Chrysotype

Table of contents

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