lightpotions

I used to have the incorrect idea that I could go much heavier with my paint quantity into solution when printing over cyanotypes. Probably the reason for this is that it is harder to perceive where the paint is adhering and where it is flaking off (in areas of lesser exposure) when evaluating over the stronger impression of a cyanotype. Today I started with, what is for me, a strong paint solution: 5ml gum arabic + 5ml pot. dichro + 1″ raw umber [from tube]. After exposing and developing the prints I was unsatisfied with the density of color and immediately coated another cyano with a stronger paint solution — 1.5″ of paint into the same sensitizer. After exposing for the same time and developing I was surprised to see that the cyano image was unchanged: the additional paint was too heavy and could simply not adhere at that exposure time on to the hot press surface of the paper (I have noticed that smoother surfaces are less tolerant of heavy paint quantities).

With gum, too little paint is always better than too much, although sometimes it’s hard to tell the difference.

Update:

I am trying now to refine something I started a few years ago: using opaque watercolor pigment on top of a darker surface. I began by using a black paper [Stonehenge] that was previously shrunk in hot water, sized using Gamblin PVA, registered using a set of positive separations and pins, and then printed over using the various transparent positives (C, M, Y) with Daniel Smith opaque watercolors (Titanium / Chinese White, Graphite Grey, etc).

Now I am shrinking Bergger Cot 320 paper before printing a blank traditional cyanotype formula over it to create a dark blue surface in which to size and print over using opaque watercolors with Gum Bichromate.

10/26/15:

120″ printing time. Drying and will size on 10/28. Can double-coat cyano if I don’t achieve adequate density.