Jars in the Window 7th Coat

The print count is off by one, not taking into account the first black layer, thus this last print layer is the 7th color print layer, which was Cadmium Yellow. My standard. This layer was intended on preparing the backdrop for a Cyan layer, printed for the outside of the window. It is these two layers that will better define that area in general. The task is using just enough Cyan to create a translucent effect over Yellow, which shifts the color to variations of green, from middle green to turquoise green.

The print time now increases to match the full range of densities in the window area. Like the inside, the outside has a full tonal range of densities. Even now the deeper shadow area in the foliage area shows up as black, which is right next to areas at four stops beyond that, which have to be printed down, without losing the area that need to remain white, like the window frame. Printing to light, technically that means printing to a tonal range, white, just like when developing a negative. It begins at the blacks with each successive density twice the previous, in a logarithmic stepped scale. A predictable scale. The Dictum is "shoot for the shadows & develop for the highlights". In gum printing, you begin with the structure of the shadows and print for the highlights, controlled by print time/float time.

This color layer was fairly thick, at the point of becoming almost opaque. I wanted the yellow influence to overtake the magenta layer beneath, leaving the color that will mix with the next layer of cyan, to shift the primary color in the window area to greenish as I indicated earlier. That cyan layer becomes the final overall layer of the image. The foreground, the inside area, will be complete, needing nor more layering for its full effect. Once the outside area is a bit more detailed by adding more print time on this new layer, the detail and the green color then becomes permanent, what survives the floating.

Up until now, I have used cold tap water at around 69 F, with that dropping a bit further as the outside temperature decreases. That allows me to increase the water temperature by up to twenty degrees for floating away resistant gum that is wanted gone. A lot of leeway, so I can add several more minutes print time, adjusting to the new density area. That area, hopefully, will have a full tonal range from zone 1 thru zone 7, matching the zone 7 I'm working on to keep intact along the window frame, as it is now. What is becoming more evident is the detail around the edge of the window frame showing up now.

As can be seen, the color shift is back to Yellow, part of which is the dichromate stain. If a bit of yellow is reduced in the darker darker areas it would also reduce the more evident yellow of the open window area. The cyan layer will shift this to greenish, and if I can hold the light right at the zone seven point on the window frame, while printing down the pure white areas outside the window I will arrive at what I want. That means the next cyan layer has to be printed the same as the yellow layer, to stop at the (white) area of the frame. After that layer, only the area outside the window gets any color, and then, printed down to the necessary level by increasing the print time.

Jars in the Window ~ 7th Print Color Layer ~ Cadmium Yellow