I had some misgivings about last night's post, fearing it might seem like
an attack on Gini. Hope all understand I was rattled by my E.S.P. crash.
As those reading this list may surmise, Gini has got it together,
printing away -- in tri-color! -- and I am hung up (at this moment)
testing again (despite best intentions, I FIRMLY swore off!).
It is a scientifically proven fact that the vagaries of the vicissitudes
of gum meet in the dark to make music -- a size hazard
connects with a paper type and they compensate, even transcend. Can't
remember if I quoted the Stieglitz article, but it bears repeating: There
really is no such thing as a "gum print." There are what each person
prints in gum.
That said, however, I felt compelled to tell a beginner (Adam) that there
are, let's call it tradeoffs, in the practices under discussion.
Philosophically, I agree with Gini: don't obsess, find a way.
Realistically, that doesn't seem to be my nature. Maybe living in NY made
me a skeptic, maybe being a skeptic made me live in NY. Whatever, in life
one can rarely apply a 21-step. In gum, it tells all without
fear, favor, or ulterior motive (provided your heart is pure & you
understand the variables, which right now I think you can't ever really.)
(But I am testing that starch size!).
Regards,
Judy
PS> Speaking of gelatine & variables, Puyo says the age of the paper is
important, it should be as new as possible. David Aldera of NY Central
Artists Supply says old paper can go "bad," the (gelatine) size dries out!