Jacquard Cyanotype Set

  • Prints can be made on any natural surface, including paper, canvas, cotton, silk, wool and wood.
  • Cyanotype printing is a process traditionally embraced as an inexpensive method for reproducing photographs, documents, maps and plans.
  • Cyanotype printing is a remarkably simple process by using two inexpensive chemicals and sunlight or UV exposure.
  • Simply fill with water to create stock solutions, coat fabric with sensitizer and create prints by exposing to sunlight or UV. Air dry and process your prints in 24 hours.
  • Includes: Two chemicals – Part A Potassium Ferricyanide 0.8 ounces, Part B Ferric Ammonium Citrate 1.9 ounces

The color is great. All exposure times have all been over 30 minutes for me to get it just right. I have made more than 10 8.5x11 prints on cotton fiber paper out of just 30mL and I still have some left over to use before I renew this batch. So this can make hundreds of prints, depending on the size. It's quite a deal for this product. I approve! I've only used the sun, so I'm not sure how well UV light will do, but I can say when exposing in the sun, the sensitizer needs to turn a brownish color before I can develop it, if I'm looking for a deep blue color.

This is an economical way to make a number of cyanotypes. It is easy to use and results in beautiful dark blue and white prints. I made my prints on fabric. The steps are the same as printing on paper. Mix equal amounts of the chemicals, paint onto your fabric (or paper), let dry in a dark place. Place leaves, flowers, feathers, lace - just about anything - on the treated fabric, cover with glass and place in the sun. The color of the fabric didn't change with the sun which was a little confusing to me since I had read that it would turn bronze. But as soon as I rinsed it and added a bit of peroxide, the intense blue appeared. My first attempts were keepers!

it worked! I used this with my students. In the darkroom, under safe lights, we laid transparencies as negatives over some watercolor paper that we had painted with the mix. We brought the glass easels out in the sun for 15 minutes on a sunny bright spring day. We rinsed for a few minutes in a plastic tray with slowly running water. They came out great! The next day, they were indeed a little deeper blue.

Literally just add water. Instructions are included on the back of the cardboard insert and on both bottles, so there's certainly little room for error provided you are literate. The rest is up to trial and error. And with this affordable, Prime-able, foolproof option, there's no reason to fear errors (of which you will have many in the beginning). While you wait for it to ship, stop by the store and grab some benzoyl peroxide to add to the rinse wash later. I definitely recommend this set to anyone looking to start (or continue) cyanotyping. If you want some advice-- be patient. When you mix the chemicals, wait 24 hours. When you apply it to your medium, wait another 24 hours. And be patient when exposing, it's always better to overexpose.

Works quite well. Cyanotype is a very old and established process, and I'd expect almost any kit to work just fine. This one does. If you're having trouble with spotty coatings, it's probably either because you aren't mixing precisely enough, and are leaving unreacted reagent, or your paper may have impurities. It may also be that your coating technique needs work. Consider ordering find glass stir rods, and looking up Mike Ware's coating technique. Bear in mind that many of the little spots you see will disappear once you've exposed and developed. Always rinse 15 minutes for any print you plan to keep long term, as this will help it last much longer.

So much fun! This is such an easy process and the possibilities the ‘wet’ cyanotype process present are myriad. I have just scratched the surface of using cyanotype in my artwork, but these inexpensive Jacquard materials are easy to use and the documents say they will produce 50-60 8” x 10” sheets. My experience using fabric suggests this is realistic, so lots of experimenting lies in my future. Why has this marvelous process been limited to architectural blueprints for so long? Artists, take note, this process is a new and powerful arrow to add to your quiver of techniques. And the blues which result from this process coordinate beautifully with the indigo shibori I have been dabbling in.

I've had good luck with this stuff. It should theoretically not vary by brand though (unless advertised), since it's a simple chemical formulation. If you are coating paper, be weary of what type you use. Most commercial paper is buffered, and contains various additives (optical brighteners, etc). These characteristics are detrimental to the Cyanotype chemical process. If you want top quality prints, buy specifically unbuffered paper with no additives. DO NOT USE INKET PAPER. You will just waste it. You can buy special paper marketed as "for use with historical photo processes" (Cyanotype/Platinum, etc). Look on B&H, Freestyle Photo, etc. If you want to learn more about Cyanotypes, EVERYTHING you need to know is in a free book called Cyanomicon, by Mike Ware. Google it, and the free pdf book will be the first result.

I am a photography instructor, and I’ve used a number of cyanotype kits over the years. This kit is by far the best of all of them. Easy to mix, just make sure you allow 24 hours after adding water before you use it. It produces nice deep blue tones, and a wide tonal range. I’ve been exposing my negatives using this UV blacklight flood light: Roleadro UV Black Light Flood... https://www.amazon.com/dp/B07JB7F1X2?ref=ppx_pop_mob_ap_share I expose for roughly 7 minutes at 11 inches from the light source for an 8 x 10 image. After 2 to 3 minutes minutes of rinsing, I run it through a quick hydrogen peroxide bath, 1 to 2 capfuls of hydrogen peroxide per quart of water. Another quick rinse and it’s done.

Works great! The solutions seem to keep for several months. I've been using a cheap foam brush to coat the cyanotypes, but I'd imagine it'd work better if I went with a glass rod.

Works very well and is easy to use. The bottles contain the chemicals in powder form, to which you need to add water. That can be a little tricky since the bottles are opaque. Be careful not to overfill. You need to shake up the bottles and let them sit for a day or so so completely dissolve (according to instructions). They say the chemicals are pretty safe, but I used rubber gloves and I'm sure they'd stain if you got any on you. I used watercolor paper and a wide soft brush. The paper was pretty absorbent, so it was not easy to get even coverage. I found that making long, fast strokes worked best to keep chemical from soaking in unevenly. A harder surface paper might be better. No idea how it would work on fabric. I poured a tablespoon of each chemical into a dish, which was enough to coat 8 sheets of 8" x 11" paper. They say this kit will make around 65 8 x 10 prints and I would guess you'd get at least that if not more. I used transparency film negatives printed on my laser printer, but for really solid white areas on the print I think I'll be using a commercial copy shop to make the negatives. (You can also use a sharpie to draw directly on film, but remember that what you draw will be white on a cyan background.) I made a sandwich of my negative and paper between two sheets of picture glass, held together with small binder clips. Be sure to coat and store your unexposed paper and assemble your print frame in a darkened room . It seems more sensitive to ambient light than I expected. I tried various exposure times and found 5 minutes on a sunny day to be more than adequate. Adding just a cap full or less of hydrogen peroxide to the rinse water makes it develop its deep blue color almost instantly. Be sure to rinse the prints thoroughly. Any residual chemical will continue to darken.

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