>Motrtenoen's, that I acquired from Jack MacDonald 20 years ago. Jack taught
>in Mortenson's school in Laguna Beach. As I recall, it was a witches brew
>that included egg white and Carter's Muscilage among other things. When
>mixed it coagulated into somethng resembling rubber typewriter cleaner.
>Judy Siegal might know whether this stuff has any advantage over plain old
>gum.
>Jack also did a process that he claimed came from Mortonsen called
The above spells "Mortensen" three different ways... none of which is
right. Correcting typos on a Net list is usually futile except in cases
like this when we are dealing with a significant contributor to the art. It
is important to have the right spelling if we want to be able to find him
in electronic databases, indices, libraries, etc.
Mortensen produced fabulous work with his Metalchrome and Abrasion Tone
processes
>Etch-a-tone. The print is made on a canvas type paper, in the old days it
>was Portrait Proof, which was a favorite of M's. The print is taped down to
>a work surface and with a cotton swab coated with a painting medium
>(Grumbrachers I believe). He then uses a dark brown (any color will do) oil
>pigment and with aswab, coats the complete print. The print is now almost
>invisible under the haze of brown. The oil is now gradually removed from the
>print using more medium as a solvent if necessary. More is lifted from the
>highlights and less from the shadows or vice versa. It sounds difficult but
Interesting. This is basically the description of "Mediobrome", first
described, as far as I know, by Leonard Misonne in _Die Galerie_ in 1938.
Misonne used this technique between 1935 and 1943.
Do you have an exact citation for the Etch-a-tone? I can't find any in my
databases. I am trying to determine who plagiarized whom.
Luis Nadeau
Fredericton, NB, Canada