Re: "Split-tone" with gum.

I don't know if this is what is happening in your case (probably not) but
the terms we used were that certain colors in mixture flocculate, granulate,
and/or separate from each other. With granulation they separate into the
hollows of the paper, flocculation has to do with electrostatic charge they
seem to think...but in watercolor practice this was a technique to exploit,
especially in wash effects. It happens beautifully with the phthalos mixed
with reds to create a deep shimmery green black.

Granulation also means some pigments will look grainier in gum printing
because of their tendency to settle or clump.

BTW I've seen Ernestine's liquid emulsion prints, not gums, in person that
she makes on handmade paper/pulp and they are gorgeous.
Chris

----- Original Message -----
From: "Katharine Thayer" <kthayer@pacifier.com>
To: <alt-photo-process-l@usask.ca>
Sent: Monday, July 10, 2006 11:59 PM
Subject: "Split-tone" with gum.

> David, I tried this complementary color mix I was suggesting earlier, and
> found out something interesting. With some combinations of pigments,
> you can actually get a "split-tone" effect in one coat. I found that by
> combining PR101 (Daniel Smith Venetian Red) and phtalo blue (PB 15:3, M.
> Graham) I got a cinnamon brown in the shadows and midtones, a pale blue
> grey in the highlights, and clear whites; in other words, the blue in
> the highlights isn't stain, but tone; the color is separating somehow.
> As I said earlier, I've printed a lot of pigment mixtures for one-coat
> gums, but I've never seen the color separate like this before, and as a
> rule, my mixes aren't of complementary colors. This split-tone effect
> also happened with a combination of the same PR 101 and phtalo green
> (PG36), yielding a nice chocolate brown in the shadows and midtones, a
> pale greyish green in the highlights, and clear whites. In both cases,
> the color in the highlights is very subtle, but discernable.
>
> It doesn't answer your question, how to get an earthy red that's just a
> little darker than the straight PR 101, but I thought it was interesting
> anyway. I'm not sure whether the brown is from using too much of the
> complement or whether it's because it's just not the right mixing
> complement; I didn't have time to explore further.
>
> I wish I could show you these, but unfortunately the imbecile I hired to
> help me set up my office in my new place damaged my scanner so I can't
> scan until it's been to the repair shop.
> Katharine
>
>
> On Jul 10, 2006, at 10:20 AM, Katharine Thayer wrote:
>>
>>>
>>> Hi David,
>>> You can darken a pigment by adding black, as has been suggested, but
>>> another and perhaps better way is to add some of the complementary
>>> color. Painters have been doing this for centuries. Unfortunately I
>>> can't tell you off the top of my head what the exact mixing complement
>>> would be for PR 101, (all my books and papers are still in boxes) but
>>> since burnt umber is a good mixing complement for ultramarine, my
>>> guess would be to go a little greener for the complement for PR101,
>>> which is redder than burnt umber. So, maybe Prussian (a good Prussian,
>>> not one of the ones that shifts-- look at handprint.com to see which
>>> are the permanent Prussians,
>>>
>>
>> Or for that matter, pthalo (the green shade pthalo, PB 15:3) might also
>> work okay; just don't use very much of it, as it's a very intense
>> pigment and would easily overpower the earth red pigment.
>> Katharine
>>
>
>
Received on 07/11/06-09:13:33 AM Z