[alt-photo] Re: color theory?
dhbloomfield at bellsouth.net
Tue Nov 22 20:38:15 GMT 2011
That's a good point, Paul. I'll second that. And that "beautiful
uncertainty" might make the process frustrating at times, but that's
such a great way to put it, and it does make it all so much more
On Nov 22, 2011, at 3:33 PM, Paul Viapiano wrote:
> A lot is decided as the print unfolds...many times a color won't
> print as dark or as saturated as you planned, which will make your
> next move different than you originally thought.
> There's a beautiful uncertainty to gum that allows one to go with
> the flow. Many times I planned on doing 3 layers and ended up with 5
> or 6, because the print didn't say *finished* to me...
> ----- Original Message ----- From: "Kurt Nagy"
> <kakarott76 at hotmail.com>
> To: "The alternative photographic processes mailing list" <alt-photo-process-list at lists.altphotolist.org
> Cc: "The alternative photographic processes mailing list" <alt-photo-process-list at lists.altphotolist.org
> Sent: Tuesday, November 22, 2011 12:27 PM
> Subject: [alt-photo] Re: color theory?
>> Thats what I was looking for,
>> I mainly work with traditional b/w in my darkroom so I was looking
>> for a game plan on how to attack multi-layer colors from a single
>> negative. I'd seen several beautiful prints that had upwards of 8
>> layers but wasn't quite sure how the artist picked their colors.
>> Obviously it's subjective to the image and what you're wanting to
>> convey but I like having a starting point to experiment from ;)
>> Thanks for the reply
>> On Nov 22, 2011, at 2:02 PM, Diana Bloomfield <dhbloomfield at bellsouth.net
>> > wrote:
>>> Well, okay, since nobody else answered, I'll just say what I do.
>>> I mentioned to someone recently that I use only about 3, maybe 4,
>>> pigments, and then they saw this big old tray of watercolor
>>> pigments, filled to the brim, in my studio. They asked what
>>> happened to my "3 or 4 pigments" that I use. I then had to
>>> explain how many shades there really are of blue or yellow or
>>> magenta-- kind of like trying to find the perfect gray wall
>>> color-- some have bluish or violet casts; others have green casts;
>>> still others have a red cast . . . (I just painted my living room
>>> wall a deep taupe gray, so I am way too familiar with that perfect
>>> elusive gray-- though I think I found it in Ben Moore's "Ashley
>>> Gray," in case anybody cares.)
>>> Everybody is different, but I tend to stick with either Daniel
>>> Smith watercolors or M. Graham, and typically use a Prussian blue
>>> for my cyan layer; a quinacridone gold for the yellow; and
>>> something to the left of a real magenta for my magenta layer
>>> (typically a burnt scarlet). For some reason, whenever I use a
>>> real magenta, things come out a little too pink for my taste.
>>> Those are for tri-colors. For multi-layer prints, from one b&w
>>> negative, I stick with a lot of warm browns and maybe a prussian
>>> blue to darken shadows and maybe a gold for some highlights. I
>>> don't do a lot from one negative, but when I do, that's what I
>>> do.. That's kind of vague, I guess, but there you have it.
>>> On Nov 22, 2011, at 11:10 AM, Kurt Nagy wrote:
>>>> Since we're on the subject of our individual process.
>>>> How does everyone decide what combination of colors to use for a
>>>> given print. Not a tricolor per say but a multilayer print. I'm
>>>> rather new at gum printing and have had success with single layer
>>>> and even single negative tricolor but I haven't tried
>>>> multilayers, mainly cause I'm not sure what works best.
>>>> I guess this is more of a color theory question.
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