I was wondering what transparent papers are available for handcoated processes. I'm going to try vellum, but I think it will be more opaque than I want. Will Pictorico's inkjet transparency paper accept coatings?
Clear / transparent papers
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Thin solutions (cyanotype, pt/pd) would bead up and run. Need to suspend in something tacky like albumen or gelatin, but then you've just got film. I guess you are looking to backlight?
OP
OP
I'm planning on putting gold, silver, or copper leaf on the back. Been inspired by some of Dan Burkholder's Pt/Pd on gilded vellum prints.
I was going to suggest his work, but I guess you've already been there. I've done both kallitype and pd on Clearprint Vellum. The vellum was difficult to flatten after coating, but printed nice. Although I could not get it flat with the tools I have access to.
There was a thread on 'cyanotype on glass' a while back ago. I have tried to attach the link to the thread, don't know if I did it right.
(there was a url link here which no longer exists)
OP
OP
Thanks for the recs. I ordered some heavyweight (55 lb?) transparent tracing vellum, so hopefully it will dry well. I might need to just lay it flat. I failed miserably trying to do cyanotypes on rice paper in the past because it just fell apart. If the vellum gets too wrinkled I might just try to size it and see what happens.
Do you like Burkholder's work? I think it's quite unique and I think cyanotype would look really cool using gilding as contrast.
A small part of me worries that it's gaudy and could start looking like Thomas Kincaid paintings if I overuse the technique, but I guess applied to specific projects it might be better.
Did you use vellum for backlighting or for gilding (or something else)?
Do you like Burkholder's work? I think it's quite unique and I think cyanotype would look really cool using gilding as contrast.
A small part of me worries that it's gaudy and could start looking like Thomas Kincaid paintings if I overuse the technique, but I guess applied to specific projects it might be better.
Did you use vellum for backlighting or for gilding (or something else)?
Some info part-way down this recent thread:
(there was a url link here which no longer exists)
The View Camera article is helpful.
I've been experimenting with Pd on vellums, Glassine and thin Kozo papers. The wrinkling after coating is a bear and the fragility in the wet stages too. Check into how watercolorists pre-stretch paper for some ideas. But be aware that if you take out too much slack while the paper is wet it will tear itself apart as it dries. Also helps to wet the whole sheet, not just the coated area, so everything grows and shrinks together. Also as dry=flat, it's a problem to keep the paper as humid as you might want for Pt/Pd processes. Can all be done with some ingenuity and persistence, though every print is an adventure. DMax can be pretty good but light tones tend not to separate well, even with a good white paper backing, unless you backlight. Haven't tried foils - that might work.
Good luck! Ben
(there was a url link here which no longer exists)
The View Camera article is helpful.
I've been experimenting with Pd on vellums, Glassine and thin Kozo papers. The wrinkling after coating is a bear and the fragility in the wet stages too. Check into how watercolorists pre-stretch paper for some ideas. But be aware that if you take out too much slack while the paper is wet it will tear itself apart as it dries. Also helps to wet the whole sheet, not just the coated area, so everything grows and shrinks together. Also as dry=flat, it's a problem to keep the paper as humid as you might want for Pt/Pd processes. Can all be done with some ingenuity and persistence, though every print is an adventure. DMax can be pretty good but light tones tend not to separate well, even with a good white paper backing, unless you backlight. Haven't tried foils - that might work.
Good luck! Ben
I think he is a fantastic artist and mad scientist all rolled into one. So yes, I do like his work. Hoping to see some of his work in person one of these days.
I did not have issues with the vellum falling apart, although it had to be handled much more delicately than Plantine or BFK. The weight of the paper is not indicated, it is just a pad of clearprint design vellum.
I had read that printing on vellum would be sharper and provide a higher d-max. So I just wanted to try it out to see the results. It was noticeably sharper and had much better d-max than I was getting on plantine at the time.
Clearprint is fairly strong and prints nicely - I've used their 25-lb. grade. Only thing is it has a somewhat cool, almost blue-ish tone. I got some slightly warmer-toned stuff from Talas that was like toilet paper when wet. I think they call it a velvet surface or something like that.
OP
OP
Thanks, I was looking at that one.
The one I ended up ordering was Canson Vidalon Tracing Vellum, which is 55 lb grade.
The one I ended up ordering was Canson Vidalon Tracing Vellum, which is 55 lb grade.
I used their Optalux. It'll wrinkle no matter what! If you prestrach it like watercolour artists do, be sure to dry it partly before taping it to support. It'll shrink so aggressively that 20x30 cm sheet will break 1,5 mm glass (I tried that), or it'll squeeze from under the tape and - wrinkle. It drives me mad! I still have that stuff, and I'll need to think of something to use it. Maybe use DaveC's idea to mount it to aluminum support. That's at least what I'll do next.
Marko
"I've made kallittypes on Pictorico OHP. It coats quite well."
Anyone know if OHP materials are archival? I don't see that as part of the design mission... but they could be by accident, as it were.
Anyone know if OHP materials are archival? I don't see that as part of the design mission... but they could be by accident, as it were.
Interesting. Wonder if you could coat it with liquid light and use it in camera. I assume you coated the side with the coating for holding ink?
Paul,
Please let us know how this works out for you. I haven't run across this paper. I have used Staedtler vellum and Bienfang Graphics 360 Translucent Marker Paper for pt/pd. Both are 100% rag papers but neither package states a weight. The Bienfang is heavier and is the one I use more often. I double coat these papers for a better D-max. I also slip a plastic mesh support under them to transfer from developer to clearing baths. The Bienfang flattens reasonably well in a press but I dry mount the prints I intend to mat
Most of the time I print on Arches Platine but some prints I like better on vellum. It would be nice to find one that is a little stronger and would remain flatter after a trip through the press.
Dan
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