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| Sunprints for Grades 9-12 Related Subjects: Visual & Performing Arts, Chemistry Grades: 9-12 Medium: Mixed Media Author: MoPA Education Department Class time required: Two 60-minute class sessions  read/post
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 Sunprints are photographs made without cameras. Technically called cyanotypes, they are made by placing objects directly onto light-sensitive paper and then exposing the paper to light. The resulting image is unique and shows white shapes against a blue background. In this two-session lesson, students will be introduced to the process of making cyanotypes. They will mix photographic chemicals to create and make large scale sunprints. Students will be actively involved in the process from the mixing of chemicals, to coating the paper, exposing it to light, and finally discussing the resulting images. At the end of session two, each student will show and critique the sunprints of their peers, discussing the process involved and the resulting image made. back to top   • Canvas or large paper • Sunprint Formulary Kit (includes all chemistry) • Container for mixing chemicals • Dark container for chemical storage • Large pan or deep trays • Distilled water • Apron • Gloves • Popsicle sticks (to stir chemicals) • Paint brushes or coating rod • Objects (natural objects, flowers, leaves, sticks or anything with a distinctive shape) • Glossary terms: cyanotype, sunprint or photogram, symmetrical, asymmetrical, positive, negative • Images Online Materials
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• Purchase as many formularies needed for coating of large scale print or canvas. Read the accompanying directions so that you will be familiar with the process. • Have the students collect objects or cut shapes out of paper for their sunprints. • Assemble all necessary materials, referring to the directions included in the kit. back to top 
Session One
2. Mix formulary in a room with very little natural sunlight. It should be adequate to cover the window blinds. 3. Heat the required amount of distilled water (30ml) and follow directions for adding each chemical. Make sure each chemical is fully dissolved before adding another to the mixture. 4. Set the solution aside in a dark place to cool for about an hour, just above room temperature. Storing the sensitizer solution in a brown bottle in a dark, dry location will increase the vitality and shelf life of the solution. Shelf life should be in excess of one year if stored properly. 5. After the mixture has cooled, add distilled water to make 100 ml of solution. The solution can be made more diluted by adding water to make up to 200 ml.
8. Let the sensitized paper dry at room temperature in the dark for about one hour. There should be no difference if you prefer heat drying with a hair dryer. If possible expose the paper within a few hours of coating. 9. When the paper is dry, gather objects for outside exposure. 10. You will have to determine your own exposure time by testing, though 3-5 minutes of exposure in the sun, combined with a proper chemical mixture, should be adequate for a resulting image.
12. Your final step will consist of gently washing your print and then hanging it to dry. Session Two 1. When sunprints are dry, arrange them out in an open area for all students to see. 2. Engage class in a critique of their images. Have them talk about the process from start to finish and the success of the final image created. Emphasize the methods and steps taken to produce alternative photographic images and how they differ from traditional photography. Discuss alternative methods of image making, the mixing process itself, choices of paper or other materials or objects, and the art of coating the paper as well as final wash. Extensions Visual Arts: An option other than using shapes or objects is for the students to create a self-portrait sunprint or assemble multiple people for a group image. Refer to images of photographer Jan Van Leeuwen for examples of sunprint self-portraits. If you would like to do a sunprint self-portrait there are a few ways to do so. You can either record the outline of your face or profile by carefully laying yourself down on the paper during the exposure. By this means, remember, you will only record the outline, not specific details like your eyes or freckles. You may also take you own self-portrait, preferably using a digital camera, then print the image out on a transparency. The transparency can be used by laying it over the sunprint during exposure to produce a more detailed self-portrait. back to top  • Sunprints can be purchased at the Museum of Photographic Arts bookstore, online at Freestyle Photographic Supplies, or in stores that sell educational toys and crafts. • The coating rod can be purchased at Photographer’s Formulary or at Bostick and Sullivan. Pre-Coated vs. Formulary Kit Pre-coated sunprints will usually get the same results as using the formulary kit, which includes pre-measured chemicals for mixing. The only disadvantage of using the pre-coated sunprint is the availability of sizes, which come 12 in a pack, 4x4 and 12x16. Using the kit, you may experiment with material other than paper, such as sheets of clothing, and take the project to another level of image-making. The formulary kit may be used without a darkroom. The only necessary means are a flat surface for coating the paper and a subdued or darkened room for mixing the chemicals. Be sure to wear an apron, gloves, and a protective mask when mixing the chemicals, as they may stain your clothing and, temporarily, your hands. MoPA carries the pre-coated sunprints, which are a great option for those who want to experiment with the magic of sunprints, yet do not want to mix chemicals. The New Cyanotype Formulary Kit can be purchased at The Photographer’s Formulary for $19.95. You may go to their Web site, or call 1 (800) 922-5255 or (406) 754-2891. back to top  CA Content Standards Ninth – Twelfth Grade Visual Arts 1.1 Identify and use the principles of design to discuss, analyze, and write about visual aspects in the environment and in works of art, including their own. 1.4 Analyze and describe how the composition of a work of art is affected by the uses of a particular principle of design. 1.5 Analyze the material used by a given artist and describe how its use influences the meaning of the work. 2.2 Prepare a portfolio of original two- and three-dimensional works of art that reflects refined craftsmanship and technical skills. 4.5 Employ the conventions of art criticism in writing and speaking about works of art. back to top  Teachers and Students Barnier, John, Coming into Focus: A Step-by-Step Guide to Alternative Photographic Printing Processes. Chronicle Books, 2000. Enfield, Jill, Photographic Imaging: A Complete Guide to Alternative Processes (Photography for All Levels). Amphoto Books, 2002. James, Christopher, The Book of Alternative Photographic Processes. Thomas Delmar Learning, 2001. Nettles, Bea, Breaking the Rules: A Photo Media Cookbook, Inky Press Productions, 1992. Sandler, Martin A. Photography, An Illustrated History, (Oxford Illustrated History). New York: Oxford University Press, Inc, 2002 A History of Photography: From its beginnings till the 1920s Essays on the beginnings of photography and information on some of the most significant processes used during the early days of photography. Includes an alphabetical list of significant people and their contribution to photography. Alternative Photography A site complete with alternative images, process instructions, and forum. Alternative Process FAQ A site dedicated to introduce the novice to alternative photographic methods. History of Photography Timeline Timeline of photography from ancient times to 1997. Scroll down to see link on antique and classic cameras. The Museum of Photographic Arts Permanent collections and current exhibits at the Museum of Photographic Arts, Balboa Park, San Diego, CA. back to top |
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Es gab einmal 6000000 (Once there were 6000000) Jan van Leeuwen |
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