Preface |
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xi | |
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Chapter 1 A Glimpse into the Past |
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1 | (8) |
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The Talented Mr. Fox Talbot |
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2 | (1) |
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2 | (3) |
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5 | (1) |
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5 | (4) |
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PART ONE TONING CYANOTYPES STEP-BY-STEP |
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9 | (128) |
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Chapter 2 Botanicals as Toners |
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11 | (12) |
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12 | (1) |
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12 | (1) |
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13 | (2) |
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15 | (1) |
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15 | (1) |
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Herbal Medicine and Polyphenols |
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15 | (1) |
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Why is Dyeing Fabric Interesting? |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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Superpowers in Superfoods |
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18 | (1) |
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18 | (1) |
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19 | (1) |
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A Word about Lightfastness |
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19 | (4) |
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Chapter 3 Cyanotype in a Nutshell |
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23 | (12) |
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24 | (1) |
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24 | (1) |
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Christina Z. Anderson's Favorite Formula |
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24 | (1) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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26 | (1) |
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26 | (1) |
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26 | (1) |
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How to Prepare a Negative |
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27 | (1) |
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27 | (1) |
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How to Prepare the Emulsion |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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How to Expose Your Cyanotype |
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29 | (1) |
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How to Determine Exposure Time |
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29 | (1) |
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30 | (1) |
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How to Develop the Cyanotype |
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31 | (1) |
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Troubleshooting Cyanotypes |
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32 | (3) |
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Chapter 4 Background Information and Preparation |
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35 | (14) |
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36 | (1) |
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36 | (1) |
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36 | (2) |
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38 | (1) |
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When Water Gives You a Hard Time |
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38 | (1) |
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38 | (2) |
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40 | (2) |
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42 | (1) |
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Don't Take Paper Choice Lightly |
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42 | (1) |
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43 | (1) |
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44 | (1) |
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44 | (1) |
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44 | (5) |
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Chapter 5 Toning Cyanotypes Step-by-Step |
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49 | (16) |
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50 | (1) |
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50 | (1) |
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Amount of Toning Material |
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50 | (1) |
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51 | (1) |
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How to Prepare the Botanicals |
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51 | (1) |
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Basic Process Step-by-Step |
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52 | (1) |
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Toning More than One Print |
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52 | (2) |
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54 | (1) |
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54 | (1) |
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55 | (1) |
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55 | (3) |
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58 | (1) |
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58 | (1) |
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59 | (1) |
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Finishing and Storing Prints |
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59 | (1) |
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59 | (1) |
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Petroleum Jelly and Liquid Varnish |
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60 | (1) |
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60 | (1) |
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61 | (4) |
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65 | (46) |
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We See Things Differently |
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66 | (1) |
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66 | (1) |
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66 | (3) |
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69 | (5) |
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74 | (7) |
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81 | (6) |
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87 | (6) |
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93 | (5) |
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98 | (5) |
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103 | (8) |
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Chapter 7 Tricolor Cyanotype Prints |
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111 | (8) |
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Tannins Turn Cyanotype Emulsion Blue |
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112 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (1) |
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Supplies and Additional Equipment |
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114 | (1) |
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How to Prepare the Tricolor Negatives |
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114 | (1) |
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115 | (1) |
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How to Make the Tricolor Cyanotype |
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116 | (1) |
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116 | (1) |
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Lightfastness of Tricolor Prints |
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117 | (1) |
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117 | (2) |
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119 | (18) |
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A Long-Marginalized Form of Art |
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120 | (1) |
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120 | (1) |
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Photograms Made of 3D Objects |
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120 | (2) |
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Cameraless Negatives with OHP Film |
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122 | (1) |
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Transparent Film in Different Colors |
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122 | (5) |
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Cameraless Negatives with Tracing Paper |
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127 | (2) |
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Cliche-Verre--Etching Negatives |
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129 | (1) |
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Printing and Toning Cyanotypes on Wood |
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130 | (2) |
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132 | (1) |
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Toning Cyanotypes on Fabric |
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132 | (5) |
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PART TWO CONTEMPORARY CYANOTYPE ARTISTS EXPLORE TONING WITH BOTANICALS |
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137 | (100) |
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Chapter 9 Contemporary Cyanotype Artists Explore Toning with Botanicals |
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139 | (98) |
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141 | (4) |
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145 | (6) |
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151 | (4) |
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155 | (2) |
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157 | (4) |
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161 | (4) |
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165 | (6) |
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171 | (4) |
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175 | (4) |
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179 | (4) |
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183 | (4) |
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187 | (4) |
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191 | (4) |
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195 | (4) |
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199 | (4) |
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203 | (4) |
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207 | (6) |
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213 | (4) |
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217 | (4) |
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221 | (8) |
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229 | (4) |
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233 | (4) |
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237 | (26) |
Bibliography |
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263 | (4) |
Index |
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267 | |