Just some thoughts. Is this work to be archival or
temporary? Does it have to be plywood? Plywood is going to be a tough substrate
to work with unless you find some way of sealing it first. As just one example,
think about how you are going to rid the print of the fixer. What happens to
plywood when you bath it in water for 20 minutes to an hour? Maybe a marine
grade mahogany used in boat building would work better than spruce or fir core
you'd find at a home centre. Mahogany is pretty dark
though. Personally, I'd probably build a big slot processor, vertical,
about one foot off the ground, make it out of acrylic, make it just big enough
to hold the work and so that topped up it holds less than a gallon of
chemical. Build a spigot into the base for collecting and reusing the chemicals.
Build a basic bottom to top circulation system using an aquarium pump and ABS
pipe. Working near a floor drain would be helpful too for exiting rinse water.
Sounds like fun.
----- Original Message -----
Sent: Saturday, September 23, 2006 1:56
Subject: Liquid Emulsion Questions
Hello, I am an artist working in Oakland CA. To make a long
story as short
as possible here is my dilemma:
I want to make high
contrast, Liquid emulsion prints on plywood
to set up a system in a darkroom so I can coat, expose and fix the
of wood in a standardized way, meaning I need to have a set-up so that
With that set up, I need to find a way to not get chemistry
all over the
floor. I have tried using a plastic drop cloth, but I have no
way to collect
and properly dispose of the chemistry, especially the
I also need to know if I can expose the Variable contrast
emulsion with a slide projector and a number 5 filter? I've
colloid AG-Plus before (on watercolor paper) and had decent
results, but not
high enough contrast.
I Also need to know what kinds
of developers, fixers, etc would work best
for this project??
to hear any and all suggestions, especially from artists who have
this sort of thing before.
I really appreciate your
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