Yes, the affect of temperature and agitation is a matter of degree but that degree is minimal. And I've resorted to things like the local application of high strength developer and even blowing on a portion of a print to warm it, but, unlike film, prints reach full development rather quickly at which point development stops almost completely. So again, those strategies only work when a print is pulled from the soup before it reaches full development. That of course is possible, but difficult to replicate on subsequent prints. Of course I think we'd all agree with what Frantisek said. The artistic value of handmade prints lies partly in the fact that no two are identical. Each is an individual work, however closely it might resemble its peers.
Paul
On Apr 6, 2005, at 7:50 AM, Shel Belinkoff wrote:


Temp and agitation are not as critical in printmaking, but I like to
maintain those things as precisely as possible. The truth is, when
printing, a lot of time my prints are physically out of the developer as i
work on small areas with Q-tips and "hot" developer, massaging certain
areas, and so on. But I prefer all the critical processes to be
standardized as a reference point, as a point of beginning. However, I
believe that temp and agitation, as well as time, should be standardized in
order to establish the basic print. Once that's known, it's easier (for
me) to move on to the finer aspects of print making.


As for varying the look significantly, well, it is a matter of degree,
wouldn't you say. We're talking about repeatability here, and so, to get
two or more prints as close to identical as possible I've always worked at
keeping the process itself as close to identical as possible for each print
made.


Shel


[Original Message]
From: Paul Stenquist

We're talking about printmaking here. Temperature and agitation are
only critical in the film development stage. You're not going to vary
the look of your prints significantly with a few degrees of temperature
or a change in agitation.





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