Muutke küpsiste eelistusi

E-raamat: Cyanotype Toning: Using Botanicals to Tone Blueprints Naturally

Teised raamatud teemal:
  • Formaat - PDF+DRM
  • Hind: 67,59 €*
  • * hind on lõplik, st. muud allahindlused enam ei rakendu
  • Lisa ostukorvi
  • Lisa soovinimekirja
  • See e-raamat on mõeldud ainult isiklikuks kasutamiseks. E-raamatuid ei saa tagastada.
Teised raamatud teemal:

DRM piirangud

  • Kopeerimine (copy/paste):

    ei ole lubatud

  • Printimine:

    ei ole lubatud

  • Kasutamine:

    Digitaalõiguste kaitse (DRM)
    Kirjastus on väljastanud selle e-raamatu krüpteeritud kujul, mis tähendab, et selle lugemiseks peate installeerima spetsiaalse tarkvara. Samuti peate looma endale  Adobe ID Rohkem infot siin. E-raamatut saab lugeda 1 kasutaja ning alla laadida kuni 6'de seadmesse (kõik autoriseeritud sama Adobe ID-ga).

    Vajalik tarkvara
    Mobiilsetes seadmetes (telefon või tahvelarvuti) lugemiseks peate installeerima selle tasuta rakenduse: PocketBook Reader (iOS / Android)

    PC või Mac seadmes lugemiseks peate installima Adobe Digital Editionsi (Seeon tasuta rakendus spetsiaalselt e-raamatute lugemiseks. Seda ei tohi segamini ajada Adober Reader'iga, mis tõenäoliselt on juba teie arvutisse installeeritud )

    Seda e-raamatut ei saa lugeda Amazon Kindle's. 

Cyanotype is the most accessible and frequently used of all the alternative photographic processes. When utilized properly, it has the potential to rival other processes when it comes to detail and tonal range, but its Prussian blue color isn’t always suitable for the final photograph. Throughout history, cyanotype prints have been toned not only with various—and at times hazardous—chemicals but also with more natural ingredients like tea and coffee. Since the cyanotype itself is non-toxic, Cyanotype Toning will champion an innovative process, developed by the author, of toning cyanotypes with natural material. This process, which is easy and reliable, offers a much broader range of possible colors and even beautiful black and whites. Even duotone or tricolor prints can be attained.

The book consists of two parts. Part One will be a step-by-step how-to section including all the information that a student at any level needs to achieve a successfully toned print. Easy-to-understand background information is provided on how and why the process works so that readers can venture on their own into the world of natural colors. The first part will also have a detailed section on all the factors that can influence the outcome, like paper choice, water quality, properties of the plants, temperature of the bath and the duration of the toning. Part Two is devoted to contemporary artists who have explored toning with botanicals and integrated the process into their creative practice.

The book includes:

  • A list of equipment and supplies needed.
  • In depth information about useful plants and the specific properties that make them suitable for toning cyanotypes.
  • Concise step-by-step instructions for printing cyanotypes successfully.
  • A chart of more than 60 tested papers with recommendations on paper choice.
  • Step-by-step generic instructions on toning with botanicals.
  • Troubleshooting toning with botanicals.
  • More detailed recipes for specific colors with information about the plants.
  • Step-by-step instructions on how to print duotone and tricolor prints.
  • A range of creative ideas on how to use the process in classrooms and with different age groups.
  • A comprehensive list of more than 380 tested parts of plants and possible color outcomes.

Using botanicals to tone cyanotypes broadens the color spectrum, enlarges creative possibilities and makes the cyanotype process even more versatile. The process is not cut and dried science but a limitless field for discovery and surprises. Cyanotype Toning provides accessible information and instructions for readers at all levels. It is comprehensive and explanatory, so that readers can expand on the subject on their own, as did the contemporary artists who share their experiences and the works they have created using this innovative toning process.

Arvustused

"This book is fantastic and timely. The writing style is clear and articulate, and it is extremely well researched and organized. The appendices are extensive and full of valuable information on paper and plant choices. As an artist/educator who teaches plant-based printing, I will be adding this to my toolbox!" Anne Eder, Penumbra Foundation NYC and Harvard University Ceramics Program "This book is fantastic and timely. The writing style is clear and articulate, and it is extremely well researched and organized. The appendices are extensive and full of valuable information on paper and plant choices. As an artist/educator who teaches plant-based printing, I will be adding this to my toolbox!" Anne Eder, Penumbra Foundation NYC and Harvard University Ceramics Program

Preface xi
Chapter 1 A Glimpse into the Past
1(8)
The Talented Mr. Fox Talbot
2(1)
Plants Produce Pictures
2(3)
Anna Atkins and Algae
5(1)
Dyers Knew It All Along
5(4)
PART ONE TONING CYANOTYPES STEP-BY-STEP
9(128)
Chapter 2 Botanicals as Toners
11(12)
Dyer's Glossary
12(1)
Cyanotypes Take on Color
12(1)
Bleaching and Toning
13(2)
Why Botanicals?
15(1)
Polytalents Wanted
15(1)
Herbal Medicine and Polyphenols
15(1)
Why is Dyeing Fabric Interesting?
16(1)
Tannin-Rich Plants
17(1)
Reading Tea Leaves
17(1)
Superpowers in Superfoods
18(1)
Traditional Dye Plants
18(1)
Rule of Thumb
19(1)
A Word about Lightfastness
19(4)
Chapter 3 Cyanotype in a Nutshell
23(12)
Safety First
24(1)
About Formulas
24(1)
Christina Z. Anderson's Favorite Formula
24(1)
How to Get Started
24(1)
Technical Equipment
24(1)
Chemistry Supplies
25(1)
Laboratory Supplies
25(1)
Sources for Supplies
26(1)
Measurements
26(1)
How to Create a Negative
26(1)
How to Curve a Negative
26(1)
How to Prepare a Negative
27(1)
How to Print a Negative
27(1)
How to Prepare the Emulsion
28(1)
Mixing at Time of Use
29(1)
How to Coat the Paper
29(1)
How to Expose Your Cyanotype
29(1)
How to Determine Exposure Time
29(1)
Low-Tech Method
30(1)
How to Develop the Cyanotype
31(1)
Troubleshooting Cyanotypes
32(3)
Chapter 4 Background Information and Preparation
35(14)
Safety Considerations
36(1)
Equipment
36(1)
Essentials
36(2)
Nice to Have
38(1)
When Water Gives You a Hard Time
38(1)
pH Value is Key
38(2)
Raising pH Value
40(2)
Some Like It Hot
42(1)
Don't Take Paper Choice Lightly
42(1)
My Personal Paper Charts
43(1)
Paper Chart for Toning
44(1)
Wet or Dry?
44(1)
Fresh or Cured?
44(5)
Chapter 5 Toning Cyanotypes Step-by-Step
49(16)
Gathering Plants
50(1)
Buying Toning Material
50(1)
Amount of Toning Material
50(1)
Quick Reference
51(1)
How to Prepare the Botanicals
51(1)
Basic Process Step-by-Step
52(1)
Toning More than One Print
52(2)
Storing the Toning Bath
54(1)
Bleaching before Toning
54(1)
Split Tones
55(1)
Modifying Colors
55(3)
Color Transitions
58(1)
Toning Multiple Times
58(1)
Documenting the Process
59(1)
Finishing and Storing Prints
59(1)
Protective Sprays
59(1)
Petroleum Jelly and Liquid Varnish
60(1)
Embrace Unpredictability
60(1)
Troubleshooting
61(4)
Chapter 6 The Colors
65(46)
We See Things Differently
66(1)
Living Pictures
66(1)
My Personal Favorites
66(3)
Green
69(5)
Brown
74(7)
Black
81(6)
Blue
87(6)
Purple
93(5)
Yellow
98(5)
Gray
103(8)
Chapter 7 Tricolor Cyanotype Prints
111(8)
Tannins Turn Cyanotype Emulsion Blue
112(1)
In Search of the Red
113(1)
Finding the Yellow
113(1)
Balancing the Colors
113(1)
Bleaching the Layers
113(1)
Supplies and Additional Equipment
114(1)
How to Prepare the Tricolor Negatives
114(1)
How to Prepare the Paper
115(1)
How to Make the Tricolor Cyanotype
116(1)
My Favorite Finish
116(1)
Lightfastness of Tricolor Prints
117(1)
Get Creative!
117(2)
Chapter 8 Creative Ideas
119(18)
A Long-Marginalized Form of Art
120(1)
Ideas for Photograms
120(1)
Photograms Made of 3D Objects
120(2)
Cameraless Negatives with OHP Film
122(1)
Transparent Film in Different Colors
122(5)
Cameraless Negatives with Tracing Paper
127(2)
Cliche-Verre--Etching Negatives
129(1)
Printing and Toning Cyanotypes on Wood
130(2)
Epoxy Resin
132(1)
Toning Cyanotypes on Fabric
132(5)
PART TWO CONTEMPORARY CYANOTYPE ARTISTS EXPLORE TONING WITH BOTANICALS
137(100)
Chapter 9 Contemporary Cyanotype Artists Explore Toning with Botanicals
139(98)
Jaime Aelavanthara
141(4)
Christina Z. Anderson
145(6)
Julia Arstorp
151(4)
Chuck Baker
155(2)
Diana Bloomfield
157(4)
Nadine Caplunik
161(4)
Angela Chalmers
165(6)
Kimberly Chiaris
171(4)
Marie Craig
175(4)
Michael Fehr
179(4)
Brittonie Fletcher
183(4)
Peter Friedrichsen
187(4)
Aline Heau
191(4)
Christine Huhn
195(4)
Mario Jambor
199(4)
Allan Jenkins
203(4)
Galina Manikova
207(6)
Sehera Nawaz
213(4)
Emma Powell
217(4)
Melissa Rackham
221(8)
Melanie Walker
229(4)
Jill Welham
233(4)
Appendix
Table of Botanicals
237(26)
Bibliography 263(4)
Index 267
Swiss photographer Annette Golaz captures the poetry of everyday life and the beauty of nature in her work, often consisting of contrasts and conflicting layers. Golaz experiments with a variety of 19th century photographic processes plus more modern outdated cameras, for example a 20-year-old Apple digital device with 0.3 megapixels. She has exhibited her work in Switzerland and the USA. She is also head of photography of a Swiss publishing house for cookery books and is the editor of a food magazine. To see more of her work, visit www.agolaz.ch.