How to Make a Cyanotype: A Complete Guide for Beginners
About the process
Cyanotypes, also known as sunprints, have become one of my favorite ways to slow down and create. For me, this process is an exciting way to explore nature while making calming imagery. Much like Mother Nature herself, I have learned to love the unpredictability of working with chemicals, sunlight, time, and form. If you are just getting started, here is everything I wish I had known when I began.
The process in a nutshell: You are creating a light-sensitive paper or fabric, laying objects on top to compose an interesting silhouette, putting it in the sun, taking it out of the sun, then giving it a bath to fix the chemicals so the print is no longer light-sensitive. Think of it like film photography without the camera.
Supplies List
Foam brushes (these give the most even coating)
A small bowl or jar to mix chemicals (I use a flat glass jar that used to hold Aldi cheesecake)
Cyanotype chemicals Part A and B (I prefer theJacquard set)
Hydrogen peroxide to deepen the blues
Watercolor paper or cotton fabric
Backing board and a sheet of glass (picture frame pieces work perfectly)
A sunny day or aUV light
A “dark room” to coat the light-sensitive chemicals onto whatever you're working with
Botanicals or transparent items to arrange on your print
Preparing the Chemicals
Fill the bottles in theJacquard set with water and let them sit for 24 hours so the powders can dissolve. Store the bottles in a dark room at room temperature.
Tip: Do not mix or fill the bottles in direct sunlight. Even a window over your sink can begin to fog the chemicals.
Making Your Paper or Fabric Light-Sensitive
Work in a dim room with no direct window light. Shake both bottles well. Fill a cap with Part A and a cap with Part B and mix them together in your small bowl.
Using the foam brush, apply a thin coat of the solution onto your paper. You can get creative here. Some people like clean edges, some enjoy loose brush strokes around the borders.
Let the coated paper dry completely in the dark for about 30 to 40 minutes.
Patience is key, but if you use a hair dryer, keep it on a cold setting. A warm or hot setting can fog your chemicals. Honestly, a dark room with a fan is perfect.
Tips:
You do not need gloves if you are brushing on the solution, but be aware that anything it touches will stain.
One cap of each solution goes a long way. I can coat four or five sheets of 8x10 watercolor paper with that amount.
For fabric, I highly recommend using a spray bottle to apply. If you try to dunk it in a bucket of the chemical solution, the coating is uneven and sometimes creates dark purple areas in the whites of your print. Also note, Fabric requires much more solution mix than paper prints.
Your mixed solution only lasts three to four hours, so plan to coat multiple pieces at once.
Composing Your Print
Gather your items. Some of my favorites are:
Glass objects
Flat-pressed botanicals
Saran wrap
Transparency negatives
Lay your light-sensitive sheet onto the backing board. If you left white borders, you can tape the edges with acid-free tape so they stay in place.
Arrange your objects however you like. Here are a few prompts to help you get started if you feel stuck:
Use your favorite flower and someone you love’s favorite flower
Combine something from the water with something from the earth
Go on a walk with someone and forage together
Trust your instincts and avoid overthinking
Once your composition feels right, carefully place the glass on top. Items can slide when the glass comes down, so use a chopstick or a long, thin tool to nudge things back into place.
Using clamps, clip everything tightly around the edges so nothing shifts during exposure.
Exposing Your Print
If you are using the sun
Exposure time depends on the weather. On a bright day, 8-30 minutes can be enough. Cloudy days may need up to 2 hours, especially if you want deep veining in petals. Keep a notebook or write on the back of the print with details like time of day, season, and exposure time. These notes help you learn faster.
If you are using a UV light
This is great for consistency. It may take longer to develop rich blues compared to sunlight, but it gives you full control. I place my print setup inside a large cardboard moving box and cut a hole the size of my UV light. The light sits on top like a homemade exposure unit.
Tip: For multiple shades of blue, try layering items at different times. For example, add one pressed flower every five minutes to create a gradient from light to deep blue.
This is what a print should look like before it’s fixed in a bath. Look for a copper color.
Fixing Your Print
Fill a sink, tub, or large container with cold or room temp water. Add a cap of hydrogen peroxide to help bring out darker blues.
Place your print in the bath for five to ten minutes.
If you still see yellow in your print after the fix bath, it needs a longer soak and refreshed water. Too much soaking can cause your print to fade.
Let the print dry completely. I sometimes use paper towels to gently dab the surface so it dries faster.
And just like that, you have a finished cyanotype. Each one is different, and there will always be surprises. That is the magic of it. Some prints will turn out better than you imagined, and others will teach you what to try next time.
