Baren Digest               Monday, 27 August 2001       Volume 16 : Number 1536


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From: GWohlken <blueman@pantek.com>
Date: Sun, 26 Aug 2001 09:58:27 -0400
Subject: [Baren 15527] Re:Using Oils on paper 

> The acidification of linseed oil is rapid and very yellowing, and after a
> long time the acid will actually eat through the paper.

Are we to understand, Robert, that the oil based inks we use (not just
oil paint) will also do the same to paper?  The reason I ask is why do
the old prints in collections in art museums look fine?

Gayle
Ohio, USA

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From: "April Vollmer" <april@aprilvollmer.com>
Date: Sun, 26 Aug 2001 10:08:50 -0400
Subject: [Baren 15528] Smarter not Harder 

Phil, as I remember, that the writer who wanted 'free art' was a respectable
publisher who was looking for images to publish in a book on printmaking! I
am one of the 'dupes' who freely sent slides and ended up being published in
a very nice book "Simple Printmaking" by Gwen Diehn. Loosen up!

Marco, I wrote you off list, but I add calcium carbonate, also in
dispersion, to my pigments to make them more opaque. It doesn't change the
color as much as adding white will. Also check your pigment lists, (like the
Graham list Eli found) some are more opaque than others.

April
www.aprilvollmer.com


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From: "bemason" <bemason@concentric.net>
Date: Sun, 26 Aug 2001 07:24:04 -0700
Subject: [Baren 15529] Re:Using Oils on paper 

Gayle, he is talking about oil paint. The linseed oil is not as refined as
it is in etching and litho ink or relief ink. So printmaking ink is made to
be used on paper and won't hurt it, at least that is my understanding.
Barbara

> Are we to understand, Robert, that the oil based inks we use (not just
> oil paint) will also do the same to paper?  The reason I ask is why do
> the old prints in collections in art museums look fine?
>
> Gayle
> Ohio, USA
>



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From: Bossbumpy@aol.com
Date: Sun, 26 Aug 2001 11:33:25 EDT
Subject: [Baren 15530] Re: corian counter top 

Dear Furry:

Granite can be carved, if you own a chisel and a #9 hammer.  It is very hard 
and lasts eternally.  Your local graveyard has tons of engraved granite.

Tim Scott

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From: "Bill H Ritchie Jr" <ritchie@seanet.com>
Date: Sun, 26 Aug 2001 09:03:23 -0700
Subject: [Baren 15531] Re: freedom 

Barbara Mason, thanks for your input. I agree with you. One of my favorite
books (which I didn't like at first glance) is called The Power of Limits by
George Doczi. He illustrates how, in Nature, Science, Art, and Symbolism
there is a "power" in placing limits on things. (And Barbara Patera,
"thanks!")

The best part illustrated in Doczi's book is Natural limits--things like
gravity, sunlight, water, etc.--that limit the growth and set the patterns
for what we may call "beautiful." You know, the Nautilus' spiral shell,
flowers, ocean waves.

Then, in an art like architecture, the power of gravity becomes part of the
integrity of a building or a bridge.

In the free fine arts (and I use the phrase "free fine arts" the same way US
Customs uses it when deciding whether or not to charge duty on something if
it appears to have been made for commerce or "freely" by creative intent)
the power of limits works similarly, I think, but not necessarily on the
basis of Natural gravity, sunlight, etc.

Therefore, when I decide to get involved in OPE or OPR, I try to think
deeply about it and try to forecast--based on past performance--if this is
in balance with my intent as a self-conscious, freedom-seeking person (who
loves his or her natural inclination toward artistry).

Sometimes, looking back, I learn that what I thought were okay rules by OPE
or OPR were not what they intended; in fact, sometimes I discover the rules
are based on fear, anger, guilt, lies, confusion and mumbo jumbo. Things
like, "The exposure will do you good." (no argument with Tim Scott here--I
agree with the principle I call the "Taper effect" after Thomas Jefferson's
metaphor of the candle).

Sure, some kinds of exposure will be good. But not blindly. Someone said,
"If you want to be a leader, then beware. You can always tell a leader by
how many arrows they have in their backside."

What I'm trying to learn now is how to get back to printmaking and also be a
part of a community that acts on the prescience that I think is part of
artistry, and kind of Zen based on an un-name-able, renewable resource
vested in human beings.

Case in point, I'd love to be in Portland when the Crossing Borders
conference happens, and I'm playing by OPE and OPR insofar as watching the
timetable, reinstating my "paid up and in good standing" with NWPC, etc. I
love Portland, and I love having been there . . . the whole thing.

What I ask in return is freedom, and unfortunately those trips to Portland
(and indeed, travel around the world doing my thing) have added up to my
having created almost a quarter-million dollars in debt. That's the secret
why some people wonder why I might seem so stingy with money sometimes. It's
not my money is why. So, there goes some part of my freedom.

I think in our society it's shameful to talk about money, freedom and art in
the open--exposing oneself. But the generations coming up--right down to our
under-six year old grandchildren (not only mine, but OPG) need to know the
some measurable truths--like those of the economics of what an artist and
teacher will sometimes do to attempt raising the probability of
life-sustaining balance among artistry, Nature and renewable human
resources.

Boy, this is getting all muddled. I hope some one person finds some sense in
this.

Bill H. Ritchie, Jr
500 Aloha #105
Seattle WA 98109
(206) 285-0658
Professional: www.seanet.com/~ritchie
E-Store: www.myartpatron.com
General: www.emeraldaworks.com
First Game Portal: www.artsport.com


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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Sun, 26 Aug 2001 10:15:51 -0700
Subject: [Baren 15532] Re: Smarter not Harder 

Gee whiz April, I didn't mean to ruffle your feathers, but sense the
publisher made money, the author made money, the printer made money, the ink
and paper supplier made money and the retailer made money, I thought it
would be nice if you made something on the book too.
I stand corrected.
Philip
Hammond, OR
USA

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From: FurryPressII@aol.com
Date: Sun, 26 Aug 2001 15:38:03 EDT
Subject: [Baren 15533] Re:Using Oils on paper 

they use a a different kind of oil .  oil pased printing ink and oil paints 
are not the same thing.    oil based printing ink has lasted 500 years so i 
would not worry about it.   On some printing matrixes you have to use oil 
based ink.

john of the furry press

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From: Wanda <robertson@canby.com>
Date: Sun, 26 Aug 2001 16:14:27 -0700
Subject: [Baren 15534] Re: Smarter not Harder 

I had a chance to look at the "Simple Printmaking" book that April is talking
about & really enjoyed seeing my baren friends' prints in it. One of my friends
bought it just for the artist's prints that were in it - as she is already an
accomplished printmaker!
Then, I firmly kicked myself for listening to the people who said: "Don't let
them take advantage of you like that!" If I had gone with my gut feelings & my
usually generous nature, I would now (perhaps) have one of my prints published in
a book! Live & learn.

Calcium carbonate! April I knew that you used something to opacify your pigments,
but couldn't remember the name. Thanks for posting it for all of us - not just
for Marco!

Wanda



April Vollmer wrote:
> 
> Phil, as I remember, that the writer who wanted 'free art' was a respectable
> publisher who was looking for images to publish in a book on printmaking! I
<snip> 
> Marco, I wrote you off list, but I add calcium carbonate, also in
> dispersion, to my pigments to make them more opaque. It doesn't change the
<snip>

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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Sun, 26 Aug 2001 18:51:10 -0700
Subject: [Baren 15535] Working for FREE 

You know Wanda I was just expressing my feelings on giving your work away to
publishers. But I can tell you this, all you have to do is let it be known
that you are willing to work for free and you will have work from now until
the end of time. There are so many publishers out there that would love to
have free art work for their publications. When you think that some of these
books have 100 plus illustrations at $250.00 each, man that's $25000.00 that
they don't have to put up front. What a deal. FREE art for their books. Just
let the publishing world know Wanda that you are available for this free
service you'll be in business the minute they hear from you.
But I wouldn't tell people like the Graphics Artists Guild [GAG],
they may send people over like Tiny and Guido to have a talk with you and
snap off a finger or two.
And I hope you'll please forgive this outburst.
Philip
Hammond, OR
USA


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From: michael schneider <mikasch@t0.or.at>
Date: Mon, 27 Aug 2001 11:52:00 +0200
Subject: [Baren 15536] Re: Working for FREE 

This topic turned into a interesting debate. One that we have here since
years and we could not come to an good end. The republic of Austria has
established an organization called VBK ( Association for the realization
of fine art). This organization should just like the copyright
protectors in the music industry collect the money from publishers that
reproduce the work of artists. The ministry for art in austria requested
all artists to become a member of the organization. 
Sounds good, doesn't it?
The family of F. Hundertwasser for example profits a lot of this
organization. The more famous the artist the higher the reward paid by
the VBK. In my case I am happy to have my work published in art
magazines, books, newspapers etc. even without payment. ( publishers do
ask about membership!) Especially for smaller publications to include
too many pictures that are protected by the VBK means that the expenses
are too high. 
I decided that I prefer not to be a member of the VBK. At least not for
the time being. I do have more rewards by having my work published as
often as possible. 
And who knows there might be a day when I am so famous that my work is
published anyway with or without  VBK membership, then it will be time
to generate income by having my copyright protected.
(To justify my decision, I have to add that membership means that you
transfer  the right to seek payment to the VBK for all reproductions and
publications of your art. It is afterwards not possible for you to offer
the right to reproduce your work for free to some small or non profit
art magazine, the local art club news letter etc.....)

I hope this information is useful for the discussion,

michael 

Vienna, Austria

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From: michael schneider <mikasch@t0.or.at>
Date: Mon, 27 Aug 2001 11:59:21 +0200
Subject: [Baren 15537] Re: Working for FREE 

I forgot to mention the US organization that is the equivalent to the
VBK:
ARTISTS RIGHTS SOCIETY

michael

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End of Baren Digest V16 #1536
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