Baren Digest Friday, 12 January 2001 Volume 14 : Number 1283 ---------------------------------------------------------------------- From: Daniel Dew Date: Thu, 11 Jan 2001 10:09:07 -0500 Subject: [Baren 12938] Swap Shop News All you folks who have wondered about the prints available in the Swap Shop, go take a look! The opportunity is there for you to see the type of images you might recieve. Come on folks, let's get those extra prints rolling out to Mr. Mundie and let's crank it up a notch or two! Check it out: http://barenforum.org/swapshop/2000_01/thumbnails.html http://barenforum.org/swapshop/2000_02/thumbnails.html http://barenforum.org/swapshop/2000_03/thumbnails.html Cut! Print! Mail to the Swap Shop! dan dew tampa,fl ------------------------------ From: slinder@mediaone.net Date: Thu, 11 Jan 2001 18:41:29 -0600 Subject: [Baren 12939] Endangered.... I'm wondering how many Baren members who weren't able to get on the 'go' list for the Baren Endangered Exchange might still be willing to do an Endangered exchange with Print Australia.....It might be useful to have some 'pro votes' to help them with a decision on whether they could run a full exchange. Sharen ------------------------------ From: GWohlken Date: Thu, 11 Jan 2001 20:56:33 -0500 Subject: [Baren 12940] Re: Baren Digest v14 #1282 Thanks Barbara. Also, everyone, Though I was asked to put together an exhibit of the PrintAustralia Sacred Trees at the Geauga County Park District's nature center (The Myer's Center) in Chardon, Ohio for the months of July and August of 2002--that's a year and a half away, I suggested to the curator that we add as many prints from Baren's Endangered Species Exchange #9 as are appropriate for the Nature Center's mission. I was given the gallery for the Sacred Tree Prints and two great showcases for the smaller Baren prints. We discussed hanging the Baren prints on lines again because that brings them forward and more intimately close to the viewer, though protected by glass, and they look great that way. And, you don't have to put out any money! Gayle ------------------------------ From: Mike Lyon Date: Thu, 11 Jan 2001 21:14:16 -0600 Subject: [Baren 12941] Making Brushes Just wanted to share with you a wonderful new (to us, anyway) way Cate Pfeifer, Linda Samson-Talleur, and I 'discovered' today to finish those homemade horsehair shoe brushes for hanga (and it works perfectly for those expensive bamboo and horsehair or deerhair brushes, too)... We cut each large shoe brush (Cate bought several very nice ones for $6.25 each at her local shoe repair shop) into three smaller brushes using a band-saw, and trimmed the hairs to shape with scissors. After using scissors to shape the brushes, and after singeing the hair (although singeing doesn't seem to improve brushes finished with this technique -- singed and un-singed brushes are indistinguishable except by smell), instead of the 'standard' method (finishing the hairs using perforated metal 'shark-skin' or 'dragon-skin' by hand or with a rotary tool), we finished the brushes using a belt sander (I imagine a rotary disk sander would work almost as well) with 200 grit sandpaper -- in just a half a minute our brush-hairs were all beautifully tapered to fine points reminiscent of sable! Today we made the best brushes I've every produced - -- really, really nice, and so quickly and easily! The hairs on the more expensive hanga brushes are much denser, so it is unnecessary to shape them with scissors -- the sander does the job faster, better, with perfect hair taper, and very smooth and even profile. Though you might appreciate hearing this -- even if the method has been 'discovered' before... Mike mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: "John and Michelle Morrell" Date: Thu, 11 Jan 2001 21:18:35 -0900 Subject: [Baren 12942] Giclee prints charset="iso-8859-1" Sorry to be so senile I cannot remember the source, but a few years back I remember reading an exhaustive article in an artists' magazine which convinced me giclees (with an expected quality life span of two years) were a lesser quality print than those of the standard photolithography process, and I convinced a friend who churns out photolithos not to go that route. My observations of those I know--if you expect cash for your photolithos, you can expect to sell them at well less than 50% of the going retail--30% is common. Then, of course, you may be stuck with an unsold inventory and you do have to pay up front for your printer's expenses. However, if your definition of being an artist is selling your "art," it is a possible way to make a living, planning on larger volume and lower prices hitting a wider market. Also, as you may have noticed, a lot of people seem to think anything that is commercially printed must be of great quality to be reproduced in that manner. So, you can have a really awful watercolor, have the printer reduce it some to sharpen the resolution, have an edition of 750 to 2500 printed, and bingo--that awful watercolor suddenly becomes a hot item. If you succeed in flooding the market with lithos bearing your name, people know who you are and everyone wants to have one, too. It doesn't have to be one of your better ones--an awful one will do so long as you have signed it because you have become fairly well known. The really clever move is to get a distributor who depends on volume to market for you. You just keep them supplied. However, the Xerox copy for $300 Lezle mentioned a few months back was the ultimate low blow. Perhaps if a buyer choses to remain that ignorant, s/he deserves to get ripped off. The buying public can be incredibly silly! <^><^><^><^><^><^> Michelle Morrell jmmorrell@gci.net <^><^><^><^><^><^> ------------------------------ From: BBlitstein@netscape.net (Bonnie Blitstein) Date: Fri, 12 Jan 2001 05:58:41 -0500 Subject: [Baren 12943] Re: Giclee prints this is so interesting, I agree buyer beware and I have seen color xeroxes being sold in some very interesting venues as printed art, so to speak. I think the giclee concept is good for a painting, but for printmakers I do not see the point unless the edition is running into the hundreds. Its a new sticky issue. I knock myself out to produce clean, crisp prints no matter what medium...I would feel like I was betraying some deeper meaning associated with printmaking by editioning thru Giclee...would not seem "REAL". I remember someone telling me about an artist who had their image commercially lasered into a printable plate and/or block and called it their printing block, ha ha...go figure. ------------------------------ End of Baren Digest v14 #1283 *****************************