Re: oil prints -selective inking

Gord,
First of all : thanks for John's advice; I am always eager to try
things making -maybe- the printing easier.
Just to add a few things of my experience:
- ink : the easiest way is to buy some ink from David Lewis; he sells
the special bromoil-inks, you could start with his -soft- black.
- a second choice are the litho-inks from Graphic Chemical (I also used
FAUST inks, but I cannot find them anymore).
- making the ink stiff I just add (powder) pigment , with this you can
also change the color; making it less stiff I add just some oil-paint
of a good quality, also a way of changing color.

With the gelatine I was messing around for weeks until I found that I
needed at least 3 to 4 coatings of a 6% gelatine (the ordinary one from
the supermarket) .

The sensitizer : I tried am.dichromate dissolved in 90% alcohol as
written in the books, but switched to a 5% pot. dichromate , using a
foam-brush. (next I will try John's 1 percenrt am.dichromate ; sounds
good to me)

For exposing times : in relation to the gumprints I made with the same
negative I had to double the time.

The paper: here I also tried a lot, but I found as the best suited for
the p[rocess was Fabriano no % , but only the 350 grs. But also here
the idea of John is a good one for a start.
Succes,
Henk

On 26 mei 2006, at 12:16, John Grocott wrote:

> Gord, With the few inputs on this subject, from others much more
> experienced than myself, you should, after some practice, get enough
> encouragement to see some good results and many not so good, but
> still useful.
> As I have suggested recently, get a roll of interior
> decorators lining paper ( what's it called in Canada and US?). It
> comes in various grades but the dearest is only a few quid for many
> metres. Using this makes the results a little less ''precious'' and
> you wont mind the material cost of making all those failures. Its also
> wide enough to accomodate your large formats. The darndest thing is,
> though, that some of my most successful Oil prints have been on this
> cheap paper, but it has good qualities other than ''archival''
> properties.
> A simple gelatine solution of 10% applied with a fine hair
> varnish brush in a similar fashion to gum coating will provide the
> basis for the matrix.
> ...............................................................
> I found that an addition of 2% citric acid extends the drying
> time of the gelatine enabling you to brush on evenly at a lower
> temperature.
> .................................................................
>
> After drying immerse the paper in a 1% Ammonium Dichromate
> solution for under two minutes. The sensitizer tends to dissolve the
> gelatine if left for longer.
> Many Bromoilists and Oil printers do use modified artists'
> oil paints by adding extra pigment powder or talcum powder or calcium
> carbonate
> to thicken / harden up the ink (which is then less sticky) which
> helps the swollen gelatine of the matrix to reject the colour as it is
> applied.
> Ca va. John.
>
>
> ----- Original Message ----- From: "Gordon J. Holtslander"
> <holtsg@duke.usask.ca>
> To: <alt-photo-process-l@usask.ca>
> Sent: Thursday, May 25, 2006 11:18 PM
> Subject: Re: oil prints -selective inking
>
>
>>
>> So What is good starting point for making oil prints :) What is a
>> good
>> matrix mix? Brushing technique ...
>>
>> I had started with a black litho ink for a pigment. Are you saying
>> oil
>> pigtments (ie for oil painting) can be used?
>
>
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Received on 05/26/06-05:58:54 AM Z