Allow to dry in darkroom Dip Dipping the paper or fabric into a flat tray of cyanotype solution will ensure an even coating of the chemical. A pastry brush or a foam brush can work very well. It is advisable to use a brush without a metal ferrule, as this can affect the cyanotype chemical.
It is best to apply two coats, working over the surface methodically in both directions (length and width ways). Brush - Use a soft brush to evenly coat the surface. Remember to stir the chemical before applying to make sure that it is properly mixed. When coating paper or fabric with the cyanotype chemical it is important to ensure an even application. However, to be safe it is advisable to dry the paper or fabric in complete darkness or in darkroom conditions. The exposure time for cyanotype is very slow so coating paper or fabric may be done in low light conditions away from direct sunlight. Coating WARNING: EYE PROTECTION AND RUBBER GLOVES MUST BE WORN WHEN HANDLING CHEMICAL SOLUTIONS. Generally speaking, cheaper papers such as cartridge should not be used as they have a high acidity level which interferes with the process. Paper Natural or handmade papers are ideal for cyanotype printing and will yield the best quality results (Bockingford, Somerset, Fabriano). Synthetic fabrics are not recommended as the chemicals will not adhere to the fibres in the fabric. Bill Chambers SPWģ Cyanotype Surfaces Cyanotypes can be printed on a number of different substrates: Textiles - Cotton, linen, canvas or silk are all excellent materials for printing cyanotypes on to. As a general rule 20ml of each solution to make up a 40 ml batch of cyanotype solution should be sufficient for up to 10 8 x 10 prints on paper (for other surfaces such as textiles more cyanotype solution may be needed).
Once mixed, the shelf life of the chemicals are greatly reduced and will not keep for more than 24 hours. To make the cyanotype solution, mix equal quantities of the 2 solutions together in a glass mixing bowl. These solutions may be stored in brown bottles or light-proof containers until ready for use. Add one of the chemicals to the first bowl and stir gently with a plastic spoon until fully dissolved. Measure out 100 ml of clean (or distilled) water and pour into a mixing bowl. Measure out the correct quantities of each chemical by weight using the scales. Avoid any light exposure to the raw chemicals. The work area should be in a darkroom or darkened room. EYE PROTECTION AND RUBBER GLOVES MUST BE WORN WHEN HANDLING CHEMICAL SOLUTIONS. Recipe What you will need: Digital Scales A measuring jug A dark room Rubber gloves 10g Potassium Ferricyanide 25g Ammonium Iron (III) Citrate Water (distilled if possible) Protective glasses 3 glass bowls for mixing chemicals Dust mask 3 Plastic spoons Newspaper Quantities: Solution A Solution B 10g Potassium Ferricyanide and 100 ml Water 25g Ammonium Iron (III) Citrate and 100 ml Water WARNING: A DUST MASK AND RUBBER GLOVES MUST BE WORN WHEN HANDLING DRY CHEMICALS.
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However, care should always be taken to avoid skin and eye contact and ingestion (wear protective gloves, dust mask and glasses and wash hands immediately after use). Potassium Ferrycyanide Despite their alarming names these two substances are quite safe to handle and mix together. Envelope Examples of Cyanotype Prints Bill Chambers SPWĢ Cyanotype Chemicals The process begins with two chemicals: a.
Development simply involves washing with water and allowing to dry naturally. The chemicals can be applied to a variety of surfaces and exposed in contact with an object or negative either directly to the sun or to an artificial ultra violet light source. Recently there has been renewed interest in old or alternative photographic techniques and cyanotype is recognised as being one of the easiest and safest forms of these to master.
It was invented in the Victorian era but was quickly forgotten as photography improved, only surviving as a copying technique for documents and plans in the form of blueprints. 1 Cyanotype Photography Introduction Cyanotype is an antique photographic process distinctive for its Prussian blue monochrome prints.
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