Re: gum prints from digital color sepations. (Since the topic has been brought up)

From: Carmen Lizardo ^lt;[email protected]>
Date: 10/30/04-03:22:50 PM Z
Message-id: <20041030212250.55183.qmail@web53910.mail.yahoo.com>

Dear Chris,
Thank you so much for all of the advise. I think i
have to chage my pigments colors and brand name.
It never occured to me to mix one whole tube of paint
and have stock solution. That maked perfect sense to
me.
I would also like to say that i love your work.

You can take a look at mine at:
 www.absolutearts.com/portfolios/c/carmen/

Thank you kindly,
Carmen

--- "Christina Z. Anderson" <zphoto@bellsouth.net>
wrote:

> Carmen,
>
> Are you having to print more layers to get the color
> corrected, or to get
> the depth of the print right? If the latter, you
> need to up your pigment in
> your formula. If the former, it is the balance of
> each color coupled with
> exposure, perhaps.
>
> For whatever it is worth, here is my personal gum
> practice--one of many
> possible ways to go.
>
> I have been using M. Graham colors exclusively, it
> seems (verrry high
> quality but inexpensive): Quinacridone Rose (PV19R)
> and Gamboge (PY110
> isoindolinone) on top of a full exposure of
> cyanotype traditional 2A:1B and
> the fact that I am able to get a goldfish to be
> bright orange and even get
> the Clemson University Tigers orange color makes me
> believe this combo suits
> my needs perfectly :) I also have Maimeri, Daniel
> Smith, and Winsor and
> Newton pigments of similar colors.
>
> I've got two tubes of "gamboge" M. Graham, and one
> is a different PY:
> (151), so there has been a change in formluation,
> but I don't think the
> yellow is as crucial as the magenta. I prefer
> transparent yellows.
>
> When using these colors, I find that I use about a
> proportion of yellow in
> my mix that errs closer to 1 1/4 to magenta
> 3/4...how I measure is I
> overflow the yellow teaspoon and I underflow the
> magenta teaspoon in my mix.
>
> Hence, my formula is, as I've said before here, a
> whole tube of the color
> mixed in a 50ml plastic bottle of gum arabic 1+2
> water (i mix from powder).
> That is my stock. Then I take a tsp of this, more
> or less, and a tsp of gum
> 1+2, to 1 1/2 tsp water to 1/2 tsp of saturated am
> di. With diginegs I
> expose the yellow a little shorter than the magenta,
> so yellow may be closer
> to 4 mn and magenta 5, not that that is crucial,
> since a longer development
> can also take care of that. That's it. Spray
> development, usually. Sized
> paper.
>
> Not that printing 10 or 11 layers is a bad thing; it
> gives a nice gloss to
> the image, but **having** to do that is not
> necessary to get a tricolor
> print. I have never felt a need to do over 4 or 5.
> But you say your print
> looks beautiful so maybe you are doing the right
> thing?
> Chris
>
> From: "Carmen Lizardo" <carmenlizardo@yahoo.com>
> To: <alt-photo-process-l@sask.usask.ca>
> Sent: Friday, October 29, 2004 8:44 PM
> Subject: gum prints from digital color sepations.
> (Since the topic has been
> brought up)
>
>
> > Dear List,
> >
> > I've been trying to make gum prints from color
> > separations done in Photoshop, but I only got a
> > satisfactory print after 10 layers of colors. I
> > started with a cyanotype as my first color and
> then
> > used Smiincke ruby red and Grumbacher cadmium
> yellow
> > light. After, I used Winsor ultramarine blue mixed
> > with the Grumbacher cadmium yellow light, next I
> > applied the ruby red again and fallow by several
> > layers of Payne's gray and neutral tint (mixed
> > interchangeably with blue and red). The print
> looks
> > beautiful, although the colors don't match the
> > original. But I was wondering if there is an easer
> way
> > (less layers) of making a color separated gum
> print.
> > Thanks!
> > Carmen
> >
> >
> >
> >
> > __________________________________
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>
>

                
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Received on Sat Oct 30 15:23:01 2004

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