From: Scott Wainer (smwbmp@starpower.net)
Date: 01/27/03-09:11:44 PM Z
Hi Christina,
I have been doing a lot of cyanotype printing lately using a number of
different papers (see below) depending on the effect I am looking for. If
the image doesn't work with one paper, I try another or I switch the
cyanotype formula.
I am currently using two formulas, Dr. Ware's formula and the one found in
Christopher James' alt process book. I have found that there is a great
difference between the two formulas in tonality, Dmax, application, and
negative requirements. I have also noticed, to my distress, that Dr. Ware's
formula does not work well with many papers (see previous posts). In trying
to figure out the problems I was having, I contacted Dr. Ware. Through
continued discussion and experimentation I found information that might be
helpful to you and the list:
The traditional cyanotype formula used (see the James' book) does not seem
to conflict with additional gelatin sizing or the use of a hardening bath
(Glyaxol). It does, however, tend to sit atop the paper and leave areas that
do not coat with an arrowroot starch size. Dr. Ware's formula (using FAO)
tends to cause a "cake icing" effect with both sizes (original or
additional) that is visible in the margins and lowers Dmax considerably. The
use of a hardening bath (Glyaxol) seems to exasterbate the problem as it
reacts greatly with the sensitizer. Dr. Ware has recommended not using
additional sizing or a hardening bath with his formula. He also recommends
using papers (eg; Buxton) that do not use calcium carbonate as a buffer. I
queried him concerning the use of an oxalic acid bath for removing the
calcium carbonate and he informed me that it would cause the formation of
calcium oxalate; which is insoluble to the point of not being able to be
removed from the paper fibers without destroying it. Dr. Ware, while not
promoting the idea, suggested trying a very dilute nitric, acetic, citric,
tartaric or succinic acid bath; but would rather use an un-buffered paper
instead.
A "trick" that Dr. Ware suggested for countering chemical fog brought about
by the use of buffered paper is to add a solution of citric acid to the
sensitizer just prior to coating the paper. The citric acid solution is made
to 40% strength (40 gm per 100 ml) and added at a rate of 1 drop for every
cc (ml) of sensitizer. Adding this solution to the stock sensitizer will
shorten the shelf life. I have found that this addition greatly helps with
both Dr. Ware's formula and traditional ones. It also seems to open up the
shadow areas and provide an increase in tonality of about 1-2 steps; though
I have not printed a step-table with it yet.
I also noted that both formulas, Dr. Ware's formula to a greater extent,
suffer when a second coat of sensitizer is applied or when there is
excessive brushing used to evenly coat the paper. I tried applying a second
coat both before and after the first coat had been thoroughly dried and
found that the buffer (in known papers) and, presumably, the sizing was
pulled into the sensitizer causing a reduction in Dmax and a general
"fuzzing" of the image. In comparison, the papers that received a quick,
single coat of sensitizer printed with greater Dmax and were sharper. The
average time of exposures for comparative Dmax was 6 minutes for Dr. Ware's
formula and 30-60 minutes for the James' formula (depending on the ratio of
A & B solutions).
So far I have tested the following papers and found (with modifications to
the sensitizers based on the above) that they produce acceptable images.
Arches "Classic" - 140 lb / hot press
Fabriano Uno - 300 gm / hot press
Fabriano 5 "Classico" - 300 gm / cold press
Lanaquarelle - 140 lb / hot press
Strathmore Aquarius II - 80 lb / cold press
Coventry Rag - 235 gm / vellum
Daniel Smith Lenox - 250 gm / natural
Rising Drawing Bristol - 1 ply / plate
Rising Stonehenge - 245 gm / natural
I prefer the Fabriano 5 "Classico" and the Lenox as their surface fits well
with landscapes and architecture. I like the Lanaquarelle the least as it
seems to be the hardest to coat smoothly with either brush or rod. The
others produce interesting images but lack "sparkle" due to the sensitizer
sinking too deeply into the fibers; I am in the process of testing to see if
the addition of gelatin to the sensitizer helps keep the image more toward
the surface of the paper.
Hope this helps you and the list,
Scott Wainer
smwbmp@starpower.net
----- Original Message -----
From: "Christina Z. Anderson" <zphoto@montana.net>
To: "Alt Photo List" <alt-photo-process-l@skyway.usask.ca>
Sent: Monday, January 27, 2003 12:31 AM
Subject: Spam Alert: paper for cyanotype or other alt processes
> OK, guys; below is the list I have compiled of papers for cyanotype. I
have
> culled these from every book and post I have ever checked on cyano. My
> question: has anyone NOT had a good experience with any of these? Which
> one? What did it do? I know, Don Bryant, you did not like Fabriano Uno,
> and I am wondering why it did not work for you. I have now tested 7
> Japanese papers, and also Crane's platinotype, Fabriano Uno and Artistico,
> Arches Aquarelle and another one. Of these, two of the Japanese papers
> disintegrated in the wash, but 5 were wonderful, especially the really
thin
> onion skin-y gampi. Tremendously strong albeit very hard to coat--I would
> lay it on top of the sensitizer in a tray, I think, because it rolls up on
> the rod, and a brush makes it mush together while coating unless you
really
> taped it down well.
> Chris
>
> Arches Platine, Platinotype, Aquarelle
> Atlantis Silversafe
> Bienfang 360 Layout paper
> Bockingford paper.
> Buxton
> Canson Opalux Vellum
> Crane's Parchmont Wove, Crest Parchment, +Platinotype, Natural, AS 8111
> Fabriano Satinata, Artistico, 5,
> Gampi
> Hahnemuhl etching
> Hollingsworth Kent
> Japon Nacre
> Lana
> Lenox from Daniel Smith
> MASA--spread quickly with a brush as it absorbs like a sponge
> Rives Bristol
> Rising Bristol
> RKB Arches
> Roll of Oriental Rice paper for Sumi.
> Saunder's Waterford
> Somerset Book
> Strathmore drawing, 500
> Twinrocker Whitefeather deckle
> Twinrocker White Printmaking
> Van Gelder Simili
> Whatman watercolor
> BW fiber photos
> Rives BFK
> Rice paper on rough side
> White Wove
> Whatmans's Printmaking paper
> Cotton, silk charmeuse, crepe de chine, pongee, sheeting, knits, gauze,
> viscose/rayon
>
>
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