Blogging for Thor: The Shape of Things to Come

Silver Geometry Print #2: Silver Nitrate and Cyanotype

Hello, my lovely Spiders! I'm doing very well; I hope you are, too? Great.

Last week, I talked about beginning a new project. For the moment, I'm calling it "Silver Geometry" but that's likely to change since I've already made at least one image without any silver in it at all.

Step-by-step for
Silver Geometry #1

The biggest challenge so far is the fixed 2 day exposure time. With such a long exposure, the d-max of some chemicals is reached too quickly. If I want to preserve the colors created various levels of exposure, I need to work more quickly and then cover the area with an opaque block.

My first experiment using cyanotype and potassium dichromate provided a sad example of this kind of d-max failure. I was attempting to add rectangular areas of reduced exposure to the circle-based chemigram, but even leaving the opaque rectangles in place for 6-8 hours at a time, the exposure equalized so rapidly that no trace remains in the final image. There should have been four lighter areas intruding into the circular pattern. They're gone.

If I want to continue using faster-reacting chemicals like cyanotype and dichromate, it appears I'll have to create a color with varied exposure, get it to whatever tonality I want, then "seal" it by placing the opaque shape back over that area for the rest of the exposure.

There is good news, though! The first image worked out wonderfully and the
third image came out nicely, too. The third image hasn't got very strong shadows from the paper and tinfoil triangles I used, but it was enough to make faint impressions in the silver rectangle on the right, and to create a gradient in the uppermost cyanotype stripe.

The second two prints also showed the rather lovely potential from painting the chemicals next to each other, and allowing them to overlap and mix. I'm in love with what's happening on the third image where the silver nitrate and cyanotype solutions mixed together.

In the future, I'm going to be incorporating kallitype chemistry, possibly some toners, and experimenting with painting different salts onto the page to alter the color of the silver nitrate stains. This project is looking so fun, Spiders!

I'll be using Instagram to document the progress and layout of each print as I move through the stages of designing the geometric drawing, painting the chemistry onto the paper, setting up the photogram objects and then moving them around during the exposure. So if you want to follow me for updates, that'd be pretty awesome. I love seeing Spiders on social media!

Blogging for Thor: Saline-ent Findings

Sorry for the terrible pun, Spiders, but I'm running out of witty references to salt. This week, it was hard to wait to blog! I was so very excited about the results of my latest experiments. I think this weekend I'll be at the university, making some test prints. I have a hairdryer now! And I'm awaiting the delivery of more chemistry for further testing, too.

Here's what has me all worked up: I successfully printed photograms with non-chloride silver salts. I tested out potassium iodide and Old Workhorse Bromo-Iodizer as catalysts for salt printing, along with a sodium chloride control print and an ammonium chloride side-test. Everything produced a clear, visible image. I'm going to discuss first the basic parameters of the experiment, the controls, and then get into the preparation and results for each halide solution.

Test sheets prior to exposure.
All but one show significant fogging.

Controls: Each of the four prints was made on a sheet of Arches Platine paper, all the same size, all taken from the same full sheet of paper, and all coated at the same time. All four test sheets were first painted with a solution of the chosen halide, then allowed to dry and stored in butcher paper for 3 days while I waited for good printing weather. The night before printing, each paper was given a single coat of 12% silver nitrate, allowed to dry overnight in a dark box. Despite being in a dark box, the drying time was too long. Each test sheet showed discoloration when the box was opened. I will repeat these tests with fresh-dried sheets soon.

Bromo-Iodizer Solution: I used the Bostick & Sullivan Old Workhorse Bromo-Iodizer directly out of the bottle, with no changes to the solution. The solution is easy to coat, and has a strong yellow color that makes it easy to tell where your paper has been coated. It smells strongly of alcohol and should be used only in well-ventilated areas. The bottle should be capped immediately after the solution is extracted.

Potassium Iodide Solution: This chemical comes as a transparent/white crystal solid. I mixed 6 grams of the crystals into 200ml of water to make a 3% solution. I didn't use nearly so much, but I didn't have a small enough mixing container to measure less than 200ml water with accuracy.


Ammonium Chloride Solution: This is a shiny white powder that does not readily dissolve in water. It required a lot of stirring, and left a film of bubbles and fragments floating in the solution. Again, I mixed the same 6 grams of solid to 200ml of water, resulting in a 3% solution.

Sodium Chloride Solution: For sodium chloride, the control solution, I used Morton Kosher Salt. As with the other two dry chemicals, I mixed 6 grams of solid to 200ml of water, resulting in a 3% solution. This is a medium-strength salt solution by standard salt printing guidelines.

The prints were made in windows at my apartment, on a clear, sunny day. I exposed all four prints for 2 hours before pulling them and scanning the resulting images. None of them have been fixed, though I may do a potassium iodide fixing test just to see what happens.

	Bromo-Iodizer Print: Unlike any other salt print I've seen, this one came out blueish-green, but mottled with little flecks of a more yellowish green. I was told to expect some issues due to the high alcohol content of the bromo-iodizer, but the green color was totally unexpected.
	Potassium Iodide Print: This print is much paler than a normal salt print, more of a tan than a brown. It's still fully detailed, just lighter. I really want to see this printed again without the fogging, so I know what it looks like in a "proper" exposure.
	Ammonium Chloride Print: Very similar to sodium chloride, though the pre-exposure fogging makes it difficult to read nuances of hue and tone. I'll have to do more specific experiments regarding the different forms of chlorides to see the exact effects of ammonium vs sodium. If there is a visible difference, it's that the ammonium chloride has a cooler, more purple tone to the browns.
	Sodium Chloride Print: Exactly as expected, though unfortunately tainted by the long wait between silver coating and printing. Silver chloride, if left in contact with organic matter (like the paper), will self-expose even in darkness. That results in the violet-brown staining of the paper, and the extreme violet outlines around the image.

So, my final thoughts? I'm very excited to have proven to myself that silver chloride is not the only halide that can be used in salt printing. The potassium iodide image is considerably blander than I had hoped for, but the strange jade color of the bromo-iodizer image gives me hope for future tests. I still haven't tested potassium bromide by itself, or tested non-potassium forms of bromide and iodide. I know from previous experience that potassium chloride isn't the best form of chloride to use, so maybe potassium bromide and potassium iodide aren't the best forms of those halides, either. I'm going to look into obtaining other solutions of bromide and iodide, maybe even some alternate forms of chloride. The ammonium chloride is similar enough to sodium chloride, but I've yet to test pure potassium chloride to see the result. I've only ever used it in a "lite salt" mixture: 50% sodium chloride and 50% potassium chloride.

There's just so much more to do, Spiders!

Blogging for the Baron: Slipped Discs and Salty Duds

Hi there, Spiders. I wish I didn't have a good excuse for missing this week's Thursday update, but I do. Somehow I managed to slip a disc in my lower spine while getting out of my friend's SUV. Normal, every day activity and my spine just decided that it wasn't up to it. So I spent Thursday night and Friday morning in increasing amounts of pain. Then I went to the doctor (thanks Obama!!) and found that instead of a pulled muscle, a particularly persistent cramp or anything else reasonable.. I had torn a disc in my spine and some of the jelly inside had leaked out and was messing everything up. That's not terrifying at all.

So now I have an absolute bucket full of drugs to take. Anti-inflammatories, muscle relaxants, steroids, two types of high-powered painkillers. It's pretty lame, actually. At least so far nothing actually knocks me right out... but then I haven't tried the Valium yet. Today, thankfully, was an improvement. If I'm sitting, standing, or walking... I'm mostly fine. It's just when I try to lean over, or move between positions that my back reminds me that it is most certainly not fine.

My students coating papers

Despite all that mess, I did manage to get to my workshop today. Photogenic Drawing at the Light Factory! I had six students, which was a great number. We covered chlorophyll printing, cyanotypes and lumen prints in detail. We briefly went over the theory of anthotypes, but didn't have time to make an exposure since they take several days. I had planned to include salt prints, and I sorta did... but the paper I used wasn't the right kind of cheap watercolor paper. The silver nitrate solution soaked right into the paper, leaving a blotchy, streaky mess. None of the prints came out, not even a little. It really sucked. But the other three-and-a-half processes were a big hit!

There was another, smaller issue with the cyanotypes. I've been using very old and brown ferric ammonium citrate for months now. I got a large jug of it when the Light Factory moved from their old location to their new one, and I never turn down free photo chemistry! Since getting it, I've mostly been using it for parchment prints, where color and detail get a bit muddled anyway. Originally, though, I did some tests to be sure the brown ferric ammonium citrate would work. It seemed to work fine on those tests, some months ago. I can't find them now, but I distinctly recall doing them....

Left: Green FAC.     Right: Brown FAC.

Anyway, today when we printed with the brown ferric ammonium citrate, all our cyanotypes came out with a strong sepia tinge to the highlights and with duller, more greyish-green blues. They basically look warm-tone or very "antiqued." Almost what you might expect from a tea toning. It's quite odd, but not unattractive. They still had full detail, highlights and shadows. 

Later in the class, I mixed up some green ferric ammonium citrate and the prints from that came out great. Pure whites, navy blues, all normal results. So it does appear that either the brown ferric ammonium citrate has always produced those warm tones, or something has happened to it in the last several months. I'm not sure which.

At least I know about it now, and I can take advantage of the difference. The warm-tone cyanotypes are quite pretty, so I'll be trying those out with some negatives. I might even have to start making new negatives! It even worked out really nicely with just photograms. The yarrow photograms pictured above came out great on the warm chemistry. I really love the look of yarrow sprigs, too. I'm going to have to see if I can get ahold of some myself. The yarrow my student had started wilting pretty fast in the heat, and by the time I got it home, it had curled up on itself. Big bummer. I'm going to try putting it in water and coaxing it back to life!

My students today had great success using digital transparency positives for chlorophyll printing. One of them brought in some historical photographs of faces and some scanned nature etchings from old books. They printed really well! I'm going to have to consider what kind of images I might work with, since I haven't been shooting a lot of actual photographs over the past several years. Still, it's pretty cool stuff. 

Overall, today was very productive. I had a great time, and I'm feeling really inspired to start some new experiments. I hope my students from the workshop feel the same way!

Blogging for Thor: Heat Wave

Hello Spiders! This week is another short update. I've said before the chlorophyll prints need heat as much as light, and I think today's results pretty much bear that out. It was 98F outside today, with only moderate sunlight. Despite the light situation, the three chlorophyll prints that I had exposing are showing more complete bleaching than almost any other. Certainly nothing else has exposed as fast, since these prints were only in place for about half a day (dawn-2PM). Normally I leave chlorophyll prints out for a full day or longer. These prints have also done something else: held detail. In the two prints pictured above, there is actual shading and fine detail visible. The vein structure of the leaves that were used as negatives is easy to see. It's very clear, especially in the smaller print of the mulberry leaf. That's quite surprising. I've never had such detail before and I didn't expect it, certainly not from such a short exposure. It's quite a nice surprise!

All three prints aren't necessarily all my favorite. There's very little contrast in the largest one, for example, but but the other two are great results. Eventually I may try negatives instead of just photograms, but the last time I did that, the sweated moisture from the leaf caused damage to the negative. Further, given the lack of detail in the process, it would have to be a very clear, high-contrast negative. I don't have a lot of images like that. Faces appear to work pretty well, from what I've seen in work from other artists. There are some great chlorophyll printers out there, even just in a quick Google Image Search.

With temperatures projected to continue on in the high 90s for the rest of the month (global warming sucks), this should be a great time to make more chlorophyll prints. Isn't it wonderful that my alternative process workshop falls during that insane heat? As long as it doesn't actually rain during my workshop, everything should be great!

Blogging for Thor: It's Hammer Time

The countdown begins! Rather arbitrarily, I do admit. My work for the Community Supported Arts grant is due on May 18th, in just 10 days. It isn't that I can't do math, by the way, I'm just not counting the last 40 minutes of today as a day. So in 10 days, I must have thirty parchment prints mounted on wood, along with twenty pieces of cyanotype jewelry.

I decided that, after talking with a lot of other artists, I was going to compromise on the issue of how to fasten down the parchment. My current plan is to do a third of the parchments with brass nails, a third with steel nails and a third with the liquid hide glue I got from Woodcraft. Liquid hide glue, by the way, stinks horribly. It does appear to be holding a stable, very strong bond, though. It was recommended by the tannery that provides my parchment. It's doing far, far better than the E6000 or the Yes! Paste, both of which gave up within days.

So where do I stand, Spiders? Today I finished mounting and putting hardware onto 17 of the 30 parchment prints. I want to give the hide glue test piece a bit more time to see if I want to reserve 10 of those as glue-only, nail-free presentations. I finished 10 mounts with steel nails and 7 with brass nails. There's 13 prints waiting under a stack of encyclopedias, all ready to go. I'll assemble the other 3 brass-nails prints tomorrow.

The jewelry is almost finished, too. I have 1 set of earrings, 7 rings, 3 metal pendants and 9 wooden pendants. The last of the metal pendants and 5 of the rings are waiting for resin, which I'll probably be pouring tonight, after I finish this blog post.

In total, I have completed 62% of the project. The rest is all very close to the finishing stage. My only remaining concern is any mistakes in assembly or finishing that crop up. Today I managed to hammer one of the steel nails down wrong, and I may have to scrap that mount. Fortunately, I have extra wood and enough time to replace the piece. Of double fortune, it wasn't one of the best prints. So, not a terrible deal. Just annoying. I might end up replacing it with an extra piece of jewelry, assuming I can find the stash of first-run wooden cyanotype pendants I made. The second run, currently strung, is not as dark blue. The third run, now bleaching, was too blue. There's an unfortunately high failure rate with the wet-printed wooden pendants and tags. I can't figure out exactly why. I'm guessing that it's to do with the "wet" part of wet-printing.

Thanks to a lovely overcast sky, I was also able to document everything that I've finished so far. My lovely Flickr gallery grows as I near project completion! Y'all should check it out, Spiders!

My last bit of work will be ordering more burlap bags, getting some better raffia stuffing (this stuff is too long and stringy!) and then finish the insert that I'll be handing out. It should be the work of a day to stuff everything once it's done.

I'm so excited, Spiders. My first grant, and I'm coming in way under budget and right on schedule! I'll be so happy to finish this project, even though it's been very fun.

Blogging for Sol: Raining on the Panda Parade

Odd Bleaching, Reason Unknown

Hello, Spiders! This week has been pretty terrible as far as weather goes. Even my students have been complaining, because the weather makes it harder for them to do extra credit assignments. I give them the opportunity to do alternative process (cyanotype, lumen, anthotype or scanogram) prints for extra credit... and they all wait until the last week to do them. Of course.

So, I haven't been doing much printing lately. Nor have I made much progress on the grant project recently. I have begun to epoxy the printed parchments onto the wood, though. The first test finished curing tonight and it shows no ill-effects on either side. There's strong adhesion and everything appears to be going well. Recent grant-related developments also include 3 failures which I'll have to re-print. That's going to be challenging, since most of the last shipment of parchment was small pieces. I do have a large sheet I can cut from, but the surface isn't what I'd like... so I'm ordering another set of parchments and hoping I get some bigger bits. I'm going to include a note asking for no sheep scraps.

What I did get done was some catch-up on my documentation. I've been doing a lot of experiments with the different types of parchment and prepping for the grant work. So I had a double handful of parchment prints waiting for scans. I finally got that done! In case you were wondering, Spiders, I do not like Sheep Parchment.

In a related note, the odd fading that I've discovered lately (Mexican Heather 8, Peppervine 5) is finally scanned. I'm going to be seeing if anyone, like Christopher James or Mike Ware, can explain what's causing this reaction.

Blogging for Frigg: Eat Your Heart Out, Easter Bunny

The finished Egg

As I mentioned recently, I'm working on a project to make art out of a goose egg. Today my egg had its second round of exposure. The first exposure was too short, and although the egg looked very nice in its latent form (pictured below), it didn't end up turning out well. Half the image just washed right off. Even the remaining half of the egg was just pale and splotchy.

Fortunately, you can wipe a cyanotype. Well, sorta. I bathed the egg in a borax solution, which reduced the blue cyanotype to yellow. Then I just coated over the yellow image. The original image is still there, it just isn't visible. If this egg was placed in tannic acid, the original image would re-appear... so whoever ends up with this egg shouldn't try dunking it in tea or coffee.

I'm not sure that I really enjoy printing on eggs. The initial coating is a pain in the butt, and wastes a ton of chemistry. But, after that, it really isn't that bad. The second time around, I accelerated the coating process using a hair dryer on cool to help each layer of chemistry dry. Eggshell may not be the best surface; it seems to naturally resist chemistry in certain places. It may have some kind of residual coating, or simply have surface defects. On smaller eggs, dipping may be possible, but honestly I want to avoid that because of the sheer amount of chemistry required. If working cyanotype solution could be stored long-term, it'd be different... but it goes bad too quickly, and I don't use much on a regular basis. Possibly when I get into serious production mode on my grant, I'll make up a big batch and dip some eggs.

Once everything was coated, I used the same packing-tape-negative method that I do to print on bones, and it was quite effective. The leaves are from Carolina Geraniums, which are little weeds that grow everywhere. I like the intricate leaf shape. There were a few extra leaves left over, so I'm drying them in contact frames. Might use some of the smaller ones for jewelry, and some of the larger ones for the grant prints.

Exposure on a three dimensional object is always challenging, especially when you want even lighting on both sides. The first time, I tried rotating the egg on a stand, but I the second managed to rig a wire through the egg and hang it out to expose. The hanging method seems a lot better, especially since I can hang it just out of direct sunlight and it gets a much more even exposure. I still went out and turned the egg after an hour, then let it have the rest of evening (2.5 hours more) on the other side.

Developing the egg is actually very simple. The shell doesn't really hold onto chemistry, so it develops very quickly, no extended rinses necessary. Afterwards, I found rubbing hydrogen peroxide on with a paper towel to be effective the first time, but the second I just dunked the egg into water and added the peroxide to be sure I didn't miss any spots.

I finally gave the egg a short dunk in borax, just to clear the highlights a bit and add contrast. A few seconds only, then a thorough rinse to remove any borax clinging to the surface. I got the idea from the first time I bleached the egg clean; as soon as it went into the bath the few leaf-prints that had manifested cleaned up and gained more contrast, while the blues only faded a tiny bit. So I made use of that on the finished egg. A little more of the underlaying texture showed up after the bleaching, but I don't mind it at all.

So, overall, the results were encouraging. Despite initially poor results, I was able to clearly identify the problem and correct it. It was absolutely a result of insufficient exposure on the first run, classic issue and easy to fix. First run, it was outside for an hour total. Today it went out at 3:30 PM and is still outside, enjoying the longer evening sunlight. Even better, today was overcast and the light was extremely diffuse. That will counteracted the one-sided issue I ran into last time.

So, let's look at photos of the first exposure run? Yes, let's! Even though the result was flawed, they give a good sense of the process I went through. Unfortunately, I did not record the egg hanging from its wire on the second exposure. You'll just have to imagine it.

Uncoated Egg	First Coat, Still Wet	Coated and Dried
Exposure In-Progress	First Latent Image	Developed First Result

And that's how it was done! I much prefer the final result (image at top!) to the first run. It was fun writing this all out, Spiders. I'd almost forgotten how much I enjoy trying something new and challenging! I've also been making more of my regular parchment prints, and I'll have to scan those soon. So far, nothing crazy or innovative. Just refining my existing techniques and starting to work on the grant. It should be great!

Blogging for Saturn: Baby's First Budget!

Parchment Cyanotype, Framed

Heya, Spiders! I know, I'm still late. I'm just really bad at writing during the days and now that I have a social life, I keep doing things on Thursday and Friday nights. It's a real issue... except for the part where I'm out, having fun with friends. So. Not a huge issue, really. Thor might be getting a bit miffed, though.

Today I'm blogging for Saturn, because he's the Roman God of (among other things) wealth and fortune. Why? Well, Spiders, I'm happy to tell you that I've gotten my first grant. The Art & Science Council of Mecklenburg County offered a grant for artists to participate in a Community Supported Arts program. I was selected as one of nine artists to be featured this year. I'll be making 50 small pieces of handmade art, to be distributed to the people who buy shares of the program.

For me, that means making 50 of my cyanotypes on parchment, wood and bone. In all honesty, I'm extremely unlikely to include any bones in the grant program. I'm only getting a budget of about $40 per piece; the bones are just worth too much to me. They're hard to make and the materials are a bit scarce. I'd rather use them myself. So, instead, I'll be making prints on wood and parchment for the grant program. My offerings will be a combination of the wearable art that I've been experimenting with, and the normal parchment prints that I've been doing for some time.

My biggest challenge is going to be the framing and packaging. I've got to keep my costs low, and my time fairly limited on each object individually. The type of display I used for my show in Asheville, seen above, is too labor intensive and costly as far as materials go. I'll need a simpler way to present the parchment prints. The wearable art will probably stick fairly close to the early test models, like the ones featured in the last two weeks. The material and time cost on that is pretty low.

Obviously there's going to be some research into how best to package everything, where to get the best value frames, how to assemble everything, what adhesives to use... but that's actually kinda fun for me. I'm excited, because if I can get this all down, then future work will be that much easier to make!

All of this is pretty amazing. It means I'm getting paid to continue with my experiments. I have a budget! I'm actually being paid to make art. Honestly, that doesn't happen very often for me. I'm very, very excited. You can rest assured that as I move forward with the grant, I'll be posting updates on the work made for it and what I learn during the process.

Blogging for Balthazar: Cyanotypes go Metal!

First Cyanotype Parchment Ring

It's a bit after Christmas, so let's celebrate with a new blog post! Yes, I took some time off for the holiday, and I just haven't really been mentally up to blogging. My dog's still not doing well after his surgery, and the holidays have been a bit hectic even aside from that. Plus, I think my family may have infected me with another bloody plague. I'm certainly coughing more than I should be.

Anyway, I know you're way more interested in photographic insanity than my biographical drama, Spiders. Let's get down to it.

Troy, one of the awesome guys who runs the Flaming Chicken Studio here in town, decided to put together a last-minute Holiday Art Sale. It went really well, despite the late date and some other events happening on the same day. In getting ready for it, I was working on some more of my attempts at making cyanotypes into practical art. The latest version of this has been cyanotype jewelry. Now, making my small cyanotype bones into jewelry has still proved too difficult for me to manage. I lack the equipment and skills to efficiently build bases, settings and findings. I was able to find another way, however.

Tracing paper templates to make the parchment blanks

I combined a ready-made, adjustable ring base with one of my cyanotype parchment prints. Using a bit of E6000 silicone epoxy, I just attached a tiny print onto the ring base, creating a wearable cyanotype. The process could use some improvements, like some kind of protection against scratching the print itself, but it works on a basic level.

After that success, I've gotten the supplies for further experiments. One of the biggest challenges is simply cutting the right size piece of parchment. It shrinks and expands slightly during the washing and drying of the print, so getting the cut parchment to fit exactly into a ring or pendant isn't easy. I'm hoping for some good results with this batch!

Paper blanks ready for coating!

Even better? This research may actually fund itself. If it goes well, I might even start using my Etsy store! Wouldn't that be crazy?

I don't know if I'll try to expose all of these, but I do want to get started right away. In the dead of winter, I don't have a lot of choices for floral samples. I might even print out some very small negatives on transparency or vellum paper and see if I can do some cyanotype jewelry with photographs instead of photograms. Wouldn't that be novel, Spiders? Actually using a camera?

STOP! In the Name of Red

TRIUMPH! 2:1:2 Pokeberry, Turmeric, Sandalwood

It's been 4.2 years since I started working with the anthotype process, and 3.5 years since I started to really hunt for a good red dye to use in the process. Guess what, Spiders? I found one! After some brainstorming and testing, detailed in the last few entries, I finally decided to try mixing together yellow, magenta and orange colors to produce a red.

As far as dyes go, that meant using turmeric (yellow), pokeberry (magenta) and sandalwood (orange) in combination. I've thoroughly documented turmeric and sandalwood as predictable, fast-fading anthotype dyes that are easy to use, easy to mix and work very well. I've got ample evidence from other artists that pokeberry shares these traits, even if it is harder to harvest and prepare (it's toxic, and it's a berry as opposed to a powder). The combination of all three should, I'm hoping very hard, be another quick exposure, high-quality anthotype dye.

A comparison of several different tests using Pokeberry

The best part? It's red. Really, really red. Not reddish-orange or reddish-pink. Nope, Spiders, not this time. It's RED. I am so excited. The only bummer is that I've discovered this in the fall, and the weather is just not my friend during the fall. Less sunlight, longer shadows, cooler temperatures, cloudier skies... it doesn't lend itself well at all to anthotype printing.

Still, I'm going to expose a test sheet starting tomorrow and see how it goes. Wish me luck, Spiders!

Oh, before I forget... the winning combination to produce a red dye was 2 parts pokeberry juice, 1 part turmeric, 2 parts sandalwood and enough rubbing alcohol to make the solution a thin liquid. It's still a bit grainy, but now that the color is tested, I can adjust the solution itself a bit to get better consistency. Ideally, I'd like a grain-free liquid that brushes on smoothly.

The last fun bit? Now my Master Test Sheet can truly be organized by color, since I have at least one strong, vibrant example for each color of the rainbow. Hurray!