Re: Gum Tri-Color Yellow

Tom Ferguson wrote:
>

>
> Did you mean PR209 as in Rowney Quinacridone Red
> #528 (your previous post said PV209)? If so, I can probably get a tube
> of that locally for some testing next week.

Yes, I meant PR 209, sorry.
kt

>
> On Sunday, June 27, 2004, at 12:10 PM, Katharine Thayer wrote:
>
> Well, this doesn't prove anything one way or another, but
> just out of
> curiosity this afternoon, (well okay, curiosity plus
> avoidance of
> another thing I didn't want to do) I printed a "tricolor"
> with PV19. I
> say "tricolor" because it wasn't done with separations, I
> just printed
> one negative three times. (I just wanted to do a little test
> print and I
> don't have any little test negatives in tricolor
> separations).
>
> I found I had three different versions of PV19, so I mixed
> all three
> with gum and chose the one that looked most like a true
> magenta. The
> others were (1) more rose-ish, (M. Graham "quinacridone
> rose") and (2)
> purple (M. Graham "quinacridone violet.") The one I chose
> was Daniel
> Smith "quinacridone red." (There's a good example of a paint
> being named
> after a different pigment than the pigment it contains.) I
> was
> surprised, with all three of the PV19s, how sort of wimpy
> the color was.
> I put quite a lot of pigment in all three before I decided
> it was never
> going to get any more saturated than it already was.
>
> I used the PY110 for yellow, and indanthrone (PB 60) for
> blue, since I
> thought the indanthrone would be closer to the depth and hue
> of the
> cyanotype than the blues than I normally use.
>
> The red and yellow printed well and looked good together, as
> Tom
> described. But when I put the blue on, what I got was a
> reddish brown
> overall tone. I put another layer of yellow on just in case
> there wasn't
> enough yellow, but it didn't change anything, just turned
> the brown
> slightly more orange. And just in case for some reason the
> blue wasn't
> holding its own, I added another, heavier layer of blue (it
> was almost
> black and very heavily pigmented), but the extra blue didn't
> turn the
> brown black, as I would have expected, but just gave the
> brown a sort of
> purplish hue.
>
> Like I say, this isn't definitive by any means, but makes me
> continue to
> wonder if, perhaps, there's something about PV19, or the
> combination of
> PV19 and PY110, that creates this brownish tone when added
> to blue.
>
> Katharine Thayer
>
> Katharine Thayer wrote:
>
> Tom,
> The brownish tone still doesn't make sense to me,
> even as a function of
> curves or exposures. You may of course prove me
> completely wrong about
> that and are welcome to do so.
>
> But to me it's more likely related to the
> quinacridone violet that
> you're using for the magenta. I hate to keep
> recommending pigment
> changes to you, but I'm inclined to think a
> quinacridone red (PV209)
> would serve you better. I haven't used PV19 very
> much, but I have seen
> brownish tones when it is mixed with different
> colors.
>
> Sam would know better, but I also wonder about how
> different reds and
> yellows work with the cyanotype, if it's possible
> that you'd need
> different red and yellow pigments with the
> cyanotype than what would
> work best with one or another of the blue
> pigments.
> Katharine
>
> --------------
> Tom Ferguson
> http://www.ferguson-photo-design.com
Received on Sun Jun 27 21:29:11 2004