The easiest way to ink the print is using a foam paint roller.The Dave Butcher Black and White Photo Library contains tens of thousands of images as archivally processed silver gelatine film negatives, mostly medium format 7圆cm and 6圆cm. Using a hard brayer or spatula, spread the ink out into a thin layer on the tile. Remove a small amount of ink from the can and place on a smooth tile. While there are many inks to choose from, a good one to start is Graphic Chemical & Ink 1803 which is a warm black ink. Lithography ink is used to ink the matrix. You can feel the difference between the hardened and swollen areas of the matrix. Remove the matrix from the water and place it face up on a piece of blotter paper and gently wipe the surface with a paper towel. If the matrix has been dried, soak the matrix in water at 70F for 30 minutes. You can ink the print immediately but the ink will take a lot longer to dry than if you allow the matrix to dry. The matrix should be allowed to dry overnight. At this point the exposed and developed paper is called a matrix. This becomes the data points so you can build the correction curve.Īfter an hour of washing the yellow dichromate stain is mostly gone and what remains is a faint image on the paper. Switch the headers of the two columns in the data table. You want the correction curve to do the opposite. This data shows you how the process changed the step tablet from Photoshop image to oil print. The input is the original value of the step tablet and the output is the one from the oil print. The first column is the input value and the second is the output values. Write down the numbers in a table with two columns. Move the cursor over each step and read the “K” value from the Photoshop info palette. Apply a slight blur to the image so the irregularities of the ink are merged. Once the oil print / step tablet is dry scan the print into Photoshop. Expose the tablet on a piece of oil paper, wash, and ink as usual. To do this print out a step tablet on the transparency material you use. You will save yourself a lot of trials and mostly errors if you start off by establishing a correction curve which fits your particular method of printing. Allow at least 30 minutes for the gelatin to swell.ĭigital negatives are ideal for oil printing. Not allowing enough time will cause the gelatin to cook rather than melt when the temperature is raised. The gelatin granules need time to absorb as much water as possible. Once all the gelatin has been stirred into the water add enough water to make one liter. Add just small amounts of the dry gelatin at a time and avoid clumps which are very difficult to break up. Use a container that you can heat such as a glass beaker. To make a 6% gelatin solution, weigh out 60 grams of the gelatin and slowly add the dry gelatin with constant stirring into 900cc of distilled water. I find that two coats of a 6% gelatin solution works well. You will want to find a gelatin with a Bloom rating of around 250. Gelatins are given a hardness rating, the Bloom scale. While some suggest that a food gelatin such as Knox unflavored gelatin can work, I find that a gelatin designed for photographic use will give a more consistent result. The basis for the oil print is a high quality layer of gelatin. While most any high quality watercolor paper will work for oil printing, I prefer using 140 lbs Fabriano Artistico in either hot or cold press. A 140 lbs paper is easy to use and looks great. An oil print on 300 lbs paper is wonderful hold, it is much more expensive. A thin paper is 90 lbs and a thick paper is 300 lbs. The thickness is described as the weight of the paper and recorded either in pounds or grams. Watercolor paper also comes in different thicknesses. Cold press has some texture but not as much as rough. Hot press is very smooth with little surface texture and is useful for images with significant detail. Most watercolor papers come in three surfaces: rough, cold press and hot press. I have found that watercolor papers work better than papers designed for etching. Some work better than others and experimentation is part of the process. There is a wide variety of papers available with different surface textures and with different colors. The type of paper used is part of the artistic process of oil printing.
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