RE: My book -- finally!

Indeed shellac may have some influence. BTW, not every india inks are
the same; the Rotring Drawing ink and Winsor Newton india ink are
glossy when smeared on plain stationary paper (especially where the
coating dries in a thick layer), but el-cheapo Pebeo india ink is
matte compared the formers.

Best regards,
Loris.

Quoting Sandy King <sanking@clemson.edu>:

> Loris,
>
> Yes, I remember the ink we used in the Istanbul workshop. The carbon
> tissue we made with that ink had a very high gloss even on paper so I
> bet it is very similar to the Black Cat that I am using. I have also
> used another carbon pigment ink called Speedball and it is very similar
> to Black Cat.
>
> Not sure why the high gloss. Someone suggested these inks contain
> shellac and the gloss is caused by that. Or it may just be the size of
> the pigment particles, which I am assuming would be much smaller with
> these kind of pigment inks than with the pigments in glycol
> dispersions. I know for sure some of the umber and violet pigments have
> fairly large pigment aggregates.
>
> Sandy
>
>
>
>
>
>
> At 4:54 PM +0200 3/23/07, Loris Medici wrote:
>> Thanks again,
>>
>> Then I'm on right track with Rotring Drawing ink / India ink (which I
>> presume is very similar to Black Cat brand you're using) and Yupo as
>> final support. Do you remember the ink we used in your Istanbul workshop
>> (Rotring)? Do you think it's similar to Black Cat ink?
>>
>> Regards,
>> Loris.
>>
>> -----Original Message-----
>> From: Sandy King [mailto:sanking@clemson.edu]
>> Sent: Friday, March 23, 2007 4:47 PM
>> To: carbon@spitbite.org
>> Subject: RE: [carbon] My book -- finally!
>>
>>
>> Loris,
>>
>> I guess one could add something to the glop to give the matte, but in
>> my case it is purely a function of the pigment.
>>
>> For example, one of my favorite colorants is a lampblack pigment in
>> aqueous dispersion that I buy from Sherwin Williams (a paint store)
>> in a gallon container. When used by itself this pigments gives a
>> tissue that makes images with a very nice sheen, but not gloss. If I
>> mix in umber colorant (also aqueous dispersion in glycol) the tissues
>> starts to lose sheen. By the time the mix is 1:1 it is a fairly matte
>> tissue.
>>
>> A tissue made from the Black Cat carbon pigment ink gives print with
>> very high gloss. The effect is very pronounced, almost startling.
>>
>> BTW, in using the terms sheen, matte and gloss I am not talking about
>> what the tissue itself looks like, but the character of the final
>> image made from the tissue.
>>
>>
>> Sandy
>>
>>
>>
>>
>>
>>
>> At 4:35 PM +0200 3/23/07, Loris Medici wrote:
>>> Thanks Sandy...
>>>
>>> How one would do a matte surface tissue? Is it only the function of the
>>
>>> pigment (darker -> more glossy, weaker -> less glossy - as I get from
>>> your message), or do you add something else into the glop?
>>>
>>> Regards,
>>> Loris.
>>>
>>> -----Original Message-----
>>> From: Sandy King [mailto:sanking@clemson.edu]
>>> Sent: Friday, March 23, 2007 4:20 PM
>>> To: carbon@spitbite.org
>>> Subject: RE: [carbon] My book -- finally!
>>>
>>>
>>> Yes, but bear in mind that the characteristics I describe would only
>>> apply to this specific carbon tissue formula, which tends to produce a
>>> final print with a matte rather than sheen surface. But for this image
>>> the result was as follows.
>>>
>>> 1. Fixed out Kodak Polymax FD surface, double weight. There is a real
>>> glow to the print in the mid-tones and highlights.
>>>
>>> 2. Arista single weight matte surface. Print has much less life, very
>>> little sparkle.
>>>
>>> 3. Yupo. Print is flat dead.
>>>
>>> However, if using a tissue with a tendency toward a lot of gloss, say
>>> one made with just the Black Cat carbon pigment ink, a print on Yupo
>>> can look very nice.
>>>
>>> This is why I wrote that so much depends on the interaction between the
>>
>>> tissue and the final support.
>>>
>>> Sandy
>>>
>>>
>>>
>>> At 4:07 PM +0200 3/23/07, Loris Medici wrote:
>>>> Dear Sandy,
>>>>
>>>> Can you please share your observations about the different final
>>>> supports you've tried for the same image? (I assume the tissue was
>>>> same
>>>
>>>> for all prints...)
>>>>
>>>> BTW, congratulations Richard...
>>>>
>>>> Best regards,
>>>> Loris.
>>>>
>>>> -----Original Message-----
>>>> From: Sandy King [mailto:sanking@clemson.edu]
>>>> Sent: Friday, March 23, 2007 3:56 PM
>>>> To: carbon@spitbite.org
>>>> Subject: Re: [carbon] My book -- finally!
>>>>
>>>>
>>>> Congratulations on the book. Does it cover color?
>>>>
>>>> There is for sure no one way to make a carbon print. In general I find
>>
>>>> that the process is much cleaner and less subject to error when
>> >>synthetic surfaces are used for both the tissue and the final support.
>>>>
>>>> From the point of view of final image appearance so much depends on
>>
>>>> the tissue itself, and how it interacts with the final support. For
>>>> example, images from some tissues look much richer on glossy type
>>>> fixed
>>>
>>>> out papers, while others like a more matte or flat look. I made three
>>>> duplicate images several days ago, placing each on different final
>>>> support, two on different fixed out photo papers and one on Yupo. The
>>>> difference in appearance of the three images is quite striking.
>>>>
>>>> Sandy
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> At 12:10 PM -0600 3/22/07, Richard Sullivan wrote:
>>>>> As many of you know, I have been working on a book on carbon
>>>>> printing.
>>>
>>>>> It's been a struggle and a joy. Every time we get to the point where
>>>>> we think we have something down pat, we discover a new and better way
>>
>>>>> to do it! We meaning my faithful crew known as the Carbon Study
>>>>> Group:
>>>
>>>>> myself, Gordon mark, Howard Efner, Carol Becvarik, and a few
>>>>> occasional helpers who drop by. A big debt is owed to them,
>>>>> especially
>>>
>>>>> when they come in excited about making some prints and I suggest they
>>
>>>>> try one of my ideas and a days work goes in the crapper!
>>>>>
>>>>> The book is printed in color and is well illustrated which helps
>>>>> quite
>>>
>>>>> a bit. As we have all learned over the years on this List, there is
>>>>> no
>>>
>>>>> set way to make a carbon print. This is one of the joys and also one
>>>>> of the frustrations of the process, so I beg a bit of tolerance on
>>>>> this. As the carbon renaissance matures, we will perhaps stabilize
>>>>> some of the procedures. To cover every way a print might be made
>>>>> would
>>>
>>>>> be an overwhelming a project and certainly bewildering to an novice
>>>>> printer.
>>>>>
>>>>> I have rudimentary website up at www.carbonprinting.com and a link to
>>
>>>>> some sample pages.
>>>>>
>>>>> Enjoy
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Received on Fri Mar 23 14:54:36 2007