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Message 1
From: "Marilynn Smith"
Date: Sun, 2 Mar 2008 05:46:47 -0800
Subject: [Baren 35215] Re: Baren Digest (old) V42 #4257
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If your server is giving you a problem perhaps you could change to either a
hotmail or a yahoo account??? They are free. Than change your front page to
either of those and you will not have to deal with comcast as a mail
provider. I use hotmail and MSN front page, that I connect to outlook
express and all works fine.

I am learning that doing waterbased on a press is touchy business. The
press height has to be just right or things are printed too heavy or too
light. When I took printmaking the prof said, when you use a press for
block prints set it so the block just touches the wheel, not too tight, he
was right about that!

Cut Print and have a nice day.
Marilynn

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Message 2
From: Michelle Turbide
Date: Sun, 2 Mar 2008 06:57:40 -0800 (PST)
Subject: [Baren 35216] Re: Baren Digest (old) V42 #4257
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Marilynn,

Are you using Akua inks? they have an oil converter
that you can add to the ink. I wonder if that would
help things for you. I have some but have not used it
so I cannot vouch for it yet.

Michelle Turbide.

www.michelleturbide.com
www.vermontprintmaker.blogspot.com

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Message 3
From: Michelle Turbide
Date: Sun, 2 Mar 2008 07:01:56 -0800 (PST)
Subject: [Baren 35217] Re: Baren Member blogs: Update Notification
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Hello,

I wasn't sure how to do this, but could the blog
manager add my blog to the list.

wwww.vermontprintmaker.blogspot.com

Thank you,
Michelle Turbide

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Message 4
From: Barbara Mason
Date: Sun, 2 Mar 2008 08:33:25 -0800 (PST)
Subject: [Baren 35218] composition
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good morning Baren,
I am starting a new body of work for an exhibition
next year and want to focus this work on composition
and how our mind sees things. I have ordered a bunch
of books to read about it but think input from artists
will be very important.

If you have an artist and a non artist viewing the
same paper, say one with three vertical lines leaning
left and one with three vertical lines leaning right,
will one appeal more to artists than to non artists?
Will it make a difference if they are left or right
handed?

I am sure there have been lots of studies on this but
the more I work with non objective imagery the more I
am fascinated by why I think one composition is ok and
another is not. It cannot have to do with what it
reminds me of, well, maybe sometimes. Usually it is
weight on the bottom or on the left... or an
uncomfortable weight in the wrong place that makes it
interesting for me... or a line right down the middle
and how to pleasingly resolve this. I find the further
behind I leave imagery that looks realistic, the more
I contemplate why one composition is pleasing and
another is not.

I am very interested on any thoughts you have on this,
why one thing appeals to us and another does not....I
have always know composition was important, but now I
want to take it one step further and think I see it as
more important than the imagery.
Sorry to make you think so early in the morning
My best to all
Barbara

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Message 5
From: Annie Bissett
Date: Sun, 2 Mar 2008 12:19:10 -0500
Subject: [Baren 35219] Re: Reduction printing, Comcast Spam
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Hi Bareners,

I've been working on a moku-hanga reduction print and I'm enjoying
the flow -- carving, printing, carving some more, then printing again
just when I was about to get sick of carving. I've found that I can
let the paper dry completely between printing sessions and then re-
wet it the night before I print without any registration problems. As
long as you wet the paper the same way each time it should work.

Sharri, that was me with the Comcast problem. Like you, I kept
finding the Digest in my "Screened Mail" folder on the Comcast site.
I unsubscribed and then resubscribed a couple of times. I also
clicked the Comcast "This is not spam" button several times. Don't
know which action finally resolved it, but this morning I got my
Digest. Good luck!

best, Annie

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Message 6
From: "M Pereira"
Date: Sun, 2 Mar 2008 14:41:20 -0300
Subject: [Baren 35220] Re: composition
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It is a post very interesting.
I think artists look different from no artists,
not the question of taste but the
artistic question.
For instance, when you talk about a work with lines,
lines left, lines right, down, I think in
brazilian newconcretism of Helio Oiticica
anda Lygia Clark.
Well. Have I understood what was
saying in the message or Am I having "a trip"
to unkown world???
Best to all bareners.
I like very much being here.
Thanks for everything.
Best wishes
Murilo Pereira, in Floripa (Florianópolis, SC,
Brazil, island of a number one tennis star
Mr. Gustavo Kuerten).

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Message 7
From: ArtfulCarol # aol.com
Date: Sun, 2 Mar 2008 13:59:10 EST
Subject: [Baren 35221] Re: composition
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Here are 50 artists' quotes about composition:


_http://quote.robertgenn.com/getquotes.php?catid=52_
(http://quote.robertgenn.com/getquotes.php?catid=52)

Judging from what is being shown and what is being bought, I don't think
composition is very popular.
I think it's very important, but take a look at what is in the contemporary
or modern museums.

Last time I went to MOMA, when I met one of the curators I said, "So far I
like the food in the cafe better than the art here" He told me to go to the
6th floor and sure enough there were real beauties by George Seurat.

There are plenty of books about composition. I think it takes years to
develop a gut feeling about it.

Carol Lyons

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Message 8
From: Reneeaugrin # aol.com
Date: Sun, 2 Mar 2008 14:09:52 EST
Subject: [Baren 35222] Re: composition
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Good Morning All,

It is a good challenge to chew on a heady topic like composition this early
in the morning. I agree with Carol, that you do develop your own gut feeling
and when you are pleasing your own eye you can't really go wrong. The
formal ideas based on the golden mean are really interesting. Here, in the
Western world, where we read from left to right, the viewer has a trained tendency
to search for something in the upper left hand corner as a clue to the
navigation of the work. It may be different in the East, but there is more
emphasis on the value of negative space, which I would like to study more.

Thanks for the question, Barbara.

Happy printing,

Renee
_www.reneeaugrin.com_ (http://www.reneeaugrin.com)

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Message 9
From: Charlie overshoe
Date: Sun, 2 Mar 2008 13:30:29 -0800
Subject: [Baren 35223] RE: composition
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Barbara,

In one of the first design classes I ever took the prof. stressed again and again that a good composition, whether abstract or representational, was one where the design elements worked (balanced?) no matter which way you turned your paper ( some squinting involved on those representational pieces ). :-) Over time I have found this to be true ...... the more appealing a design the more likely it is to meet the balance criteria ...... just as a symetrical human face is usually the most appealing.

Barbara P.

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Message 10
From: Barbara Mason
Date: Sun, 2 Mar 2008 14:14:23 -0800 (PST)
Subject: [Baren 35224] Re: composition
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--- ArtfulCarol@aol.com wrote:
> Here are 50 artists' quotes about composition:
> _http://quote.robertgenn.com/getquotes.php?catid=52_


Thanks Carol,
This was not exactly what I meant, I am more
interested in why our brain and eye sees things in a
certain way. For instance if we have a big blob on
the left we know as artists we can balance it with a
small dot on the right if the dot is far enough from
the blob...sort of like balancing a teeter
totter....it is physics. I just wonder if it is
totally learned or it we automatically do it, like
Barbara Patera suggests a face is balanced from any
direction in a painting because it is pretty
symmetrical. Is it the symmetry in nature? As I said I
have ordered some books so will do some small tests on
all my friends and report back....I will do the same
with artists and non artists and see what the results
are. Not really scientific but it will be interesting.

Also I wonder if children see differently that adults
who have "learned" to see a certain way. We all know
art is a learned skill, but some have an additional
flair that makes their work special.
My best to all
Barbara

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Message 11
From: "M Pereira"
Date: Sun, 2 Mar 2008 20:48:58 -0300
Subject: [Baren 35225] Re: composition
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Hi all.
these posts are veru interesting...
and as I am reading a Phisophy work
about merleau Ponty, I dare to suggest
the reading of Merleau Ponty's
"The doubt of Cèzanne", if you
haven't. It's very inspiring.
Best to all,
South American,
Murilo.

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Message 12
From: Maria Regina Pinto Pereira
Date: Sun, 02 Mar 2008 21:07:58 -0300
Subject: [Baren 35226] Concorso Internazionale ex-libris
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INTERNATIONAL
COMPETITION
FOR EX LIBRIS

"PROVINCE OF NOVARA (1859 – 2009)"
 
RULES

1 – The competition is open to all artists and the participation is
free of charge. Each participant is allowed to
send in for the competition all works executed in any traditional
techniques of the original graphic art
(chalcography, xylography and lithography). Projects executed using
other techniques will not be evaluated
in the competition.
2– Ex libris submitted should have the following characteristics:
· To represent the theme of the Competition that is intended for an
increase in value of the territory,
the history and the art of the Province of Novara rich in scenic beauty
and cultural values.
· Not present indication of other competitions
· To be printed on paper size of mm 210X148 (DIN A5) while the printed
area can be any size.
· Please indicate on the reverse side, in pencil: surname, first name,
address, date of execution,
dimension of the plate, technique used and title.
· All opus must have the following inscription: EX
LIBRIS PROVINCIA DI NOVARA (1859-2009)
3 – Each artist can participate with a maximum of three works, every
one of which should be presented in
at least four signed copies. The works of art submitted will become
property of Competition Organiser and
will be retained in the ex libris collection of Provincia di Novara,
Associazione La Corte dell'Oca, and in the
collection of AIE (Associazione Italiana Ex libris)
4 – Province of Novara has established three prizes to the value of
1.500,00 - 1.000,00 e 500,00 euro
which will be assigned to the first, second and third prize winner
5 - The presented works, once selected by the Jury, will be published
in the catalogue and displayed in the
exhibition that will be mounted in a distinguished venue in Novara
during spring 2009. In the occasion of the
opening ceremony of the exhibition the winner will be announced and the
prizes given.
6 - The Members of the Jury will be representative of Provincia di
Novara (The President or his delegate),
La Corte dell'Oca (The President or his delegate) artists and expert
collector's appointed by AIE.
(Associazione Italiana Ex libris)
7 - So as to present the latest achievements in the art of ex libris,
artists can also send in the opus
executed from year 2000 to 2008 in any traditional techniques of the
original graphic art (chalcography,
xylography and lithography) and not bound to any theme
· Works must indicate on the reverse side, in pencil: surname, first
name, address, date of execution,
dimension of the plate, technique used and title.
· The selected works will be published in the catalogue
8 - The cultural club La Corte dell'Oca has established a prize to the
value of 500,00 euro which will be
assigned to the best ex libris not for competition
9 - The ex libris must be sent by registered letter by
September 30th 2008 to the following address:

Associazione Culturale La Corte
Casella postale N. 68
- 28041 Arona (No)
Italy

10 – The catalogue will be published with names and address of the
artists selected by the Jury.
Artists that will have their opus published, as well as the artists
that will participate to the open ceremony will
receive the catalogue free of charge
11 - Participation in the competition implies full acceptance of the
above rules.

For further information, please contact
Adele
Pastore
cortedelloca@alice.it
www.lacortedelloca.it
www.provincia.novara.it
 

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