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File consists of samples of prints, predominantly image transfers created through various processes such as by heat or solvent, on a variety of materials, including paper, cardboard, fabric, and metal. Also includes instructional documents for using Iron-on Transfer Paper and 8 skeletonized leaves, which were used as supplies during Astman's teaching.

File consists of a notebook of students' photographic works and portraits, primarily in the form of photographic strips attached to paper, created for one of Astman's courses at OCAD U (previously the OCA) during the 1970s. Some pages are bound in the notebook and others are loose and dispersed throughout its pages. Also includes correspondence with Alan Gabay (former student), recalling the course.

Fonds consists of records of the artistic and academic career of Barbara Astman, chiefly in Toronto from the 1960s to the second decade of the 21st century, including photographs of her projects and exhibitions, correspondence and textual documentation of projects, personal and other photos and journals, and some audiovisual materials.

Fonds consists of documentation of Chitty's creative process as an interdisciplinary artist, including plans, notes, technical drawings of set designs, posters, promotional material, press, photographs, scripts, correspondence, grant materials, slides used during performances, and photographs of live performances and installations. Fonds also consists of professional records documenting Chitty's role as an arts administrator and curator with Cultural Desire Projects, Western Front, the Canadian Alliance of Dance Artists, the St. Catharines and Area Arts Council, and ANNPAC; speaking notes pertaining to artist talks and conference presentations; as well as drafts and manuscripts pertaining to her editorial and writing work.

Series contains records relating to exhibitions organized by the Prints and Drawings department of the Art Gallery of Ontario. These files document the work of planning, researching, organizing exhibitions; producing catalogues; and hosting exhibition openings.
Exhibition files may include exhibition proposals, correspondence, agreements and arrangements with lenders, records relating to exhibition catalogues, lists of works, panel text, photographs of works, exhibition layouts, exhibition opening invitations, visitor feedback, and other records.
Files may also include research done by curators and researchers, including photocopied articles, notes, correspondence with art museums and collectors, and flyers from exhibitions.

File consists of Astman's photo ID card for OCAD U, attached to a fabric lanyard. A coin on a key ring is also attached to the lanyard.

File consists of correspondence from Nancy Jane Friedland and OCAD U regarding Astman’s retirement from teaching.

File consists of image transfer prints on a variety of materials including paper, a copper plate, acrylic sheets, and a piece of fabric. Also includes a visual aid showing multiple examples of acetone image transfers, alongside the graphic material used to create the transfer and Astman's notes. The prints in this file exemplify the results of a variety of image transfer processes, including acetone transfers.

File consists of an instructional teaching document, paper, and three latex gloves. Materials relate to Astman's teaching of processes for the creative bleaching of photographs.

File consists of instructional and guide booklets, brochures, and related documents regarding creative techniques for using and manipulating polaroid film and creating image transfers. Also includes an invitation to the opening reception for the exhibition, Barbara Astman: Revisiting Red, as well as an emulsion transfer on aluminized paper, a polaroid image in a frame reading "got milk?" along the bottom, and two skeletonized leaves that were used by Astman in photographs.