From: Keith Gerling (kgerling@ameritech.net)
Date: 11/12/01-04:35:54 PM Z
Thanks. Can you recommend a brand of pigment? 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
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