Re: Paper for Oil Printing

[Richard Sullivan <richsul@earthlink.net>]

Witho,

Suposedly I had what Americans call "dumb luck." But there might be a 
message there. Another thing we call in the vernacular, KISS, that is "Keep 
it simple stupid." Of course this does not refer to you in any way! It's 
just a phrase and there is even a set of books with KISS in the title, like 
the "For Dummies." [It's an international list and sometimes folks forget 
that some don't understand local colloquialisms.]

Your the three separate coatings seem to be overkill and could be the 
source of a lot of problems.

Since you don't have a coating machine I'd use Sandy's (King) laydown 
method for making carbon tissue but only use it for laying down a 10% clear 
coating. He has a book on carbon for sale (not meant to be an ad, but we 
have it or you can order from him as well. I think I recall you do make 
carbon tissue so this might be easy for you.

Here's how I'd proceed: Make a 10% solution, use as high a bloom as you can 
get. 250 would be good. Start with 5 ml of glyoxal per 1000 ml for hardening.

Sensitize in 5% ammonium dichromate of equivalent amount of pot dichromate.

I suspect after treatment with glycerine might help. I didn't use any after 
treatment and got fairly good results.

I ink with an American Bromoil brush that we carry and Chemical and Ink Co. 
Litho ink straight out of the can. I did use a teeny amount of naptha to 
think it but be careful! A little goes a long ways.

Will I be seeing you at APIS Bradford? I'll bring the prints.

--Dick

--Dick




At 11:18 PM 5/1/2002 +0200, you wrote:
>So Dick,
>
>Don't go around the matter, what is your advice for me !
>
>Witho
>
>
>----- Original Message -----
>From: "Richard Sullivan" <richsul@earthlink.net>
>To: <alt-photo-process-l@skyway.usask.ca>
>Sent: Wednesday, May 01, 2002 9:51 PM
>Subject: Re: Paper for Oil Printing
>
>
> > A month or two ago I had coated some gelatin 290 Bloom on Stonehenge 240
>gm
> > paper on my coating machine.
> >
> > On a lark I decided to sensitize it in 5% ammonium dichromate this was
>just
> > a best guess idea as I was going on memory. I exposed the neg and washed
> > the paper for about 5 minutes. I then found an old bromoil brush and some
> > Senfelders black litho ink and started pounding away.
> >
> > That produced the first print of the trees in the snow. Note that these
> > were test negs and not anything exceptional as I was experimenting with
> > carbon tissue.
> >
> > This took about an hour of pounding to produce.
> >
> > The second one was overexposed and it took another hour to ink up. This
>was
> > my first attempt at either an oil or bromoil but I've watched Gene
>Laughter
> > ink prints at APIS.
> >
> > Both prints are on a page at:
> >
> > http://www.bostick-sullivan.com/carbon/OildPrints/oil_print.htm
> >
> >
> > No glycerine no fancy schmancy stuff, just gelled paper,  dichromated,
> > exposed, washed and inked.
> >
> > The Stoenhenge comes in 50 inch rolls so I cut it down to a 25 inch and
>can
> > run 15 feet lengths now. I've considered making an oil paper for the
>market
> > but thought there might not be much of a market for it. I have the two
> > prints in our reception room and people are quite taken by them.
> >
> >  From observation oil prints are more vibrant than bromoil. Gosh they ink
> > up nice compared to what I've seen with bromoil.
> >
> > Bromoil does have the advantage of not needing an enlarged negative but
> > from the little experience I've had my recommendation is if you have a
> > large neg go with the oil print.
> >
> > --Dick Sullivan
> >
> >
> >