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On Bronzing: the project report

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  • Gerald Lange
    Well, my little project is complete. Thanks to Mark Attwood http://www.artists-press.net/ for the sheep s wool pad (complete with skin!!!), which he sent from
    Message 1 of 4 , Sep 30, 2005
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      Well, my little project is complete. Thanks to Mark Attwood

      http://www.artists-press.net/

      for the sheep's wool pad (complete with skin!!!), which he sent from
      South Africa. That worked out quite well.

      The intention of the project was to simulate on the cover a visual
      affinity to the poetry in the chapbook. Which was, in this case, a
      weathercock proclaiming his glittering glory in the morning sun. My
      intention was to capture his proud colors. So the idea was to take a
      number of bronzing powders, coppers, golds, and a silver and use them
      together to give the titling both a metal look and to represent
      several colors at once, rather than just bronze in one color. I had
      previously printed the other elements of the cover, in black, with the
      paper dampened, so it (and the ink) had to dry out before the bronzing
      could be applied.

      I was printing on Curtis Flannel Cover, in their purple gray, so it
      was a fairly rough surface. A concern since most wisdom suggests a
      smooth sheet. I had read early reports that sheep's wool contained
      lanolin and would capture the dust better. I actually used cotton
      swaps, the diamond match stick type, to add the bronzing to the
      letterforms, and used the wool pad to wipe it clean (which I
      discovered also helped to set the bronzing). The coloration was fairly
      random though I did establish several routines for its application.
      Doing the process twice, first adding the golds and coppers, wiping
      with the sheep's wool, and then randomly adding the silver, and wiping
      again, provided the look I wanted. It added a brighter but slightly
      worn look to the piece. The powders I used are not traditional
      printing powders but were bronzes made for other industries, so they
      were of a much finer mill. The stuff doesn't even offset or rub.

      Though I had originally thought to blind hit the bronzing (a
      recommendation culled from a reading of Jacoby), that disturbed the
      brightness of the bronzing a bit too much, so I abandoned it.

      A double print of the base ink, in very thin application and in a
      color that matched the paper stock, worked well for capturing the
      powder. Getting the powder off the stock where it was not intended to
      be was far simpler than I could have imagined. I had thought a vacuum
      cleaner (as recommended by a conservator), with the paper held in
      check with a silk screen frame would work. But then I discovered that
      a can of compressed air would do the job perfectly and was far less
      complicated.

      So I got exactly what I was hoping for. The letterforms printed clean
      and crisp with none of the edge often associated with over-inked
      bronzing. Thanks to all for your advice and support. If I can get a
      decent shot of the piece with my point and shoot digital camera I will
      put up a pic in the Photos section.

      Gerald
    • Regis Graden
      Gerald, Thanks for proving my theory...I learn something every day! This is a real keeper and I will use it. [is that an Italic period?] Best wishes, Regis
      Message 2 of 4 , Oct 4, 2005
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        Gerald,

        Thanks for proving my theory...I learn something every day!

        This is a real keeper and I will use it. [is that an Italic period?]

        Best wishes,

        Regis

        Gerald Lange <bieler@...> wrote:
        Well, my little project is complete. Thanks to Mark Attwood

        http://www.artists-press.net/

        for the sheep's wool pad (complete with skin!!!), which he sent from
        South Africa. That worked out quite well.

        The intention of the project was to simulate on the cover a visual
        affinity to the poetry in the chapbook. Which was, in this case, a
        weathercock proclaiming his glittering glory in the morning sun. My
        intention was to capture his proud colors. So the idea was to take a
        number of bronzing powders, coppers, golds, and a silver and use them
        together to give the titling both a metal look and to represent
        several colors at once, rather than just bronze in one color. I had
        previously printed the other elements of the cover, in black, with the
        paper dampened, so it (and the ink) had to dry out before the bronzing
        could be applied.

        I was printing on Curtis Flannel Cover, in their purple gray, so it
        was a fairly rough surface. A concern since most wisdom suggests a
        smooth sheet. I had read early reports that sheep's wool contained
        lanolin and would capture the dust better. I actually used cotton
        swaps, the diamond match stick type, to add the bronzing to the
        letterforms, and used the wool pad to wipe it clean (which I
        discovered also helped to set the bronzing). The coloration was fairly
        random though I did establish several routines for its application.
        Doing the process twice, first adding the golds and coppers, wiping
        with the sheep's wool, and then randomly adding the silver, and wiping
        again, provided the look I wanted. It added a brighter but slightly
        worn look to the piece. The powders I used are not traditional
        printing powders but were bronzes made for other industries, so they
        were of a much finer mill. The stuff doesn't even offset or rub.

        Though I had originally thought to blind hit the bronzing (a
        recommendation culled from a reading of Jacoby), that disturbed the
        brightness of the bronzing a bit too much, so I abandoned it.

        A double print of the base ink, in very thin application and in a
        color that matched the paper stock, worked well for capturing the
        powder. Getting the powder off the stock where it was not intended to
        be was far simpler than I could have imagined. I had thought a vacuum
        cleaner (as recommended by a conservator), with the paper held in
        check with a silk screen frame would work. But then I discovered that
        a can of compressed air would do the job perfectly and was far less
        complicated.

        So I got exactly what I was hoping for. The letterforms printed clean
        and crisp with none of the edge often associated with over-inked
        bronzing. Thanks to all for your advice and support. If I can get a
        decent shot of the piece with my point and shoot digital camera I will
        put up a pic in the Photos section.

        Gerald





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      • Gerald Lange
        Regis There is a passage in Moxon where he describes what I call the somatic anaphora of printing (it s always been my favorite Moxon, probably because it is
        Message 3 of 4 , Oct 5, 2005
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          Regis

          There is a passage in Moxon where he describes what I call the
          "somatic anaphora" of printing (it's always been my favorite Moxon,
          probably because it is so not Moxon):

          "He keeps a constant and methodical posture and gesture in every
          action of Pulling and Beating, which in a train of Work becomes
          habitual to him, and eases his Body, by not running into unnecessary
          divertions of Postures or Gestures in his Labour, and it eases his
          mind from much of its care, for the same causes have constantly the
          same effects. And a Pull of the same strength upon the same Form, with
          the same Beating, and with the same Blankets, &c. will give the same
          Colour and Impression."

          But, I got to tell you once the excitement of figuring it out and
          getting it down was over, it became a bit boring. I think I am losing
          my patience with the somatic anaphora. :—)

          Gerald


          > Gerald,
          >
          > Thanks for proving my theory...I learn something every day!
          >
          > This is a real keeper and I will use it. [is that an Italic period?]
          >
          > Best wishes,
          >
          > Regis
        • Gerald Lange
          Regis I couldn t quite capture the coloration and granulation of the metallic powders (my reds petered out), but I did get the courser surface of the Curtis
          Message 4 of 4 , Oct 8, 2005
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            Regis

            I couldn't quite capture the coloration and granulation of the metallic powders (my reds petered out), but I did get the courser surface of the Curtis Flannel. The Photos section here didn't capture it quite right but Flicker did okay. Odd though since Yahoo owns Flicker now. But for a look see go to

            http://BielerPress.blogspot.com

            You'll have to scroll down a bit. Post is titled The Gruffyground Chapbooks.

            All best

            Gerald


            >
            > Gerald,
            >
            > Thanks for proving my theory...I learn something every day!
            >
            > This is a real keeper and I will use it. [is that an Italic period?]
            >
            > Best wishes,
            >
            > Regis
            >
            > Gerald Lange <bieler@w...> wrote:
            > Well, my little project is complete. Thanks to Mark Attwood
            >
            > http://www.artists-press.net/
            >
            > for the sheep's wool pad (complete with skin!!!), which he sent from
            > South Africa. That worked out quite well.
            >
            > The intention of the project was to simulate on the cover a visual
            > affinity to the poetry in the chapbook. Which was, in this case, a
            > weathercock proclaiming his glittering glory in the morning sun. My
            > intention was to capture his proud colors. So the idea was to take a
            > number of bronzing powders, coppers, golds, and a silver and use them
            > together to give the titling both a metal look and to represent
            > several colors at once, rather than just bronze in one color. I had
            > previously printed the other elements of the cover, in black, with the
            > paper dampened, so it (and the ink) had to dry out before the bronzing
            > could be applied.
            >
            > I was printing on Curtis Flannel Cover, in their purple gray, so it
            > was a fairly rough surface. A concern since most wisdom suggests a
            > smooth sheet. I had read early reports that sheep's wool contained
            > lanolin and would capture the dust better. I actually used cotton
            > swaps, the diamond match stick type, to add the bronzing to the
            > letterforms, and used the wool pad to wipe it clean (which I
            > discovered also helped to set the bronzing). The coloration was fairly
            > random though I did establish several routines for its application.
            > Doing the process twice, first adding the golds and coppers, wiping
            > with the sheep's wool, and then randomly adding the silver, and wiping
            > again, provided the look I wanted. It added a brighter but slightly
            > worn look to the piece. The powders I used are not traditional
            > printing powders but were bronzes made for other industries, so they
            > were of a much finer mill. The stuff doesn't even offset or rub.
            >
            > Though I had originally thought to blind hit the bronzing (a
            > recommendation culled from a reading of Jacoby), that disturbed the
            > brightness of the bronzing a bit too much, so I abandoned it.
            >
            > A double print of the base ink, in very thin application and in a
            > color that matched the paper stock, worked well for capturing the
            > powder. Getting the powder off the stock where it was not intended to
            > be was far simpler than I could have imagined. I had thought a vacuum
            > cleaner (as recommended by a conservator), with the paper held in
            > check with a silk screen frame would work. But then I discovered that
            > a can of compressed air would do the job perfectly and was far less
            > complicated.
            >
            > So I got exactly what I was hoping for. The letterforms printed clean
            > and crisp with none of the edge often associated with over-inked
            > bronzing. Thanks to all for your advice and support. If I can get a
            > decent shot of the piece with my point and shoot digital camera I will
            > put up a pic in the Photos section.
            >
            > Gerald
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