Today's postings

  1. [Baren 28143] Multicoloured Prints? ("Love Me")
  2. [Baren 28144] Latest prints ("Harry French")
  3. [Baren 28145] RE: Latest prints ("Maria Diener (aka Arango)")
  4. [Baren 28146] Re: Latest prints (Shireen Holman)
  5. [Baren 28147] Re: Latest prints (Julio.Rodriguez #
  6. [Baren 28148] Re: email art scam (Aon97 #
  7. [Baren 28149] Re: Works in progress (FurryPressII #
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Message 1
From: "Love Me"
Date: Thu, 16 Jun 2005 23:55:27 +1000
Subject: [Baren 28143] Multicoloured Prints?
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Marilynn asks: "any sugestions on how to do multi colored prints when one does not have a clue when one starts where one will end up?"
Marilynn, I do multicoloured prints and I never know where I will end up, which is part of the fun. If you can produce even one block that you like then you have many ways you can apply multiple colours to the block. You can mix and grade colour in a single impression (bokashi). You can overprint as many times as your paper can stand it. Try first printing a very watery sumi to give a mottled grey bacdkground and then overprint another colour using starch, this will give you multiple tones of colour. If you can produce two blocks that you feel go well together than the possibilites expand even further. At some stage while you are experimenting you will decide on a course that you want to follow and then just keep going. I make prints from 4 to 6 blocks and after I finish carving I usually take two or three days to trial colours and printing techniques and refine the blocks. Preplanning is good but experimenting is even better. Just dive in and do it.

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Message 2
From: "Harry French"
Date: Thu, 16 Jun 2005 14:52:34 +0100
Subject: [Baren 28144] Latest prints
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Once again I would like to thank you all for the comments to my latest prints that I was not too happy about. I am always my own worst critic, but now taking on board all the constructive ideas that you have suggested. These will keep me busy for the rest of the summer.
The main reason for leaving out prices of the prints is because my internet webspace is free on condition that it is not used for "commercial "purposes and I thought also it was a condition of Baren not to pursue a "commercial" website. Like many correspondents have suggested contact can be by Email.
It has been very interesting how many "surfers" and "lurkers" have also passed generous thanks to you all as well....... do come in and join us sometime!!
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Message 3
From: "Maria Diener (aka Arango)"
Date: Thu, 16 Jun 2005 09:06:27 -0700
Subject: [Baren 28145] RE: Latest prints
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Geez, I sure hope it is not a condition of Baren that an artist not be able
to pursue making a living as an artist. I have never quite understood why
that seems to be such a bad thing among artists.

Here is my latest print, please disregard the price tag if it offends anyone
I am showing it to show Marilynn an alternative way to get full color prints
without pre-planning the whole process AND! using only one block. The puzzle
technique allows you to develop the image a la Maria, that is, without much
pre-sketching and/or following a carefully planned design. I just pretty
much sketch right on the block and chop chop.
I develop the image as I would if I were to NOT use color. Once the image is
carved I decide on a color scheme (sometimes this "comes" to me during
carving) and where my cut lines will be. Off to the scroll saw I go, cut the
block and ink in different colors; I also make extensive use of two-color
and three-color fountain or rainbow rolls. An alternative to cutting the
block is to use mylar masks, as shown in the Call of the Desert print.
If you add a reduction state or block, the possibilities are endless:

Here is another print that is very simple in design and prehaps easier to


Maria Arango
Las Vegas Nevada USA
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Message 4
From: Shireen Holman
Date: Thu, 16 Jun 2005 12:24:14 -0400
Subject: [Baren 28146] Re: Latest prints
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I also don't do any complicated pre-planning for using colour in my prints.
I make a line drawing, which I transfer onto all the blocks. Then I just
start cutting - some on one block, then some on the next, etc., and do a
lot of proofing. I usually use about three blocks, though, so that I can
have colour combinations and textures. For me, the main thing is the
proofing - that way I can see what the print actually looks like, and make
changes as I cut.
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Message 5
From: Julio.Rodriguez #
Date: Thu, 16 Jun 2005 12:32:10 -0500
Subject: [Baren 28147] Re: Latest prints
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Maria, you are amazing......the new puzzle print "Flower Wizard" is
wonderful, is going to take me some getting use to seeing your work in
color but I see your vibrant carving style still shining thru.

Another artist who used to "puzzle" his prints by cutting up and coloring
his blocks separate like Maria was Edvard Munch of the famous print "The
Scream". A few weeks back they had a show on PBS about the history of
this print.....his background & illness, a visit to the actual location
(most people think the figures are on a bridge or a pier but it's actually
a road next to a sanitarium that overlooks the city and the harbor) , the
possible inspiration for the image and discussion on the many versions of
the image that Munch himself created and of course the recent
commercialism that the image has received....

Did anybody else see the cable show this week (Ovation channel) on
american artist Chuck Close ? Another great story of an artist overcoming

Thanks....Julio Rodriguez (Skokie, Illinois)
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Message 6
From: Aon97 #
Date: Thu, 16 Jun 2005 20:35:05 EDT
Subject: [Baren 28148] Re: email art scam
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mfykes wrote:

> In short, my reply to him was that I would not, under any circumstances,
> him any work without first receiving full payment and that I was aware of
> several scams which are being used to separate art work and money from

And yet, doesn't it give you a warm feeling, knowing that people still want
to steal art?
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Message 7
From: FurryPressII #
Date: Fri, 17 Jun 2005 07:14:52 EDT
Subject: [Baren 28149] Re: Works in progress
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Thanks for the link Andy. I always enjoy your work.

john c.