Re: tempera interests

Yes I do use two negs. I feel that it is all a matter of information. You
have latitude in the washing phase so you can compensate to a considerable
degree for over or under exposure. I find that it takes a few coats to get
to strength so you have to build your tonal range on the print. It makes
sense to me to have two negs so you can store your information in two negs
You could even have three, one for the deep shadow one for the mid tones and
one for the highlight. That may be a bit excessive as two seem to do very
well.
I use a tight foam roller commonly sold as glossing rollers. In the UK they
are about 4 inches long and about an inch in diameter The temperaprint
emulsion will sink into the surface of the roller and then you can just
press firmly enough on the roller to coat the yupo. The secret to good
coating is in the pressure, working methodically and observation
I have tried rubber rollers and it all just skates about without any control
at all, the emulsion is just to thin and watery.

'So far I have not been using cmyk but two exposures each of RGB.'

I don't quite follow you. How does this work?

alex
----------
>From: Tim O'Neill <rivervalleyimages@msn.com>
>To: alt-photo-process-l@sask.usask.ca
>Subject: Re: tempera interests
>Date: Tue, Jan 18, 2005, 2:31 AM
>

> Allex,
> do you mean you use a separate neg or just a separate exposure for the
> shadows, mids, and highs? So far I have found four exposure is the minimum
> to even get close to decent blacks and I still am not concerned with
> blocking the highlights so I have more I could go. It lends itself to full
> color nicely. So far I have not been using cmyk but two exposures each of
> RGB. As I saind I am closing in.
>
> when you use the roller in a fashion like rolling out printer ink do are you
> using a foamy of or a soft rubber like a brayer. It seems if I get the
> viscosity close to what I would use if I were producing a monoprint i have
> better luck. I will have to go back to the roller and practice. If you
> truly can get a smooth thin coating I truly am missing somehting in the
> "technique side. Thanks for you input.
>
> tim
>
>>From: Alex Chater <alex.chater@macunlimited.net>
>>Reply-To: alt-photo-process-l@sask.usask.ca
>>To: alt-photo-process-l@sask.usask.ca
>>Subject: Re: tempera interests
>>Date: Mon, 17 Jan 2005 18:29:11 +0000
>>
>>I find that I cannot get a full range of tone on a single coat any way. I
>>find it good to have a printer for the shadow and a printer for the mid to
>>high light. The roller is the method I use. I find that it needs to be
>>rolled out in a similar fashion as you would roll out printing ink. As
>>tempera print is really a multi layer process you can build your image in
>>thin
>>coats.
>>In practice don't overload the roller and roll it out in a logical
>>manner, lightening the pressure as you go. In the end you allow the roller
>>to glide quickly across he surface with as little pressure as possible.
>>Spread it first and then polish it up as it were, try to roll in one
>>direction
>>only, particularly at the beginning. You can get a very smooth finish and
>>thin. When its gone smooth and you have done a fair number of speeder
>>passes, stop and dry it, done.
>>
>>Alex
>>
>>----------
>> >From: Tim O'Neill <rivervalleyimages@msn.com>
>> >To: alt-photo-process-l@sask.usask.ca
>> >Subject: Re: tempera interests
>> >Date: Mon, Jan 17, 2005, 3:27 AM
>> >
>>
>> > mixed as in crap and crappier. I still have not found a curve I really
>>like
>> > specific to this process. Also I have being testing various coating
>>methods.
>> > Glas rod wrapped seems to be the best so far. Although Peters
>>suggested
>> > method of the roller has merit I am just missing something as I dont
>>like
>> > the texture it leaves. It alsmost looks like reticulation in 3d.
>> > ...Normally I would also use amm dich, last round I had pot dich already
>>and
>> > thought I would test.
>> >
>> > T
>> >>From: Alex Chater <alex.chater@macunlimited.net>
>> >>Reply-To: alt-photo-process-l@sask.usask.ca
>> >>To: alt-photo-process-l@sask.usask.ca
>> >>Subject: Re: tempera interests
>> >>Date: Sun, 16 Jan 2005 20:57:17 +0000
>> >>
>> >>
>> >>Personally I use Ammonium dichromate for this process. It is faster.
>>What
>> >>do
>> >>you mean by mixed results?
>> >>
>> >>Alex
>> >>
>> >>----------
>> >> >From: Tim O'Neill <rivervalleyimages@msn.com>
>> >> >To: alt-photo-process-l@sask.usask.ca
>> >> >Subject: tempera interests
>> >> >Date: Sun, Jan 16, 2005, 6:46 PM
>> >> >
>> >>
>> >> >
>> >> > I have been printing more tempera today with mixed results. I am
>>however
>> >> > getting closer. Seems I had old sensitizer the lst go around so
>>results
>> >>we
>> >> > not there at all. Sensitizer will lose its punch. This was Pot Dich
>> >>and 4
>> >> > mos old at room temp in a brown bottle. On another note for any
>> >>printmakers
>> >> > out there. In expermenting with lupo I was curious if I could come
>>up
>> >>with
>> >> > a icc profile for it. When I ran it through my Epson I got the
>>expected
>> >> > wheel tracks ect from printing on a pretty non- absorbant surface. I
>> >>took
>> >> > that image and sandwhiched it with a piece of fine art paper and ran
>>a
>> >> > brayer across it (just like a monoprint) and it transferred with
>>really
>> >> > interesting results
>> >> >
>> >> > Tim O'Neill>
>> >> >
>> >> >
>> >
>> >
>
>
Received on Tue Jan 18 14:17:39 2005