Re: tricolor gum question - yellow
Ah, sorry, I misunderstood you to mean you were trying to achieve a
muted palette rather than accurate color representation.
On Nov 18, 2009, at 7:52 AM, Paul Viapiano wrote:
Well, these colors were chosen to try out Keith Taylor's palette
which he uses for perfectly realized c-print gum equivalents. Of
course, he uses a custom color profile that lets him create negs
that are tailored to his colors. I've had some great results with
these colors and my non-custom workflow, however every once in a
while (and esp when using wax paper negs) I get a result that is
more garish in tone.
I DO have other palettes I want to try in the future, but I am
trying to get a baseline with these particular pigments for future
work.
Paul
----- Original Message ----- From: "Katharine Thayer"
<kthayer@pacifier.com>
To: <alt-photo-process-l@usask.ca>
Sent: Wednesday, November 18, 2009 6:47 AM
Subject: Re: tricolor gum question - yellow
Hi Paul, if you want a more muted yellow, the best way is to use
a less color-saturated pigment. By that I don't mean less
pigment, but a pigment that is inherently less saturated in hue.
Jim has it right about cadmium yellow being high chroma; if
you're looking for a muted yellow that makes terra cotta instead
of bright orange, cadmium yellow isn't going to be it. If you
want very dull muted shades, the earth yellows (yellow ochre,
naples yellow) will do the trick, but if you want a more
transparent, livelier color mix with less saturated hues, I'd
head in the direction of quinacridone gold or PY110. If you do
want a muted palette overall, then I'd also change out your other
pigments to pigments with less saturated hues: ultramarine or
indanthrone or prussian instead of pthalo; deep scarlet or even
burnt sienna or burnt umber for the red. I like a muted palette
myself, and pthalo in combination with quinacridone rose (point
of information: the Daniel Smith "quinacridone red" is actually
quinacridone rose (PV19) not quinacridone red (PR 209)) and a
bright yellow make a palette that is altogether too garish for
my taste.
Katharine
On Nov 17, 2009, at 1:56 PM, Paul Viapiano wrote:
Hi all...
After making several tricolor gums, I am feeling that my yellow
layer is a bit on the heavy side. Where I am expecting muted
yellow- browns in my final print, I am seeing a brighter shade
slightly on the garish side. I see this with oranges as well.
Where I expect a more terracotta color I am seeing a brighter
orange.
How can I correct for this? Should I mute the yellow by doubling
the gum arabic in the pigment mixture? Or expose that layer less?
I can also change colors...at the moment I use Cad Yellow Pale,
along with Quin Red and Phthalo Blue RS, all Daniel Smith
pigments. Maybe toning the Cad Yellow down with something like
Raw Sienna will mute the vibrancy...
Thanks!
Paul
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