Re: Gum and Photogravure, was: varnishes
Sorry -- I guess I am the one drawing a parallel between well
made oil paintings and well made photogravure prints. I
inferred that you were saying oil paints and oil-based inks were
similar in stability since they were both derived from linseed and
pigment. Canvas is/was often sealed which would make a difference with
the stability of paintings, but printmaking paper is acid-free. I'm
prepared to say a properly made oil-based photogravure print has
similar stability to a properly prepared oil painting...which
is what I thought you were implying.
Thanks, and my apologies for any confusion or putting words in your
Loris Medici wrote:
I didn't say anything about oil paintings in general since the substrate
is usually sealed before painting onto... (But nevertheless oil painting
has its own problems in other areas - not that it doesn't own its own
advantages in others.) About gum, the first thing that comes into my mind
is the fact that there are whole bunch of *pretty old* watercolor
paintings in museums / collections and such. Since the binder in
watercolor paints consist of mostly gum arabic, I don't see any reason to
be suspicious about it.
16 Kasım 2008, Pazar, 1:19 am tarihinde, Jon Lybrook yazmış:
I agree. Thanks Loris. And yes, the best oil-based etching inks are
made from linseed.
I believe you are right about carbon, from what little I know about it,
but is there any evidence to support the idea that a gum print is more
stable than an oil painting (or oil-based photogravure print)?
Loris Medici wrote:
15 Kasım 2008, Cumartesi, 9:30 pm tarihinde, Jon Lybrook yazmış:
... Oil based ink on cotton rag or alpha cellulose paper is essentially
pH neutral anyway, isn't it? ...
Shouldn't be if it's the same oil (linseed oil) they use in oil
painting... But of course since it's a lot stiffer than regular oil
it should have much less oil. Anyway, the oil (and acid) is still there.
So, I wouldn't consider a photogravure print as archival as say a carbon
or gum print made with non-fugitive pigments. But probably the
is moot - only a consideration for historians...