> I have just discovered a new kind of "monotyping" process which
> uses the Canon laser copier to make plates which can be
> transfered to rag papers and other surfaces. Been getting
> pretty fascinating results as have some of those I've taught in
> workshops. Prints can be as large as 11x17" in full chroma.
NA> Can you tell me more about this? Suppliers's address, brand names,
NA> etc. Is it supplied by Canon itself?
The materials come from several different places but none come from Canon. In
fact, Canon has been singularly _unhelpful_ in my quest to find out:
1) more about the composition of CLC toners and their chemical interactions
with polymers,
2) at what temperature the dyes might ever suffer chemical degradation,
3) what testing has been done on the longevity of the toners (they make some
claims but I can't find out what they're based on and don't want to make claims
that I can't support with facts),
4) whose job it is at Canon to talk to artists about artistic applications of
the CLC 500.
When I called the headquarters in New York, I only got referred _down_ the
chain, never on to anyone who could talk about artistic applications. The crazy
response I've received to date is that Canon is quite happy with the market
currently enjoyed by the CLC500's applications in "business graphics" and is
_not_ interested in applications which require any adjustment of the copiers so
they can accomodate materials other than bond papers. (This despite the fact
that much of the existing market for CLC's is made up of t-shirt shops which
run various kinds of plastic materials in the machines daily.)
After two years of experimenting, I'm certain that the process I've developed
holds great potential for artists and photographers. It's fast and full-chroma,
can be conducted in total daylight with a minimum of equipment, and the final
products (which can be as large as 11x17") have a lovely painterly surface. The
best part, though, is that the prints cost _less_ to make than color
enlargements.
I held an initial test workshop in May and taught 6 commercial and fine art
photographers how to make two kinds of prints. They found the process easy to
learn and thoroughly enjoyed the challenge of interpreting their images this
way. (Kind of like Polaroid transfers, except you don't have to accept any loss
of image integrity and the prints can have strong color saturation. Kind of
like solvent transfers but with more information transfered and no chemical
hazards.)
I'd really like to show the corporate office the work. (I'm looking for
corporate support to develop a body of work which will demonstrate the full
capabilities of the process.) I think there's a great potential here for Canon
to expand its market. (I've tried all the other copiers and only the CLC gives
results I find satisfying.)
I'm ready to show folks how to do this but can't find the right door... I
showed some prints to Debra Heimerdinger at Vision Gallery (SF) when I was in
SF in May. She immediately referred me to a writer for "Camera and Darkroom"
who sent them to the editor. I've got a commitment from the chemist at Golden
Acrylics to do some rapid aging testing... but I want to get some help and
attention from Canon.
Luis Nadeau>>> With your high profile in the field of alternative
processes, have you encountered one or more of the "higher ups" at Canon? Do
you know who I should ask for?
Anyone else out there>>> Have any ideas? I will really appreciate some
direction.
Meri Aaron Walker 8010 Tisdale Dr., Austin, TX 78757
(512) 459-5543 phone, fax, modem
e-mail: mkitchens@infomail.com
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