Re: Seeking Information on 2 problems with Gum process
Thanks so much for the reply -- I didn't mean I WOULDN'T get
answers, just that I was warned this wasn't a place for basic
But thanks for the iron info -- I had been ironing the sheet the
first time for one pass gum and for cyanotypes, but didn't dare
muck after it was exposed, washed and dried.
Interestingly, the yellow I used was quite lovely and rich and
non-staining -- it was Holbein's Yellow Ochre Watercolor.
And, I only learned about your book AFTER I got on this list --
and since I'm a nut about books, it's next on my list. One can
never, ever have too many books.
When I'm not actually reading this list or making prints, I'm
looking up things on the net and/or reading what I already have.
And, since I posted my question, I stumbled across Sam Wang's
article about starting with a Cyanotype -- for the first pass
and, obviously, for blue. So that's what I'm doing today.
And, I must say, it's been 40 some years since something so
grabbed me by the throat and soul as this world has.
and thanks again!
VT2000 Technical Services: http://www.vt2000.com
Christina Z. Anderson wrote:
I disagree-I was a newbie in 1999 and got LOTS of answers to my
questions, and continually. The only problem is sometimes there were
major disagreements over them :)
For any process where you wish to coat and expose the same piece of
paper multiple times, what do people do with the severely uneven paper
I have been using the iron continually with great results, on "cotton"
setting. Discovered this just this semester, when having to do a project
of 40 gum prints quickly and dealing with immense curl. I don't have my
own dry mount press at home :( It is amazing how hardy the gum layer is
once it is dry.
What do people use for the best
I have an arsenal of pigments I use, and in my Alt Proc Condensed book I
list several pages. I am not shamelessly plugging my book, I am just
saying that the answer to this question is really about 3 or 4 pages.
First of all, with good sizing, no color stains. Otherwise all bets are
off. Second of all, you have to worry about pigment archivalness.
Third, you can take into account transparency depending on when the
pigment goes on the paper. For instance, cad red or cad yellow are fine
for a first coat on the paper where nothing is below. But sometimes a
color that is not so transparent and used on top of other colors can
deaden the ones below a bit.
non-staining results? (
I just counted and there are 41 colors on my table.
A simple answer to your question is choose a brand--Winsor, Maimeri,
Daniel Smith, M. Graham, and choose the primary yellow, red, and blue in
each brand. I think they are even called that in Winsor as well as
Maimeri. The blue is usually phthalocyanine, the red is usually a
magenta like a quinacridone rose PV19R, the yellow is the pain in the
butt because it is either green biased on orange biased and that depends
on which way you want to lean but an azo yellow works ok enough. For
black, lamp or carbon are fine.
If you go with M. Graham buying the 4 colors will set you back about
$20-30 is all.