Baren Digest Thursday, 11 April 2002 Volume 19 : Number 1794 ---------------------------------------------------------------------- From: FurryPressII@aol.com Date: Wed, 10 Apr 2002 09:33:38 EDT Subject: [Baren 17835] Re: No Subject would seem the pressure or the ink is wrong too much pressure or too much ink with the wrong tack does that john ------------------------------ From: FurryPressII@aol.com Date: Wed, 10 Apr 2002 09:42:46 EDT Subject: [Baren 17836] Re: brayers, rollers, etc another way to clean a brayer and to check if it is in fact clean is to roll it up with white ink if it is dirty but not visibale to the eye it will show up in the white ink. then clean up the white ink and it should be clean. for those folks who print only in black this is one time you are lucky lol. john of the furry press ------------------------------ From: G Wohlken Date: Wed, 10 Apr 2002 09:42:56 -0400 Subject: [Baren 17837] Re: Baren Digest V18 -- cleaning brayers and lifedrawing virtually James, I tried your brayer cleaning system yesterday and couldn't believe how easy it was and how little turpenoid I needed to do the job, how much easier and quicker it was than the baby oil method. I had been using the razor blade method for removing the ink from the slab, but the baby oil seemed to take forever to get the brayer, itself, cleaned. *** Julio, I believe it is possible to use photographs for drawing figures, yet, it helps to have a lot of years of life drawing under your belt because you will know from experience that what you see in a photo isn't the truth you are after and you have to draw upon your underestanding from painting the real thing to bring back the missing magic. I'm working with that right now with a painting I'm doing, part from photo, part from stuff I'm making up out of my head, and a lot of what I know from years of painting. Virtual life drawing (or photos) as references are useful, but not the whole essence and people who rely solely on that, usually end up with a certain something missing in their work. I'm starting to see that in the painting I'm doing and I have to go back and scrape down certain areas and work without looking at the photo to get back some of the subtleties that only the eye would be able register. Of course, in this case, I'm having to do it from memory because my models are still in a photograph. For instance, one of the figures (in the photo) seems to have a straight line of blackish clothing as she leans against the other figure. When I painted it like that, it looked stilted. When I went back in with palette knife and scraped out areas and added colors that didn't show in the photo, the whole thing had a lost and found effect that never showed in the photo, but had the models been standing in front of me I would have seen it. I'm having a problem with my mail program. For some reason, when the message goes out, it is received without breaks between the paragraphs even though they appear perfect when I compose them. Any ideas on that? So if this appears without paragraph breaks, it's not because I did it wrong. The mail program is the culprit. Gayle Ohio USA ------------------------------ From: "Michael Deman" Date: Wed, 10 Apr 2002 15:52:40 +0200 Subject: [Baren 17838] RE: Baren Digest V18 #1793 Thanks, Barbara.. No, it is very very visible to the naked eye, and spoils the entire appearance of the design. I am following some advice and trying to use less pigment, and less pressure - and see if that does the trick. Someone also suggested that perhaps the wood block needs to become well-saturated with pigment through several applications and printings, before it settles down to give a nice even impression. Fingers crossed [:)] Michael ------------------------------ From: "marilynn smih" Date: Wed, 10 Apr 2002 09:07:19 -0700 Subject: [Baren 17839] Re: Baren Digest V18 #1793 Thanks to all who responded to my questions on cleaning my brayer. I will stick with non toxic methods. But for sure I will clean off as much ink first before using any cleaning agent and will buy an extra brayer for the light colors. I have found the cooking oil removes well with either soap or another cleaning agent , if you do not remove the oil it can mix in with the printing ink and that is not a good thing. I am thrilled with the non toxic method and will not return to turps, I would rather throw away brayers more often if they become bad to use than use toxic chemicals. you have been helpful, thanks. Marilynn ------------------------------ From: "Maria Arango" Date: Wed, 10 Apr 2002 10:06:50 -0700 Subject: [Baren 17840] exchange updates and live models This from a fellow art lover: - -----Original Message----- From: exchange [mailto:exchange@estampe.be] Subject: Virtuality/Reality Exchange at www.estampe.be Hello Maria, this mail to tell that a new exchange is organised for printmakers and digital images makers. You can see all the details at http://www.estampe.be/exchange or below. Thank you for broadcasting. Hugues Przysiuda printmaker and webmaster@estampe.be - ---------------------------------------------------------------------------- VirtualitŽ / RŽalitŽ : (Digital Image / Printed Image) International Exchange of Prints and Digital Images The creation of images has always evolved with the available techniques. While the artists favouring traditional techniques confront with the creators of digital images, we propose an opening to new technologies. More than just one exchange, the submitted works will all be exposed on this website. A jury will make a selection which will give rise to an exhibition during the year 2003. During the exhibition, an honorary distinction will be awarded by an international jury. A catalogue on CD-ROM will also be published. This exchange is opened to makers of digital images and to traditional engravers. *********************** Rest of the info in the website above or in http://www.1000woodcuts.com/printexchanges.html recently updated. ********************* On the subject of life drawing versus photographs, I feel there is a lot of myth out there about images looking flat precisely because a photo was used as a model. It is true that artists need to know how to translate the 2-D image back into a 3-D image, only to render it anew in 2-D. Practicing on live models does help, as does an extensive study of anatomy, lacking in near all art schooling. A similar practice, followed by some of the best figurative painters old and new, is to sketch from life and use reference photos for accuracy. Leonardo and Michelangelo both painted from their own sketches, which are 2-D representations of the 3-D live model. They just learned how to translate the flattened figure back into dynamic forms and shapes. Much of the flattened look also comes from ignoring the differences in color and contrast between foreground and background. Usually a photo will flatten colors and we, as artists, have to remember the relationship between color and depth and adjust accordingly. Same goes for light and contrast, both softening as the view recedes from the foreground. A study of sensation and perception of the visual system would also be helpful to many artists; this discipline of psychology studies how we sense, perceive and translate the world around us. There are fascinating sensory/perceptual principles that many artists mastered, Escher probably being the most obvious example. Having said that, the practice of _faithfully copying_ photographs, either figures or landscapes, does bring on that flattened look which is easy to spot. I believe it to be more a sign of lack of observation of the real world rather than a necessary consequence of using photos as models. Ain't the method, it's the artist. Just my humble opinion, anyway. Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ End of Baren Digest V18 #1794 *****************************