<aside> 🔎 Anderson, C. (2019). Cyanotype: The Blueprint in Contemporary Practice (1st ed.). Focal Press. https://doi.org/10.4324/9780429441417

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Good, brief history of cyanotype as well as detailed instructions on setting up a cyanotype-making studio. Detailed information about specific chemicals, as well as “recipes” for various formulas  to mix depending on desired effects. Thorough exploration of many types of papers and their uses / effect when printed on.  Walks the reader through various techniques of printing and troubleshooting. Helpful for our purposes are notes on types of materials to use to make images such as tissue and acetate. Also helpful is the section highlighting contemporary cyanotype artists that will be useful in showing students work for inspiration in their own projects.

<aside> 🔎 Blacklow, L. (2018). New Dimensions in Photo Processes: a Step-by-Step Manual for Alternative Techniques (5th ed.). Routledge.

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Chapter 7 on Cyanotypes. Method overview, chemical solution instructions, and process on how to make cyanotypes. Tips on applying chemicals to surfaces as well as troubleshooting.  Helpful section on printing on fabric as well.

<aside> 🔎 Kafetzopoulos, C., Spyrellis, N., & Lymperopoulou-Karaliota, A. (2006). The Chemistry of Art and the Art of Chemistry. Journal of Chemical Education, 83(10), 1484–1488. https://doi.org/10.1021/ed083p1484

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The authors discuss the connections between art and chemistry, in terms of history, education, etc. They propose that art can be used to motivate students in learning science and to “make science courses more relevant to the students” (p. 1484). Additionally, many people have negative associations with chemicals and chemistry in general. Art may be helpful in getting students to view chemistry more positively. They present a case study, Chemistry and Art, a course developed by the National Art Gallery of London and the Royal Society of Chemistry in England. This course had both lecture and hands-on lab components. After the course, students were better able to identify the role of chemistry in art.

Though there was an improvement in students’ pre- and post-test scores after Chemistry and Art, they did not compare this integrated activity against a conventional science lesson, so it’s difficult to conclude that the improvement was specifically due to art integration. This should be fine for our purposes, though. The case study is more helpful for us as inspiration for our own learning activity - specifically in how we might integrate science and art in cyanotype-making.

<aside> 🔎 Turkka, J., Haatainen, O., & Aksela, M. (2017). Integrating art into science education: a survey of science teachers’ practices. International Journal of Science Education, 39(10), 1403–1419. https://doi.org/10.1080/09500693.2017.1333656

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The authors review how science teachers integrate art into their lessons and lay down a framework to categorize integrated art and science activities. They also discuss why integrating art and science can be valuable: (1) creativity, imagination, and aesthetics are applicable to both art and science; (2) art can be motivating and benefit disengaged students in particular; (3) art can promote positive feelings about science; (4) art enables students to express themselves and feel engaged even if they are not fluent in scientific practices.

In cyanotype-making, the science and art aspects are tightly coupled. This likely makes cyanotypes a good candidate for integrating art and science. Additionally, in our initial interview, Stacey mentioned that many kids who participate in Allergic to Salad are at risk of failing school. Thus, the emotional components of art-making could be particularly beneficial in motivating these students.

<aside> 🔎 Turner, J., Parisi, A. V., Downs, N., & Lynch, M. (2014). From ultraviolet to Prussian blue: a spectral response for the cyanotype process and a safe educational activity to explain UV exposure for all ages. Photochem. Photobiol. Sci., 13(12), 1753–1764. https://doi.org/10.1039/C4PP00166D

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The authors conducted experiments to explore how different wavelengths, different exposure times, and usage of neutral density filters affected the saturation of Prussian blue. They concluded that the longer UVB range, shorter UVA range, and extreme violet wavelengths are optimal for cyanotype-making. They note, however, that this can vary depending on the manufacturer.

The motivation for this paper originates in the lack of public awareness of how UV exposure adversely affects health (ex. skin cancer). This is mainly because there is a lag between UV exposure and the adverse effects. The authors propose that cyanotypes can be used to educate the public about UV radiation because there is an “immediate physical response to UV radiation in real time that can be observed easily and safely by anyone” (pp. 1753-1754). They also explored potential learning applications for cyanotypes, such as: (1) exploring how sunscreen affects UV exposure (sunscreen vs. no sunscreen, thick vs. thin layers, different application methods), and (2) exploring the differences in cyanotypes produced in shade vs. direct light.

Taking inspiration from this paper, we could potentially create a health-related learning goal for our activity. For example, we could provide sunscreen as an art-making tool, allowing students to “paint” with sunscreen. They could then explore the differences in cyanotype outcomes when they vary their sunscreen usage. However, we would also have to make sure that this additional learning goal does not make the activity too bloated or confusing.

<aside> 🔎 Wu, H., & Hsieh, C. (2006). Developing Sixth Graders’ Inquiry Skills to Construct Explanations in Inquiry‐based Learning Environments. International Journal of Science Education, 28(11), 1289–1313. https://doi.org/10.1080/09500690600621035

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