Baren Digest               Sunday, 13 August 2000       Volume 12 : Number 1112


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


From: Artsmadis@aol.com
Date: Fri, 11 Aug 2000 11:37:12 EDT
Subject: [Baren 10911] Re: Yellow halo on prints

In a message dated 8/11/00 10:10:28 AM Central Daylight Time,
studiojnc@prodigy.net writes:

<<What kind of oil, burnt plate oil, linseed oil,
whatever .do you use to thin your paint out to a nice consistency without
causing the halo??? >>

For etching ink you use burnt plate oil, I believe also for block print ink.
If you are using tube oil paints you might have to remove some of the oil on
blotting paper before using, as commercial paints almost always have too much
oil.   I think burnt plate oil does not creep out into the paper like that.
Excess oil, especially linseed oil, eventually rots the paper and makes it
brittle, not to mention the discoloration.

Darrell

 ..................
Arts Madis
http://members.aol.com/artsmadis/index.htm.htm
70 pages so far
....................

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

From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Fri, 11 Aug 2000 12:36:07 -0400
Subject: [Baren 10912] Re: Yellow halo on prints charset="iso-8859-1"

Darrell

I have been using Winsor Newton painting medium, it says "non yellowing" so
thought it was safe. Also am using Rembrandt Relief Paint. I use #00 burnt
plate oil for etching so maybe that is what I should use for the woodblocks
too.
Just trying to use up all of my paints for painting on canvas. I did use
some of the oil paint and did notice severe halo effect on the paper so put
away my canvas painting oils for awhile.
I will use the burnt plate oil, also have a heavy plate oil. ???

Jeanne
Thanks Darrell

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

From: Artsmadis@aol.com
Date: Fri, 11 Aug 2000 14:27:33 EDT
Subject: [Baren 10913] Re: Yellow halo on prints

In a message dated 8/11/00 11:35:52 AM Central Daylight Time,
studiojnc@prodigy.net writes:

<< I will use the burnt plate oil, also have a heavy plate oil. ??? >>

I guess heavy or light is ok.  I think it's probably a mistake to add too
much oil to print ink.  It thins it, makes it less dense and dark.  I've
never seen an explanation of the way heavy or light burnt oil added to ink
affect it's properties, have to just experiment to see if you like the
results, I suppose.  I know adding oil makes the ink looser and easier to
wipe in etching.

Darrell

...................
Arts Madis
http://members.aol.com/artsmadis/index.htm.htm
70 pages so far
....................

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

 From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Fri, 11 Aug 2000 16:34:28 -0400
Subject: [Baren 10914] Re: Highlighting the woodgrain charset="iso-8859-1"

Jan

She is now printing the "Humor In Life" for portfolio # 7. I like that, not
going to be a late one!!!!
Look forward to seeing it. I think the first one in, should win some kind of
a prize!!!

Jeanne and Dan
Tweedle Dee and Tweedle Dum your # 7 coordinators.

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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 11 Aug 2000 14:05:01 -0700
Subject: [Baren 10915] Re: riddle

>Answer
>
>http://www.rst-art.com/pinotbas.htm
>
>Rudolf

Say that is one hell of a print !!!!
Such fine details.
Wonderful bokashi.
That red flower is a touch of genius.....
Gutsy move to centre it.

(<:
Graham

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

From: Blouin Danielle <blouin.danielle@sympatico.ca>
Date: Fri, 11 Aug 2000 17:33:55 -0500
Subject: [Baren 10916] Re: Yellow halo on prints

Dear Jeanne, it's mostly because your paper is too tin to receive this
oily charge, one of the way to remedy to it, its to use a blotter and
let stand your oil colour on it during the night so the next morning you
just pick your colour and all the oil will be drunk by the blotter or an
old telephone book. If it's too tick after this, I use the Daniel Smith
Flash oil 470, which make your colour extended but not oily, this
product is evaporating before it dry on the copy. Danielle (sorry for my
english...)

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

From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Fri, 11 Aug 2000 18:39:23 -0400
Subject: [Baren 10917] #7 print

Boy, how do you print a hundred ideas?
I have been proofing the image I want to use for this exchange, that's why
all the questions about ink and wood raising.
Gave up on the wood raising, guess I shouldn't use Poplar, no grain at all!
As for the Aqua Kolor, am going to give it another shot tonight.  No press,
baren only.  Might try the brush technique, sounds like fun although the
fellow at the art store didn't have a clue what I was talking about.
For all those in the Sacred Tree thingy, I am going to print about 50 or
more for this exchange.
Oh yeah, my image is going to be a reduction block, 3 to 5 colors on Poplar.
Image is ,well, I promise it will bring a smile to your face and allow me to
stay in my genre (is that right?)
Oh well, off to the printing room (my kitchen counter)

hot and sticky in Tampa
Tweedle Dee  (I ain't gonna be the other one)

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

From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Fri, 11 Aug 2000 18:46:31 -0400
Subject: [Baren 10918] shoot, darn, drats, boo hoo

ignore most of my previous post, just dawned on me to check the dimensions
of this exchange and my reduction is too big!!!  :-(
Oh well, back to the drawing board.
I'll just use one of the other ideas.

dan dew

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

From: Lynita Shimizu <shimizu@mail1.nai.net>
Date: Fri, 11 Aug 2000 20:22:00 -0400
Subject: [Baren 10919] Web Page

Through the combined efforts of two of my three sons, I now have a web
page.  If you are interested, the URL is:
http://homepage.mac.com/mokuhanga/woodblock/index.html
Hope you enjoy it.

Lynita

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

From: Artsmadis@aol.com
Date: Fri, 11 Aug 2000 20:37:28 EDT
Subject: [Baren 10920] Re: Web Page

In a message dated 8/11/00 7:25:43 PM Central Daylight Time,
shimizu@mail1.nai.net writes:

< Through the combined efforts of two of my three sons, I now have a web
page.  If you are interested, the URL is:
http://homepage.mac.com/mokuhanga/woodblock/index.html
Hope you enjoy it.

Lynita
>
Really nice.   It is easy to see that the world of nature is important to
you.  I believe I like Common Grackles and Cheung Chau Island the best.
Charming pictures.

Darrell

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

From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Fri, 11 Aug 2000 20:33:37 -0400
Subject: [Baren 10921] Re: Web Page

Awesome prints!!!!
But where is the price and ordering info?

dan dew

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

From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Fri, 11 Aug 2000 21:10:58 -0400
Subject: [Baren 10922] Web Page charset=ISO-8859-1

Enjoyed your web-page very much, Lynita.    Particularly the way you give=
so much charming character to living things, be it birds, frogs, cows, or=
people.   Very nice!   Thanks!

Gary =

KC

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

From: "john ryrie" <jryrie@one.net.au>
Date: Fri, 11 Aug 2000 15:01:39 +1000
Subject: [Baren 10923] blow torch charset="iso-8859-1"

This talk of blow torches reminds me of some experiments that I was doing as
a student  in 1982.   I had been doing photographic lino cuts and thought I
could fined a way of doing a photographic wood cut.
What I did was to screen print the photo onto the wood using fire
proof paint, (the type you paint pot belly stoves with) then berne the
un-coated parts with a blow torch.   It didn't work, no mater how much many
coats of the stuff I printed on it was not thick enough to protect the wood
from the flame.
Maybe NASA have come up with something since that would work better.
One of the many Baren members who are also rocket scientists could maybe let
me know.
Otherwise this could go into the Encyclopaedia section on woodcut
techniques to avoid.

John

Q:   why did the kangaroo cross the road.
A:   the chicken was on her lunch brake.
http://www.geocities.com/laddertree

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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 11 Aug 2000 18:36:57 -0700
Subject: [Baren 10924] Re: Web Page

>http://homepage.mac.com/mokuhanga/woodblock/index.html
>Hope you enjoy it.
>
Lynita,

Your work is 1st rate.
The use of texture woodgrain reminds me of
Kiyoshi Saito who uses wood patterns as well as many other textures.

Also his design and abstract approach is masterful as is yours.
After seeing his work and finding out a bit about him I sure admire him.
The exhibition at the Art Gallery of Greater Victoria was fabulous.

I would be interesting to know who your idols or influences are.

Are you doing hanga or oil base and press work.?

Regards

Graham

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

From: Shireen Holman <shireenh@earthlink.net>
Date: Fri, 11 Aug 2000 21:56:56 -0400
Subject: [Baren 10925] Re: Yellow halo on prints

At 11:10 AM 8/11/00 -0400, you wrote:
>This is from an "oily" printmaker. After I run my prints, using oil paint a
>faint yellow halo creeps around the print. Very distracting. I am used to
>painting on canvas and so I never had that problem. But now that I am doing
>prints this is happening. What kind of oil, burnt plate oil, linseed oil,
>whatever .do you use to thin your paint out to a nice consistency without
>causing the halo????

Jeanne,
The problem may be because of using oil paint and oil. If you use printing
ink and don't use any oil, you shouldn't have that problem. I think oil
paints have much more oil in them than printing ink, and although the inks
are oil based, they are not 'oily'.
Shireen

***********************************************
Shireen Holman, Printmaker and Book Artist
email: shireenh@earthlink.net
http://home.earthlink.net/~shireenh/
 ***********************************************

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

From: Graham Scholes <gscholes@home.com>
Date: Fri, 11 Aug 2000 18:36:57 -0700
Subject: [Baren 10926] Re: Web Page

>http://homepage.mac.com/mokuhanga/woodblock/index.html
>Hope you enjoy it.

Lynita,

Your work is 1st rate.
The use of texture woodgrain reminds me of
Kiyoshi Saito who uses wood patterns as well as many other textures.

Also his design and abstract approach is masterful as is yours.
After seeing his work and finding out a bit about him I sure admire him.
The exhibition at the Art Gallery of Greater Victoria was fabulous.

I would be interesting to know who your idols or influences are.

Are you doing hanga or oil base and press work.?

Regards

Graham

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

From: Andrea Cuchetto (Dega)  <andreadega@ureach.com>
Date: Fri, 11 Aug 2000 23:15:01 -0400
Subject: [Baren 10927] Re: Web Page

Lynita:
Your website is most impressive. Your work alone is
grand, but, the design makes it smashing. You and your
sons did a fine job. I am so inspired! Thank you.
Sincerely,
Andrea
Little Rock, AR

- ---- On Fri, 11 Aug 2000, Lynita Shimizu
(shimizu@mail1.nai.net) wrote:

> Through the combined efforts of two of my three sons, Inow have a web
> page.  If you are interested, the URL is:
> http://homepage.mac.com/mokuhanga/woodblock/index.html
>Hope you enjoy it.
>
>Lynita




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

From: slinder@mediaone.net
Date: Fri, 11 Aug 2000 23:38:00 -0500
Subject: [Baren 10928] Re: Web Page

Lynita,

What a wonderful webpage!  NOW I understand how you are able to
relate that special quality in your bird images!  What an massistant!

Beautiful prints, and a great visual explanation of woodblock
printing!

Sharen

Lynita Shimizu wrote:

> Through the combined efforts of two of my three sons, I now have a web
> page.  If you are interested, the URL is:
> http://homepage.mac.com/mokuhanga/woodblock/index.html
> Hope you enjoy it.
>
> Lynita
>
------------------------------

From: Wanda <robertson@canby.com>
Date: Fri, 11 Aug 2000 21:50:06 -0700
Subject: [Baren 10929] Re: blow torch

john ryrie wrote:

> Maybe NASA have come up with something since that would work better.
> One of the many Baren members who are also rocket scientists could maybe let
> me know.

Not a rocket scientist - but:

I tried the blow torch method on a recent woodcut. I think it was
 moderately successful. When I showed the print to a fellow printmaker,
and described the method I used (covering the parts I didn't want
torched with a metal plumbing tape - which had flammable glue
underneath!) he said to go to a pottery/ceramic store in our area
("Georgie's" in Portland, Oregon, USA) & tell them I needed a heat>

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

From: "John and Michelle Morrell" <jmmorrell@gci.net>
Date: Fri, 11 Aug 2000 21:29:54 -0800
Subject: [Baren 10931] Sitting in a Retail Establishment with Very Few Customers (Baren #1109) charset="iso-8859-1"

    B Mason wrote:

 I seem to be a person of major over-committment, which cuts into my art
 time in a big way. I am constantly behind in my creating and today I was
 sitting in the gallery in Portland with only 7 people in six hours
 coming in. One of these was the mail man and one was my sister, so that
 makes 5 cutsomers. I had a lot of time to think about priorities. I
 think one reason I get so busy that I have limited time in the studio is
 fear of actually creating work that I like or that I think is
 worthwhile. I do not sell my work as a living so that motivation is
 missing. When I am out working it is wonderful and I ask myself why I
 don't make it my most important priority. The only answer that keeps
 coming up is I am afraid I won't be able to create.

 Barbara--

This is so reminiscent to me of when my father was dying and I was doing
co-op duty and trying to carve out a wood engraving that I had suddenly lost
all taste for.  Sometimes it's better not to force yourselt to create.
Still,  even now that I am "out working" and  have so little time for the
 studio, at night I have dreams of painting something new and fantastic that
inspires all the delightful feelings I had when my daughter was born and one
 of my husbands co-workers sent me a bouquet and I became suddenly aware of
 how wonderous cut flowers were, especially baby's breath.  I don't really
 have any comments for you except to say that now is probably not a good time
 for you to set your priorities, and I am sorry for your loss.

 <^><^><^><^><^><^>
     Michelle Morrell
    jmmorrell@gci.net
 <^><^><^><^><^><^>

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

 From: Lynita Shimizu <shimizu@mail1.nai.net>
 Date: Sat, 12 Aug 2000 08:17:21 -0400
 Subject: [Baren 10932] Re: Web Page

Whew!  I'm so relieved my kids knew what they were doing in making that
 web page. Now if they could just teach their mom how to do it.
 Thanks for your kind comments.  To answer a few questions, the prints
 are not all recent ones but actually cover a span of about 20 years. 
 The common factor in selecting the prints was that they could fit into our
scanner in one swoop. The bigger prints are still in drawers or on the
walls.

Graham and Wanda,
Kiyoshi Saito is my absolute favorite artist. I saw two of his shows in
Tokyo in the early 80's and whenever I'm stuck for inspiration, go back
and pour over two worn catalogs from those shows. (You two are sharp!)

I used "Seaswirl", a douglas fir plywood from McClains, for the
woodgrain in many prints (such as the chickens)  but for environmental
reasons, that wood is no longer being harvested. Lauan plywood is useful
for an even, straight-grained texture. In the cow print, I used lauan
for the woodgrain in the posts and beams... cutting two blocks, not for
different colors, but for different grain directions.

And Graham, I'm totally a mokuhanga person.  During college years I
concentrated on acrylics and watercolor ... didn't like printmaking at
all then as we had to stay up all night if we wanted to use the press. I
still enjoy doing watercolors but like the feeling of control and the
closeness to materials that one gets with hanga.

Dan,
I don't think I'm ready to sell on-line yet.  At this point I'm working
to keep up with local demand.  After a show and whenever possible, I
like to drag my customers to my house to pick up their prints so I can
show them how its done. Now I'm preparing for a two-county "Open Studio
Weekends" that is held annually in late autumn. Maybe when the third son
heads off to college ...

Sharen,
My bird assistant was a baby blue jay I rescued from the road one
summer. In that photo I'm holding the knife in a rather strange way to
avoid getting a feathered texture in the print.

Sorry to ramble on so much about myself.  Thanks for your kind support!

Lynita
http://homepage.mac.com/mokuhanga/woodblock/index.html

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

From: "Ittai Altshuler" <ittai_a@zahav.net.il>
Date: Thu, 3 Aug 2000 22:19:30 +0300
Subject: [Baren 10933] Re: Web Page - thanks charset="iso-8859-8-i"

Lynita,
Amazing works with full sensitivity to color and pureness of shape
a great leasson of wood cut making
thanks deeply

Ittai

- ----- Original Message -----
From: Lynita Shimizu <shimizu@mail1.nai.net>
To: <baren@ml.asahi-net.or.jp>
Sent: Saturday, August 12, 2000 3:22 AM
Subject: [Baren 10919] Web Page

> Through the combined efforts of two of my three sons, I now have a web
> page.  If you are interested, the URL is:
> http://homepage.mac.com/mokuhanga/woodblock/index.html
> Hope you enjoy it.
>
> Lynita
>
>

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

From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Sat, 12 Aug 2000 08:44:24 -0400
Subject: [Baren 10934] Re: Yellow halo on prints charset="iso-2022-jp"

Danielle

Thanks for the advice re; the yellow halo on my prints. I will try the Flash
oil 470 but if I lay out the oil colors on blotter paper or the phone book,
 won't the oil paint have a thick skin on it by the next morning?

Jeanne N.

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

 End of Baren Digest V12 #1111
*****************************


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

From: Cucamongie@aol.com
Date: Sat, 12 Aug 2000 10:41:40 EDT
Subject: [Baren 10936] Akua Color 

Akua Color is a a type of non toxic waterbased printing ink developed by a NY 
printmaker named Susan Rostow, it's wonderful stuff and can be used for not 
only woodblock (both western rollup process and hanga) but monoprinting and 
other types of printing processes.  I'd be happy to give you any more info 
you like if you have specific questions 
best wishes
Sarah Hauser
Cucamongie@aol.com
In a message dated 00-08-12 09:05:35 EDT, Jan wrote

<< What is Aqua Kolor?  I have never seen it or heard of it before.
  >>

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

From: Cucamongie@aol.com
Date: Sat, 12 Aug 2000 10:48:00 EDT
Subject: [Baren 10937] Lynita's prints 

Lynita's work is indeed lovely, we have done sort of our own private print 
exchange (I did several prints of her fabulous doggie Penny and she sent me a 
package of her prints) so  I am happy to be able to not only see some of her 
prints 
"in person" but have them up in my apartment - 
great feeling, color, texture, etc etc etc!!!
best to all,
Sarah
Cucamongie@aol.com

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

From: LEAFRUTH@aol.com
Date: Sat, 12 Aug 2000 11:03:47 EDT
Subject: [Baren 10938] Re: Baren Digest V12 #1111 

Jeanne,  You are probably using a heavy oil or too much oil.  I use raw 
linseed oil and or safflower oil which is very thin if you need an oilier 
ink.  Ruth

http://www.ruthleaf.com

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


From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Sat, 12 Aug 2000 12:12:25 -0400
Subject: [Baren 10940] Re: Web Page charset="iso-8859-1" 

Lynita

What a wonderful group of woodblock prints. Love the way you let the wood
speak. Also keep everything so simple and clean.
Yes, sons are nice. If it were not for mine I would not have a web page
either.
I am glad that we can see your work now.
Keep up the wonderful work. I do so love your birds, as I am a real bird
watcher.

Jeanne N.


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

From: James G Mundie <jimandkatemundie@juno.com>
Date: Sat, 12 Aug 2000 12:33:59 -0400
Subject: [Baren 10941] SwapShop images available for viewing 

Roll up, roll up!  Step right this way, folks!  What I am about to show
you will astound and amaze!  Why is that, you say?  Well, I'll tell
you...

After several long months of waiting and wondering; after finally getting
enough material but your dear coordinator was too busy to deal with it; 
after finding the time but having an uncooperative scanner; and after
having the images made viewable through the good graces of a kind
gentleman in the furthest reaches of the Pacific rim...

The first set of [Baren] SwapShop images are ready to be seen, to be
unveiled before your very own disbelieving eyes -- gathered together from
the far corners of the globe to beautify and instruct!

Now, now, no need to shove, folks.  

If you would be so kind, step over to
http://woodblock.com/forum/swapshop/intro.html.  There before you will be
the very images you seek.

Now, if you like what you see (and who wouldn't?), you too can be a part
of this.  Just head on over to
http://woodblock.com/forum/swapshop/index.html to find out how.

~ James Mundie, [Baren] SwapShop coordinator

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

From: Blouin Danielle <blouin.danielle@sympatico.ca>
Date: Sat, 12 Aug 2000 15:38:50 -0500
Subject: [Baren 10943] Re: Yellow halo on prints <200008112126.GAA18590@ml.asahi-net.or.jp> <200008121239.VAA39040@ml.asahi-net.or.jp> 

Dear Jeanne, you could put a Saran wrap on it or just spray a "ink
ready" (the kind of stuff that don't make your ink dry in the can with a
skin) or a plastic pot on it (yoghourt one's). I'm sometime more drastic
with the ink when I have to print thick etching on tin paper, I mix the
flash oil to the ink before going on the blotter so it dilute the oil
and go on the blotter more radicaly.  Certainly than the printmaking
colour are superior to oil painting color for printmaking, but initially
intaglio was meaning "peinture en creux", I remember russian artists
that we were working with and they were sending their print (marvelous
one's) printed with shoes polish... They didn't have any ink in the
country for their personnal use. All the best, Danielle

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

From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Sat, 12 Aug 2000 15:56:11 -0400
Subject: [Baren 10944] Re: Yellow halo on prints charset="iso-2022-jp" 

Gee, it is fantastic to be on Baren. I received so many replies to my
"yellow halo" problem that I am willing to try them all. Thanks all, to
Darrell, Ruth, Barbara and all others. But Danielle, I do not think that I
am ready to print with shoe polish yet. Still have lots of ink, etching and
relief. Will just save the regular oils for further easel painting.

If I can print with shoe polish, can I polish my shoes with oil paint????
Kidding, just kidding.

Have a wonderful weekend !!!!!

Now I am going to visit the Swap Shop.
Have some prints on their way, James, on Monday.

Jeanne N.


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

From: Vollmer/Yamaguchi <jy6@columbia.edu>
Date: Sat, 12 Aug 2000 12:35:14 -0400
Subject: [Baren 10945] scans, ink and travel 

Lynita, nice to see more of your work, I especially like your grackle, so
simple and quirky. Surely you did scans in 2 parts, as some of the images
are 16". Scanning a large print isn't hard, you make one half with a
feathered edge, make it transparent and move it over the first into the
right position. You can do it with four pieces but it gets a little
tricky....

Jeanne, I've used litho ink a lot for woodcuts, it dries slowly, where ink
designed for woodcut has varnish in it, so gets a skin on it. Both roll out
nicely. Using oil paint seems penny wise and pound foolish, as you spend so
much valuable time on your prints!

Who asked? Dan? Akua color rolls up ON THE PLATE for monoprint. It rolls up
very smoothly, better than oil rolls, with fewer marks from the roller. And
putting it directly on an acrylic plate saves a lot of ink. It IS pretty
transparent, which I sort of like. And non-toxic, water clean-up.

Time to pack up again, I can't believe my baren supply is getting such a
workout. I'm off to Horizons tomorrow to teach yet another class! I must
slow down, so I have more time in the studio. I enjoy it, but this summer
has been over filled with teaching. I am hoping to cut some new blocks
while I'm there, though. No computer for a week!




April Vollmer
174 Eldridge St, NYC 10002, 212-677-5691
http://www.aprilvollmer.com



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

From: baren_member@woodblock.com (Judy Mensch)
Date: Sat, 12 Aug 2000 18:14:27 -0400 (EDT)
Subject: [Baren 10946] Akua Color 

Message posted by: Judy Mensch

To find out more about Akua Kolor you can also email Susan 
at:
wb-inks@att.net
These inks are great.  Susan created them to be non-toxic 
and were origional made for monoprints, but, as Sarah said, 
they can be used for many print mediums.

Susan's web site for Akua Kolor is:
www.waterbasedinks.com

Judy



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

From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sat, 12 Aug 2000 16:02:07 -0700
Subject: [Baren 10947] Lynita's web site charset="iso-8859-1" 

Lynita,

Congratulaions to you and your sons on a very warm and elegant web site.
The images load up quickly and the color is rich.  The design is interesting
and thoughtfully created.  The foreshortened gouge really catches the
attention!  Your prints are so classic and beautiful!  I printed some out so
I could see how they look on paper.  Thanks for sharing it all with us!

Jean Eger



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

From: Studio Dalwood <severn@acay.com.au>
Date: Sun, 13 Aug 2000 13:32:52 +1000
Subject: [Baren 10949] Highlighting the woodgrain 

Jeanne said

>Jan

She is now printing the "Humor In Life" for portfolio # 7. I
like
that, not
going to be a late one!!!!

Jan is probably too modest to mention why she is working
ahead like this. Her daughter is competing in the Sydney
Olympics in gymnastics and Jan will be travelling across the
continent to be with her next month. We are all eagerly
awaiting her visit as we are planning a Sydney get together.

Josephine

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

End of Baren Digest V12 #1112
*****************************