O hi. So…even though I did not succeed in using the Stonehenge paper last night, I did pull around 10 suminagashi prints which were decent. Unfortunately, they are so subtle that I question whether it’s worth it to show them. The one print which breaks this pattern is shown below: first having adjusted the Levels (color balance) on Photoshop, and then with no color adjustments.
I’m including this one first because — at least you can see the patterning, here. The rest of my prints are fairly pale. And even this one is not quite as deep as the Levels adjustment makes it seem. Here is the same image without the Levels adjustment, everything else the same:
I think it’s more subtle and tends to hold together better. The actual color balance is somewhere in between these two images. Seriously, though…? This is the deepest colored swatch I got out of the batch. The rest of them are very subtle, for example:
This one actually looks like I was making stationery for a really nice hand-inked letter or drawing! Something where what was on top was supposed to take center stage.
I feel like trying this again — I don’t see how I can do much worse than last time — it’s just that I have something of a hesitance to work with the materials (as regards exposure to chemicals). I did look up my initial query and the main ingredient in the Sumifactant which I was unfamiliar with: I don’t think I have much of anything to worry about. On the other hand, this is messy!
Or not messy, so much, but wet.
I’m thinking of trying the yellow and orange also this time, too. It might contrast well with a violet print.
Of course, though, then I also have to cut papers down…again…*sigh*…but then I get to use a sharp thing! 😉 (I dunno why I like this, except that it demands high concentration of the type I’m used to from martial arts. The same applies to using torches for hot metalwork. But it does not apply to using toxic paints. I don’t know why…)