Baren Digest              Thursday, 30 August 2001      Volume 16 : Number 1539


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From: Asbjrn_Hollerud?= <pjonpjon@hotmail.com>
Date: Wed, 29 Aug 2001 15:18:54 +0200
Subject: [Baren 15561] Printmaking graduate programs? 

Hello everyone,

My question to you is quite simple. If you were to chose a printmaking
graduate program.... Where would you go and why?
I'm open for any suggestions!

I'm an international student and desperate for financial support in order to
continue my studies. My descision will probably be heavily influenced by how
much support the school can give me.

Thanks for your kind attention.

Best wishes from,
Asbjorn Hollerud

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From: GWohlken <blueman@pantek.com>
Date: Wed, 29 Aug 2001 09:20:06 -0400
Subject: [Baren 15562] Re: Baren Digest V16 #1538 

"Me and Julio down by the schoolyard."  

I wonder how many of us are going to use that cliche' before we're
finished with our query.

> Another way to state this question is: What is your philosophy of color, and 
> how does it apply to your work?


As for color, there was a book I borrowed from the library years 
ago which was about the theory of color.  That book helped me 
understand color in a way I never knew.  The one thing I learned
in the book that I continue to use when playing with colors is
how to create touches of luminosity in my paintings
and I still try to do that.  If you gray the colors slightly, and use one
small area of pure color, it will glow.  You may not want glowing
color in every painting, but if you need one, it's easy to do. 
So when I choose colors I try to feel if this is what I want.
I like keeping color schemes simple, especially for woodcuts
with color blocks.  I like a cool balanced by a small amount of
warm.  I like opposites.  I use one grayed and the other more
pure.  For instance I like blue and orange.  But I don't use them
both in their pure states.   I will use just touches of orange 
and go predominantly with the grayed blue.  
Then I will add a muted color for larger areas like muted
ochre or green (these will be very grayed--always using the
color's opposite to gray it).  I don't like bright colors except
in very small amounts, so like to work on kitakata paper
which forces you to tone down the colors.  Also you can
get the luminosity easier with a toned ground.  

I bet that was more information than you asked for.

Gayle
Ohio, USA

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From: kelsey <shortycowboy@home.com>
Date: Wed, 29 Aug 2001 06:51:45 -0700
Subject: [Baren 15563] Re: Baren Digest V16 #1537


Gregory beat me to mentioning the photopolymer plates.  They work great.  I have exposed them out in the sun, too, and
they seem to come out just as well.  Another option, which John beat me to mentioning as well,  is to type your text,
print it out in the exact size and font you want, and send it to Owosso Graphics to get a letterpress cut made of the
whole block of text.  Depending on the size of the finished plate, these cuts usually cost about $15, and the folks at
Owosso are really nice and helpful with any questions you might have.
http://www.owossographic.com/index2.htm



> >
> > Anyway, my question is:  Is there a photo-process relief printing material
> > or method out there?  Something I could use to easily produce type and
> > other elements for relief printing?  Look forward to hearing from you, and
> > hope you have some good ideas for me!
> >


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From: slinder@mediaone.net
Date: Wed, 29 Aug 2001 09:21:13 -0500
Subject: [Baren 15564] Re: Printmaking graduate programs? 

Hi, Asbj¿rn,
Columbia, Chicago, where 'furry' got his degree!  MFA
information is on their site.  
<http://www.colum.edu/centers/bpa/>
Sharen

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From: "Bill H Ritchie Jr" <ritchie@seanet.com>
Date: Wed, 29 Aug 2001 07:38:49 -0700
Subject: [Baren 15565] Re: Colors 

Baren-lister Tim Scott asked, "What is your philosophy of color, and how
does it apply to your work?"

It reminded me. When I taught college, color theory was for me THE most
difficult topic. I panic'd every time I had to teach a design class, and I
avoided the subject when it came up in printmaking classes. Color theory
made sense, but seemed like a psychology lesson, with a little chemistry to
back it up. A science, not art. Yet . . . I was very confused.

So I was surprised when a former student in my classes named Betty Hagen
(now Better Merken) became known as a color expert, and is frequently hired
as a highly paid consultant today, helping professional designers and
architects. A practicing artist and teacher, she's sometimes at the Seattle
Art Institute, sometimes at Pratt Arts Center, and color is her thing.

So I asked her recently, "Betty, what's your secret?"

She said, "It's no secret. I got so little out of college (for sure!) I
decided to work it out for myself. I had to! I studied numerous theories and
applied them. But the most outstanding was the work of Faber Birren (SP?).
It took me many months--years--to work out his theory and apply them."

She walks her talk, and very successfully. Betty's most recent show of
paintings and monotypes was in Portland. She lives and works in Seattle and
can be reached at smerken@earthlink.net

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: "Maria Arango" <maria@mariarango.com>
Date: Wed, 29 Aug 2001 08:14:24 -0700
Subject: [Baren 15566] color charset
Gayle is talking about simultaneous contrast, a perceptual phenomenon.
There is nothing wrong with a little science, plenty of space in the brain
for all sorts of things. In fact, I often wonder why schools of art don't
teach and/or require more courses in sensation-perception (a Psychology
course). Once the basics of how we perceive and interpret color are learned,
mixing color becomes second nature, as does choosing the right colors when
you want a color to "pop" or to mute a little.
A book not to miss is "Color and Culture"
A non-scientific way to go about it is to study paintings, but without the
initial basic tools it is difficult to determine what it is that works or
doesn't work, and why. In school we were taught such idiocies as: "black
doesn't exist in nature" and to memorize the color wheel and to keep careful
record of your color mixes, completely unnecessary once you understand the
science behind color perception and the basics of light.
So I'm a scientist at heart!
But practice and play are equally important, so I used to custom color-match
automotive paint which is a job I don't recommend for everyone. But! it did
teach me to have absolute confidence in toning and tinting colors and how
much white it takes to lighten a color and how little black it takes to
completely ruin another and that oxide yellow and oxide red will fix almost
anything.

As far as philosophy, I use what the subject calls for, color what I see, so
to speak. Arye said once that the desert tends to mute the palette to browns
and sands...probably so, since the vast majority of my work is earth toned.
I color how I see, and most of the time, as a woodcut artist, I see first
the light and shadow and color becomes almost secondary to my purpose.
Many artists use color and forget that it is a phenomenon born out of light.
Color becomes  ineffective. I guess that's it, "color is light", how's that
for one-liner philosophy.

Health to all,
Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


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From: Bill Martin <wbmartin@midcoast.com>
Date: Wed, 29 Aug 2001 11:54:56 -0400
Subject: [Baren 15567] Re: colorwebsite access



hi
enjoyed your work on website...however when i tried to bring it up again

it just sat there
any suggestions?
do you use egg white coating (many) on end grain for your engraving
or something else.
i suppose corian is as good a substitute for pear or box wood as egg
white
never tried engraving
(dry point and machine worked metal surfaces)
wood's resistance seems to have a life force
interaction i like
(at least for w.c's)
am curious about the technique..
i carve basswood  which has to be glued up  for wide work
i find it works well for me
tried baltic birch
its   ply  approximates 1/16 " so its easier on the
chisel edge then cutting thru the glue interface...but pesky to keep
within its limits
it's limiting and peels some times when least expected
how do you print those large editions, burnished , baren spoon???
or on a press?
lots of questions
do like the energy in the figurative wc's
curious  re:egg white???
regards
- --i hope this doesn't jamm up everyone mail
regards
Bill Martin
Tidalworks
62 Water Street
Thomaston, ME 04861
(207) 354-2290



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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Wed, 29 Aug 2001 09:40:35 -0700
Subject: [Baren 15568] color 


Color is light as Maria pointed out. And if you have problems with color,
think in terms of value, a black and white arrangement of your composition.
i.e., the old masters used to under paint their values first, then glaze
color over this under painting. Values were always established in the
beginning.
 Then color is personal too, and the emotional flavor of your picture has to
be established. Maria's desert might not look exactly right in cool colors,
then again it depends on the mood you are going for. Cool night in the
desert or a hot, hot day. And again a frosty day at the north pole wouldn't
look that frosty with warm colors.
Violence might be red, where timidity might be blue or green.
Go for the emotion and keep it simple. And remember, family-izing color is a
good safety net.
Philip
Hammond, OR
USA



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From: Cucamongie@aol.com
Date: Wed, 29 Aug 2001 12:45:03 EDT
Subject: [Baren 15569] dayglo ink 


Someone on another list was asking about dayglo inks for oilbased woodcut, 
anyone have any suggestions?
Sarah


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From: "marilynn smith" <marilynn@willapabay.org>
Date: Wed, 29 Aug 2001 10:32:52 -0700
Subject: [Baren 15570] Re:   Baren Digest V16 #1538 

I hope this does not send all the messages back, gads a new service here and
a new form of mail.  I have changed to marilynn@willapabay.org  I still have
my aol account for a bit longer.  This is Sunnffunn or Marilynn.  To answer
your question on color.  I like to use complientary colors when possible
because worked together they are usuing pleasing and offer contrasts.  I mix
the comlimentary colors together for grey shades and than work in other
colors that are good with this approach.  Also I have found some non
complimentary tones can work as compliments I especially like a green and
violet combo.  In painting landscapes I was taught that a bit of red tossed
in with the green helps to bring it out. The most important thing in working
with color is to find pleasing combinations.  Sometimes combining things
like orange and yellow or blue and green is pleasing, but i do not like to
limit to just that and use their compliments as often as possible.  There is
quite an art to using color, try a painting or a piece using equal value
color, no value changes, just color changes, it is an excellent exercise.
Enough therory.  Bye for now from Nahcotta Washington
Marilynn

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From: Marco Flavio Marinucci <marco@speedingbullet.com>
Date: Wed, 29 Aug 2001 13:52:37 -0800
Subject: [Baren 15571] Woodblock prints from the Meiji era 

hello bareners,
this is Marco Flavio from San Francisco.
I just wanted to let you know that in the city we are having a show of 70
prints from the Boston Museum of Fine Arts from Oct 13th-end of December.
Yours truly has been commissioned a portrait by the Presidio Arts Trust that
is hosting the show (a recently created San Francisco museum) to be
exhibited along with its plates, tools and inks used for its creation.
I am also going to give 2 demonstrations: on opening day 11:30-3 and on Dec
5th from 7-8pm, in case anybody  is curious about the medium, and will hang
in the galleries to talk to people on weekends. It is a terrific opportunity
to educate a large number of people (last show drew 25,000 people) and to
get exposure for me ;). Now the favor I have to ask you. I need a few
supplies for the display case. The Baren I have, but I am looking for 2 or 3
high quality knives (I wish I didn't throw out the 2 I broke on that Russian
fir plywood from Oregon), and a couple of high quality brushes. Obviously it
would all be returned as soon as the show is done. If you have material to
spare let me know, I only need very few things and I would truly appreciate
the help. And if you wish to receive an invite just send me an e-mail.
Grazie,
Marco Flavio
marco@athomefaraway.com

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From: FurryPressII@aol.com
Date: Wed, 29 Aug 2001 16:52:16 EDT
Subject: [Baren 15572] Re: color 

furry prints color by the seat of his pants i guess after 30 years you kn ow 
what works. My color works is more like painting anyway sort of Albrect Durer 
meets Roschenberg.
tight cutting loose printing unless i am printing color reduction.

john of the furry press.

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From: Daniel Dew <ddew@tampabay.rr.com>
Date: Wed, 29 Aug 2001 17:02:31 -0400
Subject: [Baren 15573] Re: color 

> From: FurryPressII@aol.com

> furry prints color by the seat of his pants

My guess is that this will be the most honest answer the questioner will
receive.  At least for me, I have to say "Amen".



Daniel L. Dew
http://www.dandew.com/
ddew@tampabay.rr.com


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From: FurryPressII@aol.com
Date: Wed, 29 Aug 2001 17:08:04 EDT
Subject: [Baren 15574] Re: colorwebsite access.... 

only time i used egg white on an engraving block was when i put a photo 
emulsion on an engraving block the egg white is put on to seal the block.  
The water in the photo development effects the block otherwise it is not 
neccesery.
     if i could get boxwood in a larger size at a cost of less than an arm 
and a leg that would be my first choice.  Even maple endgrain blocks only 
come in sizes up to 10 by 12" and are expensize at that size you would have 
to get costum made blocks for largers sizes. I am working in larger sizes 
than that gerenerly so i used plank grain hard maple and a wood cutting v 
gouge (very small size) except for some wood grain i could pass them off as 
wood engravings. With corian you can get as much detail as boxwood and for 
about half the price of engrain maple in any size you would want.  Well at 
least 30" by 12'
and there are ways to glue it together.  I want to engrave  11" by 17" so 
corian is my only choice.  It does engrave details very well and you can use 
a dremal to take out the large white areas.

john of the furry press
ps sorry for the second post

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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Wed, 29 Aug 2001 14:49:43 -0700
Subject: [Baren 15575] Working on it!! 

Here's something to look at. A new web page, yet unfinished. And is this the
longest title you've ever seen??
HTTP://homepages.about.com/philipsmithbookart/philipsmithkidsbookillustratio
n/
Good luck,
Philip
Hammond, OR
USA


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From: Printmaker <severn@acay.com.au>
Date: Thu, 30 Aug 2001 09:03:27 +1000
Subject: [Baren 15576] Colour Theory 

Tim Asked

"So 
my question is: Have you Pros formulated a personal theory
of color?  If so,
how do you apply it in a practical way to your print or
painting?  If not, I
assume that your color selection is predicated on how you
feel that it 
contributes to the whole of the project. "

Tim this is a very complicated question to answer. I wrote
an entire course in colour theory as part of my masters
degree - which I do not wish to summarise here.

May I start by saying that the correct spelling of the word
'colour' is C O L O U R. You will note that there is a
difference in the vowel sound between the first syllable COL
and the second syllable OUR which is why they are spelt
differently. ;-)

My only suggestion is that you continue your readings in
colour theory and look at the psychological effects of
colour, tones in colour, atmospheric perspective,
style/design considerations, and the colour preferences of
your chosen market demographic. Then there's light, pigment,
inks, mixing, and media considerations and so on and so on.

Have fun!

Josephine

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From: David Bull <davebull@woodblock.com>
Date: Thu, 30 Aug 2001 08:18:23 +0900
Subject: [Baren 15577] Re: Woodblock prints from the Meiji era 

Marco wrote:
> Now the favor I have to ask you. I need a few
> supplies for the display case.

Can do Marco ...  I'm in Kyoto at the moment, but when I get back to Tokyo
I'll write to you and we can discuss exactly what you need ...

> (I wish I didn't throw out the 2 I broke on that Russian
> fir plywood from Oregon),

Bit curious about this - are you talking about standard Japanese woodcarving
knives? It's not unusual for these to break, but they are relatively easily
resharpened ... they are not thrown away ... Or were the blades mostly
already used up?

Dave B.


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From: ArtfulCarol@aol.com
Date: Wed, 29 Aug 2001 19:16:46 EDT
Subject: [Baren 15578] Re: Woodblock prints from the Meiji era 

Marco, Congratulations on your San Francisco Show.
 Looking forward to seeing it in SF in Nov ,Thanksgiving week.  
I remember when you were our knowedgeable and needed  escort in the   BART 
(subway) system in SF last year when we visited Jean Eger. What fun  and 
printing info we shared on that trip!
Carol Lyons

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End of Baren Digest V16 #1539
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