That's possible. I'm participate in a DAS purchase he organizes and he did mention that he's going to keep a truckload of the material himself for "the next 50 years" or something to that effect. Seems like he's going to keep messing with gelatin at least some of the time.
Well, yeah. I don't think there was any doubt about that.
Mind you, I think I get where you're coming from. I won't be likely to switch from animal gelatin-based carbon transfer to this product. I have no rational arguments for this whatsoever, but to me, the fact that I can make a print out of dead pig, chopped-down tree and burned stuff is a major part of the romance. The fact that those ingredients have gone through industrialized processes just like the polymer Calvin sells, somehow doesn't quite change that. As I said, it's an irrational thing.
which tends to suggest this product is not as innovative as Greer's marketing suggested it was.
Todd Gangler with Charles Berger were also describing an emulsion they were going to make which peaked my interest
I'll stick with Daniel Smith
Nor am I interested in this gumless emulsion.
Was that the project with the flakes that you could reconstitute and then coat at home? I read about that a few years ago, but I'm not sure what, if anything, came of it.
There was also Ultrastable of course, but that's eons ago and it was basically what we today call DAS carbon. Charles has released the formulas into the public domain; I used them in my own DAS carbon work to arrive at my own formulas.
On a per gram of pigment basis, that's about the most expensive option.
Cheapest is getting dry pigments and dispersing them yourself. It's hard to beat Calvin's pastes in terms of quality, and he has done a lot of work in selecting optimal pigments. But it's not that hard to make something that works very well with pigments that are easily and fairly cheaply available. I virtually only use dry pigments now.
Yeah, for some reason it doesn't appeal to me, either. What I like about gum and gelatin is that it's basically resin that has bled from a wounded tree and ground up dead animal. Call me a romantic, but I find that sort of appeal hard to resist.
can you point me to some good dry pigments, mainly for tri-colour?
Sweet smell of gum arabic
Was that the project with the flakes that you could reconstitute and then coat at home? I read about that a few years ago, but I'm not sure what, if anything, came of it.
There was also Ultrastable of course, but that's eons ago and it was basically what we today call DAS carbon. Charles has released the formulas into the public domain; I used them in my own DAS carbon work to arrive at my own formulas.
On a per gram of pigment basis, that's about the most expensive option.
Cheapest is getting dry pigments and dispersing them yourself. It's hard to beat Calvin's pastes in terms of quality, and he has done a lot of work in selecting optimal pigments. But it's not that hard to make something that works very well with pigments that are easily and fairly cheaply available. I virtually only use dry pigments now.
Yeah, for some reason it doesn't appeal to me, either. What I like about gum and gelatin is that it's basically resin that has bled from a wounded tree and ground up dead animal. Call me a romantic, but I find that sort of appeal hard to resist.
Andrew O’Neill wrote:
Yeah, for some reason it doesn't appeal to me, either. What I like about gum and gelatin is that it's basically resin that has bled from a wounded tree and ground up dead animal. Call me a romantic, but I find that sort of appeal hard to resist.
Actually, the problem with synthetic polymers such as PVA/PVOH is that they will yellow over time (both in the dark and when exposed to light). Not sure what Calvin is using in his Printmaker Friend, but as there is no mention of stability testing in any of his presentations, I advise proceeding with caution.
Charles
the problem with synthetic polymers such as PVA/PVOH is that they will yellow over time (both in the dark and when exposed to light). Not sure what Calvin is using in his Printmaker Friend, but as there is no mention of stability testing in any of his presentations, I advise proceeding with caution.
I suspect it probably originates as a screen printing emulsion.
A very good point to consider. Thanks!
Hi Andrew - haven't used this forum for awhile, I think I just sent you a PM or conversation , let me know when you see it.
thanks Bob
AFAIK Calvin's product is basically identical to Zerochrome SbQ. So yeah, screen printing originated.
Brandenburg's work with using the emulsion to make polymer gravure plates on an Agfa Synaps substrate
I've not read about this yet; sounds interesting. Although I wonder how much of an improvement over existing polymer film it is?
Interesting thread, I worked with Calvin on his last book on Gum Printing giving my two cents . I also purchased a major order of his
pigments which I really like for tri colour gum printing. Luckily I purchased about a 2 year supply, I am not sure if he will go back to manufacturing
the pigments I like as he seems intent to move on with this printmakers friend emulsion which at this point have no intent to explore. Todd Gangler with Charles Berger were also describing an emulsion they were going to make which peaked my interest , but in the end it was not something I could put into my practice. Right now I am looking for a Canadian Source of Pigments . I have a line on two companies and we will see if they can make what I need.
Does he sell it with pigment added to it already? I thought he sold it as a sensitized colloid to which you were supposed to add your own colorant. I see now that he offers both options. Neat.
Looking forward to some tests!
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