U of S | Mailing List Archive | alt-photo-process-l | RE: Artistico Unsized?

RE: Artistico Unsized?

It's been some time since I used this method so I am having to do some
recall from over 20 years ago. Actually in the late 60's and early 70's.

Judy is right on one count, It does leave some goo on the back of your print
which stiffens it and makes it a lot less paper like. A decade or so ago
there was a young women in France using the system to a great success --
according to her -- and I believe she was mounting with shellac and removing
it with alcohol so she had solved the gooey problem.

As for peripheral registration, that never was a problem with me nor was the
reg pins.

Drymount buckling? Yes if you do not dry the paper out with a pre-press
first. Maybe that is not in the old instructions. Air can get between the
substrate and the tissue.

Lots of disadvantages fer shure. 

It may be a bit overkill now that we have printers doing the quality of work
that Keith Taylor, Kerik and others are doing. 

At the time the big advantage was you could do a light exposure with a short
development and blow dry the print before it puddle and ran the pigment. One
could coat, dry, expose and develop in a matter of 5 minutes per coating and
build up the print in layers, so you could sort of sneak up on it. 

If you use a 1/8 inch aluminum sheet for the substrate, it has to be very
flat, you can make a coating, expose it and blow dry it till is wet but not
runny, then lay the substrate on a leveling tripod (home made) and let the
coating flow a bit. You can get a very interesting effect, very pictorial if
done right. The pigment will flow in a light fog-like effect from the dark
areas into the lighter ones, but you have to get the wetness just right
otherwise it will leave hard rings on the periphery of the flow. I never did
perfect this as I impatiently moved from one thing to the next, never
staying around long enough to really get something right.

--Dick Sullivan 

-----Original Message-----
From: Judy Seigel [mailto:jseigel@panix.com] 
Sent: Friday, August 24, 2007 9:55 PM
To: alt-photo-process-l@usask.ca
Subject: RE: Artistico Unsized?

On Fri, 24 Aug 2007, Ron Guidry wrote:

> Hey Loris.
> I think that I may have found a solution to your problem. This is an 
> ingenius (at least I think so)  procedure that Richard Sullivan came up 
> with to solve the problem of paper shrinkage and registration for gum 
> printing. The link is:

Ron, have you actually done that method?  Don't recommend it if you 
haven't -- and if you have, and it doesn't drive you batty, you may be 
more into "registering" and its comcomitant labors than printing. Either 
that or you are a magician.

A few of the drawbacks are -- to begin with, those register pins, only 
partly because register will be from the edges, which are peripheral, so 
to speak, not the center, which is where the subject is likely to be. 
Keeping pressure over the pins is more hassle than the description 
suggests, and anyway the damn things do not stay home, but are gone to a 
convention somewhere else no matter how many you have.

My own experience is that the drymount is likely to buckle, in which case 
lots of luck. Many printers don't want a layer of gunk on the back of 
their print, or to trim to the borders of the print, which gives a hard 
edge and of course loses the deckle; the idea of "saving time" by being 
able to do rapid coats is kind of meaningless, given that the register 
operation itself is long & tedious, longer than any coating and developing 
I know of, and what's the rush -- it's not a race. I'd rather anyway do 
many prints at the same time than speed-print through one.

There can also be problems with a large print on a rigid piece of metal... 
you can't for instance belly it to ease into a tray but have to splash or 
splat or clunk it down...gentle rocking isn't feasible, and so forth and 
on...(These are points that leap to mind, tho there are surely many more.)

Not that some folks might not mind any of the above... but if it were 
really the solution it would be common practice. Fastening a print to a 
rigid substrate has been advised / explained in one way or another since 
about 1905 (if I remember correctly... those olden days can fade from 
mind)... but never really "caught on." True, dry mount presses and 
drymount sheets can solve some problems, but the basic issues remain, or 
even grow.


> Hope this helps,
> Ron Guidry