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Index
Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Preface
Introduction
Part One History
Chapter 1 Early Experiments With Gold and the Chrysotype Invented and Reinvented
The ‘Ingenious and Lively’ Elizabeth Fulhame
Herschel and Iron-based Printing in Gold
Experiments with Gold and Iron
Herschel’s Chrysotype Process
Herschel’s Chrysotype Prints
Nanoparticle Gold and Colour
New Chrysotype
Part Two Preparation and Guide to Chrysotype
Chapter 2 Preparing for Printing
Safety First
Chemical Safe Handling, Storage and Disposal
Work Spaces and Lighting
General Consumables
General Equipment and Materials
Equipment and Materials for Making Negatives
Analogue Film
Digital Negatives
Equipment and Materials for Coating Paper
Optional Items For Coating Paper
Equipment and Materials For Controlling Humidity (Pre and Post Exposure)
Equipment and Materials for Exposing the Print
Making a Basic Contact Printing Frame
Equipment and Materials to Process and Dry Prints
Optional Items for Processing and Drying Prints
Equipment to Make and Store the Chemistry for Version ‘S’
Additional Items for Versions ‘M’ and ‘P’
Chemicals
Chemicals for Version ‘S’
Coating
Humidity Control
Processing
Useful Measurement Conversions
Weight
Liquids
Chapter 3 Preparing the Negative
Film Negatives
Film Development
Creating a Large Format Film Negative With PMK Developer
Working Formula
PMK Development Process
Using a Transmission Step Wedge
Masking the Negative
Digital Negatives
Creating a Basic Digital Negative
Chapter 4 Paper Choice
Paper Types
Surface Finish
HOT/HP
NOT or CP
Rough
Size and Weight
Paper Additives
Impact of Paper Additives on Chrysotype
Sizing – Application and Type
Internal (‘Engine’, ‘Body’ or ‘Beater’) Sizing
Surface (‘Tub’, ‘External’) Sizing
Impact of Sizing on Chrysotype Colour
Papers for Chrysotype
Paper Handling and Storage
Paper Treatment
Decalcifying Paper
Procedure for Removing Calcium Carbonate
Sulphamic acid Decalcification Process
Surface-sizing Paper with Hardened Gelatin
Gelatin Hardening Process
Chapter 5 Overview of the Chrysotype Process
Overview of the Steps to Create a Chrysotype Print
A Quick Guide to Getting the Common Chrysotype Colours
“I want a pink image.”
“I want a split tone image.”
“I want a blue image.”
Chapter 6 Making and Mixing the Sensitiser
Version ‘S’ – Sodium Method
Chemicals, Equipment and Materials
Preparing Stock Solutions For Version ‘S’ Sensitiser
A. Ligand Solution (1.4 molar)
B1. Gold Solution (0.35 molar) – Option 1 Sodium Tetrachloroaurate
B2. Gold Solution (0.35 molar) – Option 2 Hydrogen Tetrachloroaurate
C. Iron Solution (1.4 molar)
Tween® 20
Version ‘S’ Mixing and Contrast Control
Contrast Control and Volume Ratios
Working Out the Volume of Solution
Advanced Section
New Chrysotype Version ‘M’
Chemicals, Equipment and Materials
Preparing Stock Solutions For Version ‘M’ Sensitiser
A. Ligand Solution (1.4 molar)
Differences In Use Between Versions ‘M’ and ‘S’
New Chryostype Version ‘P’
Chemicals, Equipment and Materials
Preparing Stock Solutions for Version ‘P’ Sensitiser
A. Ligand Solution (1.4 molar)
B. Gold Solution (0.35 molar) Hydrogen Tetrachloroaurate
C. Iron Solution (1.4 molar)
D Sodium Hydroxide Solution (14 molar)
Version ‘P’ Mixing and Contrast Control
Contrast Control and Volume Ratios
Working Out the Volume of Solution
Preparing the Sensitiser
Chapter 7 Coating Paper
Chemicals, Equipment and Materials for Coating Paper
Glass Coating Rod
Items For Making a Glass Coating Rod
Making a Glass Coating Rod
Brush Coating
Coating the Paper
Which Side of the Paper to Coat?
Helpful Coating Tips
Rod Coating Method
Brush Coating Method
Coating Translucent ‘Vellum’ Paper
Chapter 8 Regulating Paper Humidity
What is Relative Humidity?
The Effect of Humidity on Chrysotype Colour
Low Humidity 9–35 %
Intermediate Humidity 36–65%
High Humidity 66–100%
How to Regulate Humidity
Timed Air Drying
Extended Heat Drying
Regulated Humidity Chamber
How to Construct a Humidity Chamber
Salt Humidity Chamber
Silica Bead Humidity Chamber
Water Hydration Chamber
How To Use a Humidity Chamber
Chapter 9 Exposing and Processing the Print
Exposing the Print
Exposure Time and Print-out
Exposure Time and Ligand To Gold Ratio
Humidity and Extent of Print-out
Hydration after Exposure
Steaming and Print-out
Steaming Procedure
Localised Breathing
Processing the Exposed Print
Standard Developing Agents and Colour
Development Characteristics, Time and Temperature
Clearing Baths
Chemicals, Equipment and Materials For Processing Prints
Processing Procedure
Advanced Section
Testing potential developing agents
Colour intensification
The salts of the standard developing agents
Chapter 10 Troubleshooting Chrysotype
I Can’t Get ‘That’ Colour Again
The Print Looks ‘Grainy’
The Image Highlights Are Stained Red/Purple
The Print Has ‘Speckles’ in the Shadow Areas
The Print Has Dark ‘Measles’ Marks
The Print Has White Splotches
I Can’t Get an Even Coating
Brush Coating
Rod Coating
The Sensitiser Disappears After One Or Two Coating Passes
The Paper Turns Yellow Or Orange After Coating
My Print Is Too Dark
The Negative Looks ‘Thin’
Paper
Post Hydration
Developing Agent Used
My Print Has Too Much Contrast
A Higher Ligand Ratio
The Negative Is Too Dense
The Image Is Faint Or Lacks Contrast
Parts of the Image Look ‘Blurred’
Part Three Contemporary Chrysotype Artists
Chapter 11 Contemporary Chrysotype Artists
Giorgio Bordin
Bianca Conwell
Wendy Currie
Miguel Duarte1
Danielle Edwards
Mark L. Eshbaugh
Esme Ann Everingham
Aileen Hubbard
Tony McLean
Pradip Malde
Marek Matusz
Mike Ware
Appendix A Suppliers
Appendix B Chemical Information
Appendix C Bibliography
Index
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