Multi colored cyanotypes « Cyanotypes. Writer and photography / Filipe Alves Cyanotypes are usually blue. Or toned into a sepia color. Filipe shows us how to get both blue and sepia into the same cyanotype. Image right: 3 possible “primary colors” giving a very limited range of hues. The cyanotype process is a great way to create monochromatic prints that show that wonderful Prussian blue, or, using tea and other chemicals: purple, and brown prints may be created. Image right: Brown cyanotype made with negative created from Magenta channel, and blue cyanotype with negative created from Cyan channel in CMY image. Just as in the gum bichromate process, several coatings may be applied to the print, and as there are some different colors that can be achieved with the cyanotype process (not color splitting), a cyanotype can be made to reproduce a 2 or even 3 color print, using only cyanotype chemistry and a set of previously prepared negatives.
Ingredients This method applies some of the principles of gum bichromate. 3Washing baths. Nontoxic Printmaking, Safe Painting & Printed Art. For Artists :: Cyanotype Store. Photographers' Formulary 07-0091 Liquid Cyanotype Printing Kit : Darkroom Photographic Chemicals. Products | Sunprints. Contact | Sunprints. Cyanotype toning: the basics | MP Photography. “No one but a vandal would print a landscape in red, or in cyanotype.” (Peter Henry Emerson: Naturalistic Photography for Students of the Art, London: Sampson Low, Marston, Searle and Rivington, 1889) Citation courtesy of Luminous Lint/Mike Ware.
I happen to agree with Mr. Emerson so I tone pretty much all of my cyanotypes. I have several posts about different toners and how they (generally) look, but this post will go over the basic process of toning and try to troubleshoot a few common problems. Toning a cyanotype involves two basic steps: a bleach phase, and a toning phase. Every toner I know of contains some type of tannin in it: tannin chemically binds to the iron in the emulsion and changes the color. If I understand this process correctly, it produces a form of gallic acid – used in dyes and inks, especially medieval ones. If you’re concerned about the archival quality of your toned cyanotypes, Dr. 1. Before you start your toning, always: 2. Bleaching is a tricky thing. 3. 1. 2.
ToningWithTea.pdf. 3CG. Tri-Color Gum with Cyanotypeby Sam Wang Gum or gum-bichromate printing is a very flexible process capable of producing very beautiful and permanent prints. Although volume upon volumes have already been written on the process, few contain information that readers can follow to obtain repeatable results. This is partly because we generally do not work in scientifically monitored environments and often have no real control on the great number of variables. Each of us then needs to develop techniques based on what works for him or for her.
This article is a quick run-through on what has worked for me. My tri-color gum process may be different from others’ in three areas: 1/ Digitally created color-separation negatives,2/ homemade gum, and 3/ the use of cyanotype for one of the colors. These contribute to the success of my prints, as well as to their distinctive “look.” 1. 3. 6. The density range I usually aim for is about log 1.0.
Many well-sized papers work well with gum printing. Formulary Liquid Cyanotype Kit - 1 Liter. Blue Sunprints Cyanotype Sensitized China Silk Scarf - Turquoise. Bluesunprints China Silk Scarves (100% Silk Chiffon) are coated with Cyanotype solution which, when exposed to sunlight with objects or a negative placed on top, will yield the color of the scarf on a bluish background. Size is approximately 9 inches by 54 inches. (Some shrinkage from the original 9 inch x 54 inch material has occurred in the coating & treating process.)
Simple to do. Just place your image or object on the Sunprint silk scarf. Set it out in the sun for 10 - 15 minutes. Remove your design from Sunprint silk scarf and rinse in water until the water runs clear. Can be pressed with a warm dry iron before printing to remove wrinkles. Includes step-by-step instructions in English, French, German, Spanish & Japanese. Product is coated both sides so you can print on either or both sides, then rinse with water. Conforms to ASTM D4236 regulation stating that this product can be used safely as an "art material" or "craft material" for use by children and is Non-Toxic. Making Cyanotype Prints. The Cyanotype, which is also known as ferroprussiate or blueprint was invented by Sir John Herschel in 1842, when he discovered that ferric (iron) salts could be reduced to a ferrous state by light and then combined with other salts to create a blue-and-white image.
Not long after, Anna Atkins, one of the few women in photography during that century, published the first book with photographs instead of illustrations, "British Algae: Cyanotype Impressions" Cyantype is a contact print process and you will need a negative the same size as the size of the print you want. A cyanotype with a blue image on a white background is obtained using a negative transparency.
In order to obtain a pale white image on a blue background, a positive transparency must be used. Cyanotypes are created with a simple solution of ferric ammonium citrate and potassium ferricyanide. If you don't want to find your own chemicals, Freestyle carries an excellent all-in-one kit for you. Paper Mixing chemicals Printing. Washing cyanotypes on fabrics or cloth « Cyanotypes. Writer and photography / Malin Fabbri Malin Fabbri shows how to care for and wash your cyanotypes printed on fabric.
A cyanotype printed on paper rarely need to be washed. It usually rests safely on a wall, in a frame. The life of a cyanotype printed by a fabric artist is quite different. Washing a cyanotype on fabric should not be done in any soap or detergent containing phosphates, bleach, or sodium. Check the label to make sure the soap does not contain any phosphates, bleach or sodiumTest wash a small piece of fabric before you clean the entire pillow cover, quilt or t-shirt Dry cleaning may also work, but make sure you test a small piece of the fabric first. Ironing should be quite safe too. But, bear in mind that even if you use a very mild hand soap, not containing any phosphates, bleach or sodium, and even if you wash the fabric gently by hand, ANY washing will shorten a cyanotype’s lifespan.
Image right: A lot more about cyanotypes can be learnt in the book Blueprint to cyanotypes. About. Place any object or transparency on the Sunography Paper or Fabric, expose in bright sunlight, and rinse with water to reveal a rich blue print. Sunography paper or fabric contains light sensitive materials, which react to sunlight. What’s more each sheet or fabric square can be exposed on two sides both front and back. The superior quality of Sunography produces finely detailed prints. The prints can also be tinted, hand painted or decorated once exposed. Sunography is a great platform for creativity. Use old photo negatives, x-rays, bits of lace, leaves, printed transparencies or even household objects to compose designs.
Setting up As you’re not making an actual replica of a picture it doesn’t matter if your paper gets exposed to light, just be sure not to exposure the whole box. How to create positive images Select your chosen object; usually more absorbent objects work best such as flowers, leaves and plants. Remove, and magic! A Beginner's Guide to Lumen Printing. Blueware Tiles | * Glithero * Mastering Photo » Jill Enfield’s Guide to Photographic Alternative Processes – Lumen Prints. Lumen prints are made by taking sheets of unexposed black-and-white photo paper and placing objects or negatives on top as if you were going to make a photogram, but instead of using an enlarger you take the paper out into the sun. The results will vary due to exposure times, density of photogram or negative, quality of light and, most importantly, the type of paper. Each paper will have a different color, depending on whether it was old or new, fiber or resin, and the manufacturer.
According to an article by Jerry Burchfield (on www.freestylebiz.com), exposures can vary from half an hour to days and sometimes even months. © Barbara Dombach. Barbara does selective fixing so she can create vibrant colors and tones. She uses spoons, turkey basters, sponges and her hands (with gloves). Materials needed - Black and white photo paper, preferably out-of-date paper (or film) - photogram materials or plants - negatives - contact print frame or two pieces of glass and clips - the sun © Ky Lewis.