Today's postings

  1. [Baren 24849] attachments (Barbara Mason)
  2. [Baren 24850] Escheraria (ArtfulCarol #
  3. [Baren 24851] Re: Escheraria (Aqua4tis #
  4. [Baren 24852] Escheraria help (ArtfulCarol #
  5. [Baren 24853] Re: Escheraria help (Aqua4tis #
  6. [Baren 24854] Re: interesting interview........ (Julio.Rodriguez #
  7. [Baren 24855] Re: pigment, etc (eli griggs)
  8. [Baren 24856] Bamboo replacements ("Diane Cutter")
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Message 1
From: Barbara Mason
Date: Tue, 13 Apr 2004 07:43:26 -0700 (PDT)
Subject: [Baren 24849] attachments
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I am pretty sure the baren does not ever let any attachments through.....I think our list is set up not to let them through and that is why we always send people to a site to see images and why we put things on show and tell instead. I will ask the council about this to be sure I am correct...however maybe the addresses could be harvested and it could look like baren sent it. This spam thing is getting to be a real pain. Using yahoo most of the spam goes to a bulk mail folder and I just delete the whole thing daily without ever looking at it. a few slip into the in box, but only one or two. I look forward to the day when spam is legislated against and we can happily have email without ever seeing it again...maybe in that dream world. The other great thing is now I have my address book on the server so if I lose this computer, I still have it...I have had to rebuild it a couple of times so this certainly gives me a good feeling...of course I guess yahoo could crash but that is
Best to all,
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Message 2
From: ArtfulCarol #
Date: Tue, 13 Apr 2004 12:23:01 EDT
Subject: [Baren 24850] Escheraria
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This is my new web site with Escheraria Woodblock prints included.
They are Variants, made with one block

Carol Lyons
Irvington, NY
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Message 3
From: Aqua4tis #
Date: Tue, 13 Apr 2004 12:59:00 EDT
Subject: [Baren 24851] Re: Escheraria
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ArtfulCarol wrote:
this didnt work
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Message 4
From: ArtfulCarol #
Date: Tue, 13 Apr 2004 13:36:25 EDT
Subject: [Baren 24852] Escheraria help
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If the first site just given didnt work for you try:

Sorry for this malfunction.

Carol Lyons
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Message 5
From: Aqua4tis #
Date: Tue, 13 Apr 2004 13:56:06 EDT
Subject: [Baren 24853] Re: Escheraria help
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thank you carol
very nice and interesting work can you explain how these were done?
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Message 6
From: Julio.Rodriguez #
Date: Tue, 13 Apr 2004 18:33:56 -0500
Subject: [Baren 24854] Re: interesting interview........
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There is an interesting interview done by Boston Printmakers of Miguel
Booth (founder of on their most recent newsletter.
If you can get by the first section of the interview relating to the sites
background, purpose, etc..., there is some intereresting analysis of the
current state of printmaking and in particular in relation to the digital
world. Our very own April Vollmer is mentioned.

thanks...Julio Rodriguez
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Message 7
From: eli griggs
Date: Tue, 13 Apr 2004 21:43:05 -0700 (PDT)
Subject: [Baren 24855] Re: pigment, etc
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Hi there:

Thanks David for the run-down on the list that I asked
about. It is mainly the Japanese names, in Japanese,
such as Ai-iro that I am inquiring about. Knowing
them makes it easer to relate to their use on the

As far as labeling...I realize that suppliers take
license when naming their products and I learned long
ago never to look to the 'name' for the important
pigment info.

An example that is easy to point out is the colour,
Raw Sienna. Many art paint manufacturers market the
'HUE' but the PIGMENT being sold is often nowadays
Mars Yellow, py 47, not the truthful Raw Sienna, pb7
and almost never is it properly labeled 'Hue.'

Now a lot of people do not mind this slight-of-hand
when it comes to these two pigments, but it does
matter when an artist uses what he/she thinks is a
quality material of a certain property in a work, only
to discover later that the pigment in question is
fugitive or has reacted to something in the
environment, or in the artwork itself.

Ultramarine Blue, pb29 is a good case in point. Very
common, this stuff , and according to R. Mayer (The
Artist's Handbook of Materials And Techniques,5th ed.
R&U) "...but is easily affected and bleached by very
weak acids and acid vapors...."

This applies to the Ultramarine Violets and Reds as

That's nice to know, if, for example you happen to be
a watercolourist or hanga printmaker and make use of
the gum Arabic Watercolor Medium marketed by Windsor &
Newton, which at one time (and may still have) used a
slightly acid component.

Mayer also points out that Ultramarine is used as a
substitute for Cobalt Blue pb28 in some cheaper grades
of paints.

That is fine if the paint is named Cobalt Blue Hue,
but if you live or buy from someplace that does not
have and enforce laws about truthful packaging, or
take it on faith alone that the name on the front of
the package tells the whole tale, you may find that
you have grossly overpaid for your pigment.

You will also find that pigments within 'families' can
be 'duller' or 'brighter' in thinner applications,
even though they appear to be the same in mass tones.

I am sure a lot of people feel the colour chip charts
on our Mall site are plenty fine for their purpose,
and don't want to 'bother'. However, looking at pixel
renditions, of what appears to be mass tone samples,
cannot tell an person how well a pigment may disperse
in use, if the pigments are light-fast, in tints or in
general usage, or if the hue in question presents an
toxic challenge, such as heavy metals.

Powdered pigment ALWAYS need special handling and
considerations. A pigment does not have to be toxic
to pose a risk to health.

That is something all artists, novice and experienced
need to keep in the forefront of their decision
making. The effects may not be noticed for years, but
casual handling over time may have devastating

Only by knowing the pigment number can an informed
artist realistically relate to hue, handling, toxic
content, expense and light-fastness of a pigment

Please keep in mind that I am not trying to put down
our Baren Mall or any of the efforts to make available
the materials that are found there. I think on the
whole the Mall is a terrific resource and very well

And if some of what I have written sounds familiar, it
should. I've said it before and my opinion is offered
to the general membership, expressing in no way an
'expert' viewpoint, but rather a strongly held
personal conviction on what I feel is a critical and
often overlooked subject.

I know that there are others on this forum, with
vastly more knowledge about pigments that can
vouchsafe the importance of informed handling.

As informed artists, we cannot help but improve our
art. Hopefully one day we will be able to post more
complete information on pigments on Baren.

Thanks again for your reply David.

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Message 8
From: "Diane Cutter"
Date: Wed, 14 Apr 2004 07:38:10 -0300
Subject: [Baren 24856] Bamboo replacements
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I just got a neat ebay purchase through the mail. It's a book, "Essentials
of Linoleum Block Printing" by Ralph W. Polk, printed in 1927. It is a quick
read, more of a bound pamphlet.

I thought I would share the following information from that book since there
had been a great lamentation that went up about the lack of bamboo lately.

"Making the baren. To make the baren, the Japanese use bamboo, but corn
husks make a satisfactory substitute. A piece of rather stiff cardboard,
about three by four inches in size, is laid on several layers of corn husks
which have been previously softened by soaking, but which are damp rather
than wet. The ends of the corn husks are brought up over the ends of the
cardboard and tied securely. The ends of the husks serve as the handle of
the baren. When the husks are dry, the pad is ready for use. The drying
shrinks the husks slightly and holds them firmly in place."

It's easy to find husks in any grocery store in the US southwest. I'm sure
arts-n-crafts stores have them in stock, too.