Baren Digest               Sunday, 25 August 2002       Volume 20 : Number 1937


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From: Louise Cass <lcass#primus.ca>
Date: Sat, 24 Aug 2002 10:56:20 -0400
Subject: [Baren 18971] Re: several shows 

Sarah-
The prints look really interesting espec. yours
but who and what are 'Lewis & Clark'?!
louise cass

At 12:02 AM 8/24/02 -0700, you wrote:

> Your solar plate etching Lewis and  Clark is the Small Works 2002
>Washington Printmakers' Gallery is     John Cleverdon    ----- Original
>Message -----    From:    Cucamongie#aol.com To:
>baren#ml.asahi-net.or.jp Sent: Friday, August 23, 2002 7:58    AM  
>Subject: [Baren 18963] several  shows   
>Hi all, I haven't been    "talking" much for a long time, BUSY BUSY! 
>Anyway, I'm a little hesitant    to do "horn-tooting", but for anyone
>interested and who may be living near    these areas, I have work up in
>several shows around the country (excuse    possible cross-posting): 
>Washington Printmakers' Gallery (up just for a    few more days), 
>National    Small Works 2002, WPG Juried Exhibition (my piece is not up
>online, but    you'll see some lovely works there!) 
>Art Institute and Gallery in    Salisbury, Maryland (up through September) 
>& Gallery - Art Exhibition Calendar 
>and 
>Northern    National Art Exhibition at Nicolet College Gallery, in
>Rhinelander, Wisconsin    
>best wishes 
>Sarah Hauser  
>
>
> 

http://www.LCassArt.com

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From: Louise Cass <lcass#primus.ca>
Date: Sat, 24 Aug 2002 11:32:50 -0400
Subject: [Baren 18972] Re: BiroBidjan Print Portfolio 

Sharen -

Thanks so much for drawing attention to this fascinating and
touching portfolio - It certainly evokes those troubled times and
points up how many pretty accomplished artists have come and gone
without 'being famous' - this will be the fate of the so many
working away today - I guess we all do it because we 'have to'!

Louise



At 07:32 AM 8/23/02 -0500, you wrote:

>There is a fine article in today's Arts section of the Chicago
>Sun-Times titled "Prime Cuts".  It details a benefit print
>portfolio created by a group of 14 Jewish artists from Chicago
>during the Depression and on the eve of the Holocaust.  It was
>to benefit BiroBidjan, an autonomous Jewish settlement in
>Siberia.  The lone surviving portfolio has been given to an
>Oakton Community College, Skokie, instructor who has given it to
>the college.  
>It is an interesting article.  I found the criticism of the
>framing to be of some import to us all as print artists.  The
>second e-address is from the college itself and takes us through
>the prints and the artists.
>
><http://www.suntimes.com/index/entertainment.html>
><http://www.oakton.edu/news/events/gallery/preface.html>
>
>Sharen
>
>

http://www.LCassArt.com

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From: "April Vollmer" <april#aprilvollmer.com>
Date: Sun, 25 Aug 2002 11:58:00 -0400
Subject: [Baren 18973] Real Men like Real Pigment 

The BEST black for moku hanga is the dense sumi ink from Baren Mall. It
comes in a plastic bottle all the way from Japan, and is the strongest,
richest black I have found. It is so dense (like peanut butter!) you really
need to add some water to it. It's binder is animal glue (strong).

And the best book on color and PIGMENTS is: Wilcox, Michael, The ArtistŐs
Guide to Selecting Colours, Colour School Publications, London 1997. He
gives many helpful suggestions about mixing colors AND lots of information
about specific pigments. One of the best things about moku hanga is that you
can print with pigment dispersions, real pigment ground in water. One of the
reasons I have devoted so much of my artistic life to Japanese woodcut is
that it gives so much control over color. You will gain deeper understanding
of the physical nature of color by feeling the texture, transparency,
tinting strength of each pigment as you work with it on your block.

(Pigment dispersion is pigment ground in water. You should add some gum
arabic as binder to make a crude watercolor.)

Congratulations to Sarah on all her projects, I've been busy too. I went out
to California to teach a couple of workshops. The one in Berkeley at Kala
Art Institute can be viewed at www.aprilvollmer.com/kalaclass

If anyone knows of a printshop or college that could pay for a similar
class, let me know! It was lots of work, but very rewarding to teach hanga
and to discuss important printmaking/artmaking issues.

AND, I am on the cover of Science Magazine!!! I was so pleased to be
contacted by the scientists who cracked the fugu fish genome. They invited
me to send my fugu print to Science for publication, it can be seen at:
http://www.sciencemag.org/content/vol297/issue5585/index.shtml

April
www.aprilvollmer.com


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From: "marilynn smih" <marilynnsmih#hotmail.com>
Date: Sat, 24 Aug 2002 09:04:48 -0700
Subject: [Baren 18974] Re: Baren Digest V20 #1936 

Here is where my painting degree comes in, color.  Yes often opposites on 
the color wheel will render black, some times brown, some times grey.  Also 
you can try getting green by putting yellow over blue or a violet by putting 
red over blue and there are many other interesting and often wonderful tones 
that you can achieve.  A watercolorist who uses color overlays can really 
get a lot of interesting color tones that are very vibrant this way.  You 
can get many shades of greys with color wheel opposites and it does depends 
on which pigments you choose.  Some greens and reds will give you black and 
others will not, that is where experience and a book on color can help.  No 
one mentioned yellow and violet, they are also color opposites and in my 
experience usually give you a brown tone.  As Charles said it also depends 
on the maunfacturer of the pigments as well as the specific color.  For 
example cadmium and aliazrin are vastly different reds, you need just the 
right green tone to make it happen.  This is a fun area to explore and I 
would suggest experimenting with it a lot, there are many wonderful 
surprises with color.
Marilynn



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From: Sharri LaPierre <Barebonesart#attbi.com>
Date: Sat, 24 Aug 2002 09:27:05 -0700
Subject: [Baren 18975] Re: Baren Digest V20 #1936 

You can mix warm or cool, lively and some not so, by mixing any of the 
compliments in the right ratio. Which makes sense if you think about it. 
When mixing compliments you are combining all three primaries. Depending 
on which red you mix with which green  you will get a rich, rich black 
or a muddy brown black. Steven Quiller's book is an excellent 
suggestion, but nothing beats good old fashioned trial and error.  My 
favorite olive green comes from black and white (oil base inks).

Sharri



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From: "Jeanne N. Chase" <studiojnc#prodigy.net>
Date: Sat, 24 Aug 2002 14:33:06 -0400
Subject: [Baren 18976] Re: Real Men like Real Pigment 

Congratulations April. Now you can say that you are a "Cover Girl".
Wonderful woodcut.

And also congratulations to Sarah Hauser. It is nice to be in such talented
company!!!

Jeanne N.


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From: ArtfulCarol#aol.com
Date: Sat, 24 Aug 2002 17:30:43 EDT
Subject: [Baren 18977] Re: Real Men like Real Pigment 

In a message dated 8/24/02 11:55:06 AM Eastern Daylight Time, 
april#aprilvollmer.com writes:

<< http://www.sciencemag.org/content/vol297/issue5585/index.shtml >>
Congratulations to April and her students in Berkeley.

And whats more --on the Cover of Science mag with your fugi print. !! I am 
glad the scientist found you.
Carol  L. .

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From: "M. Pereira" <mpereira#newsite.com.br>
Date: Sat, 24 Aug 2002 23:11:57 -0300
Subject: [Baren 18978] Re: Real Men like Real Pigment 

Dear April,
You have a very nice collection at Kala Art  Institute.
Great!  The printmakers were very charming  too.
And so was your fugu print.
Congratulations.
When you say " we cut a two color block" , do you
mean one for for each color?..or...?
Best wishes,
Murilo from Brazil.

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End of Baren Digest V20 #1937
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