This is not an 'I told you so' but if my memory serves me correctly I
recall a note from you a few weeks back about not having much success with
your gums over a week-end printing session. Only you know what you meant
but it has been my experience that print quality can change for what
appears to be no apparent reason. Despite this, we both know that there
are many very beautiful gum prints in this world. I will take a gum print
over a silver any day of the week so if I offended any gum printers
consider the statement retracted.
> Here is the first of four prints that I have included in my slide
> These first six slides show the cutting and frame mounting of the paper
> . . . Rives BFK. Though time consuming, the mounting greatly eases
> handling throughout the process and in my opinion aids in producing a
> higher quality print.
>
> [Thought this might interest you: Obviously, I couldnÕt use the frame in
> the vacuum easel, but cut out center of a sheet of 1/16th inch plexi to
> make a sort of frame. So far looks promising as way to hold print rigid
> for re-register. HavenÕt fully teste d it yet as IÕm doing too many
I tried this but my plexiglass was too thin and the paper warped it as it
dried. You may have better luck with it, but try thick plexiglass.
> . . . the gum printers out there already know what happens when you try to
> mix alcohol and gum; the gum coagulates
>
> [Art, no I don't know that.... I've mixed gum formulas with alcohol added,
> only about 10%, but coagulation not a problem.]
The gum handbooks you are about to look at indicate it is incompatible and my
own tests made a white mass of gunk floating in the alcohol. I've used
isopropyl and methanol, you may have used some other type. The reason my
formula works is that the gum and gelatin are first mixed and I believe
that the gelatin surrounds the gum so that it is protected from the
alcohol.
> I use a Badger detail gun which is really nothing more than a small spray gun.
>
> [Is that an airbrush? Operates on a compressor? Or?]
Small spray gun operated on compressed air. An artists supply store that
carries the Badger brand will either have them or have literature on them.
> For most prints I start with 84 F for1 minute assuming normal contrast.
> If I need to lower the print's contrast I move down to 80 F for 2 minutes
> or if I need to raise contrast I move up to 88 F for 1/2 minute.
>
> [You change both time and temperature. Why can't you use the same
> temperature for more or less time? and how did you choose those exact
> temperatures? Not to mention how do you get and maintain them?!]
Never tested this . . . it will give you something to check-out. The
development that I describe is in-fact the same as described in an old book
(waiting on a copy from a friend in England) as well as in Nadeau's books
in sections that discuss Fresson printing.
> . . .. directing the pouring of the slurry to specific areas.
>
> [what do you do that with? A watering can with a spout? Incidentally
Small cup but I have been told to get about 3 different sizes of funnels
and that will work better(more accurate), this is what Bill Foster had used.
> I've used the slurry several times for developing a coat that wouldnÕt
> develop..... It may speckle, that doesnÕt seem to matter when itÕs not
I guess I think that the slurry may work on other print types but I know
that it does work for certain on Fresson and DP3. I really think that you
need the right mixture of gum and gelatin to obtain the correct
characteristics for the slurry to provide the development action needed.
> I believe that providing prepared paper could become a top priority.
>
> [and I bet there would be a market too.... sounds simpler to use than
> carbon....]
I just need time and money but I'll take any help I can get.
Bill Foster shared a few of his prints that survived a flood. He would
not part with one (can't say as I blame him) but if you saw one you would
be impressed. The highlights have a sheen or glow (he and I both think
due to the gum content) and the shadows really look like you will get a
smudge of black on your finger when touched. That combination seems to
create a sense of depth to the print which I really don't understand but
my eyes and brain saw it.
Talk with you soon, Art
Art Chakalis
Columbus, Ohio, USA