From: pete (temperaprint@blueyonder.co.uk)
Date: 02/26/03-04:36:27 AM Z
Chris,
I think you are doing a fantastic job it is just what this list needs
colleagues evaluating and comparing process in a constructive manner.
However I must have missed something could you clarify and explain what you
meant by --:
the discussion a while back of chromium vs. dichromate stain,
> and Katherine, I'm glad you cleared up the sulfuric acid point.
I have written to the list on a number of occasions on this issue, and never
had any positive feedback.
Pete
BTW my book Creative Sunprinting published by Focal Press in 1980 also
contains a section on gumprint making but sadly it is long out of print.
> 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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