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:

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 …

reading The Wrong Paper

as we learn one thing we forgo another. As we look for something, we don’t see the other. Various ways of saying to walk lightly, look softly, be open — said often. However, the nature of knowing means acquiring greater focus, digging deeper into something. Perhaps genius is found by the loose grip; others must hold on tightly.

Paper was always my way of acquiring the other facts of life. Words and pictures intermixed. There have been many newspaper/journals in my circling around my purposes. In the wayback 60s, artist tabloids, and newspapers were printed on newsprint in effort to be distributed widely, cheaply. It was all transient.

as a photographer, I learned to interpret the difference between that printed page and the printed photo. Even gaining skill to provide prints to be reprinted by the cheap web print. These days interpretation between screen space and my spaces — darkroom and printroom — is made easier. It is called do-check learning.

the paper print as prompt

Threepenny uses many photographs in their paper. It isn’t a photography publication, but the editors understand and give much care to providing space for photography. I am happy that it links me to former students.

The pictures must be interpreted by an understanding that comes from open, informed eyes. These type of publications provide the backup for vision. They serve to exercise the deeper eye. That bundle behind.