Developing cyanotype
Toning
I like the toning because i prefer the depth of indigo ink instead of bright blue.
On the canvas it looks like a crafty aging process which isn't what I was aiming to achieve. Should I have left this canvas bare?
Sits really heavily on the canvas and smells of coffee despite lots of rinsing
TestingRepeated the cyanotype process after using acrylic paint - there are faint suggestions of a second print. This is what makes the outline of the figure and triangles where the chemicals where'nt painted over the whole paper.
Gesso
Gesso on top does leave a shadow
Acrylic
Acrylic is too thick despite being used with a medim
Oil
Oil
with linseed is much better for transparency
Polychronos
Polychronos work well to pull out small details but take over when used to pull out more detail
Bleach
Bleach removed some of the coffee staining and I used a brush to remove the staining under the tape marks.
Painted back into this to pull out details with oil paint.
Enjoying playing with bleach over cyanotype, gesso and ink - corroded/ bright/ pulls back negative spaces/ vivid in areas.
playing with ideas around curating tiled repeat cyanotyped images.
I'm not convinced that the transparent gesso works -i think i'm washing it away when i rinse the cyanotype mix which is also impacting on how they develop,
problems with the prepped cyanotypes that i did in the dark of the studio - because i'm doing the prints in stages between work and different locations - i think they're devoping partly before i attempt to do them - not sure i'm rinsing them all completely either - is the back holding developer / the gesso -
do i need to go back to basics and just use the mix on bare canvas? - Probem: when i want to paint into them with oil, if i cover them in gesso - it leaves a shadow (when tested on paper)
Grouping and forming relationships
Thinking about domestic with cyanotypes on the line..
noticing print marks that are interesing











































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