gellage

[carlita]

man, if there's any technique i'd LOVE to learn, this is it. this guy's stuff really draws me in, i must say.

here's a small description:

Since the end of 1989, Michal Macku has used his own creative technique which he has named "Gellage" (the ligature of collage and gelatin).

The technique consists of layering exposed and fixed photographic gelatin on paper. This transparent and plastic substance makes it possible to reshape and reform the original images, changing their relationships and endowing them with new meanings. The finished work gives a compact image with a fine surface structure.

and here's the site: ***WARNING: SITE CONTAINS SOME NUDITY***

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[motcon]

the process of gellage is actually quite simple. you could do it quite easily as you have the emulsion lift process down quite well.

i'm not fond of his compositions in the least, but the process is pretty cool and fun.

the main ingredient in the process: knox jello. go figure...

[carlita]

i tend to be pretty impatient though... i have a feeling that might make this difficult for me. :?

[motcon]

if you do it in intervals, you'll be fine.

30 seconds of work.
30 seconds away from the work.

you'll have a print in 4 days

[carlita]

do you, by any chance, have any sort of specific instructions as far as how this is actually done? i mean, i understand the basic idea, but i have never been able to find anything that says "so here's how you do this..."

[motcon]

yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyep. let me sleep off this wine and i'll find them for ya

there are actually a number of processes.

you can lift the emulsion off the paper of everyday b&w prints. a mixture of vinegar, hydrogen peroxide, and hot water does the trick.


you can make gelatin from knox jello and 'float it'. you then finesse a layer of sensitizer on it. typically of silver nitrate (30g to .....water to taste). some recipes call for gum arabic.


and on and on...

you can also print the negative on normal paper then immerse it into a solution that will make the paper dissolve leaving you with exposed silver on gelatin.


fffffffffffffffffffffun!

[carlita]

interesting!

i can't wait.

[terri]

How fascinating! I've heard of using plain old Knox gelatin as a ground for sizing certain artist's papers, if you plan on putting oils on them. But nothing like this.

I don't care for this guy's images, myself, but the technique is really intriguing!

[motcon]

stuff that i've gathered over the course of time and have supplemented with my own experiences.

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#1

From 1908 Photographic Annual: Figures, Facts & Formulas
Making paper translucent: powdered resin, 4 z; gum-elemi, 4 oz; paraffin wax, 2 oz; rectified spirit of turpentine. 12 oz; Place in a large clean enameled saucepan, and heat over a fire or gas stove, with constant stirring, until mixture boils and froths up to to fill the pan. Allow to cool a little , then add another 12 oz of rectified spirits of turpentine, stir thoroughly, then pour into wide mouthed bottles and cork well. In the melting there is a liability for the mixture to catch fire ( especially if the stirring is slackened), therefore a close-fitting lid or flat board large enough to cover the top of the pan should be kept at hand during the melting. To use, lay the prints face downward on clean blotting, and stretch with drawing pints on a board. Use a broad flat brush well charged with the varnish and with a few sweeps quickly cover the whole back of the print, then let dry. If white spots appear, give another coat of the varnish.

Pour melted paraffin wax over warm prints in a hot zinc dish, paper side up - drain before fire and dry.

Smear paper side with vaseline, lay on blotting paper and iron several times."


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#2

- hot water+vinegar+hydrogen peroxide

about 2 cups of boiling water to which add:
3 ozs vinegar
3 ozs hydrogen peroxide
agitate to mix

insert a normal silver print into the solution. after about 30 seconds or so, try to peel the emulsion from the backing. if it won't come off, put it back into the soup. you will have to adjust the amounts of vinegar and peroxide as different papers respond to different dilutions. if you can't life the emulsion after about 5 minutes, start over again with higher amounts of vinegar and peroxide.

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#3

on this process i'll have to make more notes. i just go 'do it'....

i'll fill in the details, but here is the jist:

- make some knox jello - follow the process as if you were making it for sizing

now here is where i need to make notes for ya. you can either size some paper, then apply sensitizer (liquid light works) or you can apply the knox to a surface that will not hold it, then apply the sensitizer to it.

this speaks to the latter: expose, process, then allow to dry. you will need to be very careful when you process the image so the emulsion does not slip off during it. boil lots o' water. have a tray much larger than the exposed piece as you will need some room for finesse. slip the exposed piece into the tray of hot water. the emulsion should lift as time passes; you will need some finesse and you will wish you had about 6 more hands as the emulsion will come loose, then fold on itself. obviously, you don't want to allow this. apply emulsion to desired surface. season to taste.

i'll get more details on this the next time i'm at it.

[darcstar]

Sorry to jump on this a little late in the day. I am doing a project that I would love to try this method with.

Can I ask which % peroxide you use as there are a number of types, also is it white vinegar?

Thank you

[morganza]

I do not mind the nudity.. But yes, i agree that it's very intriguing.