A stencil is made up for each colour of the image and put over a fine fabric mesh that is stretched over a metal frame. The coloured ink is spread over the mesh and stencil and the ink falls through the stencil to the underlying material (usually an art paper) to produce the image. The surplus ink is washed away. Once the ink has dried the next stencil (i.e. the next colour) is placed and the process begins again.
Dye, unlike pigment, dissolves completely in solution (pigment-based inks leave tiny particles floating in the solution). This means that dye-based inks are entirely absorbed into the paper that they are printed on – the image is in fact a highly controlled stain. The resulting images can thus appear very slick and even, with a vast…
Chloro-bromides share the features of all silver gelatin prints, giving deep rich blacks and crisp whites on a high gloss paper, as well as having good archival properties. Compared with silver bromides or silver chlorides, they have a warmer brownish-black tone.
Toning, or toned black and white: toning images allows an artist/printer to alter the colours of a photographic print (by replacing the silver in the silver salts with another metal). Toning can be used as an aesthetic decision by the artist, or it can also be used to improve the archival properties of a print….
Silver salts Silver salts are light sensitive chemical compounds. When exposed to light – either in a camera (in the case of film and negatives) or in the dark room (photographic papers) – the silver salts react by darkening in proportion to the amount of light reflected from the subject. Silver bromide Print Silver bromides…
