U of S | Mailing List Archive | alt-photo-process-l | Re: Carbon on glass

Re: Carbon on glass


What's your glass thickness and do you need to prepare the surface of your glass?

Can you show us any sample of your printings?



-----Original Message-----

From: Marek Matusz <marekmatusz@hotmail.com>

To: alt-photo-process-l@usask.ca

Sent: Tue, 11 Sep 2007 3:21 pm

Subject: RE: Carbon on glass


Nice thing is there is no need to transfer. Since the exposure is from the back, the unexposed, unhardened gelatine sits on top of the image and dissolves nicely. The sharpness of the print is excellent despite the fact that the negative is separated from the image by a few milimiters. The trick is to us sun for exposure (or other collimated light source).


Date: Sun, 9 Sep 2007 20:06:13 +0200

From: tsobota@teleline.es

Subject: Re: Carbon on glass

To: alt-photo-process-l@usask.ca

Hi, Marek,

I have used Sumi ink for transparent black with good results.

Your idea of coating glass to get a tissueless carbon, so to speak,

interesting, but I don't see very well the benefits over the usual

of transporting exposed carbon tissue on a glass sheet. Do you get

definition exposing from the back?

Tom Sobota

Marek Matusz wrote:

> Thanks for the tip and the link. Sounds like very similar
phenomenon as

> described in the dissertation. I will try my trusty Daniel SMith

> but I guess powdered pigments are safest.

> Marek




> Date: Sat, 8 Sep 2007 11:36:38 +0200

> From: halvor@ydl.net

> Subject: Re: Carbon on glass

> To: alt-photo-process-l@usask.ca


> Hi, yes .. Some watercolours contains ox gall wich can harden

> gelatine. Winsor & Newton is supposedly one case. I have only tried

> Holbeins which works fine.


> (problem is mentioned on page 65 in a thesis here

> _http://www.katayoundowlatshahi.com/research.php_ , there is a lot

> about carbon on glass in that thesis & very interesting images,

> recomended :-)


> Halvor




> On 9/7/07 5:48 PM, "Marek Matusz" <marekmatusz@hotmail.com> wrote:




> All,

> I need some help from carbon printers here. I have been

> experimenting with carbon on glass. My pigment was lamp black. I

> used back exposure of the glass plates in the sun and it all

> worked very nicely. It really seems so easy. I then decided i

> wanted a transparent black and made gelatine mix with perylene

> maroon and phtalo green ( this has been my favorite black for

> gum printing). It really gave a nice black gelatine solution. I

> coated a few glass plates, sensitized, exposed, but they were

> all insoluble, no image was formed. Something was not right, so

> I remelted the gelatine and covered some more pieces of glass,

> cut the dichromate and exposure, but with the same end result.

> The gelatine was insoluble and no image. AT this point I was at

> a total loss, so I tried a different batch of dichromate, but

> with same result. Finally I placed a dried, but unsensitized

> glass plate in hot water. To my surprize the dried gelatine mix

> would not redissolve in hot, hotter and very hot water. SOmehow

> one of the pigments or something else in the watercolour paint

> that I used as a pigment source made the gelatine totally

> insoluble once dried. I had an extra glop in the fridge and

> remelted it again and it melted fine.

> Has anybody seen that before? Are there some pigments that are

> not compatible for making carbon tissue? What do people used for

> transparent black?

> As a side comment I find that carbon on glass with back exposure

> (did I mention earlier that it is all back exposure) is

> relatively easy, much easier then gum. Gum does not stick to

> glass, so the glass needs to be treated, gelatine sticks to

> clean glass very nicely. It is also easier to coat with

> gelatine as it sets quickly and the plates can be moved from the

> flat surface.

> Marek


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