Yet another experiment resulted in a disappointing outcome, although there was a hint of possibility in my last but one experiment because I seem to have a better consistency of cyanotype chemicals and gelatine. There is still a problem coating the paper, partly I think because the cyanotype emulsion is diluted too far with the gelatine so is too weak but also, its still does not adhere well to the shiny surface. As a result I doubled up the exposure time and still felt it could have done with longer.
But, after following my bullet points from the last post, leaving the print overnight before washing, soaking for 5 minutes in iced water, then washing, I have a print with some evidence of cyanotype as well as ink.
It is a pretty rubbish image but the purpose was to experiment getting the emulsion to stick to the shiny paper without using more resources rather than creating a work of art, so I will persevere and see what materialises.
I have however had a little bit of a breakthrough in that someone on the Facebook Cyanotype page posted some images she created using cyanotype and alcohol ink. Her process is different but I think very successful.
Leigh mixes her own chemicals, exposes, adds vinegar to the rinse then hand tints with alcohol ink diluted with a little water. The gold border is also added this way. I think this is stunning and would certainly hang it on my wall!
As I am still very much in the experimental stage and as previously mentioned, keen not to use too many expensive resources in the process, I have gone back to an existing print to try this out. My first question was why dilute in water rather than more alcohol, so I have tried both. This is a cyanolumen from a couple of weeks ago on the left and the tinted version on the right.
In the tinted version, the pink, or ‘plum purple’ as it says on the bottle, is diluted in water, whereas the yellow is diluted in isopropyl alcohol. I actually found the ink diluted with alcohol easier to work with. It dries more quickly and it seems to have a more translucent quality. I also painted some of the yellow on the blobs and quite liked the effect that gave. There are so many variables though and each impacts differently on the outcome.
For example, this print was made on expired dark room paper, Kentmare Bromide Stipple, and that may have an impact, so next experiment with be on the watercolour paper I usually use for cyanotypes. For the first time in a couple of weeks though, I am starting to see a glimmer of light at the end of the tunnel.
Anne Bryson Photography 