From: Darlington Media Group (postmaster@mediaworkshop.demon.co.uk)
Date: 05/14/00-06:36:08 AM Z
Dear All,
It has been fascinating reading the discussion regarding altenative methods
of glazing, plus some excellent reminiscences and also whether or not
ferrotyping or glazing is a topic for this forum. However, my original
question which began this thread, was ferrotyping altenative prints, not
silver gealtin prints.
Let me clarify. I would like to impart a glossy finish to some of my
Chrysotype prints in order to amplify the beautiful colours which are
apparent in the wash water but dull a little when dry. An age old problem
of seduction! I know that it is the preference of many, that a platinum or
even a gold print should have a matte surface and usually I would be in
total agreement with this edict. There may be an argument that by 'glazing'
a noble metal print, I would be adulterated by such treatment and may end
up being indistingushable from a digital print on a glossy paper.
Nevertheless, I am the author and artist and reserve my right to desecrate
my work in any way I feel fit so to do. <g> No one berates an artist for
using oil or acrylic paints instead of watercolours.
I do not wish to use waxes or varnishes as they may interfere with the
longevity of the print. The method I would like to adopt is 'cold glazing',
using a sheet of glass as a glazing sheet. The advantage of this method as
I see it, is that it is totally reversible. If the technique is
unsuccessful or if for aesthetic reasons the glazed print does not meet
with my expectations, then I simply return it to the wash water.
Yesterday evening, I took a reject 'Chrysotype' (I seem to get a lot of
these) and coated with 3% gelatin solution, drying the print thoroughly
between coats. I then 'hardened' the gelatin using a 2% solution of
formaldehyde (I din't have any glyoxal). I washed the print for 30 minutes
and squeegeed the wet print, face down, to a sheet of clean glass. I
covered the edges of the print with damp tissue and left the print
overnight to dry.
Trouble is, it didn't work! The print had separated from the glass but the
surface was as before, matte! Where did I go wrong? Is it possible to glaze
an altenative print in this way? Any comments that are relevant would be
greatly appreciated.
Thanks ........ Tony McLean.
Why not take a look at the latest issue of Camera & Darkroom magazine?
http://www.camera-and-darkroom.co.uk
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