Digital BW, The Print

In fact, one paper that Steadman loves doesn't have calcium carbonate
anywhere in sight.

Robert

On 10/14/01 8:49 PM, "Martin Wesley" <mwesley250@...> wrote:

> Steadman,
> 
> Just a couple of comments. I think that the receiver coatings on the
> inkjet papers are more than just calcium carbonate (I think this is
> added in the paper itself as the pH buffer) and involve organic
> components which ultimately may be the weakest link in the chain.
> 
> Second, the goal in fresco is to wind up with the pigments sealed in
> the substrate under a coating. Which comes back to the idea of
> coating for maximum longevity.
> 
> Martin
> 
> 
> --- In DigitalBlackandWhiteThePrint@y..., "Steadman Uhlich"
> <steadmanuhlich@k...> wrote:
>> Greetings Digital Printmakers.  (cross posted)
>> 
>> There has been much discussion on this forum about the interactions
> of inks, pigments and paper coatings (which are usually a form of
> calcium carbonate).  While responding to another forum post on the
> issue of color pigments interacting with the substrate, my old fuzzy
> brain cells synapsed with a spark that flashed to old Michelangelo
> and his problems with his fresco work in the Sistine Chapel.
>> 
>> I am posting this excerpt below in the hope that you will gain some
> smile from knowing that artists (and a master like Michelangelo)
> struggled with the media of their times, struggled with longevity
> issues, struggled with pigments and substrates, etc... Read the last
> few lines about fresco secco.
>> 
>> Perhaps this post will encourage you to "not give up" and remember
> that lowly pigments and calcium can last a long time.  And just think
> what Michelangelo would be doing with an Inkjet!
>> 
>> Regards to all, 
>> 
>> Steadman
>> 
>> The following is copied from the Encarta Encyclopedia on the Web:
>> 
>> Pigment is applied to the top layer of several layers of plaster
> for a buon fresco. The painter usually applies to the next-to-last
> plaster surface a sketch, or cartoon, of the painting.
>>      
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>>      
>>      
>> 
>>            
>>        
>>      
>> The outlines of the various figures and forms of the cartoon are
> then reinforced with dark watercolor. Plaster is laid over the
> drawing in small sections, and color is applied to the wet plaster,
> often aided by another sketch of the color scheme. As the plaster
> dries, the lime in the plaster reacts chemically with the carbon
> dioxide in the air to form calcium carbonate; this compound forms a
> film over the colors, which binds them to the plaster. This makes
> them part of its actual surface and also gives the colors an unusual
> clarity. The colors of a fresco are usually thin, transparent, and
> light, often with a chalky look. In the Renaissance, methods were
> found to give the colors somewhat more opacity.
>> 
>> In buon fresco, the painting must be done quickly and confined to
> essentials. The artist must know precisely how much watercolor the
> plaster will absorb. Too much paint causes the surface to
> become "rotten." Cutting away the defective portion, laying on fresh
> plaster, and repainting is then necessary.
>> 
>> In fresco secco, the dry plaster is rubbed with pumice stone to
> remove the crust, then washed with a thin mixture of water and lime.
> The colors are applied on this surface. The effect of fresco secco is
> inferior to true fresco; the colors are not as clear, and the
> painting is less durable.
>> 
>> 
>> 
>> [Non-text portions of this message have been removed]
> 
> 
> 
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----------------------
Robert Morrison
rmorrison@...

310-397-2704

4131 Bledsoe Ave.
Los Angeles, CA 90066