's Observations > forget the rules and sell it to them at a > reasonable cost; they want your art...* Thanks, Maria. I think you pumped some blood into us that was badly needed. (Heh. Sorry about the vampiric allusions, but I tend to do that.) Gayle *( ArchivistŐs Note: See yesterdayŐs archive for full text of MariaŐs original message) ------------------------------ From: "Walters, Stephanie J. (Nevada Color)" Date: Tue, 14 Aug 2001 17:29:43 -0500 Subject: [Baren 15394] RE: cheap philosophies Maria, have you ever thought of compiling your writings into a book? It would be inspirational and real and wonderful! ------------------------------ From: "eli griggs" Date: Tue, 14 Aug 2001 19:57:26 -0400 Subject: [Baren 15395] Re: The young Dr. Frankenstein Hi there: Yes Dan, there -is-a-real-difference between student grade material and artist grade stuff and if you are not intending for your work to deteriorate at speed faster than what would be expected for permanent works of art, (in your medium) than you owe it to yourself and your future patrons to 'bone up' on artist materials. You should, at the very lest know the difference between fugitive and non-fugitive pigments and what falls in between. You, as artist, must need be aware of manufactures labelling practices and stay away from companies that will not share truthful information about their products. Companies that claim that disclosing what pigments and binders (oils, gums, resins, dryers, etc) are use to make them will compromise their secrets should be avoided like a plague. That company's products should be boycotted. You are, after all, not asking for exact methods, only enough truthful information to make a considered decision. Too many works of art have been compromised by the 'secret formulas' of companies that have lost sight of the most basic premise that the artist is the one to make decision about what they will or will not choose to use. Dan, your work is well crafted and calls for sound materials. Unless there is some compelling and unique quality that the Speedball inks offer that can not be found if artist grade inks, and if you are using good papers in part because of their archival properties and can afford the artist grade stuff, then it makes no sense at all for you to use less. Best regards, Eli - ----- Original Message ----- From: "Daniel Dew" > Someday I will figure out what the heck the deal is with the Speedball ink. > i.e. why does everyone turn their nose up at me when I mention I use them? > It's the only ink I've ever used and I love it. I've tried others and I > don't like them. Is it just 'cause they are "kiddy inks"? Or is there > really a difference? ------------------------------ From: "Daniel L. Dew" Date: Tue, 14 Aug 2001 20:08:33 -0400 Subject: [Baren 15396] Re: The young Dr. Frankenstein Thank you for an insightful answer. I just thought people were being "snobby", didn't know there was a reason behind the madness. It's the first I've heard of this. Dean, are you out there? Is it all true? >Yes Dan, there -is-a-real-difference between student grade material and >artist grade stuff and if you are not intending for your work to deteriorate >at speed faster than what would be expected for permanent works of art,... ------------------------------ From: Akemi Ohira Date: Tue, 14 Aug 2001 20:06:57 -0400 Subject: [Baren 15397] Re: The young Dr. Frankenstein Hi Dan (and all), when I learned the Japanese relief method, starch is the key. First you brush the area with water-based medium (but not acrylic). Then take a stiff brush - drop a starch-based medium (i.e. cooked rice starch). Brush vigorously - and print! And yes, you get nice gradations. Trust me. happy printing, Akemi ------------------------------ From: Printmaker Date: Wed, 15 Aug 2001 11:00:53 +1000 Subject: [Baren 15398] endangered species (flora) john of the furry press said cherry blosums and mt Fuji from old Japanese money. I have a mental picture of this John, thankyou. At this stage I'm doing banksia serrata which is structurally strong, very sculptural. Anyone else? Where are you all? No-one answered my question re the endangered species salon? Josephine ------------------------------ From: "Daniel L. Dew" Date: Tue, 14 Aug 2001 21:00:52 -0400 Subject: [Baren 15399] Re: endangered species (flora) I do not think the prints as a whole have been shown anywhere. I plan to notify some who were included in the Endangered Species show here in Tampa. A few prints were needed to fill in the gaps so I donated my two portfolios and told them to choose. Since I haven't seen the show yet myself, I don't know who was included. I will let those who are showing know by the end of the week. dan dew > From: Printmaker > Subject: [Baren 15398] endangered species > No-one answered my question re the endangered species salon? > > Josephine ------------------------------ From: FurryPressII@aol.com Date: Tue, 14 Aug 2001 22:04:37 EDT Subject: [Baren 15400] Re: cheap philosophies maria good point mostly furry gives um away Hates marketing when i did that my art became "shoes" or any other comodity. when i put the prints in a bundle or other form of excange i print as many as i can before i get tired. I do number um and all of that. Mostly i like excange um with others who can understand what i am doing. the multi color prints and artist books which most offen are unique i don't give away but others such as b & w i am happy that they have new homes. John of the furry press ------------------------------ From: FurryPressII@aol.com Date: Tue, 14 Aug 2001 22:21:33 EDT Subject: [Baren 15401] Re: The young Dr. Frankenstein i will reply on speed ball ink I saw a chemist study on different inks/things such as pigment density, tack and other factors. The quality of speed ball was the weakest of all the inks in the study in all the factors mentioned. The only thing they had going for um was price. Speed ball is designed for school use just as construction paper, etc. There is a use for it but the draw backs are known. The point of using professional quality ink is it is the artist that controls the ink and not the ink controlling the artist. Example because the pigment density is so weak in speedball it is only meant to be used straight out of the tube. With graphic chemical ink and Daniel Smith and many others the ink can be modified to give you very many different levels of opaqueness. I rarely print it straight adding extender or transparent base, etc., to change the ink. The tack of speed ball ink is wrong thus the nature of it to over ink a print. Graphic chem ink can be modified so I never have this problem. If you put a great deal of effort into your print the difference between the cost of prof. ink and school ink should not stop you from using the best material avail John of the furry press ------------------------------ From: =?iso-8859-1?Q?Hor=E1cio_Soares?= Date: Wed, 15 Aug 2001 07:34:14 -0300 Subject: [Baren 15402] Re: cheap philosophies -- Maria Thank you very much for your wise post. I aggree with the Stephanie's suggestion of "compiling your writings into a book" Each time I admire you more and more as an artist and person. Health to you too. Obrigado amiga. Hor‡cio >From Rio / Brazil ------------------------------ End of Baren Digest V16 #1522 *****************************