Archive ”gum”

Eric and Tzipora

Eric and Tziopra

November 7, 2013
Widowmaker II, unfinished

5 ways to improve …

December 31, 2012
The Widow

The Making of a Wi…

December 25, 2012
Continuing in the "Frank's Kitchens" series: 9 layers of gum, featuring Joe hard at work. I think I may print another layer here; I'm not quite satisfied with the color balance at the moment (which is kinda funny, because I'm color blind). Aah, the trouble with gum prints; I never know when I'm done :)The paper is Stonehenge Warm White.


May 15, 2012
Gum over cyanotype on a half sheet of Stonehenge Rising warm white paper.
This print is a direct result of a morning of failures last week. My cyan pigment wouldn't stay on the paper - a combination of two different problems related to two variables I changed simultaneously. After three poor prints I decided I would forego the cyan for the morning and use cyanotype for the base layer to get me started.
I miscalculated the amount of cyanotype solution I needed (resulting in the large cyan area around the edges), and an hour of exposure was about a stop shy of what I wanted, but I managed to correct it with a subsequent layer of cyan gum (for which I again changed two variables, but at least it worked).
From memory, I believe this was 5 layers of gum (M/Y/M/Y/C) on top of one layer of cyanotype. I seem to be settling in on 6-7 layers per print on this paper.


April 23, 2012
This is probably my busiest art-related year ever. A number of things have fallen in to place, all at the same time. I'm a little saddened that it's taken me further away from posting regularly, but on the other hand, it means that I have work like this that I can post when I have the chance.
Meet Monk E. Burnswell, of Frank's Kitchens. I've accidentally found myself working with these great folks, as part of one of my "I want to do this someday" projects - photographing a build for the Kensington Kinetic Sculpture Derby.
This is both the largest and most successful of my gum prints to date - a 16"x10.5" print, digitally composited from five distinct shots (both film and digital originals). I took many risks on this print, and it paid off.
First: this is printed on a half sheet of Stonehenge Rising White. Until this point, my largest gum print was a quarter sheet.
Second: I usually forego with the sizing, or cheat with acrylic/PVA sizing. Knowing that some day I'd want to "do gum right," I sized a few full sheets of Stonehenge (white and warm white) last summer - multiple hits of gelatin, hardened with gluteraldehyde. And then they sat around for about 10 months, suriving the "great dimroom flood" last year. (Well, all but the one on top.)
Third: I winged it. I almost always studiously measure everything. This time, there was a lot of "yeah, that looks good" that went in to the printing. I changed gum in mid-print (ran out of higher-quality Windsor & Newton gum, had some Photo Formulary lower-grade opaque stuff). I changed pigments mid-print (ran out of Sennelier C/M/Y, switched to Schmincke Horadam).
I took some reasonable precautions, though - I printed two copies simultaneously, this one (which was to be the "beater" test image) and a slightly larger one (the sheets of warm white are a few inches larger). The larger image has problems in the dark gum areas that I don't like as much. Go figure; the test image became the final print.
So, there you go. More in the pipeline. At least these only take weeks and not months like the casein/glass prints.


April 16, 2012

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