From: Christina Z. Anderson (zphoto@montana.net)
Date: 02/24/03-10:03:34 PM Z
OH, yeah, yeah, you are right. I should specify that the q's I use are all
Daniel Smith, which are classified as exceptionally strong yet transparent.
The q violet is a staining pigment, tho, by D. Smith's calcs. I didn't find
that to be the case. And, btw, it is Hilary Page's guide to watercolors I
find wonderful, as she goes thru the actual pigment numbers in each paint,
much the same way that Wilcox does.
cza
PS Dave, maybe you and I can have a competition on who can produce the most
garish "big sky" since we both live in big sky country...I think my violet
chartreuse combo will do wonderfully...
----- Original Message -----
From: "Dave Rose" <cactuscowboy@attbi.com>
To: <alt-photo-process-l@sask.usask.ca>
Sent: Monday, February 24, 2003 8:49 PM
Subject: Re: gum printing
> I'm using powdered pigments at ratios ranging from 1g/10 ml gum with Old
> Holland Yellow Ochre Burnt to 1g/130 ml gum with Winsor Newton Winsor Blue
> (phthalocyanine). Quinacridone can be weak or strong, depending on the
> source. For example, I use Winsor Newton Permanent Rose at 1g/10 ml while
I
> mix Block X Magenta at 1g/125 ml. Both are "quinacridone" according to
the
> manufacturers. It varies so much from one source to the next. In case
> anyone's wondering, Block X Magenta is too biased towards blue to be a
good
> choice for 3 color or 4 color printing.
>
> Dave in Wyoming
>
> ----- Original Message -----
> From: "Christina Z. Anderson" <zphoto@montana.net>
> To: <alt-photo-process-l@sask.usask.ca>
> Sent: Monday, February 24, 2003 6:48 PM
> Subject: Re: gum printing
>
>
> > Dave, Katherine, and now 17 others I have counted!
> > Dave, what amount of powdered pigment do you use in your gum? I
see
> > most measures have 1/2-6g of tube paint per 12 ml of gum arabic; since
the
> > powder doesn't have fillers, you must use way less, huh? I have a bunch
> of
> > powdered pigments and then tons of watercolors, so I thought I'd try
both.
> > Also have some nice powdered golds that were an absolute bust when used
in
> > liquid emulsion--probably will be in gum, too.
> > Quinacridones are not weak, they are seriously strong, which is why
I
> > like them--the corals and siennas are gorgeous. I'm lucky in that I
have
> > all the paints anyway so I could try all kinds. This is what I found:
if
> > you want a brilliant chartreuse, use Daniel Smith green gold. With more
> > exposure, the more chartreusey it gets. I got the most garish but fun
> Pisa
> > with the green gold base and quinacridone violet on top--pretty trippy,
> not
> > for the faint of heart. Successful 2 coats for me were quinacridone
> sienna
> > and q. violet on top, q burnt orange and payne's grey, among others.
Then
> > D. Smith has a real 50's blue/green called cobalt teal blue, and I would
> use
> > that with moonglow on top. But moonglow would bleed all the time, so I
> must
> > not have exposed it enough.
> > I just got done reading thru Livick's book, and only have 3 more to
> > research thru--Farber, James, and Crawford, til I'm done the reading
part
> of
> > my research and onto the testing part (so far have condensed it into
> 11pp).
> > I am quite excited. I've come across such wonderful notes, such as
> Heidi's
> > starch size, the discussion a while back of chromium vs. dichromate
stain,
> > and Katherine, I'm glad you cleared up the sulfuric acid point. I've
got
> > some paper sized with brush on alum as per Sandy King, spray starch as
per
> > Hirsch (I heard it yellows) and cannot believe that Livick actually
> brushes
> > his sizing on, too. That'd save a heck of a lot of time.
> > I also notice Livick uses a 1% pot metabi clear, because it doesn't
> > soften the gum like sod bisulfite, which is what you, Katherine, said a
> > while back. I am also really interested that Livick feels you should be
> > getting a perfectly deep print in two coats or you aren't mixing your
> > ratios/exposing correctly. We were taught more or less that the more
> coats
> > on the better. I suppose both are opposites and there is a happy
medium.
> I
> > will also try Judy's one coat delicious gum with unsized Buxton...
> > More, later.
> > chris
> >
> > > Greetings from Big Wonderful Wyoming,
> > > Most of the pigments I use are bought in powder form. Carbon Black
from
> > > Photographers Formulary is a favorite. Ivory or Bone Black is weaker
> and
> > > warmer, but works well. I use the earth pigments a lot, Umbers and
> > Siennas,
> > > Indian Red, etc... They're an excellent choice for any gum printer.
> > > Quinacridone is beautiful but weak, as you've noted. Cadmium reds and
> > > yellows are effective but tend to be more opaque. Phthalocyanine blue
> and
> > > green are excellent - great covering power and intense color. I've
also
> > had
> > > great results with Cobalt blue (cobalt aluminate). I've never used
> white.
> >
> >
> >
> >
>
>
>
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