Weston gum arabic spotting for glossy prints?

ChrisBCS · Jul 7, 2017

So, uh, believe it or not (I still can't), someone wants to pay me money for one of my prints. Even with all the caveats of being a beginner, etc.

...which means I have to learn how to spot. Glossy, completely selenium toned RC paper no less.

I have read that Weston used anywhere from 1:1 to 3:1 gum arabic to powder pigment ink, in enough water to dissolve it, scramble it all together, then let it dry down.

Using a spotting brush on a test sheet, us long brush strokes until the proper density is reached for the surrounding area of the spot, then less is more.

Has anyone used this recipe? Does this sound accurate? Would sumi ink work as well?

I've also heard of using graphite drafting pencils of varying hardnesses...

Jim Jones · Jul 7, 2017

Pigmented ink will likely leave a residue on the print surface that is visible in reflected light. A popular glossy print spotting ink was SpotTone. It is a dye that sinks into the emulsion without leaving any sign of the retouching on the surface. It is discontinued, but should be available on ebay. A modern substitute is Dr. Ph. Martin's black Radiant Concentrated Watercolor, available in some online and over-the-counter art supply stores.

GRHazelton · Jul 8, 2017

I've used SpotTone in the dim past. IIRC it came in a kit of what, 3 or 4 little bottles, which typically were diluted, one drop of the SpotTone with several drops of water. Worked fine! but practice on a scrap print first. Now, if you really want to go nuts, try dealing with a black spot. Ecch! One method was to delicately scrape it away, and then retouch with SpotTone to the proper density. But then on glossy paper you've got to deal with the non-glossy patch.

It is surprising how much more visual "depth" a spotted print acquires compared to the raw print. Often really worth the effort.

MattKing · Jul 8, 2017

SpotTone pens for me!
Discontinued, but if you find a set they last a long time.
They came in neutral and warm tones.

RalphLambrecht · Jul 8, 2017

ChrisBCS said:
So, uh, believe it or not (I still can't), someone wants to pay me money for one of my prints. Even with all the caveats of being a beginner, etc.

...which means I have to learn how to spot. Glossy, completely selenium toned RC paper no less.

I have read that Weston used anywhere from 1:1 to 3:1 gum arabic to powder pigment ink, in enough water to dissolve it, scramble it all together, then let it dry down.

Using a spotting brush on a test sheet, us long brush strokes until the proper density is reached for the surrounding area of the spot, then less is more.

Has anyone used this recipe? Does this sound accurate? Would sumi ink work as well?

I've also heard of using graphite drafting pencils of varying hardnesses...

Ansel Adams mentions this method in his print book.I add gum arabica to spoon to match the required gloss.

ChrisBCS · Jul 8, 2017

Jim Jones said:
Pigmented ink will likely leave a residue on the print surface that is visible in reflected light. A popular glossy print spotting ink was SpotTone. It is a dye that sinks into the emulsion without leaving any sign of the retouching on the surface. It is discontinued, but should be available on ebay. A modern substitute is Dr. Ph. Martin's black Radiant Concentrated Watercolor, available in some online and over-the-counter art supply stores.

Very interesting. Black Radiant concentrated watercolor is available locally. Any tips for using it? I plan on spending the money on good brushes today as well. Buy once cry once and all that.

ChrisBCS · Jul 8, 2017

RalphLambrecht said:
Ansel Adams mentions this method in his print book.I add gum arabica to spoon to match the required gloss.

And you find it works well to match the finish? This is what you're currently using?

RalphLambrecht · Jul 8, 2017

ChrisBCS said:
And you find it works well to match the finish? This is what you're currently using?

Yes, it takes a little experimentation but works well.

ChrisBCS · Jul 8, 2017

Thanks everyone.

I purchased both lampblack + gum arabic and the Dr. Ph. Martin's black Radiant Concentrated Watercolor.

I did a test print with the watercolor using a Windsor Newton 4/0. Wow. I don't know what I was so worried about. Aside from getting the density just right, it's really straightforward. It's also really rewarding. We'll see how the finish looks when I get back from the lab. Thanks for the recommendation @Jim Jones !

I mixed the gum arabic and carbon with a bit of water, we'll see how it sets up. I'll try it next.

eddie · Jul 8, 2017

Jim Jones said:
A popular glossy print spotting ink was SpotTone. It is a dye that sinks into the emulsion without leaving any sign of the retouching on the surface. It is discontinued, but should be available on ebay.

Actually, SpotTone is still available. It is now made by Marshall's, and is called Spot-All.

hacked - sepiareverb · Jul 9, 2017

I like to build up to the final tone with less strong dye. Surprisingly, a slightly lighter than perfect spotting is about invisible, while a slightly too dark spot can be glaringly obvious. But I have also learned that people don't notice much. I have a 20x24" print of three guys standing on a frozen lake, heads about the size of a half-dollar. When I exposed the film, a hair landed on the film, right across the one guys face. I had to scrape it off the print with an xacto knife and then spot it in. I can't look at the print without cringing. Nobody has ever noticed.

Arklatexian · Jul 9, 2017

eddie said:
Actually, SpotTone is still available. It is now made by Marshall's, and is called Spot-All.

Thank you very much, that is good to know!.........Regards!

M Carter · Jul 10, 2017

GRHazelton said:
Now, if you really want to go nuts, try dealing with a black spot. Ecch! One method was to delicately scrape it away, and then retouch with SpotTone to the proper density. But then on glossy paper you've got to deal with the non-glossy patch.

sepiareverb said:
I had to scrape it off the print with an xacto knife and then spot it in. I can't look at the print without cringing. Nobody has ever noticed.

No no noooooo.... no reason to do this. Iodine/thio bleach with alcohol will lighten a tiny spot, even taking black down to pure white, for spotting, all depends on your brush size. You do it on a dry print. It's cheap, just iodine crystals, thiocarbamide (which you likely have), and ethanol (I haven't tested it but suspect everclear or even 99% iso would work). Fantastic stuff to have around, you can brighten individual hairs or tree branches, very controllable, it's like spotting or retouching with bleach.

Gerald C Koch · Jul 12, 2017

Get the finest sixe red sable brush. The dye is added slowly to the spot do not try to cover the entire spot immediately. Spit helps make the dye adhere to the print. For dark spots bleach tem out using tincture of iodine and a sharpened wooden toothpick. Then refix and wash. Then correct the white spot. Selenium toning may make it difficult to find a spotting color match.

At one time there were several good books on spotting. See if pick up one as it would be very helpful.

I should add that spotting brushed come in several sizes and you should have several. The very finest are 0, 00, 000, 0000, 00000 with the last in the series the finest. Take good care of them they will last a long time if not abused.

M Carter · Jul 12, 2017

Gerald C Koch said:
Selenium toning may make it difficult to find a spotting color match.

I have a palette made years ago of 8 different spotting colors in warms and cools. But with lith printing, I've had to add a basic little watercolor set, the kind with the little round trays of color. You can mix about any shade with some colors to join your spotting dyes (I find I use a lot of reds and oranges and yellows). I use a little palette with a blob of arabic to adjust gloss.

Weston gum arabic spotting for glossy prints?

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