Baren Digest               Sunday, 26 August 2001       Volume 16 : Number 1535


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From: slinder@mediaone.net
Date: Sat, 25 Aug 2001 10:38:28 -0500
Subject: [Baren 15519] Crop Failure....Salon des FLORA! 

We have one opening for the Exchange 11.5 Salon des refusˇ -
FLORA!, if anyone has a fast-growing botanic print just aching
to sprout!  This will be a 14-print exchange, 'Oban', 10 1/2 x
15 1/2 inches, ripe for the picking on November 1st, 2001! 
(same details as exchange 11 Flora)
<http://barenforum.org/exchange/exchange_11/exchange_11.html>

Sharen

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From: "bemason" <bemason@concentric.net>
Date: Sat, 25 Aug 2001 09:22:22 -0700
Subject: [Baren 15520] Re: freedom  

> I like the subject header "freedom" on this thread because creativity
> thrives in a garden of freedom.
>
Bill,
The reason we need limits is that if you are totally free you are bouncing
everywhere. I just had a similar conversation with a young artist that came
into the gallery. He had lots of experimental work but no real direction and
no real cohesive body of work. Not even the same technique. So my advise to
him was a few limits. Pick a subject and work only on it. Say you pick
"fish" and all your work for the next few months revolves around this. A
small limit that will work big time toward pulling a body of work together.

It doesn't matter how creative we are, it we don't have a few limits and
follow a few rules, self imposed or otherwise, we aren't effective enough.
The trick is to know if our self imposed rules are getting us there or if we
need opr, other peoples rules, to help us along. An individual decision by
each artist. I personally do not mind the rules, as long as I can be  pretty
creative within them. As soon as I feel I can't be, I start pushing at OPR
and I am sure each artist does the same by degree.
So my morning 2 cents worth....

When are you coming to Portland? Are you coming down for the big print
symposium? See http://www.art.pdx.edu/printsymposium/  we would love to see
you here. Maybe we can have a baren breakfast if several come. I know Wanda,
Myself and Sharri Lapierre will be there. Any other barener coming to PDX??
Best to all,
Barbara



------------------------------

From: "eli griggs" <eli.griggs@worldnet.att.net>
Date: Sat, 25 Aug 2001 19:18:50 -0400
Subject: [Baren 15521] oil paint for works on paper

Hi there:

Thanks for speaking up Bill.  I will look for a copy of the book you
referenced.

I am aware of the dangers of oil on paper, but I have a sort of thing about
trying this out.

Whether or not the transparent base (or a printing white) will help negate
the effects of the oil on the paper,  I do not know either.  I will try
using both walnut and linseed oils and just 'fiddle about'.

I have seen some vague references regarding using oil paints in printmaking,
and I like to try out things for myself.  I suppose it's rather like April's
'intellectual botherment.'  Sometimes you've got to do things your own way,
just because...

If anyone knows of any good examples of oil paints as a printing medium,
especially in older works, please let me know.

Best regards,

Eli



- ----- Original Message -----
From: "Bill Martin" <wbmartin@midcoast.com>
> i would caution you not to use oil paint on paper because the linseed oil
will
> oxidize and eventually rot out the paper
> i refer you to Reed Kaye's book on materials and techniques... he did
extensive
> studies on this subject...
> whether the transparent base will isolate the oil
> or dilute the effect i cant say but the notion of oil paint on paper is a
risky
> one
> its done all the time
> probably without the understanding of the chemistry.
>  bill martin




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From: "John Ryrie" <fieryryrie@hotmail.com>
Date: Thu, 23 Aug 2001 18:51:28 +1000
Subject: [Baren 15522] corian counter top 

Hi John of the furry press

I'm interested in the product that you mentioned corian counter top I no
that if I go looking for it in Australia it will known under a different
name.   Is it for as the name implies for counter tops and available from
cabinet makers?  do you know the company that makes it of the country
whereit is made?

For any one living near Toronto have some paintings in the Toronto Art Fear
in October.

John





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From: "Robert" <rcg@robertcanagagallery.com>
Date: Sat, 25 Aug 2001 17:58:31 -0700
Subject: [Baren 15523] Re: oil paint for works on paper

Eli,
Go to the art store an but a small container of GAC 900 (Golden Acrylic
Color)(ask for sure , I think it's 900 but it could be 400) or you can use
WN clear gesso, or GAC 100.
Paint it on your paper and let it dry. Thin with water so you don't end up
with ridges. I put mine on with a knife, forces the medium into the paper.
When it dries you can paint on it, print oil monos on it...
The acidification of linseed oil is rapid and very yellowing, and after a
long time the acid will actually eat through the paper.
Walnut oil is much more forgiving.
Take some linseed oil, walnut oil(painting grade, not grocery store stuff)
and put a drop of each on typing paper, put it in the sun and let it dry. go
check on it every week and watch the difference!
Monos on paper are great with oils, as long as you treat your paper.
Thanks
Robert
- ----- Original Message -----
From: "eli griggs" <eli.griggs@worldnet.att.net>
To: <baren@ml.asahi-net.or.jp>
Sent: Saturday, August 25, 2001 4:18 PM
Subject: [Baren 15521] oil paint for works on paper

> Hi there:
>
> Thanks for speaking up Bill.  I will look for a copy of the book you
> referenced.
>
> I am aware of the dangers of oil on paper, but I have a sort of thing
about
> trying this out.
>
> Whether or not the transparent base (or a printing white) will help negate
> the effects of the oil on the paper,  I do not know either.  I will try
> using both walnut and linseed oils and just 'fiddle about'.
>
> I have seen some vague references regarding using oil paints in
printmaking,
> and I like to try out things for myself.  I suppose it's rather like
April's
> 'intellectual botherment.'  Sometimes you've got to do things your own
way,
> just because...
>
> If anyone knows of any good examples of oil paints as a printing medium,
> especially in older works, please let me know.
>
> Best regards,
>
> Eli
>
>
>
> ----- Original Message -----
> From: "Bill Martin" <wbmartin@midcoast.com>
> > i would caution you not to use oil paint on paper because the linseed
oil
> will
> > oxidize and eventually rot out the paper
> > i refer you to Reed Kaye's book on materials and techniques... he did
> extensive
> > studies on this subject...
> > whether the transparent base will isolate the oil
> > or dilute the effect i cant say but the notion of oil paint on paper is
a
> risky
> > one
> > its done all the time
> > probably without the understanding of the chemistry.
> >  bill martin
>
>
>
>


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From: Bossbumpy@aol.com
Date: Sat, 25 Aug 2001 23:14:47 EDT
Subject: [Baren 15524] Re: corian counter top 

John:

Corian is a man-made counter top material, better than high pressure 
laminates but not as good as granite.  Dupont is the manufacturer.  Check out 
www.corian.com.

Tim Scott

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From: FurryPressII@aol.com
Date: Sun, 26 Aug 2001 08:57:10 EDT
Subject: [Baren 15525] Re: corian counter top 

dupont makes it
john of the furry press

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From: FurryPressII@aol.com
Date: Sun, 26 Aug 2001 08:59:37 EDT
Subject: [Baren 15526] Re: corian counter top 

hummmm  furry wonders can you engrave grante    lol

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End of Baren Digest V16 #1535
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