Hand Sanitiser + Cyanotype Transfers

Want to explore an experimental combination of hand sanitiser and cyanotypes? Julie Mixon shares an inexpensive, accessible way to expand the traditional cyanotype process by introducing photographic color, layering, masking, double exposures, and other visual effects. Learn about the challenges such as paper expansion and image registration, and try a flexible way to experiment with combining photographic images and cyanotype.

Writer and photography / Julie Mixon

Read the SDS (Safety Data Sheet) before attempting to use chemicals and use the correct safety equipment.

Internet searches for things related to cyanotypes are always an enjoyable experience for me. I am amazed at the continually new and innovative ways artists use the cyanotype process.

“I never grow tired of the traditional cyanotype process but love how it can be combined with other processes to support concepts and the creation of unique visual aesthetics.”

These wonderful experimental and combination processes can be seen in the gum bichromate cyano combinations of Christina Z. Anderson, the gilded and collaged cyanotypes of Chloe McCarrick, the prairie dress cyanotypes of Shane Booth, and the endless possibilities of botanically toned cyanotypes by Annette Golaz. The process described in this article is just yet another way to explore and expand this beloved process. To begin, the benefits.

My younger, more naive self would have seen an appealing process and gone for it, regardless of the questions surrounding toxicity and the disposal of chemicals. Unfortunately, budget has always been a consideration. After my lessons learned, toxicity and disposal are now early concerns. The benefits of the Alcohol or Purell hand-sanitizer process are as follows:

• it is inexpensive, easy to learn
• requires little specialized equipment or supplies
• can be done in different sequences (before or after cyanotype chemical coating)
• and is, of course, quite safe and hygienic (due to the use of hand sanitizer).

Like many combination processes, it seems to have endless possibilities. I would like to mention that I first learned the Purell image transfer method here, about 14 years ago:  I made a video tutorial for my students years ago that can be found here. Bonnie Lhotka has a video tutorial on the Purell image transfer method as well.

As with most combination processes, this will most likely be easiest if you gain some experience with the Purell image transfer process on its own, but it isn’t required, since the process is quite simple. On its own, here is what you need to make Purell Hand Sanitizer Image Transfers:

• Inkpress Clear Film, DASS Clear Film or equivalent if you know one
• Inkjet Printer
• Purell Hand Sanitizer (Note: I have tried other hand sanitizers. They work, but Purell seems to work the best. Stay away from sanitizers with additives, like aloe or moisturizers)
• Paper (substrate) (Note: Rives BFK is my favorite for this, but Hahnemuehle Platinum Rag can also be used for working with cyanotypes. I have also used alternative substrates such as tea bags and coffee filters.
• Brayer
• Glass (optional)
• Tape (optional)

Purell Image Transfer Steps:

1. Prepare your digital image

The sky is the limit here. Black and white, color, alternative edges, masked images with no borders, and so on.

2. Print the image onto the Clear Film

Follow the instructions included with your clear film for your type of inkjet printer (ex: Canon=Glossy Photo Paper). Be sure to print the image in reverse. Either “Flip Horizontal” in your editing software or in the printer dialog box. This will keep the image oriented in the correct way for the transfer process, because the ink side of the film will need to be faced down during the transfer process. Be sure to give the print some time to dry.

3. Prepare the paper substrate

This is not necessary, but I find I have better control if I tape the paper down to a glass surface to keep it in place. This will become important if you are trying to transfer the image to a specific part of the paper or in the least, to center it. The size of your paper should be larger than the size of the image you have printed onto the clear film.

4. Line up your print

Lay your print over the substrate to align it where you want it to transfer. If you flipped your image in step 2, you should be viewing the image the way it goes. Once aligned, tape the transfer film to the paper substrate or glass surface and then peel it back.

5. Coat the paper with hand sanitizer

Squirt an ample amount of hand sanitizer onto your paper substrate. Use a brayer to coat the paper evenly with the hand sanitizer. The goal is to coat the area where you want the image to transfer and with enough sanitizer that the paper feels wet and is free of puddles. This part may take some practice.

6. Transfer the image

Because hand sanitizer dries quickly, this part must be done before the paper dries. If the paper feels dry, put a little more sanitizer on it before you transfer the image. Lower the print down over the substrate, then use the brayer and apply pressure over the film. Roll up and down and side to side. I would suggest counting to 30 each way. If you wait too long, the hand sanitizer will dry, and the print will stick to the paper and will only partially transfer.

7. The reveal

After using the brayer to transfer the image, slowly peel the film back to reveal the image. If there are portions that did not transfer, lay the film back down and use your finger to apply pressure to that specific area. Then, continue to peel back the film until you have completely lifted the film off the paper substrate. Once you see how easy the process is, your brain will begin to think about the possibilities, from what types of substrates might work, how editing software can be used advantageously and creatively, what kinds of visual aesthetics are possible and what other processes or materials can be combined with it. (See Figures 1-3 to see standalone image transfers)

Combining Purell Hand Sanitizer Image Transfers With Cyanotypes

I have experimented with combining Purell transfers with cyanotypes in many ways. These variations include color (midtones and highlights) image transfers over cyanotypes, duotone mimics, using Photoshop to create masks to partially mask areas of a cyanotype (selective color), double exposures, and much more. The biggest challenge of all has been registration. I have come to the conclusion that if you want to introduce color completely back into the cyanotype in such a way that accurate registration is required, then this method may not be the best choice. The paper expands during the Purell transfer part, thus changing the size of each image making registration quite challenging. I have tried various methods to get this to work and still have not come up with a satisfying solution. Perhaps readers of this article can come up with a solution. I have tried light tables, registration pins, pre-shrinking papers, changing the order of the process (cyanotype or image transfer first), various papers, and using Photoshop to align images. Printing smaller also creates a smaller margin of error in registration. My solution, for this is simply to stick with cyanotype over inkjet prints.

Figure 4 shows the registration issues, sometimes small, sometimes great. Of course, you can embrace the out of registration look (think glitch or bas relief) and it will be perfectly acceptable. Figure 5 shows an example of embracing the “glitch”, out of registration aesthetic. In case you are interested, here is how I create the Purell transfer over cyanotype when adding color back to the entire image. This method closely mimics how I create cyanotype over inkjet prints. Essentially, you are creating a digital negative that will print mostly the shadow areas of the image for the cyanotype and are printing an image onto clear film that will give you the highlight and midtone areas in color.

1. Print your Digital Negative for the Cyanotype. Begin with a flattened image in Photoshop (or like software). Convert your image to CMYK by selecting Image>Mode>CMYK. Click on the Channels panel and delete each color channel (CMY channels). You should be left with the K channel and an image that lacks highlights and is very contrasty. Convert the image to Grayscale (Image>Mode>Grayscale). Invert your image to a negative (cmd-I for Mac, cntrl-I for PC). Size your image to the appropriate size. Remember this size, because you will need to repeat it later for the color portion. Print onto your transparency film of choice in reverse. You may have to experiment with this a bit to get the level of shadows that you want in your cyanotype based on the type of paper and cyanotype formula you are using. Coat your paper with cyano chemistry and print using your K channel digital negative. You can save this file with a unique name to use again later.
2. Print the color image onto Clear Film. Begin again in Photoshop with the same image in color. Flatten the layer (Layers>Flatten Image). Print the color image onto Clear Film. Begin again in Photoshop with the same image in color. Flatten the layer (Layers>Flatten Image). Convert your image to CMYK (Image>Mode>CMYK). Click on the Channels panel and delete the Black channel. Size your image to the same size as your digital negative so they will align and print your image onto clear film.

You can experiment with doing the Purell transfer first and then coating it with cyanotype chemistry or vice versa. I have had registration issues each way. You can also experiment with creating the image transfer first, scanning it and then using photoshop to align your K channel image before printing the negative. I have had more issues with doing the image transfer before the cyanotype print.

Here are a few additional examples of how you might combine these two processes:

Cyanotype with Purell Transfer: Split Toned Effect

This is much like the previous process. Figure 6 demonstrates the split tone effect. The cyanotype portion was printed the same way, making a digital negative from the K channel. The shadows from the cyanotype are the cool part of the split toned look. The color portion was created by starting with a grayscale image and then adding a gradient map adjustment layer to add color to the highlight and midtone portions of the image. With this example, I selected warm tones for the midtones and highlights. After this, I use the gradient map adjustment layer mask to hide the shadows. To do this, select the image layer and go to
–>Image > Adjustments > Color Range.
Use the eyedropper tool with the add symbol to click on all the shadow to dark midtone areas you would like to hide. These will essentially be the areas of the cyanotype you want to be more visible. Click Ok. This will make a selection. Now select the layer mask of the gradient map adjustment layer. Select
–>Edit > Fill > Contents: Black.
This should hide the shadow areas. Now, print the image onto clear film. You should only be printing the midtone and highlight areas of the image. Registration will still be an issue here, but perhaps you can make it work. If you are having registration issues, you can experiment the order in which you print. Cyanotype first or Purell first. You can also try using Photoshop to align the images. If you do the image transfer first, you will get some streaking in the color areas when you coat the cyanotype on top.

Cyanotype with Purell Transfers: Using Layer Masks to Control Areas to include Transfer Image

This method allows for endless possibilities. Figure 7 (photogram cyanotype of leaves) describes a way that allows for control over which portions of the cyanotype print receives the color image transfer. This is done using Photoshop layer masks. I began by scanning my cyanotype photogram using a flatbed scanner with my resolution set to 300 dpi. This is my scanner’s native resolution and will ensure my digital file is the actual size of my print. I used this as a base image in Photoshop to essentially collage or align images over the surface. The cyanotype image layer is simply a placeholder and will not be printed again. In this example, I made selections of each individual plant and used selection tools to create masks for each of the color images I used. This allows me to add in images to very specific portions of the cyanotype print. It also gives me a preview of what it might look like when I make the transfer. Once you are happy with your edit, turn the visibility off on the cyanotype placeholder layer and print your masked image layers onto clear film. Align the clear film print and then transfer using hand sanitizer.

Cyanotype with Purell Transfers: Double Exposures

Figure 8 was done similarly to the previous method but visually looks more like a double exposure. I started out with a scan of a cyanotype image (you could also start with a scan of a Purell image and then put a cyano on top) to use a base layer to experiment and preview the addition of images. It is tempting to use the common blending methods in Photoshop, like blend modes, but that won’t work because they are dependent visually on the use of two layers (base cyanotype layer and overlaid images). If you use blend modes and turn off the cyanotype base layer, the blending method no longer works. You will have to rely on opacity or other methods, like the opacity slider, blending options (found in layer styles) or the background eraser tool to print partial or less opaque versions of the images used to make a double exposure. You can print the image at full opacity as long as it works with the base cyanotype layer. To complete, turn your base cyanotype layer off and print the color image onto clear film. Align and then transfer.

The remaining images (Figures 9-15) show a few examples of ways to combine these processes, mostly through layering both processes and the use of Photoshop selections and masks. Ideas continually pop into my head about what can be done with these two processes. I can only imagine what the creative readers of this website might come up with. If you try it out for yourself, I would love to see what you come up with and share it with my students!

Julie Mixon is a Professor of Photography at Francis Marion University in Florence, South Carolina. She specializes in alternative photographic processes that include historical processes and the combination of digital and analog photography. Julie also enjoys experimental digital photography techniques, including long exposures and image transfers.