U of S | Mailing List Archive | alt-photo-process-l | Re: More to see in NYC (Hint: Sookang Kim) (fwd)

Re: More to see in NYC (Hint: Sookang Kim) (fwd)

  • To: alt-photo-process-l@usask.ca
  • Subject: Re: More to see in NYC (Hint: Sookang Kim) (fwd)
  • From: "Christina Z. Anderson" <zphoto@montana.net>
  • Date: Sun, 01 Feb 2009 18:56:11 -0700
  • Comments: "alt-photo-process mailing list"
  • Delivered-to: alt-photo-process-l-archive@www.usask.ca
  • List-id: alt-photo-process mailing list <alt-photo-process-l@sask.usask.ca>
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  • Reply-to: alt-photo-process-l@usask.ca

Try gouache pigments, but when you mix the pigment into the gum it gets diluted somewhat so is not as opaque as one would suppose, for instance, like silkscreen paint. But I used to use gouache in gum layers years ago. Watch the lightfastness of gouache paints, though.

Christina Z. Anderson
----- Original Message ----- From: "herr unterberg" <phritz-phantom@web.de>
To: <alt-photo-process-l@usask.ca>
Sent: Friday, January 30, 2009 4:40 PM
Subject: RE: More to see in NYC (Hint: Sookang Kim) (fwd)

your descrption of the process sounds like sookang uses more opaque coatings for her gum prints than usual. i've thinking about this myself, to print gum like in for example woodblock printing, with completely opaque layers of colour. is there a way of getting there with gum (very thick gum, lots of pigment? certain pigment?) or would it be better to use a different process, like egg-tempera-printing?

(btw. first post. hello everyone. i've been reading the list for quite a while now (ever since wandering off into the territories of gum printing about two years ago) and hope that it's fine to post stupid questions every once in a while. also please be kind to my english skills, i'm from austria).

I forwarded our discussion about her process to Sookang (and am going to forward getting on the list), and here's her reply... which may be clearer, and certainly more authentic, than my guesses: But I also understand that the Sepia Gallery on 24th St -- even after the current show is over -- has some of Sookang's prints on hand, and will show them on request.

But anyway this discussion would make a LOT more sense if you've seen the prints... There are also a bunch of other great shows in NYC now, including at the Whitney & Metropolitan. (They probably do that on purpose when the wweather is WORST) if someone needs extra incentive to visit.
---------- Forwarded message ----------
Date: Thu, 29 Jan 2009 08:35:00 +0000
From: sookang kim <sookang@hotmail.com>
To: Judy Seigel <jseigel@panix.com>, alt-photo-process-l@usask.ca
Subject: RE: More to see in NYC (Hint: Sookang Kim) (fwd)

Hello Judy and Keith,

Thank you for your reply.

Here's the answer to your question.

I usually develop the print with high water pressure from the hose especailly when I want very rough texture.

First of all, I put really small amount of black pigment in the emulsion for the prints at Sepia show. And exposed it to the ultraviolet light for 3 minutes. And put the paper into the water and left it for over 2~3 hours. The image was perfect without any grain then. At that point, I broke the smooth emulsion surface with high water pressure, which made surface rough and at the same time the image got extremely pale and weak because most of the pigment was washed away to make rough texture. That one coat was too weak to make enough density, so I repeated the same process 4 times more. The reason why I put very small amount of pigment is to make a light gray, not heavy one. I needed light gray with full density.

Hope this answer is clear to you...


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