At long last, Capt Jack is finally a finished print. Fourth iteration of printing. Because of the coating & layering approach I had to take to arrive at this finished version, A problem I had to work with was colors running while still wet, hung up. Normally, this isn't a major problem, with a bit of vigilance; assuming one 'sees' said color(s) in the first place. As noted before, I am 95% color blind to red/green. I basically see those colors as they come out of the tube, and even in mixture. It's when a shear layer of red, migrates over into another color while drying down, that, I tend to miss. When a print takes two or more weeks to produce in the first place, tossing a print, near completion, is painful. Doing it three times tests one's commitment to printing.
There is another variable at play with this print, being a paper and sizing trials, variations upon the theme. This print was made on Fabriano Artistico hot press watercolor paper; 140lb. I began printing gums using Arches hot press watercolor paper; sizing with Know gelatin @ 2.5%, paper soaked twice. This print was made on the Fabriano paper using one clear layer of gum/dichromate, printed 5-minutes, then cleared. This version of sizing actually works fairly well, although there is more 'paper bleed' than would be the case with the two dips in gelatin sizing. Along with this test was another one using one layer of Knox gelatin; @ 2% solution. This version is very much like the single printed clear gum layer.
There are several more versions of sizing papers, as well as many potential papers to use for gum printing. When I make Kallitype or Palladium prints, I use Revere Platinum paper, as it just works so well and gives such a beautiful, rich finish to the metal based prints. One thing I found it not to be all that suited for is repeated dipping in water after repeated coating and printing exposures. The paper tends to warp and curl more than the Fabriano. I will say here that I have yet to try the double soaking with gelatin sizing at 2.5%. I used the single coating. A second aspect of the Revere paper, is the smooth surface of the printing side. Very desirable for palladium prints, workable for gums. The Fabriano paper has more 'tooth'. Not so much 'roughness', like cold pressed, but a 'woven' feel to it, and the gum layers work very well in concert with that surface tooth. The Fabriano paper also doesn't curl much, with very little assistance, saying almost flat.
I use the Fabriano paper for the 11"x14" gum prints, buying the sheets in the full size; 22"x30", then cut them in half and trim, to fit the paper mask that hosts the negative, same size as the print paper; 15"x19 1/2". I simply use the Strathmore Sketch Pad paper; 16"x20". I made mask of the first sheet, then mark through the window the corner points before tearing off the marked sheet and cutting out the window for the negative. These two sheets; mask & printing paper, are to be the same size, then get "Married" before being registered and set to the pins taped to the printing frame I made for gum printing. Not to make a pitch here, but the details of the connection between the gum and paper, and the controls for that are my fifth book, on gum printing.
The basic relationship between paper sizing and gum application, has to do with the amount of color that can be mixed in the gum, second only to the viscosity of the gum. Pre-mixed commercial is sold at 14 balm, which equates roughly to a 37% mixture. For me, that's a bit thin. I mix my own gum, at 50% solution. That allows for more color that can be added to the gum to begin with, and the gum/color mixture is then mated to the paper/sizing, with the intended results of printing the least amount of gum color needed to represent each color layer with intended fidelity. Less sizing, more 'open paper', the more the color will soak into the paper, sort of 'fading' upon dry down. Too much sizing, as well as too much gum color, finds the gum & color building up onto the surface, usually ending up cracking, and or flaking if way too much is used.
This version of the print is a softer, dreamier sort of image. I got the dreamier part from my wife's take on it. She's my color guru for gum printing. She's a watercolor painter and sees the full color spectrum. At first I was not fully on board with the softer, dreamier part. I have worked for years to make the images on the surface and "strong', printed bold. And that, is one of the hallmarks of gum printing. The ability for almost endless variations upon the theme; making the image your own. The printer's "hand". This one is mine.
Gum Dichromate Print ~ Unique "Capt Jack" ~ `11"x14"
