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
You'll have to scroll down a bit. Post is titled The Gruffyground Chapbooks.
> 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,
> Gerald Lange <bieler@w...> wrote:
> Well, my little project is complete. Thanks to Mark Attwood
> 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
> 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.