Alt Papers: getting stuff

In new country may mean new clothes. Printing and printmaking are different. They began in different places, and diverged into different schools — education of the doers. Some of the words may sound the same. They aren’t.

Works on paper is the big arch. The base of the image is a paper, that very old fundamental object. It is quite nice on its own. So nice, that many are makers of paper; done. that is all that is needed. Make the paper. Show the paper.

Others, most of us, put something onto that paper. Photographic prints are on very limited range of papers. Hand-coated emulsions extend that range, as does digital printing. In fact, many digital printmakers chose that method because of the range of paper surfaces. Some of the most ardent devotees of the chemical cult do so because they dislike, disapprove of the paper surfacing above the plastic sheen of 20th Century Gloss.

Look List:

PaperProcessComment
Hahnemuhle Platinum Rag (HPR)PlatinumUse as delivered
Arches Platine 300gsmPlatinum“”
Bergger Cot 320gsmPlatinum“”
Legion Revere PlatinumPlatinum“”
Clearprint 1020HPInexpensive 100% cotton
Arches En Tout Casone side hot pressed, one side eggshell textured
Awagami Platinum Gampi
Hahnemühle Sumi-e:
Legion Thai Kozocoat with brush.
Canson Vidalon Vellum
Canson Opalux Vellum
Rives BFK 280gsmgum /pigmentmy first paper for litho back in school. for alt prints requires acidification.
Fabriano Artisticogum printsrequires acidification
Papers used for alt photo as well as printmaking

These are papers that are proven to work well across processes. find a vendor, then get samples to test in your work conditions. Your water, workroom conditions of temperature and humidity. How well they dry. How well they coat. How well, and comfortable you are in their use.

One size rarely suits all printmakers. Chemical Printers are confined to accepting that which is commercially, meaning widely acceptable. That is, the “classic” look of “air-dried” gelatin. Or, the commercial Glass Gloss display print. They don’t have much choice. As a printmaker, you do. Make the most of that …

Profile Links

links to file downloads for profile making … camera… and printer

Adobe ACPU utility: https://helpx.adobe.com/photoshop/kb/no-color-management-option-missing.html

MacBeth Colorchecker: now called Calibrite ColorChecker Camera Calibrations: https://calibrite.com/us/software-downloads/?noredirect=en-US

As I was updating a piece on AIM and mask making, I have been translating topics to digital procedures. That has meant verifying some links to digital information. The above links are accurate as of today (9Mar23) … These tools are part of a calibrated workflow from camera to printer.

Punching Holes

machines change as their maker learns. Registration holes in film came after registration of masks and mats. At first film was on glass, then on thick flexible plastic (celluloid). Until DuPont invented strong thing film-base, first used in lithography, lab films couldn’t withstand much punch, pull, position, alignment. Besides, the emulsion has always ‘shifted’ size more than the film base. Most professionals watched their relative-humidity and drying angles of critical film.

The following two punches are from the most known lab equipment maker. Most known among those talking today. Note how the change in punch systems. The first, very simple — a bar acts as leaver. Over time the leavering matured — becoming smoother. The positioning guides didn’t change. Not even in size of hold-down. And the badging became a glued on plate with serial number.

1963. Condit Register Strips for Kodak and Condit punch systems.

Business Registered Date Jan 05, 1962

These were standard items in student kits at schools.

Warren L. Condit, 83, husband of Elizabeth (Myott) Condit of New Lebbon Road, Newtown, died March 2002 in Mediplex in Southbury. Warren was born in Staten Island, N.Y., July 1919. He was a US Navy veteran of World War II, serving from 1940 to 1945 as a radioman, first class, and photographer.
From 1947 to 2000, Warren operated Condit Manufacturing in Sandy Hook, a company specializing in equipment used in the development of color films, the manufacturing of the teleprompter, and violin making tools.

In its first decade, imbibition printing at Eastman Kodak changed, in means and manners, not only in name.

At first, it was the Eastman Wash-Off Relief process. When it became Kodak Dye Transfer, brochures were updated several times.

Note the cover photos showing the transfer operation: the early one shows the Blanket method; the later, color, one shows the transfer table with Kodak Pins.

Even earlier the “slip sheet” was used. This was the way with Eastman Wash-Off Relief (WOR).

information passes, even through unsigned handouts. My Cooking Color set of notes on setting up dye transfer/wash-off processing for the small, independent worker.

… but then, I gathered them from Henry Smith and several dozen forgotten cohorts… it is only when publishing that we need the name on the spine.

punch links

NB: I have written a pamphlet specifying the steps to making an adaptable punch+pin system using mostly off the shelf items. members of OIC maintain it, as well as having several sets ready for new members.