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Message 1
From: GWohlken
Date: Mon, 6 Dec 2004 08:57:25 -0500
Subject: [Baren 26569] Meyer Book and Color Chart
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Mike wrote:
> For the BEST guide to paint-making and permanence, everyone should
> own and
> read the bible:
> "The Artist's Handbook of Materials and Techniques" by Ralph Mayer,
> Steven
> Sheehan...
> ... I can't recommend it enough!
> -- Mike

Mike, I found one on Amazon.com, used and very inexpensive, so I just
ordered it. Thank you
for the suggestion.

Barbara Mason Wrote:
> Everyone,
> I made my own color charts...

What a good idea. I'm suspecting you'd have to have a press to do this
right, Barbara?
It would be nice to see an online image of your chart.

~Gayle/Ohio

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Message 2
From: Eve Rhetto
Date: Mon, 6 Dec 2004 06:22:59 -0800 (PST)
Subject: [Baren 26570] Re: New Baren Digest (Text) V29 #2878 (Dec 6, 2004)
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Hello all,

I just signed up- my name is Jamie Oberschlake and I'm
from a little town on the Ohio River called Ripley. I
am currently working on my MFA with emphasis in
painting at the University of Cincinnati. I am
finishing up my second printmaking class and have
thoroughly enjoyed the woodcut process. Black and
white prints are what I am much more drawn to than
color. I'm really looking forward to settling in here
and am especially excited about becoming involved in
the exchanges.
Best wishes, Jamie

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Message 3
From: "marilynn smih"
Date: Mon, 06 Dec 2004 07:45:11 -0800
Subject: [Baren 26571] RE: Baren Digest (old) V29 #2877
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I started cutting the design in my myrtle wood. It cuts very well. So
anyone who makes it to the southern Oregon coast should take a moment and
stop to buy some. I have the receipt from the place I got my scraps so let
me know if you are going this way so you can make a stop for some of this
beautiful wood. It grows there and in the holy land so not much is available
and the cost for a bucket of this stuff is wonderful.
I would suppose there are various reasons for doing the reduction prints.
But to me part of it is overlaying colors to make a different hue without
having to mix it and print opaque, that is part of the beauty of this
process. So with 8 overprintings and transparent ink how many possible hues
can you make? If you think on it maybe you do not need more overlays, just
more colors and this is the way to get more for less.

Another question. I did not bring a sharpening stone, just my honing tool,
stupid, yes but here i am. How I got a chip on my small chisel is beyond me
as I did not drop it. Would fine grain wet/dry sand paper work to reshape
this chisel?

Marilynn

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Message 4
From: "carol wagner"
Date: Mon, 6 Dec 2004 08:13:18 -0800
Subject: [Baren 26572] Re: New Baren Digest (Text) V29 #2878 (Dec 6, 2004)
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Amen to Mike's suggestion of "The Bible" for art materials:

"For the BEST guide to paint-making and permanence, everyone should own and
read the bible:
"The Artist's Handbook of Materials and Techniques" by Ralph Mayer, Steven
Sheehan"

I purchased my first copy in 1973...

Carol in Sacramento

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Message 5
From: Darrell Madis
Date: Mon, 6 Dec 2004 08:58:34 -0800 (PST)
Subject: [Baren 26573] Re: Baren Digest (old) V29 #2877
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Yes, put the sandpaper on a flat surface. Will work as well as a stone.

Darrell

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Message 6
From: L Cass
Date: Mon, 06 Dec 2004 10:47:52 -0500
Subject: [Baren 26574] Re: Meyer Book and Color Chart
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In praise of Mayer's Handbook....... (hardly a handbook - it's a heavy
tome)- by an amazing coincidence I just consulted it yesterday when making
up a glazing medium as I always want to ascertain the proportions. Many
years ago all serious art students were advised to acquire it -I had the
1957 edition which was much used and later replaced by the 1981 edition
(revised by Mayer's widow et al) I wonder which edition you found at Amazon
and what has been added by Steven Sheehan ?? probably more or new materials
and techniques

For all who are interested in colour there exists a marvelous little
handbook titled "Colour -Making and Using Dyes and Pigments"-
authors- François Delamare & Bernard Guineau , Eng. trans,Thames & Hudson,
2000 , ISBN 0-500-30102-6 (Fr. Ed. Gallimard 1999)
Although it's a tiny paperback it contains much on the history of pigments
as well as the newest synthetics and their properties - a fascinating book
altogether!

I found this book a couple of years ago at the Tate Gallery bookshop in
London but I imagine a search on the internet would find a copy over here

regards
Louise C.

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Message 7
From: "Ramsey Household"
Date: Mon, 6 Dec 2004 10:24:16 -0800
Subject: [Baren 26575] Re: Baren Digest (old) V29 #2877
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Oregon Myrtle is another name for California Bay Laurel. It grows all along
the west coast from Southern California to Northern Oregon, perhaps into
Washington. It is very aromatic and the leaves can be used in place of the
Turkish Bay tree leave for seasoning sauces (but don't eat the leaves). It
is really very common and is sometimes called the spaghetti tree. It is
not the same as the myrtle in the middle east. Spice Islands uses the
leaves of the California Bay Laurel (Oregon Myrtle) as the Bay leaves in
their spices. More than you ever wanted to know!

Carolyn

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Message 8
From: Bette Norcross Wappner
Date: Mon, 6 Dec 2004 13:34:10 -0500
Subject: [Baren 26576] Korokoro Baren question
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Hello Bareners,

Although I prefer to use bamboo-sheathed barens, I think I'd like to
have a bearing baren on hand for emergencies in case a sheath blows a
hole. Until I can practice sheathing a baren, I thought it would be a
good idea.

Has anyone had good results with the Korokoro Baren $137.37 at the
mall? - http://barenforum.org/mall/products/barens.php

Or any other suggestions?

Thanks,
Bette.
northern Kentucky
bettewappner#fuse.net

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Message 9
From: Barbara Mason
Date: Mon, 6 Dec 2004 10:50:41 -0800 (PST)
Subject: [Baren 26577] Re: Meyer Book and Color Chart
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Gayle,
You could do it without a press...just print a strip of one color all the way down a block, the cross it with another color at right angles....keep doing this until every color has crossed every other color...it is pretty easy. I did do mine with a press but you could do it with moku hanga also, just use an empty piece of wood...you could tape paper down on one end of the block and paint a strip on, then print, then paint, then print. I am sure this would work. Mine actually has dots of color with the strips over them as I needed to see the shadow...(long story here, as I was doing viscosity work) but strips work just great. I will see if I can get Lee to photo them with the digital camera and I will email them to you.
Barbara

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Message 10
From: Barebonesart # comcast.net
Date: Mon, 06 Dec 2004 19:34:04 +0000
Subject: [Baren 26578] Re: New Baren Digest (HTML) V29 #2877 (Dec 5, 2004)
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Jeff,
I've printed reduction with many more than 7 colors and never had any of the problems you describe. However, I use thin layers of color, as Barbara does, but I use etching inks and gel reducer to thin the ink. I also print on wet paper and keep the paper wet in a plastic bag with newsprint between prints until I get ready for the next layer. Good luck experimenting with all this information!

Cheers,
Sharri
> a)...I only use up to 7 colors, because the previous layers of ink dry and
> prevent the ink from adhering. I've heard of some artists printing 20 or thirty
> colors in a reduction cut, and I'd really like to know how THAT happens. Right
> now, I'm finding that I need to all 8 colors in a single day, because if I wait
> a day to do a color, the ink has dried, and my next color won't adhere. Any
> advice for a guy who'd like to do one color on Friday, and the next the
> following Friday?
>
> b) One thing that has helped is to thin my inks with linseed. It works, a
> bit, but I just feel wrong doing it.
>
> c) I use a heavy-weight stock paper, and print dry. However, I just read the
> directions for printing with dampened paper, and during my first test with it,
> found it to be pretty amazing. I'm just wondering if anyone has advice on
> reduction printing with regards to registration.
>
> Thank you for any help you can share.
> Jeff Dean

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