Making Cyanotypes

History of Cyanotype 

Cyanotype is a photographic printing process that dates back to 1842, invented by Sir John Herschel, an English scientist. Herschel was the first to use this process to make blueprints of scientific drawings, and it quickly became a popular method for copying documents and images. The process involves a simple reaction between two chemicals, which, when exposed to UV light, result in the distinctive Prussian blue hue. 

Cyanotype by John Herschel, 1842.

The process gained artistic fame through botanist Anna Atkins, who is often credited with being the first to publish a book illustrated with photographs in 1843. Her botanical cyanotypes were an early and innovative fusion of art and science. Atkins’s work paved the way for future exploration in the world of photography, particularly within the context of botanical illustration. 

Today, cyanotype is widely appreciated not only for its historical importance but also as a creative and accessible medium that has found a place in modern-day art and photography. Mandy Barker, a contemporary British photographer, uses cyanotype—a technique pioneered by Anna Atkins in the 19th century—to highlight modern environmental issues like ocean pollution. By adapting Atkins' scientific approach, Barker confronts the urgent crisis of waste, blending art and activism to shed light on the impact of human activity on nature. For more, check out the article on The Guardian here. 

Making Cyanotypes at Home or in a Community Setting 

This worksheet is designed to guide you through the process of making cyanotypes at home or in a community setting. Whether you're completely new to the technique or just looking to refresh your skills, this step-by-step resource will help you understand how cyanotypes work and how to create your own striking blueprints. With practical tips, space to experiment, and the support of a shared creative environment, you'll gain the confidence to continue exploring and making cyanotypes on your own. 

Process Overview

1. Materials & Chemical Preparation 

Cyanotype begins with preparing the chemicals that make your paper or chosen material light-sensitive. These chemicals are ferric ammonium citrate (Part A) and potassium ferricyanide (Part B). Depending on the type or brand of cyanotype solution you are using, each part will need to be mixed with distilled water to create stock solutions—either as a full bottle or in small batches as needed. 

Once mixed, both Part A and Part B must be stored in light-blocking bottles and left to sit for at least 24 hours before use. When you're ready to coat your paper, shake the bottles well, then measure out equal amounts of Part A and Part B. Mix them together thoroughly to form the sensitizing solution. 

Apply the solution thinly and evenly onto your chosen substrate—this could be paper, fabric, or another material. It’s best to do this in a dimly lit environment, as the solution is sensitive to UV light. Use just a small amount and aim for a smooth, even coat to avoid streaks or patchy results. Once coated, the material should be left to dry in the dark or under low light conditions. Drying usually takes around 30 minutes, and after that, it will be ready for exposure. 

2. Exposing Your Cyanotype to UV Light

Once your paper or other material is coated and dried, the creative part begins—exposure to UV light, either using the sun or a special UV lamp. 

To start, place your sensitized material face-up on the backing board of a contact frame. Then, place your acetate negative or positive image—such as a photograph, drawing, or text—on top. Alternatively, you can create a photogram by placing objects like leaves, flowers, lace, or other textured items directly onto the coated surface. If you're using larger, bulky items that prevent a piece of glass from being placed on top, that’s fine—it will result in a softer, more ghostly image, which can be visually striking in its own right. 

If you're using a contact frame, carefully place the glass over your setup and clip it evenly on all sides, taking care not to place clips over parts of your image. I usually use a contact frame that matches the size of my paper for even pressure and ease of handling. 

Now you’re ready to expose it to UV light, either outdoors in the sun or using a UV lamp or exposure unit indoors. The object or acetate blocks part of the UV light, creating the classic cyan-blue image where the light reaches the sensitized surface. 

Exposure time can vary depending on the strength of the UV source. Direct sunlight generally gives the strongest and fastest results—anywhere from a few minutes to around 15 minutes, depending on time of day, season, and cloud cover. If you're working indoors, you can use UV lamps, commercial exposure units, or even a DIY UV light box for more controlled results. 

3. Developing the Image 

After exposure, the paper is carefully washed in cold tap water to reveal the cyanotype print. The excess chemicals are washed away, and the image starts to appear. You may need to change the water several times to ensure that all the chemicals are fully removed. Be cautious not to use too much water at once; it’s best to keep the water shallow, but if needed, a gentle tap or spray hose can help remove any remaining chemicals. The print will display various shades of Prussian blue, depending on the light exposure. You can also add a tiny amount of citric acid to the final rinse. This will help clear any remaining chemicals and slightly enhance your tonal range.  

Once washed, the paper is left to dry, not in direct sunlight. Be careful to shake off excess water. During the drying process, the colours will deepen and the image will solidify, making it suitable for framing. However, note that the print may take up to 48 hours for the colours to fully develop and reach their final intensity.  

Some cyanotype tutorials may suggest using ammonia or acidic chemicals to speed up development or intensify results. However, this is not necessary and can introduce toxic substances into your workspace. The classic cyanotype process works beautifully with just water and UV light—no need for ammonia or other harsh additives. It's safer, simpler, and still gives you strong, vibrant blues with a bit of patience. 

One of the great things about the cyanotype process is that it’s non-toxic and environmentally friendly in small quantities and used as intended. After developing your prints, the rinse water—used to wash away unexposed chemicals—can be safely poured down the sink or used to water your garden, as long as it’s not poured onto edible plants. This makes cyanotype a more sustainable and low-impact photographic technique, perfect for community and home use.  

4. Final Touches and Reflection 

Once dry, the final prints can be assessed. This is when you can evaluate your work, see how the details came out, and decide if you'd like to adjust anything for future prints. Cyanotypes can also be toned or altered further, but the basic process remains simple yet incredibly versatile. 

Materials You Might Need to Make Prints: 

If you're planning to create your own cyanotype prints, here is a list of recommended items that you might need. All these materials are available through affiliate links on my website for your convenience: 

• Cyanotype Sensitizer Kit - Jacquard Cyanotype Sensitizer Set 

• Brushes - Poly Foam Brush Set

• Destilled Water - Lucemill 1 litre

• Measuring Tools - Syringe Set, Measuring Spoons

• Exposure Options - UV Lamp or Sunlight Exposure

• Developing Tools - Developing Tray Set, Wham Boxes for larger work  

• Paper and Fabrics - Arches Aquarelle, Winsor & Newton Watercolour Paper

• Contact Frames - A4/A3 sized, preferably with glass

• Pre-Treated Cyanotype Fabric - Jacquard pre-treated A4 pack of 10

For a complete list of supplies, along with affiliate links to order materials, please check out the resources I’ve provided. By using these links, you’ll be supporting my creative practice—and I really appreciate it. Let’s support each other as we explore and share this beautiful process!