From: Judy Seigel (jseigel@panix.com)
Date: 05/14/00-12:24:50 PM Z
On Sun, 14 May 2000, Darlington Media Group wrote:
> ... 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.
And here I am on the other side of the ditch, still hoping for a gloss for
gum.. Have tried numerous approaches, only one of which was even partially
successful -- but that might work better on one-coat chrysotye than on gum
with its varied hills of emulsion. That is, several coats of Renaissance
wax. Rub on a coat. Polish, then rub on another. After several coats, the
print DOES get a deepening shine (I read about it on this very list, BTW).
Trouble is, a HELLUVA lot of work, not feasible at all for a 16 by 20 gum.
Also the number of coats gave more gloss to the clear paper than I wanted.
However, my hunch is the chrysotype would take only a couple of coats. The
Renaissance wax is, incidentally, perfectly archival, or so is stated,
used in museums, etc.
I mention now for the 52nd (by precise count) time, that Demachy wrote
about using a Vernis Sohenee (or like that), which he claimed fully
restored the "wet look" of the gum print, shining up the tones, but
sparing the naked paper. Sadly, I've never been able to find either itself
or translation.
Judy
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