> I am ,now, speculating as to why Namius decided to incorporate Rosin (colophony) powder into the pigment mix following his discovery with oil mentioned in the citation.
Undoubtely, Namias tried many variations before reaching his final formula.
Rosin was sometime used -as well as wax- to stiffen the ink: mixing a resin
with pigment and a little bit of wax/grease (the British patent has a
practical example with rosin:dammar:stearic acid:lampblack 100:100:2:80, and
I have an idea on why he used these two resins) gives you an "ink without
oil", whose handling is easier than a very sticky ink.
BTW, the 1922-1923 recommendations on how to dust the matrix were to pick up
the powder with the brush and to gently tap the surface of the paper (so,
like inking an oilprint/bromoil), and only from 1923-1924 was suggested to
pour the powder on the print and spread it with irregular and gentle
strokes.
> ...Glad to know his encouraging outcome from hand coated paper rather than factory stuff.
A friend of mine, when tried his first bromoil, told me that oilprint was
much more easier...
In addition, trying to get a relief from the bromoil paper, once he swelled
the print in a dilute sulphuric acid solution instead of ammonia and he got
the reversal of the image.
Alberto
Received on 05/30/06-01:29:25 AM Z
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