Re: Presentation Question

From: Ryuji Suzuki ^lt;[email protected]>
Date: 09/13/04-01:38:05 AM Z
Message-id: <20040913.033805.39152911.lifebook-4234377@silvergrain.org>

From: Katharine Thayer <kthayer@pacifier.com>
Subject: Re: Presentation Question
Date: Sun, 12 Sep 2004 11:04:52 +0000

> I'm simply talking about the fact
> that in both watercolor painting and gum printing, the image is made of
> pigment and gum arabic. As I said before, I think of gum printing as a
> cross between painting and photography, not as a branch of printmaking,
> so signing a one-off gum print the same way you would sign a painting or
> a monotype makes sense to me in a way that it wouldn't make sense to
> someone who approaches gum printing as a branch of printmaking

I'm not sure if the exact constituents matter much if the look is very
different, or perhaps vice versa. But I've seen some prints, both
platinum and hand coated silver-gelatin (Fuji version of liquid
emulsion) with seal sort of like those typical of suibokuga, a kind of
drawing that uses india ink (it's monochrome). I think it would be
very difficult to make that work well, because not only the grayscale
and overall appearance, paper texture and other elements come into
play - I don't know if the suibokuga-style seal would work well if the
image were on a watercolor paper.

--
Ryuji Suzuki
"You have to realize that junk is not the problem in and of itself.
Junk is the symptom, not the problem."
(Bob Dylan 1971; source: No Direction Home by Robert Shelton)
Received on Mon Sep 13 01:38:57 2004

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