This gum print was a very complex image to print, outside the CYMK format, using full coating layers. Any gum printer will see immediately that full layer coating, stacked however many times, cannot separate colors in such a way. As I've noted many times, I am effectively color blind to red/green, as are the majority of men, to some degree. I make gum print theoretically, according to subtractive color theory; based upon a CYMK format for many of the images in the beginning, branching off to work with isolated sections to enhance, or alter the color to something desired.
I began preparing the paper for the print on July 1st, clearing the print, before drying, on the 30th. I will say this about making gum prints of this complexity; not sure I would attempt it again, unless it be an image really dear to my heart. This print is the second print of a three print series of the Native Dancers. I have to say, I find the first print, a gum over palladium version, to be more to my liking. That print was about a dozen posts past. The final one will be the same.
As I've also noted, probably enough to annoy, is that gum printing is no different from other artistic formats, painting, in oil, acrylic or watercolor. Especially watercolor, being it is also based upon the subtractive color theory. A gum print is a photographic watercolor. The print image is formed and shaped by the color palette chosen, and all the other critical steps that shape the finished print. There being eight factors that controls and shapes gum printing. Listed below;
The Paper, sizing, density range of the negative, color layering format [color choices each layer], density of the color/gum mixture, and, amount of gum-mix laid on the paper, printing time, floating time, and water temperature. There are actually more, but not primary variables. Each of these variables can be controlled to the printer's advantage. The process is well known; mix a color in the gum, mix that equally with potassium dichromate [some use ammonium dichromate as it's more sensitive; 'faster'] print under a negative the size of the desired image, then float on water until the gum not affected by the UV light, has floated away, leaving the rest of the print intact.
Technique; is coming to understand the controls of the process, using them to shape the printing through each step, to realizethe pre-visualized image intended. When I read a take on gum printing, with the theme being; "try this out, and see what happens, one never knows what you might get". Do not believe that. That derives of a person who has attempted gum printing, learning the basic process, without understanding the variables that control said process. I won't mention from where I saw the instructions for gum printing, that were so ludicrous, so outside actual gum printing I really couldn't believe it derived of a academic institution with alternative photography classes. It was disheartening.
I have created a "page" on this blog, laying out the process of Kallitype printing, and Salt Paper printing. I have considered doing the same for gum printing, but have hesitated, simply because there are no real boundaries, nor "this is how you do it" beyond how to mix the gum/color/dichromate and brush it on paper. The printing approaches and possibilities are literally endless, and come of artistic expression. This, is why a gum printer is unique. No two printers are alike, leaving a recognizable image of the printer, due to 'technique'. Even attempting to explain the fuller controls of the eight variables would take, well, 91 pages, which is the length of the book I wrote on gum printing. The fifth is the series on photographic processes; The Alchemist's Guide series. Yes, that was a shameless plug, but I am slowly learning if you can't find your horn to toot on once in a while, no one can find your work.
This print was made on Fabriano Artistico 140-lb Hot Press watercolor paper. It consits of twenty-two printing layers using over thirty color mixes. It was printed in the UV printer I designed and built. It has eight 24" T12 20W UV white blacklight tubes. Those are no longer made. Now the T-8 is standard. The defuser sheet is 1 1/2" below the tubes, and the defuser sheet is 6" from the table top. The digital print negative was printed on the Epson 1430 [13"x19"] using a density <curve> I use for Kallitype printing. It was snappy, with a print time of 15-17 minutes, depending on the highlights being printed, using 68ºF-floating water. Normally, I use a shallower <curve> with a print time of eight minutes.
Gum Dichromate Print
"Native Dancers" ~ 11"x14"
Tucson, Arizona
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