Impresión Solar

In this workshop we will be exploring ways to control the colors in a lumen print. We use cyanotype to add blue and use different mask materials to give better control over the application of liquids. We will also discuss and explore the use of paper masks to vary the light that hits the paper. We will be working with one photo paper but the artist will bring examples of a range of papers because they each bring their own palette of colors and capabilities to the table. We won’t be using negatives/transparencies or plant material in this workshop, but these masking techniques can work with both and we will talk about ways of combining them. We will be washing/fixing the cyanotype part of the print, but not fixing the lumen to give us more time to work with the techniques. It is not necessary to have worked with the cyanotype or the lumen process before.

Outline

1. Introductions

2. Overview of the techniques and practical demonstration:

3. Liquid control: sticky liquid-blocking masks, absorbent liquid-concentrating masks

4. Light control: light sources (room light vs shade vs sunlight), paper masks to block/restrict light

5. Working with the techniques and exposing work

6. washing and drying the work

No material necessary, but if participants want to bring their own silver gelatin paper to use they are very welcome. The Artist will probably bring a couple of types too.

In this longer workshop, we will not only be able to make a few prints, but we will also have time to work with toners to brin gout a longer tonal range. Today, Van Dyke brown prints are a valued option for the experimental photographer. This process is one of the simpler techniques and because if it’s long tonal range, and when done correctly, it can produce beautifully detailed brown prints. It is known as the “poor man’s platinum/palladium print” because it can be difficult to tell which process it is. Van Dyke Brown prints are made by combining silver nitrate, ferric ammonium citrate and tartaric acid to make a solution that keeps for up to a year or two. Paper is coated with the sensitizer, exposed with UV light, and then washed in running water before it is fixed, cleared, and washed again and then dried. The results are a beautiful brown color. Easy to learn and easy to do on your own after a workshop.

Outline

1. Introduction to Van Dyke Brown Printing

   • Overview of the history and significance of the Van Dyke Brown process.

   • Explanation of its connection to platinum/palladium printing.

   • Discussion on the chemical components: silver nitrate, ferric ammonium citrate, and tartaric acid.

2. Preparing the Sensitized Paper

   • Demonstration of coating paper with the Van Dyke Brown sensitizer.

   • Hands-on practice: participants prepare their own sheets.

   • Drying and storage considerations.

3. Exposure Process

   • Explanation of UV light exposure and its impact on tonal range.

   • Exposing coated paper with digital negatives or objects (for photograms).

   • Evaluating proper exposure times.

4. Developing the Prints

   • Step-by-step demonstration of washing, fixing, and clearing prints.

   • Hands-on session where participants develop their own exposed prints.

   • Discussion on drying techniques and final presentation.

5. Tonal Enhancement and Experimentation

   • Introduction to toners and their effects on final prints.

   • Hands-on practice with different toning solutions.

   • Comparison of results and discussion on personal preferences.

6. Review and Wrap-Up

   • Group critique and discussion on the prints created.

   • Troubleshooting common issues and answering participant questions.

   • Final tips for continuing the process at home.

The participants must bring Negatives, photogram materials and apron.

In this experimental 4-hour workshop, participants will explore a never-before-published practice to create a positive analog photograph without using a camera. Drawing from techniques from the mid-1800s, this approach is the opposite of traditional photography of that time, allowing for creative experimentation in creating photographic images.

Cyanotype Print onto Silver Halide paper

Outline

1. Introduction and Historical Context:

   • Overview of cyanotype printing, its history, and its role in early photographic processes.

   • Explanation of how this workshop will combine cyanotype with silver gelatin prints to create a unique photographic process.

   • Participants will learn about the concept of obtaining a positive analog image without a camera.

2. Preparing the Original Cyanotype Negative:

   • Each participant will be provided with a pre-made cyanotype on paper (without writing or labels on the back).

   • We will briefly discuss the process of making the original cyanotype and how it serves as a negative for this method.

3. Creating the Contact Proof:

   • Participants will place the cyanotype negative onto small sheets of sensitized photographic paper.

   • Using a contact printing technique, they will expose the materials under glass with a press to ensure even exposure.

   • Step-by-step guidance will be given on how to achieve the best contact print by applying pressure and adjusting the exposure time.

4. Final Exposure and Development:

   • Once the contact proof is made, participants will expose the prints to light and develop them using standard darkroom chemicals.

   • The development process will allow participants to witness the cyanotype image transfer onto the silver gelatin paper.

5. Sepia Toning:

   • The prints will undergo a sepia toning process. This step is not only for aesthetic beauty but also to ensure greater preservation of the prints.

   • Participants will learn how toning affects the print's appearance and longevity.

6. Washing, Drying, and Final Review:

   • After toning, the prints will be washed and dried, completing the process.

   • Final discussion on the results, including the variations that can occur with this experimental process. Participants will have the opportunity to share their prints and reflect on the unique outcomes.

It is recommended to wear clothing and shoes that are expendable or of little importance, given the possibility of stains or inadvertent splashes of chemical products. Optional: each participant can bring no more than one cyanotype to be converted into a positive graphic on photographic paper, under the following conditions: maximum format 24x30cm, no writing or label on the back, the subject must be created exclusively directly on the cyanotype sheet, subjects derived from shooting with a camera and intermediate digital negative are excluded, among all the cyanotypes proposed, only a couple of examples, chosen by the participants themselves, can be tested within the expected times.

En este taller haremos un recorrido teórico y práctico sobre mis aprendizajes y metodología para crear las piezas de la exposición Blueprints. El taller se sitúa en la playa y se plantea como una acción performativa y práctica, primero crearemos en común un par de piezas para la colección de proyecto para entender variables, observar los resultados y posibilidades. Después lo alumnos podrán practicar creando sus propias piezas, que podrán llevarse después, experimentando con la arena de la playa, las olas, el revelado, la cianotipia húmeda o la post-solarización.

Cronograma

1. Introducción teórica y metodología

   • Explicación de la metodología y aprendizajes del artista.

   • Breve repaso de técnicas a utilizar: cianotipia húmeda, post-solarización y experimentación con elementos naturales.

2. Acción colectiva y creación en grupo

   • Desarrollo de una acción performativa en la playa.

   • Creación conjunta de un par de piezas para la colección del proyecto.

   • Observación de variables como luz, humedad, textura de la arena y acción de las olas.

3. Experimentación individual

   • Los participantes crean sus propias piezas explorando técnicas aprendidas.

   • Uso de la arena, las olas y el entorno para generar efectos únicos.

   • Aplicación del proceso de revelado en la playa.

4. Reflexión y cierre

   • Observación y análisis de los resultados obtenidos.

   • Discusión sobre los efectos visuales logrados y las posibilidades experimentales.

   • Los participantes se llevan sus piezas como recuerdo del proceso.

   
   

Los participantes pueden traer cualquier objeto para hacer cianotipias: hojas, flores, plumas, piedras, conchas, encajes, botellas, objetos de plástico fino, plantillas, máscaras, papeles troquelados o perforados, llaves, monedas, botones, juguetes pequeños, piezas de herramientas, negativos impresos en acetato, imágenes impresas en transparencias, entre otros.

Recomiendo llevar ropa baño, agua y protección para el sol, el taller práctico será en la playa.

This hands-on workshop invites participants to explore two traditional artistic techniques: cyanotype printing on fabric and boro stitching. By cyanotype printing and Japanese boro stitching, blending history, personal stories, and hands-on creativity to create a meaningful textile art piece. Following this, they will learn the boro stitching technique from Japan, which focuses on textile repair and reuse, allowing each piece to become a visual and tactile testimony to their personal history. The workshop will conclude with the creation of a large collective tapestry, symbolizing the interconnection of individual stories into a shared artwork.

Outline

1. Introduction and Icebreaker

   • Welcome and introduction by the facilitator.

   • Participants introduce themselves and share their expectations.

   • Explanation of the workshop goals and an overview of the techniques to be explored.

2. Introduction to Cyanotype Printing

   • Brief history of cyanotype printing and its application in textile art.

   • Materials and tools needed.

   • Examples of cyanotype used in individual and collaborative projects.

3. Preparing and Applying Cyanotype Solution

   • Demonstration of preparing and applying the light-sensitive solution on fabric.

   • Safety considerations for handling chemicals and sunlight exposure.

   • Hands-on practice: participants will prepare several fabric pieces.

   • Exploring textures and additional objects (lace, leaves, textured fabrics) to enrich visual composition.

   • Introduction to toning techniques using tea or coffee (if time allows).

4. Printing Photographs onto Fabric

   • Arranging transparency photos on the sensitized fabric.

   • Sunlight exposure to reveal the images.

   • Developing process and image fixation on fabric.

   • Drying of printed fabric patches.

5. Introduction to Boro Stitching

   • History of the boro technique in Japan and its value in textile sustainability.

   • Materials and tools needed.

   • Examples of projects integrating cyanotype with embroidery and boro stitching.

6. Creating Individual Fabric Patches

   • Practicing basic boro stitching techniques (running stitch and decorative stitches).

   • Initial work on fabric scraps while printed patches dry.

   • Adding decorative stitching and details to cyanotype-printed patches.

7. Assembling the Collective Tapestry

   • Arranging individual patches into a cohesive composition.

   • Collaborative design: participants decide on the final layout together.

   • Stitching the pieces together into a single tapestry using boro stitches, symbolizing unity and shared stories.

8. Closing and Reflection

   • Display of the final artwork and group photo.

   • Space for participants to share their experiences and the meaning behind their pieces.

9. Personal Takeaway Project (Optional, Time Permitting)

   • Creating an individual textile piece such as a postcard or coaster using cyanotype and boro stitching.

Participants Must Bring: Apron or Old Clothing: To protect their clothes from pigments. Sketchbook or Notebook, Pencils, Pens: For jotting down ideas, sketches, or reflections on their letter designs and illustrations. Personal Stencils or Objects (Optional): If they have specific items they would like to incorporate as stencils (e.g., leaves, lace, small cut-outs), they can bring these for unique textures and shapes. Gloves and mask fabric scraps (Optional)

Note: Participants will be asked to bring five photos that celebrate their life. These photos must be printed on transparency sheets and ready to be used for cyanotype printing. If needed, I can assist with preparing the photos prior to the workshop, but this must be done before the 1st of July (email contact@anasoloart.com).

Today, Van Dyke brown prints are a valued option for the experimental photographer. This process is one of the simpler techniques and because if it’s long tonal range, and when done correctly, it can produce beautifully detailed brown prints. It is known as the “poor man’s platinum/palladium print” because it can be difficult to tell which process it is. Van Dyle Brown prints are made by combining silver nitrate, ferric ammonium citrate and tartaric acid to make a solution that keeps for up to a year or two. Paper is coated with the sensitizer, exposed with UV light, and then washed in running water before it is fixed, cleared, and washed again and then dried. The results are a beautiful brown color. Easy to learn and easy to do on your own after a workshop. I will first show a slide show of my work as well as others that work with Van Dyke brown. We will go over what type of negatives are needed, the Artist will give them a demo and then they will work on their own images to make prints. We will trouble shoot as they get results and everyone should leave with 1 to 2 beautiful prints. This condensed workshop provides a hands-on introduction to Van Dyke Brown printing, allowing participants to create their own prints while learning the fundamentals of this historic photographic technique.

Outline

1. Introduction & Presentation

   • Brief history and significance of Van Dyke Brown printing.

   • Slide show featuring the instructor’s work and examples from other artists.

   • Overview of materials and chemicals used in the process.

2. Preparing & Coating Paper

   • Explanation of proper paper selection and negative preparation.

   • Demonstration of coating paper with the Van Dyke Brown sensitizer.

   • Hands-on session where participants coat their own sheets.

3. Exposure & Development

   • Demonstration of exposing coated paper using UV light.

   • Participants expose and develop their prints.

   • Step-by-step guidance on washing, fixing, and clearing prints.

4. Troubleshooting & Review

   • Group discussion of results, troubleshooting common issues.

   • Final tips on drying, storing, and continuing the process at home.

   • Each participant leaves with 1-2 completed prints.

The participants mus bring Negatives, photogram materials and apron.

The Van Dyke Brown printing process is a historical photographic printing technique that produces rich brown-toned images. The technique is named after the Flemish painter Van Dyck, known for his use of brown tones in his paintings. This process involves the use of iron salts to create unique, warm-toned prints.

Outline

1. Introduction to Van Dyke Brown Printing

2. Theoretical Part: Solutions Preparation

3. Practical Part: Exposure, Fixing, and Washing

4. Exposure

5. Fixing and Washing

6. Final Review and Reflection

Participants must bring digital negatives in A4 and A5 format, stamped on glossy acetate (invert the image in BN)

In this hands-on workshop, we will delve into the fascinating world of cyanotype, an alternative photographic process that uses sunlight to create beautiful blueprints. Participants will explore the history and current applications of cyanotype, alongside contemporary uses by experimental artists. This workshop is designed to be both theoretical and practical, combining an understanding of the process with the creation of unique cyanotype compositions on fabric.

Outline

1. Introduction to the history of cyanotype.

2. Exploration of current uses of cyanotype in experimental processes by contemporary artists.

3. Present the central question of the workshop: What does experimentation mean to us?

4. Distribution of the manual: 'How to Make a Cyanotype'

5. Practice composing cyanotypes on a single piece of fabric.

6. Create the final composition of each cyanotype on the collective fabric and expose it to sunlight together as a group.

   
   

Participants mus bring a photograph or photogram created using an experimental photography technique that can be intervened upon, meaning it can be embroidered onto the fabric where the cyanotypes will be created. Objects used in their experimental photographic techniques to create the photograms should be no larger than 20x20 cm, and it is recommended that they have transparencies. Written texts about what experimentation means to each person are optional.

Discover the art of tricolor image printing using red, yellow, and blue layers. In a concise 30-minute overview, I'll introduce the principles of the tricolor cyanotype process. Detailed instructions, including calibration and printing negatives, will be provided in an English handout. During the workshop, we'll print the initial red layer, tone it with madder roots for 90 minutes, and allow it to dry. Following this, the yellow layer will be printed, bleached in sodium carbonate, and dried. Finally, we'll apply the blue layer to complete the tricolor image.

Outline

1. Introduction to Tricolor Cyanotype

   • Brief overview of the tricolor cyanotype process, including the principles of layering colors (red, yellow, and blue).

   • Explanation of how the process builds an image through multiple layers of exposure and toning.

   • Presentation of the printing method and materials.

   • Handout provided with detailed instructions, including calibration and printing negatives.

2. Printing the Red Layer

   • Participants will print the initial red layer using the cyanotype process.

   • Instructions on how to prepare the materials and expose the red layer to sunlight.

   • Once the red layer is printed, participants will tone it with madder roots for 90 minutes to achieve the desired color.

   • The red layer will then be dried, preparing it for the next stage.

3. Printing the Yellow Layer

   • Participants will prepare and print the yellow layer, using the cyanotype process.

   • After the yellow layer is exposed, it will be bleached using sodium carbonate to enhance the color and remove any excess exposure.

   • The yellow layer will then be dried, ready to join with the other layers.

4. Printing the Blue Layer

   • The final blue layer will be printed on top of the existing red and yellow layers to complete the tricolor image.

   • Instructions on how to properly align and expose the blue layer for the desired effect.

   • The final image will then be dried, completing the layered tricolor cyanotype.

5. Review and Discussion

   • Review of the finished tricolor cyanotypes and discussion of the results.

   • Exploration of how the layering process affected the final image, and any creative modifications that participants experimented with.

   • Space for questions and comments, with advice on how to continue working with the tricolor cyanotype process independently.

6. Closing

   • Final thoughts on the workshop and the tricolor cyanotype technique.

   • Recommendations for further experimentation with the process and potential projects.

   • Farewell and closing of the workshop.

Participants must bring a prior understanding of the cyanotype process, as the Artist won't be covering it during the workshop. To facilitate the preparation, please send to the Artist (mariasolagurenbeascoa@gmail.com) at least one-color photograph two weeks before the workshop (10th July). Optimal images for this process predominantly feature blue, yellow, and red colors.

Este es un Taller introductorio una técnica fotoquímica de contacto del S.XIX fascinante, Van Dyke Brown. En esta sesión de 4 horas enseñare a realizar copias en Van Dyke sobre papel, abordando desde su composición química, preparación, aplicación, exposición a la luz del sol, hasta su sistema de revelado. Van Dyke es un proceso fotográfico que utiliza sales de plata y de hierro. Esta técnica fotográfica proporciona unas impresiones en tonos marrones profundos con una amplia gama cromática. Es un proceso fotográfico sencillo y a la vez de resultados de alta calidad y estabilidad. Trabajaremos con diferentes soportes de papel: de algodón, color y papeles experimentales neutros y con información gráfica. A su vez, trabajaremos con negativos impresos en acetatos escala 1:1 a la imagen y objetos o elementos que utilizaremos por contacto, explorando diferentes sistemas de construcción de imagen, tales como:

• Bordes regulares con enmascarado

• Imagen a mano alzada

• Mancha, forma y estarcido

Cronograma

1. Presentación de la técnica: sus componentes y claves para su correcto uso

2. Muestra de diferentes sistemas de aplicación de la emulsión y exploraciones de construcción de imagen

3. Sensibilización de papeles (previamente gelatinizados por la tallerrista)

4. Carga de las contacteras y Exposición a luz solar

5. Lavado – revelado – lavado

6. Secado

Los participantes deberán traer negativos impresos en acetato o en su defecto deberán enviar a la producción del festival o la tallerista sus imágenes negativas tamaño media carta, para su impresión.

During this workshop, we will delve into experimenting with the cyanotype technique using participants' photographs and plants. Cyanotype, an experimental photographic process discovered in the 19th century, pays homage to the first female photographer, Anna Atkins, who created the first book of illustrations featuring botanical species. This method utilizes sunlight as the primary source for photograph development, resulting in unique outcomes. We will explore various mediums such as paper, glass, fabric, among others, and unlock diverse possibilities offered by this technique, including toning using everyday elements like tea and coffee. Ultimately, we will navigate the wide array of opportunities presented by this experimental process. For those interested in developing their own photographs, please send me an image two weeks before the workshop. To enhance participation in the workshop, it would be beneficial for participants to familiarize themselves with the technique by watching an explanatory video, accessible here:

Outline

1. Introduction and Presentation

   • Brief explanation of the history of cyanotype and its historical context, highlighting Anna Atkins’ work.

   • Presentation of the cyanotype photographic process and the materials used.

   • Instructions on how to prepare for the workshop, including watching the explanatory video prior to the workshop (video link).

   • Presentation of the workshop's objectives and materials to be used (paper, glass, fabric, etc.).

2. Preparing the Materials

   • Explanation and demonstration of how to prepare the chemical solutions for cyanotype.

   • Instructions on how to prepare and treat surfaces: paper, glass, and fabric.

   • Participants prepare their materials and coat them with cyanotype solution.

3. Practical Exploration: Creating Cyanotypes

   • Participants will create their cyanotypes using their own photographs (if submitted beforehand) and botanical elements like plants.

   • Detailed instructions on how to expose the materials to sunlight, including how to arrange objects on the prepared surfaces.

   • Experimentation with different types of paper, fabric, and glass to explore the various possibilities of the technique.

4. Toning and Modification: Toning with Household Elements

   • Explanation and demonstration of toning techniques using everyday items like tea and coffee.

   • Participants will experiment with toning their cyanotypes, altering the results to their liking.

5. Review and Discussion of Results

   • Review of each participant’s work, analyzing variations in results.

   • Discussion on the creative possibilities of the technique and how factors like sunlight exposure, materials, and the use of toning affect the final outcome.

   • Space for questions and comments on the process and technique.

6. Closing and Farewell

   • Final reflection on what was learned and how participants can continue experimenting with cyanotype in their personal photographic practices.

   • Recommendations for continuing to develop the technique independently.

   • Farewell and closure of the workshop.

Prior Recommendations:

• Send an image of your choice two weeks before the workshop for those who want to develop their own photographs during the process.

• Watch the explanatory video about cyanotype, available via the provided link, to familiarize yourself with the technique before the workshop.