1. The document discusses the cyanotype printing process, which produces a cyan-blue print using potassium ferricyanide and a ferric salt on paper, textiles, or other surfaces. 2. The process was developed in 1842 by Sir John Frederick Herschel and was later used by Anna Atkins to produce botanical prints. 3. The document provides instructions for mixing chemicals, sensitizing materials, exposing to light, and developing cyanotype prints, and also describes methods for toning prints other colors.

1. Bangladesh University of Textiles
Subject : Advanced Dyeing And Printing
Presented By
Nusrat Jahan
ID :2017-2-3-003
MSc in Textiles Engineering (6th batch )
Dept. of wet process engineering , Butex

3. Cyanotype(Ferro Prussiate)print
A photographic print in white on a bright
blue background made usually on paper,
textiles, wood or lather sensitized with
potassium ferricyanide and a ferric salt
developed after UV or sunlight exposure by
washing in water.
 A contact photographic printing process
 Produces a cyan-blue print.
 Photochemical blueprinting (also known
as cyanotype process, from the Greek
kyanos-blue) is one of the historically
oldest photographic techniques.
 Engineers used the process well into the
20th century as a simple and low-cost
process to produce copies of drawings

4. Sir John Frederick Herschel
 Process was developed in 1842 by Sir John Frederick
Herschel (1792-1871). An English astronomer,
mathematician, chemist and pioneer of photography,
especially the cyanotype
 Anna Atkins (1799-1871), English botanist, was the
first female photographer in the world and her first
experiments are closely related to the cyanotype
process and that was 1843
 she had made direct photographic footprints
(photograms) of the sea-algae occurring on British
Isles.
 In recent decades, the cyanotype process has been
rediscovered by the artistic community as an
affordable, technically relatively simple and
esthetically interesting technique for the creation of
exceptional motifs on paper and textile surfaces and
is thus used in various creative workshops
Anna Atkins

5. Two principal chemicals need for making sensitizer
Part B—Ferric Ammonium Citrate or ammonium
iron(III) citrate (NH4)5[Fe(C6H4O7)2]
sometimes called ammonium ferric citrate which
is a green powder. It absorbs moisture from the
air so keep it in an air tight container.
Part A —Potassium Ferricyanide K3Fe(CN)6
which is in the form of bright red crystals.
Ready Made Chemical solution

6. When the chemical in solid form state
Recipe #1: This is the original created by John Herschel in 1842.
Solution :
Ferric Ammonium Citrate 200 gm.
Distilled Water to make 1000 ml.
Solution :
Potassium Ferricyanide 160 gm.
Distilled Water to make 1000 ml.
Ferric Ammonium Citrate Potassium Ferricyanide

7. Recipe #2: Variation using more concentrated solutions
Solution :
Ferric Ammonium Citrate 360 gm.
Distilled Water to make 1000 ml.
Solution :
Potassium Ferricyanide 200 gm.
Distilled Water to make 1000 ml.
Recipe #3: A modern variation
Solution :
Ferric Ammonium Citrate 272 gm.
Oxalic Acid 5 gm.
Distilled Water to make 1000 ml.
Solution :
Potassium Ferricyanide 92 gm.
Oxalic Acid 5 gm.
Ammonium Dichromate 2 gm.
Distilled Water to make 1000 ml.

8.  Material that wants to print is coated with a solution of two soluble iron(III) salts.
 The two iron salts do not react with each other in the dark
 But exposed to ultraviolet light / sunlight the iron(III) of Ammonium Citrate or
ammonium citrate (NH4)5[Fe(C6H4O7)2] becomes an iron(II) salt. ( UV light reduces
ferric (Fe3+) salt to the ferrous (Fe2+) state)
 The iron(II) ion reacts with the potassium ferricyanide to form an insoluble blue
compound
 Blue iron(III) Ferro cyanide, also known as Prussian blue.
Ferro cyanide or Prussian blue

10. Mix Stock Solutions
Sensitize surface
Dry coated material
Design the coated area by different articles
Covering by transparent sheet /glass
Sunlight or UV exposer
Washing and Developing
Intensification and toning (optional)
Drying

11. 1 . Mixing equal amount of Stock Solutions
2. Applying chemistry to the fabric to make Sensitize surface and let it dry ( couple of hrs. )
After driedChemical applying condition

12. 3 . Design the coated area by different articles or negative
4. Covering by a transparent sheet /glass and exposure by Sunlight or UV (couple of min)
Botanic pattern Design Design by negative
Sunlight exposure UV light exposure

13. 5 . Washing gently that remove all unreacted soluble chemical for 10 mines and Developing
the image
6. finally Dried by air

15. Hydrogen Peroxide:
 Great for instant gratification
 Submerging washed print in a dilute bath of hydrogen peroxide after the initial Wash
 Cause the blue to instantly reach its maximum intensity.
In theory, the print would reach this intensity over about 24 hours as it dries and oxidizes,
but using peroxide instantly oxides the print to its final color.
 Also Vinegar Wash can give this result

16. When you simply do not want a blue image but still want to use the cyanotype
technique due to its flexibility and simplicity. The following are some formulas for
changing the color of cyanotypes once they have completed the final wash.
Basic two steps of toning
1. Bleach step
 Generally to a golden yellow.
 Requires a chemical with a high pH and involves “reducing” the blue iron color
 Soda ash ( 1/2 teaspoon into 1L water)
 Soap, detergent, ammonia or chlorine bleach.
 Ammonia tends to produce a browner image.
 Chlorinated bleach will damage fibers and is not recommended.
 Generally quite short (under 5 minutes)
2 . Toning step.
 Requires the presence of tannins, which chemically bond to the reduced iron
 Change the color of the print.
 Generally require longer soaking time.

17. Green tea
 produce a warm, eggplant black, and it is mild enough that it doesn’t stain
 If skip the bleaching, achieve a greenish black
 Sometimes green tea toners will leave a pinkish highlight which can be an interesting
split-tone effect
Black tea
 produces a unique rich warm black/brown shade.
 Used after extensive bleaching, it will produce a beautifully neutral brown
 With minimal bleaching, split-tone, with warm highlights and cool shadows

18. Coffee Toner:
 Black coffee toners are generally the best.
 Coffee toners produce a cool black (in contrast to the warm black of tea toners) and
they stain less
 Coffee toners tend to require less time than tea toners, and work remarkably well
without bleaching.
Tannic Acid:
 The original cyanotype toner,
 tannic acid tends to produce an even brown print with a lot of staining.
Wine Toner:
 Red wine in particular is known to contain tannins
 used to tone cyanotype prints to a purplish black.
Borax Toner:
 Probably the most unpredictable toner,
 used to achieve a violet print.
 Bleaching is generally not necessary, but results may vary.

19. Soda Ash Toner:
 As stated in the bleaching step section, soda ash may be used to achieve a yellow
tone.
 An extremely dilute bath may also produce a blue/yellow split-tone Or even more
diluted, a navy print.
 This toner is extremely sensitive and requires practice.
Combination Toners:
 Again, combining toners, playing with the order of operations and repeating steps
can produce a wide variety of results.
 Experiment and will make own discoveries

23. Cyanotype print on Garments

24. There are several ways of preparing an image that turn into a cyanotype.
The two most common methods of creating images are contact prints using
negatives and photograms.
 Photograms : Using Objects
Photograms Cyanotype using Botanic object

25. Negatives :
Draw design Take a picture
Inset to laptop and upload
it onto photo editor
Turn into negative image Print the negative

26.  A specialized type of vat dye called Inkodye is also
used for Cyanotype sun-printing due to its light-
sensitive quality.
 The new and easy way to print durable designs on any
natural fabric.
 Unlike other vat dyes use oxygen to develop their
color
 Inkodyes are developed by light. These dyes are
suspended in leuco form appearing colorless until they
are exposed to UV.
 Their usage resembles that of cyanotype, but unlike
cyanotype Inkodyes are primarily used on textiles and
exist in a full range of colors.
 Exposure times vary from 3 to 15 minutes depending
on the desired color and intensity of light.
 Once exposed, the sensitized material is washed in
soapy water to remove dye from unexposed areas.
 Vat dyes are known for their resistance to fading. Once
printed, the color does not rub off, does not fade in
sunlight and can even withstand bleach washing.
Inkodyes