poppy, oil transfer

A beautiful image. Looks like worth the effort.

Lovely. Would love to learn more about the process. Any recommended sources of information?

All the best,
Daniel

Wow, I'd like to hear more about how you did this too!

You might have a look at Ed Buffaloe's article at Unblinkingeye on the Oil Pigment process.

http://unblinkingeye.com/AAPG/OP/op.html

Stunning !
G.

That's beautiful Wolfgang!

Amazing work! The transfer paper you used as a matrix - there's no shrink / swell when soaked in water? The registration with eight press pulls is incredible! Bravo!!!

Cheers,

Gene

Very nice.

Ed Buffaloe is always a good source. Therefore it is not necessary to describe the first steps again.
Inking is simpler than with bromoil, because the gelatin-layer is fatter and subsequently the relief higher.

Some difficulties emerge with the transfer to the (final) paper. As well as matrix, also as the pressure-paper, must be even moist in order to receive exact registration. The pressure-paper remains at one end under the printer-cylinder. Etching presses with drive at the upper cylinder are advantageous. With drive at the bottom cylinder, an easy slip always originates. However, because always equal in length, this can be calculated. Before each press pull, the paper (at the rear side) is to be moistened with a sprayer to prevent shrinking.

Frustration-tolerance is necessary and tireless training. I have done my oil prints approximately 20 years ago, after that never again. The first pulls are as easy as anything. It becomes problematic at the latest with the shadow-matrix at the end. From 10 sheets, usually only three or four were optimal.

The used registration is rather simple: Four markings on the negative at the edges. The matrix is made with edges, the pencil marking is pierced with a needle at the upper and low end. On the rear side, a line will have drawn with a pencil, going out from the two holes to the middle. After trimmed of the matrix, all four picture-edges show a line. One does this for each further matrix, three or four are better than two if full tonal range is required.
Each matrix is printed once or twice. After the first press pull, the lines are extended on the matrix rear side onto the pressure-paper. In order to place each further matrix precisely, I used the adhesion. One transparent, flexible piece of plastic is moistened. The matrix is lifted carefully, without touching the inked surface and placed on the plastic. When that sandwich will have turned, the matrix will stick on the plastic. Now, that sandwich will be placed on the paper that the lines agree.

I hope, I am moderately comprehensible.