Baren Digest              Thursday, 28 March 2002      Volume 18 : Number 1780


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From: Cucamongie@aol.com
Date: Wed, 27 Mar 2002 09:25:41 EST
Subject: [Baren 17720] Re: Baren Digest V18 #1779 


Charles, glad to be of help.  If you have any other questions about doing 
this, let me know.  Brushing over the color once it's applied to the block 
gives more of a smudgy feeling, which is what I was going for, but if you 
want to keep some of the crayon line, I would brush very little or or not at 
all and use less water, etc.  You'll find as you play with it that you can 
get different types of effects.  Have fun!
Sarah

In a message dated 3/27/2002 12:24:38 AM Eastern Standard Time, Charles 
writes:



> 
> Thanks for the information. I have a block on which I would like to try 
> this technique. You have been MOST helpful.
> 



------------------------------

From: Daniel Dew <ddew@tampabay.rr.com>
Date: Mon, 27 Aug 1956 10:41:23 -0400
Subject: [Baren 17721] Off line help 

I am looking for a nice person to help me, off list, with a couple Hanga
questions, preferably someone with a few minutes to spare who will be nice
and not condisending.

Daniel L. Dew
Suncoast Equipment Funding Corporation
http://www.dandew.com/
ddew@tampabay.rr.com





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From: "marilynn smih" <marilynnsmih@hotmail.com>
Date: Wed, 27 Mar 2002 07:17:05 -0800
Subject: [Baren 17722] Re: Baren Digest V18 #1778 

I am interested in this discussion on lighting.  I was told in school by my 
favorite painting prof that natural light is best.  than the next best thing 
was incandescent lighting and that flourescent was hard on the eyes and 
changes the colors you are looking at.  so as an artist I have insisted on 
the old fashioned lighting.  I too am redoing a studio space and wonder now, 
has flourescent improved?  And, I am understanding that there are different 
types of flourescent tubing?  If this is true and it can be used without 
being hard on the eyes or chaning the hues of the colors i am mixing I would 
think it would be an excellent, more economical source???
Marilynn




------------------------------

From: Charles Morgan <cmorgan@uvic.ca>
Date: Wed, 27 Mar 2002 07:15:03 -0800
Subject: [none]

Mellissa,

Thanks for the crack !!! When I am in a restaurant with a screaming kid, I 
want to use something stronger than a Baren!!

Had a look at your website ... nice work. I particularly liked the wood 
engravings. Mullet was nice ... reminded me of some art nouveau stuff. Are 
you working just on end grain blocks, or have you tried carving plank grain 
as well?

Cheers ....... Charles

 >I tried rubbing out one of my daughters, when she was being particularly a 6
 >year old, and it didnt work. Never mind.
 >


------------------------------

From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Wed, 27 Mar 2002 10:26:04 -0500
Subject: [Baren 17724] Re: exchange #13 cases 
Barbara

Is it too late to order the exchange cases for #13.?
 I keep getting "This page cannot be found".
Sorry I am so late, but things sometimes get sidetracked for me lately.
Anyway, I do want a case for #13 if at all possible. If not, then ,
whatever.

I think I have found another studio. However it depends on a lot of other
details; Insurance, etc. So wish me luck.

Julio
Thanks for the nice word re; me ex studio in the Baren Newspaper. I printed
it out for a souvenir.

Jeanne N.


------------------------------

From: Charles Morgan <cmorgan@uvic.ca>
Date: Wed, 27 Mar 2002 07:25:56 -0800
Subject: [none]

Marilynn,

Florescent tubes can be bought with various sorts of color balance. There 
are "cool" tubes, which have a green tinge to my eye; these are usually the 
cheapest. There are "warm" tubes, which have a sort of salmon tinge to my 
eye. There are tubes whose output is supposed to be balanced to pretty well 
match natural sunlight ... solar spectrum tubes. These latter are what we 
use. The down side is that they are two or three times the cost of the 
cheap tubes. But it is my impression, and the impression of my much more 
experienced and color sensitive sweetie, that solar spectrum tubes pretty 
well live up to their billing. But you have to be satisfied with the 
results; if after investigating it you think it will do, try one fixture on 
a temporary basis in your studio and see what you think. If you are unhappy 
with it, you can always take it out and replace it by something you find 
more suitable.

Cheers ........ Charles

 >I am interested in this discussion on lighting.  I was told in school by my
 >favorite painting prof that natural light is best.  than the next best thing
 >was incandescent lighting and that flourescent was hard on the eyes and
 >changes the colors you are looking at.  so as an artist I have insisted on
 >the old fashioned lighting.  I too am redoing a studio space and wonder now,
 >has flourescent improved?  And, I am understanding that there are different
 >types of flourescent tubing?  If this is true and it can be used without
 >being hard on the eyes or chaning the hues of the colors i am mixing I would
 >think it would be an excellent, more economical source???
 >Marilynn


------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Wed, 27 Mar 2002 11:02:52 -0600
Subject: [Baren 17726] Re: Baren Digest V18 #1778 

Light from a north facing window is traditionally considered best -- this 
is because the indirect North light doesn't change so much as light from 
South, East, or West as the sun sweeps across the sky.  The color is more 
constant, too.  But it's not nearly as bright at night, and color varies 
with the weather, too.

Incandescent lighting (the screw-in bulbs you buy in the grocery or at 
Walmart) are redder than sun light.

Florescent lighting 'Cool White' from the hardware store is typically bluer 
than sun light.

In the US, sunlight doesn't 'flicker' at all, but both incandescent and 
florescent bulbs do -- 60 times per second, very similar to your TV screen 
- -- wave your hand in front of your computer monitor and you will perceive 
the strobe effect from the flickering.  The reason is that it is much more 
efficient to transmit electricity long distances if the direction of flow 
changes (alternating current or AC).  So, in the US the current direction 
changes 60 times per second.  In some other countries it changes 50 times 
per second.  The summer I was 16, I was living with a family in Yucatan, 
Mexico where they still had direct current (DC doesn't change 
direction).  My 'mother' was running the vacuum, and it apparently had a 
short because she began screaming and dancing around the room with the 
heavy vacuum swinging from her arm and she couldn't get away from the 
thing.  I eventually I figured out to pull the plug and that fixed it right 
away.  Nobody would get close the vacuum after that.  DC is much more 
dangerous than AC.

The cells in our eyes respond so slowly that we aren't usually aware of the 
flickering.  Because incandescent light comes from the glow of a hot wire, 
the light only pulses brighter and dimmer 60 times per second.  But 
Florescent lighting actually turns off and back on again 60 times per 
second.  Some people (like me) find this irritating, and it can cause some 
unusual effects around power tools -- like the table saw can appears to be 
standing still when it is actually still rotating.

Today, you can purchase both incandescent and florescent bulbs in a wide 
variety of colors including some which are designed to be very close to 
sunlight (these are all somewhat more expensive than 'standard' 
bulbs).  You can also purchase ballasts for florescent lights which turn 
the bulbs off and on at high frequency -- instead of 60 times per second, 
these high speed ballasts switch the current direction 20,000 times per 
second or more.  I like these the best, and they are silent.

In terms of installation cost, bulb life, and operating cost, florescent 
bulbs are <MUCH> cheaper than incandescent, and unlike sunlight, they are 
just as bright at night!  But they best for general lighting.  For lighting 
small areas like hanging artwork or sculpture, incandescent is the way to 
go.  For studio lighting, I honestly love and prefer my daylight color 
balanced florescent bulbs in cheap industrial fixtures with high-speed 
ballasts.

Mike

At 07:17 AM 3/27/2002 -0800, you wrote:

>I am interested in this discussion on lighting.  I was told in school by 
>my favorite painting prof that natural light is best.  than the next best 
>thing was incandescent lighting and that flourescent was hard on the eyes 
>and changes the colors you are looking at.  so as an artist I have 
>insisted on the old fashioned lighting.  I too am redoing a studio space 
>and wonder now, has flourescent improved?  And, I am understanding that 
>there are different types of flourescent tubing?  If this is true and it 
>can be used without being hard on the eyes or chaning the hues of the 
>colors i am mixing I would think it would be an excellent, more economical 
>source???
>Marilynn
>
>
>
>_________________________________________________________________
>MSN Photos is the easiest way to share and print your photos: 
>http://photos.msn.com/support/worldwide.aspx
>


Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com 

------------------------------

From: GraphChem@aol.com
Date: Wed, 27 Mar 2002 13:26:06 EST
Subject: [Baren 17727] Re: Baren Digest V18 #1778 
t

Mike -
In general the inks that you purchase from Graphic (and other reputable 
vendors) are permanent, be they process colors or others. The problem that 
you mentioned with signs in store windows raises a question of semantics. 

When you talk to someone involved in printmaking - permanent means just that 
- - as in forever. Some student grade inks are not as permanent, but in general 
if the ink is made for printmakers - it'll last. The sign in the store could 
be fugitive or could be "commercially permanent". Commercially permanent 
means that it will retin true color for approximately 120 days (maybe it's 
180, but who really cares.), and after that, all bets are off. 

I could go on at great length about buying from sources geared to 
printmakers, but that would be a little too self serving, so I won't.

Dean



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From: Mike Lyon <mikelyon@mlyon.com>
Date: Wed, 27 Mar 2002 12:37:47 -0600
Subject: [Baren 17728] Re: ink

Just to clear up any remaining misconceptions then...

When I buy "Process Cyan litho ink" or "Process Magenta litho ink" from 
Graphic Chemical ( http://www.graphicchemical.com/ ) or any other reputable 
vendors, I can be sure that it is a permanent color and that it isn't going 
to fade or change over the years (like those large-format ink-jet printed 
window displays change so dramatically in a matter of months)?

Right?

Mike

At 01:26 PM 3/27/2002 -0500, you wrote:

>Mike -
>In general the inks that you purchase from Graphic (and other reputable 
>vendors) are permanent, be they process colors or others. The problem that 
>you mentioned with signs in store windows raises a question of semantics.
>
>When you talk to someone involved in printmaking - permanent means just 
>that - as in forever. Some student grade inks are not as permanent, but in 
>general if the ink is made for printmakers - it'll last. The sign in the 
>store could be fugitive or could be "commercially permanent". Commercially 
>permanent means that it will retin true color for approximately 120 days 
>(maybe it's 180, but who really cares.), and after that, all bets are off.
>
>I could go on at great length about buying from sources geared to 
>printmakers, but that would be a little too self serving, so I won't.
>
>Dean


Mike Lyon
mailto:mikelyon@mlyon.com
http://www.mlyon.com



------------------------------

From: GraphChem@aol.com
Date: Wed, 27 Mar 2002 14:11:19 EST
Subject: [Baren 17729] Re: Baren Digest V18 #1778 



Right.

Dean Clark


------------------------------

From: "kate courchaine" <katecourchaine@hotmail.com>
Date: Thu, 28 Mar 2002 04:42:46 
Subject: [Baren 17730] lighting 

Thanks everyone for your illuminating responses to my light question  [:)] 
Kate C




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End of Baren Digest V18 #1780
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