Cyanotype on glass and ceramics – e-book by Galina Manikova

by Galina Manikova

Buy “Cyanotype on glass and ceramics” directly from Galina Manikova
Galina Manikova book


 

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When you choose the option to buy directly from the author, the book is shipped by the author ensuring most of the money goes to the author.
 

Galina’s first edition of the book.

 

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The book

About Galina Manikova – in her own words:

Galina ManikovaGalina Manikova is an artist educated as a ceramist at the art academy Bezalel in Jerusalem in the 70-ies and later at an art and craft school in Oslo in the
80-ies. She started using photography on ceramics in 1973 and later worked with other materials and techniques as well. There are just a few people who work across the fields and techniques like she does. This background allows her to find similarities and compare possibilities across the techniques and the materials in her unique way, which she now wants to share. See more about her: www.galina.no

Table Of Contents

1. ABOUT BLUE 7
2. HISTORY OF PHOTOGRAPHY 11
3. HISTORY OF CYANOTYPE PROCESS 15
4. BASICS OF PHOTOGRAPHY 23
5. PRINCIPALS OF CONTACT PRINTING 25
6. WORKING SPACE AND A WORKFLOW 27
7. GROUPS OF DIFFERENT PROCESSES 29
8. WORKING PROCESS IN STEPS 30
9. LAYERS 31
10. NEGATIVES 32
11. OPTIONS FOR LARGE NEGATIVES 33
12. NEGATIVES IN A DARKROOM 35
13. POSITIVE OR NEGATIVE 36
14. NEGATIVE PROCESS 36
15. POSITIVE PROCESS 37
16. CYANOTYPE NEGATIVES IN CAMERA 38
17. CYANOTYPE WITH ENLARGER 39
18. THE NEGATIVES MADE OTHERWISE 40
19. DIGITAL NEGATIVES WORKFLOW 40
20. NEGATIVES FROM DRAWINGS 42
21. GRAY SCALES AND WEDGES 43
22. GROUNDING OPTIONS 45
23. GELATINE 46
24. EXPOSURE TESTS 54
25. SUPPORTS AND BASES 54
26. UV-LIGHT 56
27. CONTACT PRINTING FRAMES 60
28. REGISTERING / MULTIPLE LAYERS 62
29. EXPOSURE AND DEVELOPMENT 63
30. CHEMISTRY AND VARIATIONS 65
31. CLASSIC CYANOTYPE FORMULA 66
32. CHRISTINA Z. ANDERSON FORMULA 68
33. OTHER VARIATIONS 69
34. USE OF METAL SALTS 75
35. WET CYANOTYPE 85
36. POSITIVE CYANOTYPE 89
37. CYANOTYPE ON GLASS 95
38. CYANOTYPES ON CLAY 98
39. TONING CYANOTYPES 106
40. BOTANICAL INKS 118
42. EMULSIONS TO TRY TOGETHER 128
43. PREPARING THE TILES 133
44. VIDEOS ABOUT HOW ON YOUTUBE 134
45. ZOOM MEETINGS ON YOUTUBE 135
46. ONLINE RESOURCES 136
47. RECOMMENDED BOOKS 137
48. MATERIALS, CHEMICALS AND KITS 140
49. ARTISTS AND WEBSITES 142

About content of this e-book Galina writes:

“I intend to take you through my way of working with cyanotypes.
There are lots of materials and resources to be found about this process in books, pdfs, on YouTube and in different internet publications, groups, and pages, as it is the easiest and the cheapest way to create images by a contact copy with almost anything, objects, plants or negatives, and on any surface like paper, textile, wood, glass, clay or anything else. As I have been working with, and teaching this process for over 40 years, I hope to be able to contribute to that collection of information in a valuable way. My work with cyanotypes has been published in several books.”

«Wet cyanotype, toned cyanotype, layered cyanotype, cyanotype in combination with other processes are all being rapidly explored and used by many artists all over the world today.

Artists hand-coat their own paper or other surfaces, such as wood, bone, glass ceramics, metals, concrete, leather, plaster, or stone. Cyanotypes can be created on nearly any surface if the specific procedures are followed.

Cyanotypes can be fired on metals, glass, or ceramics at different temperatures and under different firing atmospheres or processes like salt firings or raku. Al the variations of these methods will give a great variety of colours.

All the pictures in the book are mine, unless it is indicated otherwise, ©Galina Manikova

Every picture has a history or a story to tell. Behind every picture there lies a lot of work and a lot of learning. Please, respect that all the work and the time that has been used to achieve these results. I really want to share my knowledge, which does not mean that I want my work to get stolen or copied. There are so many other paths to take!

Learn and make your own pictures and images, explore the new possibilities!

One can borrow a lot of good ideas from the principals of graphic art and printing. It is also possible to combine cyanotypes with other photo-emulsions and other processes, most common are vandyke, gum dichromate and carbon. I worked a lot with eco-printing followed by cyanotype.

I will show and describe here some of the experiments that I have personally conducted and collected through the years.

This book is a work in progress. I plan to make several new editions to it after I complete more experiments and collect more documentation about the other artists working with cyanotypes on glass and clay.

By joining the Facebook group ”Cyanotype on glass and clay” one gets a possibility to follow up the recent research being conducted by both the author and some of the other participants, if they want to share their knowledge, contribute with own works and stay updated. All the new editions of this e-book will be made available later on.”

Wet cyanotype by Galina Manikova

6 thoughts on “Cyanotype on glass and ceramics – e-book by Galina Manikova”

  1. Hei Joan!
    In regard to your question about firing of cyanotype on porcelain: cyanotypes should be applied to vitrified ware, not to bisque, because the best range of foring cyanotypes is between 900 and 1000 degrees C. So cyanotypes should be fired on vitrified porcelain and fired again as a second or third firing. The color will depend on the kiln atmosphere. In oxidation it turns brown orange, in reduction it turns black. One can also add salts and oxides both under and over the images, which will effect the final result. More about it in the book.

  2. What happens to the color of a cyanotype printed on porcelain after it is fired? What temperature or cone should I fire the cyanotype tile in my kiln?

  3. Why is it so expensive ?
    Is it possible to have the names of the chapters because I have already a lof books about cyanotypes, I would be disappointed to have more or less the same thing.
    Regards
    Melanie

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