From: lva (lva@pamho.net)
Date: 09/08/00-02:00:57 AM Z
Hi Cactus Cowboy,
Very nice how you are quoting. I'll adopt your standard.
Cactus Cowboy wrote:
> I've really enjoyed the thread on three-color gum.
Me too. While you're ambitious with your thousands of cacti, I seem to
be over-ambitious with my gum printing. I'm still planning to print in
three-colors, but now when I tried it I already had problems with two
colors.
Here's a description what has happened:
First coating with Lefranc & Burgois or whatever that brand is called
Sepia. Everything came out fine. A clear sharp sepia image on
140 lb watercolor paper. I was in bliss and thought I knew how to print
in gum.
Second coating, dark green pigment, same brand as before, same exposure,
same development, and voila!, that green gook is not going to come off
that sepia print. No matter what I do. It's especially strong in the
highlights where it shouldn't be at all. In the end I took a brush and
rubbed it off, but now the print looks like a Martian had puked on it.
So I wonder what went so right with the first coating, and so wrong with
the second. I used the exact same amount of gum and dichromate. I dried
the emulsion under the exact same conditions. I exposed in the exact
same way.
The only thing I didn't do was coat the paper with gelatin because I
don't like that stuff. But could that missing gelatin be the reason for
a first class result in the first coating and a disaster in the second.
Cactus Cowboy wrote:
> I like using the cyanotype because it gives a clean, hard image in one
> exposure, and, when combined with gum overprints, yields a nice, deep
> black in shadow areas.
How does one make cyanotypes? Is it an emulsion similar to the one used
in gum printing? Does one expose it through a negative or a positive?
Brahma
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