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  1. #21
    Jim Fitzgerald's Avatar
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    Quote Originally Posted by mike c View Post
    Saturday I went to the RIVERSIDE SHOW AND LOOKED at the carbon transfer prints Jim had there, what beautiful prints. I've never see one live and close up, now I can understand its interest and popularity .Jim described the process to me in layman’s terms how they were made . Was very impressed with the whole technique. This is the last day of the RIVERSIDE SHOW. So if you are interested to talk or see better go. It’s free, and they have other photographers as well.
    Mike c.
    Mike, thanks for the nice comments on my images. I'm always glad to talk about carbon transfer. I try to keep it simple but sometimes my enthusiasm takes over and I get crazy talking about it. I always have to thank Sandy and Vaughn for getting me started.

    Jim

  2. #22

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    Thanks for showeing interst in my qestions,you made a very understandble and clear discribtion of the procress Jim. mike

  3. #23
    Struan Gray's Avatar
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    Sandy, if you're looking for the naturally black form of Mica (found under the catchall name of 'biotite') in order to get the same tonal inversion as in a tintype, you will probably have to go to a mineral dealer. It absorbs light very well, so if you can find a sheet you can always make more by cleaving it into thinner sheets still.

    If you want the transparant type there are consumer applications like the stove windows mentioned by Don which make large-ish sheets easier to find. Small pieces - up to an inch square - of very high quality are also available quite cheaply from microscope suppliers.


    To answer the original question: I love intaglio printing, so I would have to go with photogravure. I am still looking for colour photogravures to see if I like them as much as I think I will.

  4. #24

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    Quote Originally Posted by Lukas Werth View Post
    I once tried to print with casein/gum (direct pigment, in this case cobalt oxide) on ceramic tiles which were then glazed over. I was successful of sorts: the result was a blue image with beautiful tonations and shadows, but there were some blisters in the glazing which were difficult to get rid off (not impossible, that is, but I spopped my experiments at that point for other reasons.
    Lukas, I'm really interested in your description, since I'm about to try printing gum on some ceramic floor tiles that the previous owner of the house left here. These are glazed, not shiny glazed but smooth and slick enough that I'm going to need to fashion some way of helping the gum adhere. I'm thinking I'll sand the tiles and then use pumice in acrylic to add tooth. Then if I could print gum on that successfully, I was thinking of using some sort of sealer on them. I'm not clear from your description; were these unglazed tiles that you printed on and then glazed and fired? That would probably be the most reliably durable way of printing on tile.
    Katharine

  5. #25

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    Jim, my daughter mentioned that you might start a class on carbon transfer . have you planed a date yet?
    mike c.

  6. #26

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    Quote Originally Posted by Katharine Thayer View Post
    Lukas, I'm really interested in your description, since I'm about to try printing gum on some ceramic floor tiles that the previous owner of the house left here. These are glazed, not shiny glazed but smooth and slick enough that I'm going to need to fashion some way of helping the gum adhere. I'm thinking I'll sand the tiles and then use pumice in acrylic to add tooth. Then if I could print gum on that successfully, I was thinking of using some sort of sealer on them. I'm not clear from your description; were these unglazed tiles that you printed on and then glazed and fired? That would probably be the most reliably durable way of printing on tile.
    Katharine
    Katharine, I printed on tiles which were only bisque-fired at about 700 C°, and had yet to receive their glazing (at 1250 C°). The tile was then to be glazed with the image on it, and when there was a transparent glazing over it, the image became really a part of the glazing, with beautiful shadows and an absolutely unique quality. The only pigment with which I succeeded to do this at this termparature was cobald oxide, so the image was blue. Iron oxide worked without a pransparent layer over it; the glass over it somehow "gnawed it away". I suspect it would work, however, at 1050 C°, as would probably other pigments.
    Tiles are quite fragile and porous when bisque-fired, and suck up instantly any fluid (your tongue sticks to them when it touches the surface). I had to coat over this surface in order to be able to print an image on it, which, however, made the subsequent glazing layer much more difficult to apply. That was the problem I was still fighting with when I had to abandon my experiments for the time being.
    I might, however, be able to pick them up again in some time.

  7. #27

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    Thanks, Lucas, that's very interesting. I may have to abandon my experiments because I can't find any way to abrade the glazed surface enough to take a substrate. Even very rough sandpaper doesn't scuff it at all.

  8. #28
    Jim Fitzgerald's Avatar
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    Quote Originally Posted by mike c View Post
    Jim, my daughter mentioned that you might start a class on carbon transfer . have you planed a date yet?
    mike c.
    Mike, no we have not set a date yet. Still need to plan some things and I will be sure to let you know when we set a date.

    Jim

  9. #29
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    3D prints made from slides taken with a 3D camera.

    Talking photos in frames.

    3D prints that move as you walk by (as seen in "Back to the Future 2").

    Those are three of the most interesting.

    PE

  10. #30

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    Ok,thanks Jim.
    mike

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