The final image is a picture of the process of coating the paper to make the final image. The pattern made by the emulsion is the one seen being made on the page in the picture. The image is a window into its own creation.
manual contact printing with a digital transparency, of the records of digits manually applying emulsion while the digital camera captures the process, whose digital files will be manipulated to show multiple steps of the process before outputting that digital file for manual contact printing...
The cyanotype “Digital Manipulation” prints are records of their own creation. Photos are taken, at regular
intervals, of the process of applying the iron salt emulsion to the paper. While the emulsion dries, I chose the best set of images from the record, and print a digital negative. Each image is contact printed outside, using direct sunlight. The time and date are recorded on the back. These are equal part drawing and photograph.
(was going to title this: "Children love to draw, and college students think they can't draw")
because by the time a student is college aged, that student has had enough experiences that teach the student that they do not know what they are doing. This leads to a common anxiety with which teachers (particularly art teachers) must contend. Visual art is an experience that demands much trial and error. It demands more error than success. And, that tendency is intimidating in this world of standarized testing and goal-oriented students (read: parents who demand 4.0 GPA, and do not pay attention to the process of learning, and the benefits of failure).
So, with these drawings, I turn to the never-ending enthusiasm of children. If a child does not know how to draw something, that child asks an adult how to draw it. Better yet, frequently, the child will try to draw that something, and fail many times before asking the adult. I found myself drawing, in a structured way (based on training), and the child with which I was drawing frequently interrupted my process to add colors or lines that I did not consider (silly adult brain....). I feel that we have much to learn from this childish attitude. I don't know what, but there is something in the enthusiasm for drawing that children have (and college students need [and Basquiat probably intuited] ).
This school offered four years of mechanical, machine, and architectural drawing to the students. It was one of the last classes left in the industrial arts wing. (the district had already eliminated auto mechanics, and was talking about getting rid of metal shop, wood shop, and electronics)
It was one of the classes that made a practical connection to the math I was learning (initially geometry, and some algebra in the advanced mech. drawing classes).
In addition to revealing the practical application of advanced mathematics, this class taught me line control, accurate measuring, and 2 & 3 point linear perspective (all of which gave me an advantage with later art classes). It also gave me a desire to figure out how things are made, and communicate the discovery through visual means.
This was designed for making photogravures (polymer), but will work for any alternative/historical photographic process that requires a negative/positive printed on a transparency with an inkjet printer.
This is a video version of the workflow from the book http://www.amazon.com/Making-Photogravures-With-Polymer-Plates/dp/0615919219
The video was made for one of my classes last year. The class already had lessons on intaglio printing, finding minimum (and optimum) exposure times, as well as a quick introduction to setting up the scanner to digitally capture an image of an intaglio print with multiple step wedges.
Here are links to many articles and videos.
Articles published on www.AlternativePhotography.com