From: Keith Gerling (kgerling@ameritech.net)
Date: 11/12/01-04:34:39 PM Z
Thanks. What brand do you suggest? I've noticed that the blacks are all
over the board. Lately, I'm using mostly Daniel Smith watercolors, which
are (with black) vastly different from, say, Rowney.
Keith
-----Original Message-----
From: pete [mailto:temperaprint@blueyonder.co.uk]
Sent: Monday, November 12, 2001 2:34 PM
To: alt-photo-process-l@sask.usask.ca
Subject: Re: Zimmerman's gum process
on 12/11/01 2:08 pm, Keith Gerling at kgerling@ameritech.net wrote:
> Judy asks:
>> "(I think Keith Gerling has been more successful with black layer than I
>> was, however, maybe because he's a finer person, maybe because he knows
>> how to make the right black neg digitally. Keith, are you there????)"
>
>
> Even when I'm looking for a softer look, I always use black to some
degree.
> Without it, the print lacks "punch" (and I realize that a "punch-less"
look
> is exactly what draws many people to gum printing - but not me.) In many
> instances, the black is of a "skeletal" nature, adding density only to the
> deeper shadow areas. Arriving with the right pigment can be quite
> problematic, as many of them are difficult to control: for me, lamp black
> and sumi inks stain, Ivory black is too weak, etc., and because of this it
> can be useful to use a mixture of other colors. But my purpose in mixing
is
> not so much an attempt to enhance the primaries, but to just get adequate
> density. (I just received some Lunar Black from Daniel Smith, but I
haven't
> tried it yet). I treat black as any other color, and if it clears
properly,
> I don't see what it should be any more difficult to control.
>
> Keith
>
>
>
>
>
Keith, I have used Mars Black for a number of years coming to the same
conclusions as you, re lamp and ivory. Mars black works very cleanly for me
and is slightly warm in colour
--
This archive was generated by hypermail 2b30 : 12/10/01-11:12:21 AM Z CST