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Chrysotype is about photographic printing in gold on paper. This 19th century printing process, modified for contemporary use, provides artists with an affordable way to produce permanent prints in gold. By using film or digital negatives, striking hand-coated prints can be created in monochromatic hues ranging from pink, violet, magenta and purple, to green, blue, grey and black.

Chrysotype offers a how-to guide for intermediate practitioners with illustrated examples and simple explanations for each stage of the chrysotype process. The book is divided into three sections: history; preparation and how-to; and the work of contemporary artists using chrysotype.

This book includes:

  • A concise account of the invention and modification of the chrysotype process, including early discoveries about gold and colour and the significance of moisture for printing in gold
  • How to set up your workspace for printing, including useful equipment and materials
  • Advice on safe chemical practice
  • A step-by-step guide to creating suitable digital and film negatives
  • Guidance on paper selection and how to successfully coat paper
  • An overview guide to creating a chrysotype print
  • Step-by step directions for creating the chrysotype solutions
  • An explanation of mixing ratios and solution volumes that control contrast
  • An illustrated explanation of the effect of humidity on colour, including split tone colours and ways to control humidity
  • Step-by-step directions on post-exposure hydration to lengthen tonal range and lower contrast
  • Step-by-step tray processing directions
  • Advanced techniques such as handling translucent papers, additional chrysotype formulas and procedures, and alternative developing agents that support longer development, colour formation and remedy problems that affect image quality
  • Troubleshooting chrysotype printing, including advice and photographic examples
  • Illustrated profiles of contemporary artists making chrysotype prints, including their methods and tips

Chrysotype serves to inform, encourage and challenge a new generation of alternate process practitioners and a growing chrysotype community, from the newly curious to the experienced professional.

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
    2. The ‘Ingenious and Lively’ Elizabeth Fulhame
    3. Herschel and Iron-based Printing in Gold
    4. Experiments with Gold and Iron
    5. Herschel’s Chrysotype Process
    6. Herschel’s Chrysotype Prints
    7. Nanoparticle Gold and Colour
    8. New Chrysotype
  10. Part Two Preparation and Guide to Chrysotype
    1. Chapter 2 Preparing for Printing
    2. Safety First
    3. Chemical Safe Handling, Storage and Disposal
    4. Work Spaces and Lighting
    5. General Consumables
    6. General Equipment and Materials
    7. Equipment and Materials for Making Negatives
    8. Analogue Film
    9. Digital Negatives
    10. Equipment and Materials for Coating Paper
    11. Optional Items For Coating Paper
    12. Equipment and Materials For Controlling Humidity (Pre and Post Exposure)
    13. Equipment and Materials for Exposing the Print
    14. Making a Basic Contact Printing Frame
    15. Equipment and Materials to Process and Dry Prints
    16. Optional Items for Processing and Drying Prints
    17. Equipment to Make and Store the Chemistry for Version ‘S’
    18. Additional Items for Versions ‘M’ and ‘P’
    19. Chemicals
    20. Chemicals for Version ‘S’
    21. Coating
    22. Humidity Control
    23. Processing
    24. Useful Measurement Conversions
    25. Weight
    26. Liquids
    27. Chapter 3 Preparing the Negative
    28. Film Negatives
    29. Film Development
    30. Creating a Large Format Film Negative With PMK Developer
    31. Working Formula
    32. PMK Development Process
    33. Using a Transmission Step Wedge
    34. Masking the Negative
    35. Digital Negatives
    36. Creating a Basic Digital Negative
    37. Chapter 4 Paper Choice
    38. Paper Types
    39. Surface Finish
    40. HOT/HP
    41. NOT or CP
    42. Rough
    43. Size and Weight
    44. Paper Additives
    45. Impact of Paper Additives on Chrysotype
    46. Sizing – Application and Type
    47. Internal (‘Engine’, ‘Body’ or ‘Beater’) Sizing
    48. Surface (‘Tub’, ‘External’) Sizing
    49. Impact of Sizing on Chrysotype Colour
    50. Papers for Chrysotype
    51. Paper Handling and Storage
    52. Paper Treatment
    53. Decalcifying Paper
    54. Procedure for Removing Calcium Carbonate
    55. Sulphamic acid Decalcification Process
    56. Surface-sizing Paper with Hardened Gelatin
    57. Gelatin Hardening Process
    58. Chapter 5 Overview of the Chrysotype Process
    59. Overview of the Steps to Create a Chrysotype Print
    60. A Quick Guide to Getting the Common Chrysotype Colours
    61. “I want a pink image.”
    62. “I want a split tone image.”
    63. “I want a blue image.”
    64. Chapter 6 Making and Mixing the Sensitiser
    65. Version ‘S’ – Sodium Method
    66. Chemicals, Equipment and Materials
    67. Preparing Stock Solutions For Version ‘S’ Sensitiser
    68. A. Ligand Solution (1.4 molar)
    69. B1. Gold Solution (0.35 molar) – Option 1 Sodium Tetrachloroaurate
    70. B2. Gold Solution (0.35 molar) – Option 2 Hydrogen Tetrachloroaurate
    71. C. Iron Solution (1.4 molar)
    72. Tween® 20
    73. Version ‘S’ Mixing and Contrast Control
    74. Contrast Control and Volume Ratios
    75. Working Out the Volume of Solution
    76. Advanced Section
    77. New Chrysotype Version ‘M’
    78. Chemicals, Equipment and Materials
    79. Preparing Stock Solutions For Version ‘M’ Sensitiser
    80. A. Ligand Solution (1.4 molar)
    81. Differences In Use Between Versions ‘M’ and ‘S’
    82. New Chryostype Version ‘P’
    83. Chemicals, Equipment and Materials
    84. Preparing Stock Solutions for Version ‘P’ Sensitiser
    85. A. Ligand Solution (1.4 molar)
    86. B. Gold Solution (0.35 molar) Hydrogen Tetrachloroaurate
    87. C. Iron Solution (1.4 molar)
    88. D Sodium Hydroxide Solution (14 molar)
    89. Version ‘P’ Mixing and Contrast Control
    90. Contrast Control and Volume Ratios
    91. Working Out the Volume of Solution
    92. Preparing the Sensitiser
    93. Chapter 7 Coating Paper
    94. Chemicals, Equipment and Materials for Coating Paper
    95. Glass Coating Rod
    96. Items For Making a Glass Coating Rod
    97. Making a Glass Coating Rod
    98. Brush Coating
    99. Coating the Paper
    100. Which Side of the Paper to Coat?
    101. Helpful Coating Tips
    102. Rod Coating Method
    103. Brush Coating Method
    104. Coating Translucent ‘Vellum’ Paper
    105. Chapter 8 Regulating Paper Humidity
    106. What is Relative Humidity?
    107. The Effect of Humidity on Chrysotype Colour
    108. Low Humidity 9–35 %
    109. Intermediate Humidity 36–65%
    110. High Humidity 66–100%
    111. How to Regulate Humidity
    112. Timed Air Drying
    113. Extended Heat Drying
    114. Regulated Humidity Chamber
    115. How to Construct a Humidity Chamber
    116. Salt Humidity Chamber
    117. Silica Bead Humidity Chamber
    118. Water Hydration Chamber
    119. How To Use a Humidity Chamber
    120. Chapter 9 Exposing and Processing the Print
    121. Exposing the Print
    122. Exposure Time and Print-out
    123. Exposure Time and Ligand To Gold Ratio
    124. Humidity and Extent of Print-out
    125. Hydration after Exposure
    126. Steaming and Print-out
    127. Steaming Procedure
    128. Localised Breathing
    129. Processing the Exposed Print
    130. Standard Developing Agents and Colour
    131. Development Characteristics, Time and Temperature
    132. Clearing Baths
    133. Chemicals, Equipment and Materials For Processing Prints
    134. Processing Procedure
    135. Advanced Section
    136. Testing potential developing agents
    137. Colour intensification
    138. The salts of the standard developing agents
    139. Chapter 10 Troubleshooting Chrysotype
    140. I Can’t Get ‘That’ Colour Again
    141. The Print Looks ‘Grainy’
    142. The Image Highlights Are Stained Red/Purple
    143. The Print Has ‘Speckles’ in the Shadow Areas
    144. The Print Has Dark ‘Measles’ Marks
    145. The Print Has White Splotches
    146. I Can’t Get an Even Coating
    147. Brush Coating
    148. Rod Coating
    149. The Sensitiser Disappears After One Or Two Coating Passes
    150. The Paper Turns Yellow Or Orange After Coating
    151. My Print Is Too Dark
    152. The Negative Looks ‘Thin’
    153. Paper
    154. Post Hydration
    155. Developing Agent Used
    156. My Print Has Too Much Contrast
    157. A Higher Ligand Ratio
    158. The Negative Is Too Dense
    159. The Image Is Faint Or Lacks Contrast
    160. Parts of the Image Look ‘Blurred’
  11. Part Three Contemporary Chrysotype Artists
    1. Chapter 11 Contemporary Chrysotype Artists
    2. Giorgio Bordin
    3. Bianca Conwell
    4. Wendy Currie
    5. Miguel Duarte1
    6. Danielle Edwards
    7. Mark L. Eshbaugh
    8. Esme Ann Everingham
    9. Aileen Hubbard
    10. Tony McLean
    11. Pradip Malde
    12. Marek Matusz
    13. Mike Ware
  12. Appendix A Suppliers
  13. Appendix B Chemical Information
  14. Appendix C Bibliography
  15. Index
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