Re: pigments for gum and PDN

Chris, I'll be interested to see what you discover. It sounds like an
awful lot of extra work to me, since one can make a beautiful tricolor
gum print without all that, but if you get a really remarkable result
with it, maybe I'll even spring for the PDN system. So keep us posted.

I think our research is nicely complementary, since you're working with
different curves for each pigment and I'm looking at how different
pigments behave and mix without changing the curve. But I'm not using
Stouffers since I don't have enough of them, and actually I'm not even
looking at the tonal scale per se, I'm just looking at what the pigment
looks like in highlights, midtones and darks, and how it mixes with
other pigments in highlights, midtones and darks. So it's not as
comprehensive as your study, but that sounds like a doctoral thesis if
you actually do all that with every combination of the pigments you've
chosen. It sounds like we've got about the same number of blues, reds
and yellows.
 
One more comment below:

Christina Z. Anderson wrote:
>
> The discussion came up about the value of worrying about pigments and
> archivalness, etc. Personally I am now persuaded to always talk about a
> pigment by brand AND number (I'll try to include proprietary name, too, if I
> have it handy).

I'm working with PV19 gamma this morning, trying to decide whether this
is truly the best primary "magenta" for tricolor. I've got three, two
of which are by Daniel Smith, one called "Quinacridone red" (Grrr) and
the other called "Quinacridone Rose," So in this case I definitely have
to use all three labels to keep them straight; the color index name, the
brand, and the marketing name.
kt
Received on Fri Jun 10 12:54:13 2005