I have taught many classes using Boku Undo colors, for suminagashi
and on methyl cellulose for combed patterns. They have worked
reliably well with tap water from many places and prints adhere to
many inexpensive papers without alum. Most schools have a large
supply of colored construction and pale yellow morilla paper which
take suminagashi prints well and are easier to handle than washi.
They also work for combed patterns without alum. For learning
patternmaking techniques where archival issues are not a concern,
these and rough newsprint sketch pads work extremely well. I have
found Mohawk superfine to be too unabsorbent for suminagashi, but
blockprinting paper works very well. Speedball made a great one but
it was discontinued.
The addition of the photo flo does not shortern the life of the color
like oxgall. I have kept colors adjusted for suminagashi in the
concentrated form for months in well sealed glass bottles with
eyedropper tops(available from Dick Blick). These make dispensing
small amounts of color to a plastic pallete for suminagashi very easy
(the dropper can also be used to return unused color to the bottle.
The same bottles work well for applying diluted colors for combed
patterns(1 part color/2 parts water/approximately 1 drop photo flo
per tsp, more for yellow, orange, red, black and less for green,
blue). Squeeze bottles also work. Each student gets a tray to print
12x18 sheets and shares a set of rakes/combs. Many subtle colors can
be mixed from the paint box primaries. Though they may seem more
like dye than many acrylics, Boku Undo colors are very finely ground
pigments with a PVA base. I also sell the Boku Undo colors,
including custom colors. I dye silks professionally and have not
successfully marbled with dyes, but would like to hear from anyone
Best of luck. Feel free to call or e-mail for more information.
Enid Adams enid@...