CYANOTYPE: A photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide.
First workshop of the new term and could not have gone better! I did not want to go down the obvious route of placing flowers, plants or material on top of the chemical coated paper, but I wanted to incorporate some of my paper stencil designs that I had not had the fortune to utilise yet. The designs were interpretive studies taken from Mulholland Drive, primarily the idea of plants, grasses and flowers.
Mal, the Film/Photographic TD, demonstrated the Cyanotype process and allowed us free reign to choose our own design path. He was very attentive and informed us of all the Health & Safety aspects, and tips to get the best results.
My first cyanotype involved Mal taking me to the Film development room and showing me an individual UV light box, which is used to expose film. There was a simplistic timer, which I set to 2 minutes and then removed the paper and stencil from the light box. I flipped the stencil image over and repeated the process.
Incorporating more than one design; 2.5 minute exposure, allowing a deeper blue to develop. Stencils showing the patterns found within Hockney’s fields and the grasses too.
Double exposures. Playing around with juxtaposition and exposure time; 3 minutes for first exposure and 2 minutes for second. Stencils were flipped over to allow symmetry in first design, and a random flipping in second to allow for random pattern.
Triple exposure; 3 minutes, 2 minutes and 1 minute, which allowed the tone of blue to range from soft and textured to deep and hard.
When all of the exposures had been completed, I returned to the Print room and irrigated the surface with a water hose to remove the leftover chemical film. Mal mentioned that if I wanted the blue to become more intense and deep, that the prints could be irrigated within a bath of Milton sterilising solution; of which I did.
The results speak for themselves!! I love them. The designs remind me of tiles, which I would love to explore further at a later date.
LASER CUT INDUCTION
Saima, Jack, Jamie and I were due to attend a Laser Cut induction with Craig, but unfortunately only Jack and I attended. However, we both found it extremely useful and both found that we were able to communicate our idea for the lighting solution easily and effectively.
(3D Volumes PATTAB Lamp – Surface Grooves, NEW YORK) I must admit, I found some of the technical and I.T aspects of vectoring mathematical elements a little taxing, but eventually understood the technicalities of how to laser cut using ILLUSTRATOR on a MAC.
Craig mentioned that he would try and find out if there were any coloured acrylic offcuts he could obtain so that Jack, Jamie and I could experiment with our preliminary idea to incorporate a LOW POLY ART facet within the acrylic to be laser cut.
My job now ill be to source the coloured acrylic, but I am hyper aware of cost!! Being a student, and not made of money is one of the biggest challenges when coming up with an original idea. Jobs for this week:
- Source Acrylic
- Experiment with Pattern
- Explore Fabric qualities
- Hone use of colour
- Communicate daily with group
- Study of LIGHT within Textile context