Cyanotype printing in a Yorkshire Garden: Botanical inspiration and the colour blue
Printing with sunshine
Surrounded by lush foliage in a charming North Yorkshire garden, brimming with daisies, fennel, parsley and more, artist Jan Wilkins invited Little Bird and I to make cyanotype prints. As part of a fine art skills swap, Jan kindly offered us the opportunity to explore this curious technique as she had attended my Summer School workshop back in August. Arranging gathered flowers and leaves on light sensitive paper we had first hand experience of one of the earliest forms of photography. The results were beautiful blue botanical images full of bold contrast and a wonderful sense of mystery.
Women's work
The history of cyanotype printing is rather interesting and centres around the forward thinking female botanist and photographer, Anna Atkins. After the introduction of the cyanotype photographic process by William Henry Fox Talbot in 1841, Atkins set to work self publishing a book in 1843 called Photographs of British Algae: Cyanotype Impressions. She documented incredible photographic impressions of seaweed from all around the British Isles and her book was the first ever printed and illustrated by photography. Thanks goes to the Natural History Museum website and Wikipedia for this whistle stop tour of cyanotype facts.
Foraging for foliage
To make our cyanotypes we first chose a variety of leaves and flowers from Jan’s garden. Looking for differences we sought out handfuls of foliage we hoped would make interesting design for our prints. Little leaves, spiky leaves, fluffy fronds of fennel and dainty daisies with their tangle of lollopy long stems. After playing with arrangements on a pieces of board we were ready to try our first print.
Acting fast
You have to act fast with a cyanotype because the paper required is light sensitive and starts to react the moment sunlight hits it. Jan kindly prepared the papers the night before, with a special mix of chemicals, so we were all set for the fun bit. As we started placing our botanical finds on the activated paper the colour was already beginning to change. A sepia tone quickly spread across the page and as finishing touches were made to our designs, sheets of glass were clipped to the boards and we headed outside.
It all comes out in the wash
After a fifteen minute bask in the very well timed October sunshine, the ultra violet light had worked it’s magic and it was time for a soak in the tub. Jan has the most fantastic arrangement of baskets and buckets next to her outside tap, all set up ready for the rinsing process. As the greenish chemical residue washes off the paper the glorious blue photographic image presents it’s self. A final rinse in a mild bleach solution sets the paper, stopping further light reaction and the job is done. The only thing left is to peg the prints on the washing line, sit back and marvel at their glory.
Photographic fairy dust
The range of images possible with this technique is infinite and the results range form bold elegance to etherial wonder. It’s like fairies have danced across the paper and left cyan spectres of another word. The excitement Anna Atkins must have felt the first time she processed a cyanotype is palpable. In her world photographs would have been a rare and wondrous thing; there simply wouldn’t have been the barrage of photographic imagery that we are exposed to today. She was a pioneer at the forefront of a visual revolution and she dared to see what was possible.
Jan, thank you so much for this super opportunity. We are delighted with our blue works of art and thrilled to have spent such a lovely morning with you, enjoying the tranquility of your inspiring garden.
To see Jan’s incredible ceramic sculptures pop in to her website.
In the mood for something blue?
Take a look at the cobalt and baby blue inspired Pots & Plates collection. Click the pink link to see more.
