Re: media for oil prints

Gord, I'll just jump on to agree with Jack (who probably never gets
the posts I send to the list because I refuse on principle to reply
to the hoop-jumping thing I always get back from his account):
process inks (cyan, magenta, yellow) are notoriously fugitive as
formulated for the commercial printing market, and wouldn't be
recommended for artist quality work. As in painting, I don't know of
any reason you couldn't mix inks to make the colors you want, as you
say. But rather than buying something labeled red and blue, or yellow
and cyan, where you don't have any idea what the actual pigments
are, I would recommend choosing particular pigments that you know
are good pigments, and mixing those.

  In painting, I've mixed an astonishing array of colors using only
burnt sienna, or burnt umber, and ultramarine. But you'd probably
want a yellow too. But almost any red, blue, and yellow combination
will give you a full color palette of some sort, as has been shown
by the wide variety of pigment combinations that have been chosen for
tricolor gum printing. Daniel Smith offers lithographic inks in 20
colors or so. The phtalo and the quinacridone red (PV19-- I wish
Daniel Smith wouldn't do that: give one pigment the name of another
pigment, but I digress) Of the yellows, I wouldn't recommend Hansa
yellow light, which is PY3, a not completely lightfast pigment. I
don't know about the Hansa yellow medium; they list it as PY 7 4(LF)
which is weird. If they mean 74, I don't know of such a pigment.
The Hansa deep (Py 65) may be too deep, but may work too depending on
what kind of colors you want to mix.

P.S. Back to Jack: I guess I don't understand why someone who
subscribes to the list doesn't have his account set to automatically
accept messages that are addressed the list; why should each
individual person who posts to the list have to assure Jack's spam
filter that the post is legitimate mail, when it should be easy
enough to set it so that anything that comes through the list is
assumed to be legitimate mail?

On Jun 19, 2006, at 4:32 AM, Jack Brubaker wrote:

> Gordon,
>
> My experience is with lithography not oil prints, but yes you can
> use three
> colors to mix your pallet. The only problem with the magenta, cyan,
> yellow
> inks is that they are made for commercial printing and are usually
> less
> permanent colors than the art lithography inks from people like Daniel
> Smith.
>
> Jack
>
>
>> From: "Gordon J. Holtslander" <holtsg@duke.usask.ca>
>> Reply-To: alt-photo-process-l@usask.ca
>> Date: Sun, 18 Jun 2006 20:10:30 -0600
>> To: alt-photo-process-l@usask.ca
>> Subject: media for oil prints
>>
>> Have had a little time to play with oil prints.
>>
>> I tried modifying an oil pigment by adding calcium carbonate. Put
>> some
>> pigment on a tile added a bit of calcium carbonate and worked them
>> together with a putty knife.
>>
>> I ended up with a sort of powdery pigment that would not
>> differentiate
>> between the wet and dry portions on the oil print.
>>
>> Did I add to much calcium carbonate?
>>
>> Are there any other things that can be used to increase the body
>> of the
>> ink - or rather make the ink less sticky so that it will differeniate
>> between the wet and dry parts of the print?
>>
>> David Lewis offers a clay based stiffening powder - is anyone
>> familiar
>> with this?
>> http://www.bromoil.com/supplies.htm#Lewis%20Pigments
>>
>> I am just looking for a way to have a variety of colors to use on oil
>> prints. Could I just buy Red Blue and Green litho inks and use
>> these to
>> mix the colors I need? or should I use cyan, magenta and yellow?
>>
>>
>> Any ideas?
>>
>> Thanks,
>>
>> Gord
>> ---------------------------------------------------------
>> Gordon J. Holtslander Dept. of Biology
>> holtsg@duke.usask.ca 112 Science Place
>> http://duke.usask.ca/~holtsg University of Saskatchewan
>> Tel (306) 966-4433 Saskatoon, Saskatchewan
>> Fax (306) 966-4461 Canada S7N 5E2
>> ---------------------------------------------------------
>>
>>
>>
>
>
Received on 06/19/06-08:47:37 AM Z