Digital BW, The Print

Sorry Clayton for the late response, been away from the list for a  
bit.. floods are time consuming. :)

On 27-Jun-05, at 11:16 PM, Clayton Jones wrote:
>
>
>> carolyn frayn wrote:

>> I print a lot of images on plain old arches watercolor paper,
>> have for years.. black and white, tones, color... I love it..
>>
>
> Huh, whadya know...you are full of surprises.  But now that I think
> about it, having seen some of your creative work, it's not surprising.

<G>

>
>
>> ..printed to arches, and then ironed bees wax into them.
>>
>
> How did you do this, and can you describe the result?

I use the same stuff I use on my antiques, it's a pure beeswax and  
carnuba blend that I spread on parchment paper, then flip over onto  
my prints, and iron.. it gives the work a sheen, a patina, but isn't  
always perfect .. which I like. I've just started with encaustics,  
but that's more of a post layering approach where the wax is part of  
the image, not just a coating.


>
>
>
>> Sort of fear saying I use this paper on this list...
>>
>
> Well, you shouldn't have to fear that.  I wish you would post more
> often because you have such a broad range of experience and your
> contributions are always worthwhile.  Lots of people read this forum
> and I'm sure many would benefit from what you have to share.

thanks for that.. but I think some of my work is wonky compared to  
what I read most here are doing. I have no traditional background,  
nor wish to emulate previous processes. :)


>
>
> As for Arches paper, this print is the closest thing to a platinum
> look that I've made.  It is way beyond what I expected.  I have two
> books containing what are supposed to be faithful reproductions of
> platinum prints, by Stieglitz and Laura Gilpin (one of my favorite
> photogs, BTW), and this print bears a strong resemblance to those.  It
> would be nice if others would try it and report their results here.
> And especially if other Eboni/BO users would try it.  Eboni's
> beautiful tones and BO's luminance are what really make this print
> sing.

That's what I thought when I saw some platinums, and salt prints, in  
Barcelona. Two were Stieglitz. I was blown away that some of my work  
had the same 'feel', warmth and seeming sensitivity. I'm referring to  
the output of course. The paper those prints were on was beautiful,  
non white, textured, and of course matte :)

Actually Tyler got me going with Arches watercolor years back when I  
was attempting to output a softer image that didn't do well with  
coated inkjet paper, I was using dyes with it. I've gone on to quad  
pig's, UC's,  transfers, and paints, incorporating the inkjet prints  
on that paper. But some of my favorites are still quad BW to Arches.



>
>
>> If someone wants the ultimate dmax, that's cool.. doesn't
>> mean that it's the be all and end all for everyone's tastes or
>> work... nor the definition of the 'proper' black and white print.
>>
>
> Yes, dmax is important to have when you want it, but it isn't the only
> thing that matters.  I was at the library today reading the
> introduction in a biography of Walker Evans, and how his approach was
> the polar opposite of the "art" approach.  It was a good reminder that
> there are so many ways to do BW.

as with all things :)

Best,
Carolyn