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  1. #61
    mdm
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    C=15o M=75o Y=0o K=90o for no reason other than that is the default.
    Arylimid Yellow, Quinacridone Magenta, Copper Phtalocyanine.

  2. #62
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    Quote Originally Posted by mdm View Post
    C=15o M=75o Y=0o K=90o for no reason other than that is the default.
    Arylimid Yellow, Quinacridone Magenta, Copper Phtalocyanine.
    45 deg is considered the "prime angle" as it is the least offensive to the eye and is usually reserved for the Black plate.

    I've tried halftoning with carbon with varied results; high-contrast tissue and a hard dot negative = okay. The soft dot of inkjets can cause dot gain/etch issues which then demands VERY consistent exposure and processing of the carbon tissue.

    If you can get negs ripped on an imagesetter with accurate screen angles + frequencies, life will be much easier. It only takes a 1/2 dot misregistration to switch from solid to open centred rosettes.

    Several years of prepress and hand-coding postscript taught me this the hard way
    - Ian

  3. #63
    mdm
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    Thanks for your input. I will give it a try, perhaps with low resolution, like 65lpi rather than 400lpi.

  4. #64

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    Quote Originally Posted by mdm View Post
    Arylimid Yellow, Quinacridone Magenta, Copper Phtalocyanine.
    For those of us without a copy of Nadeau, exactly which yellow is this (CI # or PY #)?

    --Greg

  5. #65
    mdm
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    Permanent Yellow or Arylamid pigment. (Thats all I know.)
    Permanent Rose or Quinacridone
    Thalo Blue or Copper Phtalocyanine

    I emailed tech support for a paint company and they told me what letter on their paint console thing corresponds to the correct pigments. In my case, Resene and it is M, A and E.

  6. #66
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    Quote Originally Posted by gmikol View Post
    For those of us without a copy of Nadeau, exactly which yellow is this (CI # or PY #)?

    --Greg
    This post has two sets mentioned in the book; there's another one that uses water-color pigments and is more geared towards gum methinks.
    If you are the big tree, we are the small axe

  7. #67
    mdm
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    I replied to the wrong thread. I have 2 mono colour prints in the yahoo carbon gallery.

    Quote Originally Posted by mdm View Post
    I got mine from Modern Carbon Printing. I have used the colours recomended, to pour CMYK tissues which I have not printed yet, and just to mix coloured glop and to tint my black glop. Cant recommend paint tints enough, very easy and fun to work with. I am about to post a blue-green print made with cyan and yellow and have used magenta to get a mahogany tint, probably needs a touch of yellow too, but I have not printed it yet. They are easier to disperse than watercolour pigments even. Another option may be mixol or caltint. I have used mixol and its super nice but I am not shure if they have process colours.

    dry pigment=massive headache and wasted glop or LOTS of patience.

    David

  8. #68

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    @mdm

    Any progress on your 4-color attempts?

    I should be receiving samples from Secant today of the UltraStable sensitizer and a diazo that's similar to what mdm used in his first experiments. Won't get to do anything with them for a week or so, though.

    --Greg

  9. #69
    mdm
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    I poured some sensitised colour tissue about 10 days ago but it is in the deep freeze as I have had visitors until this morning. I also mixed up some dichromated albumen and coated a sheet about a week ago. I had not seen Tod Ganglers video at the time and it was not a success. So I will have another go today and may make a test print on yupo. I have made some prints with a green tissue mixed with C and Y paint pigment, and also with prussian blue watercolour paint. You can do a lot with just one coloured tissue and tinted sizing. When printing with a coloured tissue, its the saturation of the colour that changes in the print, not brightness as with black tissue. Even working with 1 colour your tissue does not have to be opaque, so exposure times are short (+- 1/3 of a black exposre time for green anyway) and relief is psyco. Tinting your black tissue really lifts the look of your prints to something that cant be replicated using any other process. Colour is fun, the hard work is still to come.

  10. #70

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    has anyone tried the Speedball Diazo Sensitizer?
    it is available seperately, without the emulsion - for about $/€6 for 2 oz.
    MSDS:
    http://www.speedballart.com/cms_wfc/uploads/35.pdf

    but this might be something completely different than the chemicals discussed in this thread, because the MSDS mentions
    - Polymethylene-p-Diazo Benzene Dye (CAS #71550-45-3)
    - Phosphoric Acid (CAS #7664-38-2)
    as ingredients.
    probably worth a try though...


    did anyone have any luck obtaining the pure chemical or "hardener no.3" so far?
    i just saw this posted on the b&s board: http://www.pjschemicals.com/prodlist.htm
    being a source from europe, this is very interesting to me. but all those chemical names sure are confusing. and all of their chemicals come as a powder. would that be more hazardous to handle than a solution?

    and the "hardener no.3" is mentioned as being a substitute for the dichromates. would this stuff also work with the other colloids, like gum, casein etc.?
    and the stuff stays in the printed image after processing? it does not wash out as the dichromate does? i guess this won't affect the stability of the prints (... hence the ULTRASTABLE name).



 

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