Today's postings
- [Baren 41516] Re: WARNING: Art Phishing Scam (Barbara Mason)
- [Baren 41517] Re: New Baren Digest (HTML) V51 #5289 (Jun 25, 2010) (Marilynn Smith)
- [Baren 41518] Re: New Baren Digest (HTML) V51 #5289 (Jun 25, 2010) ("Betz, Scott")
- [Baren 41519] Re: Color (Plannedscapes # aol.com)
- [Baren 41520] Re: Color ("Ellen Shipley")
- [Baren 41521] Re: Color (l k)
- [Baren 41522] Re: WARNING: Art Phishing Scam (ArtfulCarol # aol.com)
Message 1
From: Barbara Mason
Date: Fri, 25 Jun 2010 14:48:06 GMT
Subject: [Baren 41516] Re: WARNING: Art Phishing Scam
Send Message: To this poster
Since I know Barbara Robertson I am forwarding this to the Baren
My best to all
Barbara
>WARNING: Art Phishing Scam
>Dear current and former Seattle Print Arts Members
>If you are contacted by Philip Wallace
>notify your internet provider and do not respond to his request to purchase
>your art. This is a fraud scheme. I have filed a police report so it is on
>the record here in Seattle anyway. If you do receive a check, take the check
>to the bank from which it supposedly is written and give it to them along
>with envelope in which it came. The banks have fraud divisions and they
>need to have a record of this. These people have seen our work on various websites
>and are using it as a way to get people to send them money. Their check is,
>of course, fraudulent. They are hoping you will cash it and send money
>to their shipper. Do not do this. We are fortunately
>smarter than these particular thieves, who wrote Instant Cash
>in the memo line of the fake check!Cheers and happy art making
>Barbara Robertson
My best to all
Barbara
>WARNING: Art Phishing Scam
>Dear current and former Seattle Print Arts Members
>If you are contacted by Philip Wallace
>notify your internet provider and do not respond to his request to purchase
>your art. This is a fraud scheme. I have filed a police report so it is on
>the record here in Seattle anyway. If you do receive a check, take the check
>to the bank from which it supposedly is written and give it to them along
>with envelope in which it came. The banks have fraud divisions and they
>need to have a record of this. These people have seen our work on various websites
>and are using it as a way to get people to send them money. Their check is,
>of course, fraudulent. They are hoping you will cash it and send money
>to their shipper. Do not do this. We are fortunately
>smarter than these particular thieves, who wrote Instant Cash
>in the memo line of the fake check!Cheers and happy art making
>Barbara Robertson
Message 2
From: Marilynn Smith
Date: Fri, 25 Jun 2010 17:30:15 GMT
Subject: [Baren 41517] Re: New Baren Digest (HTML) V51 #5289 (Jun 25, 2010)
Send Message: To this poster
Interesting little thread about colour. I some times screw it up even
with a BA in painting. A color wheel is always good if you want to
try new tones, I seem to stick so much with the same ones. I had a
girl watch me doing a watercolor and she asked how did I know what
color to choose. I said it is part experience and part training and
part instinct.
Marilynn
with a BA in painting. A color wheel is always good if you want to
try new tones, I seem to stick so much with the same ones. I had a
girl watch me doing a watercolor and she asked how did I know what
color to choose. I said it is part experience and part training and
part instinct.
Marilynn
Message 3
From: "Betz, Scott"
Date: Fri, 25 Jun 2010 18:29:19 GMT
Subject: [Baren 41518] Re: New Baren Digest (HTML) V51 #5289 (Jun 25, 2010)
Send Message: To this poster
Hey all,
I'm new to the group but if you like email, you might also like this color picker. Play around with it and have fun:
http://kuler.adobe.com/#create/fromacolor
Scott Betz
Associate Professor of Art
Office 225 2nd Floor
Department of Fine Art
Winston-Salem State University
Winston-Salem, NC 27110
http://myweb.wssu.edu/betzs/nav.htm
http://hbcuart.wetpaint.com/
http://www.centerfordesigninnovation.org/
President, Foundations in Art: Theory and Education (FATE)
http://foundations-art.org/
Please consider the environment before printing this e-mail.
I'm new to the group but if you like email, you might also like this color picker. Play around with it and have fun:
http://kuler.adobe.com/#create/fromacolor
Scott Betz
Associate Professor of Art
Office 225 2nd Floor
Department of Fine Art
Winston-Salem State University
Winston-Salem, NC 27110
http://myweb.wssu.edu/betzs/nav.htm
http://hbcuart.wetpaint.com/
http://www.centerfordesigninnovation.org/
President, Foundations in Art: Theory and Education (FATE)
http://foundations-art.org/
Please consider the environment before printing this e-mail.
Message 4
From: Plannedscapes # aol.com
Date: Fri, 25 Jun 2010 20:03:00 GMT
Subject: [Baren 41519] Re: Color
Send Message: To this poster
When I taught color theory as part of landscape design, I felt compelled
to learn as much about it as I could. There are instinctive reasons for
'preferring' certain colors, and reasons relating to eye structure and brain
function that cause certain colors to 'complement' each other and others to
'look good together'. Instinctively, we lose interest in a new thing after
a while, habituating to a think we have determined to be safe or not
immediately needed. We lose interest in what there is most of and focus on the
thng that is 'different'. Think of picking an animal out of the background
of forest foliage or prairie grass to hunt or to be aware of as a possible
predator. Think of the foliage of a tree or shrub and finding food there
due to the contrast of the fruit or berry. As foraging animals evolved, so
did we, with the plant often evolving to have colors complementary to the
foliage whose color id predetermined by chlorophyll. The plant benefits
from having the animal spread the seed contained therein and the animal
benefits from the food. The reason we love the 'accent' is that it triggers our
instinctive recognition of the predator so that we can save ourself or the
ripe food so that we can be nourished, selecting those novel things from the
'usual'.
And the reason colors are 'complementary', for example, the red and orange
are 'complementary' to the green, has to do with how the eye receptors
work and how the brain processes them. When the green sensors are triggered,
a chemical reaction takes place. They need to be chemically replenished
before we can fully see green again, leaving us for a breif moment, more
sensitive to the 'opposite' colors, which once they trigger, leave us again
relatively more sensitive to the original whose chemical is by now replenished
allowing it to trigger. That is why the 'opposite' colors 'compliment'
each other, because the eye sending signals is done chemically. Also, the
nerve signal is sent along in a series of chemical reacitons, and so all along
the way, the chemicals need to be 'refilled' in order to 'fire' again.
So using a touch of orange in a blue print or photo, a touch of red in a
dark green, a touch of magenta in a mustard yellow, a touch of yellow with
hot pink, these 'compliment' keep the eye and the brain going.
It is fun to play with color to see how much orange needs to be with the
blue to cause that sustained 'interest' in the image, how the effects differ
with tones and pastels of the colors, and how far the blue can be pushed
towards green or purple to still 'work' with a given orange, and vice versa.
Cutting snippets of color from catalogs and magazines and laying them next
to or over or under each other is one way to play with color combinations
and proportions without wasting inks. Saving these color samples from
season to season as fashions change to use with newly snipped ones soon yields
an abundance of tones and shades of various colors. Such color play can
help you in mixing and choosing colors for your art.
to learn as much about it as I could. There are instinctive reasons for
'preferring' certain colors, and reasons relating to eye structure and brain
function that cause certain colors to 'complement' each other and others to
'look good together'. Instinctively, we lose interest in a new thing after
a while, habituating to a think we have determined to be safe or not
immediately needed. We lose interest in what there is most of and focus on the
thng that is 'different'. Think of picking an animal out of the background
of forest foliage or prairie grass to hunt or to be aware of as a possible
predator. Think of the foliage of a tree or shrub and finding food there
due to the contrast of the fruit or berry. As foraging animals evolved, so
did we, with the plant often evolving to have colors complementary to the
foliage whose color id predetermined by chlorophyll. The plant benefits
from having the animal spread the seed contained therein and the animal
benefits from the food. The reason we love the 'accent' is that it triggers our
instinctive recognition of the predator so that we can save ourself or the
ripe food so that we can be nourished, selecting those novel things from the
'usual'.
And the reason colors are 'complementary', for example, the red and orange
are 'complementary' to the green, has to do with how the eye receptors
work and how the brain processes them. When the green sensors are triggered,
a chemical reaction takes place. They need to be chemically replenished
before we can fully see green again, leaving us for a breif moment, more
sensitive to the 'opposite' colors, which once they trigger, leave us again
relatively more sensitive to the original whose chemical is by now replenished
allowing it to trigger. That is why the 'opposite' colors 'compliment'
each other, because the eye sending signals is done chemically. Also, the
nerve signal is sent along in a series of chemical reacitons, and so all along
the way, the chemicals need to be 'refilled' in order to 'fire' again.
So using a touch of orange in a blue print or photo, a touch of red in a
dark green, a touch of magenta in a mustard yellow, a touch of yellow with
hot pink, these 'compliment' keep the eye and the brain going.
It is fun to play with color to see how much orange needs to be with the
blue to cause that sustained 'interest' in the image, how the effects differ
with tones and pastels of the colors, and how far the blue can be pushed
towards green or purple to still 'work' with a given orange, and vice versa.
Cutting snippets of color from catalogs and magazines and laying them next
to or over or under each other is one way to play with color combinations
and proportions without wasting inks. Saving these color samples from
season to season as fashions change to use with newly snipped ones soon yields
an abundance of tones and shades of various colors. Such color play can
help you in mixing and choosing colors for your art.
Message 5
From: "Ellen Shipley"
Date: Fri, 25 Jun 2010 20:43:54 GMT
Subject: [Baren 41520] Re: Color
Send Message: To this poster
Thanx Plannedscapes, very informative. Also nearly impossible
to read (I had to copy and paste and add paragraph breaks before I could
digest such an expository lump). Just as the eye tires of monotonous
color, so it tires of monotonous text! Good stuff, tho.
Ellen Shipley
to read (I had to copy and paste and add paragraph breaks before I could
digest such an expository lump). Just as the eye tires of monotonous
color, so it tires of monotonous text! Good stuff, tho.
Ellen Shipley
Message 6
From: l k
Date: Sat, 26 Jun 2010 11:22:26 GMT
Subject: [Baren 41521] Re: Color
Send Message: To this poster
I liked your explanation...thanks.
Message 7
From: ArtfulCarol # aol.com
Date: Sat, 26 Jun 2010 12:37:38 GMT
Subject: [Baren 41522] Re: WARNING: Art Phishing Scam
Send Message: To this poster
My art, a woodblock print, Pomegranate, evidently seen on the Internet,
was involved in an art scam similar to the one described below.. The
messages from my "buyer" were so fishy it was funny. I researched Art and Scams
on Google. Sure enough, the exact letter e-mailed me was there, linked
under beware of Tracey Coey.
I received a check for $3000 and notice that the shipper would arrive for
the art at a certain day and time.
I went to the police with all the communications, They said it was a fraud
and that I should respond "Transaction cancelled" and that it was reported
to the police. I did that. Since I was out no money or art, it was not
being investigated further.
I'll bring the check to the Bank of America where it supposedly came from.
I've copied out everything for my record.
When you are in anything long enough, if it can happen it will happen---the
good surprises, the bad luck, and the ridiculous.
Carol Lyons
_http://rst-art.com/artfulcarol.htm_ (http://rst-art.com/artfulcarol.htm)
(Pomegranate is not on this site)
was involved in an art scam similar to the one described below.. The
messages from my "buyer" were so fishy it was funny. I researched Art and Scams
on Google. Sure enough, the exact letter e-mailed me was there, linked
under beware of Tracey Coey.
I received a check for $3000 and notice that the shipper would arrive for
the art at a certain day and time.
I went to the police with all the communications, They said it was a fraud
and that I should respond "Transaction cancelled" and that it was reported
to the police. I did that. Since I was out no money or art, it was not
being investigated further.
I'll bring the check to the Bank of America where it supposedly came from.
I've copied out everything for my record.
When you are in anything long enough, if it can happen it will happen---the
good surprises, the bad luck, and the ridiculous.
Carol Lyons
_http://rst-art.com/artfulcarol.htm_ (http://rst-art.com/artfulcarol.htm)
(Pomegranate is not on this site)