Images: What should I be printing?
For this assignment you are required to work with Liquid Light and Cyanotypes - your images should be new ones that you've shot for this project. As advanced students, the assumption is that you have your own goals for your imagery, what you're interested in and that should drive your visuals. These techniques are a chance to see how your images work in a different medium.Liquid Light:
1. This is an emulsion in gel form when it's cold and liquid form when it's warm. It can be applied to a wide variety of surfaces (paper, ceramic tile, metal or glass).
2. This is considered a "projection" type of process - using traditional printing methods because the emulsion will still be a bit "tacky" when it's ready to print.
3. AG-Silver works a bit better than Liquid Light due to an increased amount of silver. There is also a reversal version that allows you to print on dark surfaces.
Surfaces:
1. The best approach is on a good quality paper such as Arches 140lb hot press, since this is a stable surface and will usually have consistent results.
2. Other hard surfaces must be primed. If you want to see the surface material, prime with a Glossy Polyurethane Varnish. If you don't want to see the surface (or want it to be white) use a white or tinted oil based primer paint. Do NOT use water based paints. lacquers, shellacs or other water-based materials.
3. Glass and/or metals must be well cleaned (use vinegar/water mix) and then primed with Glossy Polyurethane varnish. I recommend doing at least two coats of this - make sure it dries fully between coats. You want to do this in a well ventilated location and allow a drying time of at least several hours between coats.
4. Papers will perform based on their texture, porosity and chemical makeup. It should be able to absorb evenly and completely. Some papers (not watercolor) may need to be sized - spray starch may work for this.
Method for working with LL emulsion:
1. Place closed bottle in tank of warm water to melt gel. Avoid over melting. Try to use what you have melted each time.
2. Don't shake the bottle, there are often air bubbles with this - if you see them after application remove them before you leave the paper to dry.
3. Different brushes will have different effects. Don't use a brush with metal on it.
4. Print when the emulsion has semi dried. Developer for 1.5 minutes, we will provide a diluted fix to use as the Stop Bath (30sec), we will add a Hardener to our Fixer (5-10 minutes) and you'll leave it in the fix until the milky quality goes away.
5. Wash in the tank for 10 minutes, then in a clean water bath out in the processing area of the lab. We don't use the rotating washer for this.
Cyanotypes:
1. This is a solution that becomes light sensitive when the A&B solutions are mixed together.
2. It can be coated in artificial lighting.
3. Unlike LL, it must be completely dry before printing.
4. It prints in daylight or in a UV printer.
5. On our right sidebar there is a link under "Tutorials" for a full set of Cyanotype instructions.
Method:
1. We will mix the A & B solutions and then create a working mixture by using equal amounts of both solutions. It's best to use an eyedropper for this process. You only need a small amount to coat as it's very watery.
2. Using a clean surface (watercolor paper or other materials) brush on the desired area and allow to dry. This does not have to be done in complete darkness, but you must wait until it is fully dry. The surface will look powdery and light yellow. Cyanotypes work best on natural fibers like cotton, silk, rice papers...it's a very flexible process. Avoid synthetic fabrics or papers.
3. Printing: you will need a negative the same size as the print you want since it is a contact print process. You can make this enlarged negative through this process:
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| Cyanotypes need a "heavy" dark negative |
a. Open your image file (either from a scanned negative or a digital original) in Photoshop.
b. If it's a color image, convert to b&w using an adjustment layer.
c. Invert the image using an adjustment Layer.
d. Apply a Layers adjustment layer and increase the contrast and darken the image. We're looking for a fairly contrasty heavy negative to make a good cyanotype print.
4. Have this negative printed at FedEx or Kinkos - you want to ask them for a "transparency" print. It runs about .80 at FedEx and you should be able to upload online.
Our schedule for this project:
4/23 - Intro to project and in-class use of Liquid Emulsion
4/28 - Bring your negatives and be prepared to print this week with the Liquid Emulsion
4/30 - Working lab with Liquid Emulsion
5/5 - Cyanotypes printing
5/7 - Cyanotypes printing
Intersect: Friday May 8th Argotypes workshop and Saturday, May 9th Lith Printing
5/12 - Working lab to finish project
5/14 3rd Project Critique Due: 4-8 new image prints (either LL or Cyanotypes) matted
