Oleobrom information and more.

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Grafist@aol.com
Date: 03/03/02-06:48:40 AM Z


Hi folks, Back on the ground, again.....

Kirk Toft has kindly shared the following experiences he has acquired over
the past ten years plus some other news about a book on alternative processes
to be released in July this year by Andrew Sanderson.

>Oleobrom then, it's just another way to make a Bromoil if you ink up
entirely with >rollers as in the original way of working in Oleobrom then the
pigmented image is >very fine indeed and has the look of a carbon print as
does an image produced in the >Bromotype process ( another way, but this time
inking over a soft flat re-developed >image).
>Using rollers is the only real way to reproducing all the original tones of
the bromide >print.
>Using rollers was the original way to ink-up oil prints its quick and fairly
easy and >this is possibly why Renwick and Shepherd incorporated it into
their Oleobrom >process.
>It seems the Oleobrom paper was hardened, so going by this Kentmere Document
>Art paper which is also hardened though not supercoated is a little similar
to their >paper.
>The basic method of working the process is to coat the DRY matrix with a
thin ( >medium - stiff ) ink until no white areas are visible.
>Then place the coated matrix in a flat bottom dish or a cork based pad in
the dish >submerge the matrix and after about 5 minutes run a CLEAN roller
back and forth >over the matrix, this cleans up the matrix and only ink in
the shadows should remain >on the matrix, take the matrix out of the dish,
mop off the water droplets, ink up >again with the ink roller and place back
in the dish and so on until the image has >built up to the right tone and
contrast. It can be finished off with a brush to make it >look like a
traditional bromoil print.
>Another way is after producing the matrix, whilst still wet to ink up with a
soft ink >Intaglio 1796 works well, again, coating the whole surface with a
thin deposit.
>Then continue as with Oleobrom but the water should be at 100 degs.F
>If you work with R/C papers then with bromoil the ink goes on easy but comes
off >very easy too, so by coating the paper first with ink leaving it to dry
out then >proceeding as per bromoil the ink is already based and because it
has hardened a >little it will tend to stay on the matrix rather than going
back into the brush ( this >does not happen with Kentmere Document art).

>Andrew has just published a book on alternative processes it's due out in
July, I >helped him on the Bromoil chapter and it's based on my method of
working in >bromoil with illustrations inc Gene Laughter and Maiya McDougal.
>I was thinking of putting forward my name for Oleobrom at this years APIS at
>Bradford as there is some interest in the process, and I'm only 25 minutes
away >from the city.
>People forget this area was an epicentre for alt ways of printmaking and
>pictorialism in the 1920's, Alex Keighley carbon worker,Steeton nr
Bradford. Herbert >Bairstow Bromoil
>transfer, Halifax. Gundill. Dewsbury bromoil worker.
>Almond, Bradford a gum worker.
>Fred Judge bromoil transfer worker Ossett Wakefield.
>M. Houghton paper negative worker Bradford
>To day there is Keith Spence Bromoil circle member Haworth and myself
Bromoil, >Bromoil-Transfer, Oleobrom and Bromotype continuing the tradition.
..........................................................................
     Regards to all. John Grocott- Photographist. London


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