From: Katharine Thayer (kthayer@pacifier.com)
Date: 09/10/03-10:21:51 AM Z
Hmm. My point was that density and opacity are different qualities; that
distinction remains whatever labels you want to assign to the qualities.
So okay, call it DMax and covering power; I'll still say DMax and
covering power are two different qualities. Perhaps the point was just
simply misunderstood.
A couple more comments below:
Judy Seigel wrote:
> Because, as has been noted, the life of a gum print comes from the tiny
> twinkle of white interstices - the paper showing through the emulsion. If
> that's gone -- I suppose you CAN get a lively print, but I think it has a
> different character & has lost more than gained.
My point exactly.
I seem to have deleted the part about indigo. It's not entirely true
that indigo is no longer indigo, because at least two manufacturers
(Grumbacher and Schminke) still use PB66, the indigo that fades in blue
jeans. While those brands wouldn't be in my short list of artist-quality
brands, it's worth mentioning that indigo hasn't disappeared from paints
altogether, as suggested.
As Judy says, and as I've pointed out a number of times, the convenience
mixtures now called "indigo" are mixtures of very different pigments.
The Daniel Smith "indigo" is indanthrone (PB60) +lamp black; the Rowney
"indigo" is pthalo blue + lamp black; the Winsor & Newton "indigo" is
pthalo mixed with quindacridone violet and lamp black; the Maimeri and
Holbein "indigos" are prussian blue mixed with lamp black. etc etc. This
is why it's so important (sorry, everyone, to keep harping on this) to
know what pigments are in the paint you use. If "indigo" has extreme
covering power, as Judy claims, it's probably because of the lamp black
in almost all of them, because the blues used across brands are quite
different in covering power.
When I want an indigo-like color, I prefer to mix my own by mixing
indanthrone, PB60 (one of my favorite blues) with ivory black.
Katharine
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