Alberto's reply never got to the list so I cut and paste below.
It is a good one and completely clarifies the confusion between the names.
BTW I have had issues lately with my posts not coming back to me. Has anyone else been having problems with posts?
This is probably a question for Alberto Novo...is there a difference between resinopigmentype and resinotype? One of my students gave a talk on the resinopigmentype (complete with Novo's images) and I didn't have an answer for that.
My answer is yes and no... YES: because Rodolfo Namias' resinotype was named "resinopigmentipia" (equivalent to "printing with resinous pigments") when he first announced his invention in October 1922, but about a year later he deposited the shorter name "resinotipia". This second name has been used in all his publications. Namias received Clerc in Milano showing him his process in June 1923, and Clerc reported an half page description of "résinopigmentypie" in his "La technique photographique" edited since 1926, although its name was changed in the meanwhile. Instead, both the Russians I.K. Laubert ("Photographic Recipes and Tables", 1931) and P.V. Klepikov ("Chromium salts Positive Processes", 1938) correcly report "resinotipia" (The Russian language prefers to write the phonetic instead of translating the foreign words). The same for Glafkides' "Chimie et Physique Photographiques", at least for the 1976 edition. Stricly speaking, the name "resinopigmentype" should so be abandoned. The confusion perhaps still lives owing to the Clerk's manual (see below). NO: if you want to distinguish among the original Namias' patended process (which claims for a "resinous and greasy" powder) and its imitations and variations. These last don't use resin or greasy substances and are more similar to the classic dusting-on or Sobacchi's process, using a gelatine substrate. I have been told that Michel Bertrand, on suggestion by Gérard Traquandi, experimented in 1985 some historic techniques and, with his background on pictures on ceramics, adapted Namias' resinotype. That process was named "résinopigmentypie" referring to the Clerc's manual. In 1993, Bertrand shared his knowledge with Alfons Alt, who in 2000 granted the European Publishers Award for Photography with his book "Bestiae", whose images were obtained with his process. Alt's resinopigmentype does not rely on resinous pigments, nor the gelatine is heated before dusting. It is shown and described in http://www.alfons-alt.com/alfonsalt-fr/Altotypie/resino.html (all in a row). I have had these information by Sebastien Jouanny, author in 2003 of a thesis with Jean-Paul Gandolfo and Alfons Alt on "Le résinopigmentype - Formulation et application du procédé sur support bois". Jouanny wrote that "Ce procédé nommé par son inventeur la Résinotypie, est désigné aussi sous le nom Résinopigmentype par exemple dans l'ouvrage de L. P. Clerc, La technique photographique, 2ème édition, Paul Montel, Paris, 1934, p.668. Nous prenons comme convention de conserver le terme résinotypie lorsque nous abordons la période antérieure à 1930. Sinon, nous utiliserons la dénomination résinopigmentype pour la période postérieure à 1930." Clearly, this statement does not take into account what Namias wrote in "Il Progresso Fotografico" about the renaming of his process. Alberto