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As I was told Fresson made some significant changes in the late 50's when
the went to a color process. Art Chaklis has some of the original
monochrome Fresson paper and has had extensive tests done on it. He has
made two presentations on his analysis and explorations of the Fresson
process at APIS Bath '97 and Santa Fe 2001 and he might be at APIS Bradford
2002 but I don't know for sure if he is coming yet.
At 12:47 PM 5/2/2002 -0400, you wrote:
>You're partly correct except that the Fresson process uses a special paper
>that was once sold commercially. I found an account of Fresson in one of
>those old Anderson books.
> A "slightly rough paper which will withstand moderately harsh treatment
>is first given a coat of hardened gelatine, and over this is placed a coat of
>some colloid-- probably gelatin-- which is so treated as to melt at 96 F.
>With this second coat of gelatin there has been incorporated a relatively
>large amount of earth pigment, the result being toi make the surface opaque
>and at the same time to give a matt surface that is entirely devoid of
> The paper is sensitized before use with potassium bichromate. After
>printing, the paper is soaked first in cold water, then warm water, and then
>placed on a slanting surface. "A puree of boxwood sawdust and water is
>poured repeatedly over it, this soup gradually eroding and gradually carrying
>off the soluble portions of the gelatine, with the pigment which they
>contain, thus bringing out the gradations of the subject."
> Although the contemporary Fresson prints that I have seen have a grainy
>look much like some inkjet prints, Andreson says that properly handled, and
>on smooth paper, "has a texture nearly as fine as a palladium print..."
> Now where do we get a supply of boxwood sawdust?