Today's postings

  1. [Baren 36575] Re: New Baren Digest (Text) V44 #4478 (Aug 12, 2008) (Scholes Graham)
  2. [Baren 36576] Re: vivid secondary colors w/ M.Hanga (Barbara Mason)
  3. [Baren 36577] RE secondary colors ("viza arlington")
  4. [Baren 36578] Gathering gems (Jennifer Martindale)
  5. [Baren 36579] RE: vivid secondary colors w/ M.Hanga ("Mike Lyon")
Member image

Message 1
From: Scholes Graham
Date: Wed, 13 Aug 2008 05:42:39 GMT
Subject: [Baren 36575] Re: New Baren Digest (Text) V44 #4478 (Aug 12, 2008)
Send Message: To this poster

Patricia B. Phare-Camp wrote:
> Graham -- welcome back to the baren. I'm glad you've returned there
> are many here at baren who still love you, even if you do sometimes
> poke us in the third eye with a blunt shtick...;^} I rather enjoy
> your occasional controversial dialog and find that there is much to
> learn in some of your banter.

Darn it all Patti.... Dont you remember that at Bootcamp it was ALL
the banter..... (
Member image

Message 2
From: Barbara Mason
Date: Wed, 13 Aug 2008 06:23:53 GMT
Subject: [Baren 36576] Re: vivid secondary colors w/ M.Hanga
Send Message: To this poster

watercolor is an expensive way to go, but if you want darker or more vivid colors, print them twice and you will get them.
My best,

> Can you get vivid Secondary colors with Moku Hanga and tube
> watercolors?
> While I usual
Member image

Message 3
From: "viza arlington"
Date: Wed, 13 Aug 2008 06:31:38 GMT
Subject: [Baren 36577] RE secondary colors
Send Message: To this poster

i just bought some pigment dispersions and so far i like them so much more the tube watercolors i had been using.

Member image

Message 4
From: Jennifer Martindale
Date: Wed, 13 Aug 2008 11:43:55 GMT
Subject: [Baren 36578] Gathering gems
Send Message: To this poster

I have been experimenting again, and am so grateful to the forum for the wealth of info
so freely shared. In the blog I have just posted I show pictures of using vinyl floor
covering to cut out blocks. Thank you for that idea with details how to do it. I also
used the changing blotter drying technique for drying the owl print as I had used embossing
and was nervous about flattening that out by using weights. Certainly the technique worked well.

I had been getting a problem on getting stray pigment on the prints while they are waiting their
turn for the next round. I traced the problem to ink being caught on the plastic covering which
was keeping the pile damp. This time I tried using baking parchment to interleave the layers
while working on the prints and needing them to remain damp. I imagine greaseproof paper may
work as well, but I had the baking paper to hand. It does not absorb much water and keeps the
whole thing cleaner.

I still would be interested in learning from the experience of users of a Dremel or other electric
tool for carving. Both carving techniques and the shapes of the attachment tools. Thank you all.
Member image

Message 5
From: "Mike Lyon"
Date: Wed, 13 Aug 2008 11:49:08 GMT
Subject: [Baren 36579] RE: vivid secondary colors w/ M.Hanga
Send Message: To this poster

Hi, Andrew - pigment dispersions (Createx, Guerra Paint and Pigment, and
others) are very easy to use and are much stronger and much cheaper than
prepared watercolors (dry pigment is also cheaper and stronger, but more
difficult to use and possibly more of a health hazard) - they are great for
moku-hanga and depending on the transparency of the pigments used, clean
'secondary colors' are automatic.

When printing (or painting) transparent colors on a white ground, each
additional layer of pigment increases (darkens) the value, so although an
overprinting of yellow and blue yield green, the green will be a darker
value than either the yellow or blue alone - so the 'brilliance' you're
looking for may be related to contrast between the over-printed area and the
hues/values which surround it.


Mike Lyon
Kansas City, MO