Baren Digest              Saturday, 31 August 2002      Volume 20 : Number 1943


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From: David Bull <davebull#woodblock.com>
Date: Fri, 30 Aug 2002 22:13:50 +0900
Subject: [Baren 19009] Re: strange messages... 

Dimitris wrote:


> although this has to do with Daid Bull, I thought I'd let everybody 
> know.
> I have received another e-mail under David's name, possibly with a virus
> (126k, something about Japanese nudity - you know what I mean).
> It CERTAINLY was not sent by David, but you ought to be careful.


Dimitris,
There is a huge Klez 'storm' raging around the internet at present. As 
we have mentioned before, the Klez worm forges a _fake_ From: address on 
each email it sends out. About the only thing you can be sure of when 
you receive one of these things is that it _doesn't_ come from that 
person!

At least one [Baren] member that I know is presently infected with this 
virus, and of course my address is in their address book - my name is in 
a _lot_ of address books!  :-)  So my name thus appears on these things 
quite a lot ...


> ... the conclusion that your archives and
> all about the computer which belong to you are not safe


I think you are worrying too much about this. Viruses come and viruses 
go ... We're all getting pretty used to using our 'Delete' key a lot 
these days!

Dave


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From: sunivroc sunivroc <sunivroc#yahoo.com>
Date: Fri, 30 Aug 2002 06:40:28 -0700 (PDT)
Subject: [Baren 19010] Editioning Prints 

I'm sure this has been addressed numerous times -- but
I couldn't find a "simple" answer in the archives.

What constitutes an edition?  Is is all prints pulled
from the same block -- or do different colors and/or
different paper qualify for a new edition?

I haven't numbered any of the prints I've done -- but
since I've started showing my work at a local gallery
it seems like an appropriate thing to do.

Rich Campbell


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From: pulpfic#sunshinecable.com
Date: Fri, 30 Aug 2002 07:26:48 -0700
Subject: [Baren 19011] Wilcox books 

Hi Charles,

You wrote: >I just got a copy of Wilcox's book "Blue and Yellow Don't Make
Green"

I forgot about that one when I was writing my own review of the others. This
one is Definitely good as well! 

I like how Simple his colour wheel ends up compared to all the usual
multi-layered ones you see elsewhere. And as long as you keep in mind which
way you are heading - warm to cool or vice versa - you end up with fewer
Muddy Surprises.

Randi



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From: "PHARE-CAMP,PATTI (HP-USA,ex1)" <patricia_phare-camp#hp.com>
Date: Fri, 30 Aug 2002 10:40:45 -0400
Subject: [Baren 19012] RE: Baren Digest V20 #1942 

I just got a copy of Wilcox's book "Blue and Yellow Don't Make Green" 2ND
EDITION. I will not comment on lightfastness ..."

Good Day Charles:  I also like that book, though there are some things he
says that I take with a grain of salt.  I don't care for the hard sell of
his painting products either.  There is some good advice about mixing color
and I do love the title!  

I can't emphasize enough the studio value of the Liquitex color mixing
chart, used properly it takes the guess work out of what colors to mix and
how much of them to get that perfect shade or tint.  Laminating it will make
it studio safe. The liquitex color wheels are just o.k.  Joseph Albers color
star, on the other hand, is pretty awesome, and surprisingly inexpensive.
It's a great tool for making decisions on what color combinations to use in
a work of art.  There are also some out of print books with color maps that
are pretty expensive, pretty complicated, pretty cool to read but I would be
afraid to use them in the studio.  Most of the mystery of color is how to
mix and what colors work best together, the mixing chart and the color star
will help solve most color questions quickly and easily.  

Also anytime you work with a new medium/brand, paint a quick 12 color wheel
with it, it's the best way to really tell how it works in color mixing and
you can compare it to other medium/brand wheels you've made.  At the same
time I will also do tint and shade charts with the new medium as I mix
colors for the wheel.  Different brands have different proportions of
pigment and fillers and don't always look the same as other brands when
mixed.  Cheap or student grade paints will almost always produce muddy color
mixes.  Quality paints will mix beautifully and with other brands of like
quality.

If you want to learn more about color check with your local community center
or community college for a Color Theory Class. A good instructor should be
able to resolve most of the mystery of color for you and you should finish a
color expert. 

The most amazing mystery about color is that after you've learned them you
can then break all the rules...My son who is slightly color blind has done
things with color that are not supposed to work...and yet his paintings are
amazing!

Happy Coloring,
Patti P-C

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From: John and Jan Telfer <jtelfer#iinet.net.au>
Date: Fri, 30 Aug 02 23:15:09 +0800
Subject: [Baren 19013] Re: Lewis and Clark 


>"who and what is 'Lewis and Clark'"?


Gee, I am a Western Australian and I know about Lewis and Clark! The time 
is 1804 - 1806.
Their travels took them from Illinois-Missouri Border to Long Beach 
Washington - East to West and west to east I think. I picked up a book 
from the Best Western Pony Soldier Inn in Medford last year that Barbara 
Mason Booked for me after I left Portland on the Greyhound Bus!  It was 
very interesting reading. There are walking trails organised to cover 
their tracks, or you can go by road now!  

There was also a Buffalo Lodge Meeting or something that night there and 
I wondered what on earth I had stumbled into!! So the song, Buffalo 
Soldier, always reminds me of my night in Medford.

It is here at  http://www.lewisandclark.com

I like the connection with your dogs, Sarah!

Jan

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From: Julio.Rodriguez#walgreens.com
Date: Fri, 30 Aug 2002 12:33:08 -0500
Subject: [Baren 19014] Re: Editioning Prints 08/30/2002 12:36:26 PM 

Rich writes:
"..What constitutes an edition?  Is is all prints pulled
from the same block -- or do different colors and/or
different paper qualify for a new edition?.."

This much debated subject always opens a pandora box of ideas. I think if
you ask a group of artists, they will all give you slightly different
answers.

I like not to think of the word 'edition' as something related to the
actual signing & numbering of the prints, but
rather at the actual task of printmaking. Making an edition to me equals
making multiple prints at one consistent setting. Getting lost in a process
that's been approved (proofing) and that has little room or sympathy for
major deviations. Putting ink to paper, bam, bam, bam, bam. Once you
"CONSCIOUSLY" change the block in any way, the colors used, the type of
medium or even the paper brand, in my opinion you have altered the
variables and have moved away from creating a set of prints that are as
close to each other as humanly possible.  If that is your goal !

I say strongly "if that is your goal", cause for many of us that is not the
goal. And that is also fine ! It is fun to experiment and make prints in a
variety of papers and  altering color schemes. There are many ways to
number or sign these variants as there are Klez viruses floating around on
the net.

This is a very purist view on my part and I don't always feel this
way...there is merit in just pulling one or two beautiful prints from a
block and calling it a day. Sometimes making one great print is more
rewarding and challenging than making 100
identical but poorer prints.

Many printmakers make an open edition...where they print perhaps 5, 10 or
20 prints at one time and leave the edition open
perhaps at 100 or 200 max.  Unless you have a demand to move/sell  a large
number of prints, printing an edition of 100-200 prints right off the bat
is costly and unmanageable from a variety of points.

To me is sort of like the publishing of a book. All the books on the first
printing are similar, same paper, same text, same mistakes....a first
edition! Then when the publisher does a second,  third or fourth printing,
he has the option to add or change
things and correct mistakes, etc.....

Others here have different views I am sure...

thanks...Julio Rodriguez




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From: Charles Morgan <cmorgan#uvic.ca>
Date: Fri, 30 Aug 2002 16:14:14 -0700
Subject: [Baren 19015] color suggestions 

Thanks everyone for your suggestions for books about color. I have checked 
around and can't find any local college or extension courses on color 
theory, so I will just have to bumble along on my own. Your suggestions 
have all been very valuable for me.

Cheers ...... Charles 

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From: Pgiclas#aol.com
Date: Fri, 30 Aug 2002 23:28:58 EDT
Subject: [Baren 19016] Re: Fugu rubripes 

April, what a surprise to pick up my mail the other day and find one of your 
lovely prints on the cover of Science!!!  I was so excited that I showed it 
to everyone in my lab  and several others!  I could prove to them that I 
wasn't the only one who thinks science and art mix very nicely!!  I recently 
had one of my designs adopted by a scientific society for their logo - look 
up the International Complement Society on the internet.  Congratulations on 
the cover.  Patsy

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End of Baren Digest V20 #1943
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