You use a bottom fill adapter. See: http://www.paulroark.com/BW-Info/Mod...ll-Adapter.pdf
You use a bottom fill adapter. See: http://www.paulroark.com/BW-Info/Mod...ll-Adapter.pdf
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
For discussion and information about carbon transfer please visit the carbon group at groups.io
[url]https://groups.io/g/carbon
When you get prints don't refer to them as "carbon prints". That is a term for the type Sandy King does, not the digital prints that use carbon inksets.
You probably didn't intend to sound rude, but were merely trying to be helpful.
Other than in post #7, the term "carbon prints" has not been used in this thread. In that post, Peter was discussing prints whose color is that of "pure carbon", as opposed to those made with inks to which additional pigments have been added.
For the record, some Carbon printers use secondary pigments too. That's how they tone their Carbon prints. They add other pigments to the... "glop". Here is a nice example.
I certainly don't want to blur the distinction between the wonderful carbon transfer prints that Sandy makes and inkjet prints made with a carbon pigment ink set.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
The carbon printing process as originally invented by Louis Poitevin was a direct printing process more like gum bichromate (and Fresson, Artigue, etc.) than what we call today carbon transfer. An important characteristic of carbon transfer is that the pigmented gelatin image is actually transferred from the original support to a final support.
During the 1930s and 1940s three-color color carbon and carbro were the premier color printing systems in the world, even though the cyan, magenta and yellow tissues used in the assembly process used little or no "carbon" pigment.
It is important in carbon transfer to use pigments that have good light fastness, but not so critical as in making pigment prints with inkjet printers. In carbon transfer printing the agglomerate size itself provides a fair amount of protection from fading due to exposure to light.
Sandy
For discussion and information about carbon transfer please visit the carbon group at groups.io
[url]https://groups.io/g/carbon
Eureka - sort of.
I started all over and installed the cartridges as if for the first time, and somehow managed to fool the printer to start working again. Not exactly a glowing recommendation.
I think I'll give the Cone cartridge system a try (but keep using Eboni inks and my existing profiles). The stress-relief alone is worth the expense.
That's good to hear!
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
Hi Sandy,
I use the same cartridges in a 9800. Hold the cartridge with the valve facing up and using an awl, lift the cap from the valve and carefully remove the rubber seal, the plug and spring. Now introduce the awl in the conduct until you feel it perforates a little the end. Now reinstall everything back, spring, plug (spherical side up), rubber seal and cap.
I would recommend to practice first with an empty cartridge. Here are couple of shots showing the tool and the parts.
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