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New Chrysotype S on Arches Aquarelle. Starting to get subtile shades of lavendar but they are disappearing with dry down. Such a shame. Not sure what the name of the animal is, hard to figure out now that I've changed its colors.
contact printing a 10x15cm paper negative taken on a 1922 (approx) Ica Trix 10x15cm folding plate camera .
The paper negative is on old Soviet era (1970's) photo paper.
The final cyanotype print is on 300gsm watercolour paper.
contact printing a 10x15cm paper negative taken on a 1922 (approx) Ica Trix 10x15cm folding plate camera .
The paper negative is on old Soviet era (1970's) photo paper.
The final cyanotype print is on 300gsm watercolour paper.
First, find your logo. I grabbed this one from the MySpace gallery of the "Walkin' On Sunshine" play.
New Chrysotype S on Arches Aquarelle. Starting to get subtile shades of lavendar but they are disappearing with dry down. Such a shame. Not sure what the name of the animal is, hard to figure out now that I've changed its colors.
I had to use the x-acto again to help free the logo. The fibers of the shirt definitely loved this brand of tape, clinging desperately to it. It actually made peeling the tape back a bit of a struggle, but not deal-breakingly so.
Btw, the tape is just some cheap hardward store "Tartan 5142" stuff. The most important things are that it clings well to t-shirts, is fairly thin and flexible, and doesn't stretch.
I cut out the design, skipping the letters, and the tiniest details of the mug-holding neural nurse. Too tiny - not enough time left before I had to be off to the premiere night of the play.
Peeling back all but the bottom-most layer of tape, I realized there was no easy way to separate the cut layer from the layer beneath it, so I just went with it, and had a double-thick logo, which worked out just as well as the single-layer from my "COSTUME" shirt.
The tape sticks much better to the cutting board than it does to itself, so I had to use the x-acto to lift the design as I want, slowing the peeling procedure a bit. I'm sure there are better materials for this, but nothing beats the simplicity, materials-wise, of a printout, a cutting board, an x-acto, and some masking tape.
Originally taken with Holga, then hegative scanned, digitally resized and printed with inkjet printer. Tea-toned.
My third try to print this portrait. I wasn't satisfied with first two attempts because of the low contrast, this one looks much better to me.
on 5x7in 300gsm watercolour paper
spritzed with hydrogen peroxide to lighten the fish (it was very dark at first)
It's important to cut the tiny, enclosed details first. In this example, if you cut out the whole gear first, then all the details inside it that need to be cut out are no longer held in place.
I first cut out the inner black ring, tracing around the neural nurse, skipping the hair, steam, and details inside her silhouette. Then I cut out the ring around that ring, just inside the text, then the little radiation circles. Then I cut out the ring just outside the text and radiation circles, and then the next thin ring just outside the text, before you get to the gear teeth. Finally, I cut out the gear teeth. It all took about 10 minutes or so.
A roller and a bar to draw the image over. Newer burnishers had two rollers that turned at slightly different speeds. The screw in front is to tighten the gap between roller and bar, which you do progressively while burnishing the print. Just seen underneath is the spirit lamp used to heat the burnishing bar.
I put the cutting board inside the blue shirt I was to wear, and used it to flatten out the area to which I'd apply the logo. I also stretched the sides of the shirt out flat, so I could get a good idea of where dead-center was. I finally settled on the above, sticking the tape down firmly, and using the plastic handles of some scissors to rub it into the fabric tightly.