Printing with the Sun

Printing with the Sun Preserving with Wax

Michele Randall

As a process-oriented artist, I have always been drawn to the materiality of printmaking. Cyanotype, often known as sun prints, provides an efcient way to capture an arrangement of objects, or photographs, for use in encaustic creations. Cyanotype is a camera-less photographic process that creates distinctive Prussian-blue images using iron salts, sunlight, and water. It was developed in the 1800s by scientist John Herschel and put into its earliest practice by botanist, Anna Atkins. Her images of sea algae were the first photographs used for scientific categorization. I’m drawn to the method for both the creation of images and the flexibility of results. The cyanotype process is a bit like baking bread. A perfectly suitable loaf can be created with a bit of flour, yeast, and water; but by varying ingredients, temperature, and time, you can get everything from a sour dough to a naan. Encaustic wax is a natural partner to cyanotype. Like encaustic photography, the wax covers the image with an ethereal haze. Each layer speaks to the element of time, obscuring the image further. Of course, the wax also provides a method of adhesion and a top layer for the addition of pan pastel, inks, and markmaking tools.

Below, I’ve outlined an introduction to the cyanotype process. It should provide a foundation for this unique approach to image creation.

Materials List

Chemical Materials: • Ammonium Ferric

Citrate* • Potassium

Ferricyanide* • Water – distilled if possible

* Chemicals can be ordered through a photographic supply source or most art catalogue companies. If you prefer to avoid mixing chemicals, you can buy both of the ingredients in liquid form.

Cyanotype Solution and Hake Brush

Additional Materials: • Paper or other absorbent material • Brush • Scale • Liquid Measuring Beaker • Containers to hold solutions • Gloves and mask are recommended

Mixing Your Solution

These cyanotype instructions will make enough to coat approximately 50 8 x 10 inch sheets. 1. Using a scale, measure 25g of Ammonium Ferric Citrate, place it in the first beaker, and add water to bring it up to 100 ml. 2. Measure 10g of Potassium Ferricyanide and mix with water to make up to 100 ml.

Make sure both the chemicals are fully dissolved. 3. Working in a dimly lit room, mix equal parts of both solutions together. The solution is at its best if used immediately after mixed. You are now ready to coat your paper.

Coating Your Paper

Coat the paper in a dimly lit, dry environment. Use a foam or hake brush to evenly coat your paper with the cyanotype solution.

Allow your paper to dry in the dark. The solution becomes light sensitive as it dries.

Cyanotype solution will work on any absorbent material, such as rice paper, coffee filters, or watercolor sheets. Results with each will vary and provide opportunities for different creative directions.

Results of various objects including feathers and doilies Examples of objects to use with cyanotype include negatives/ transparencies, plants, lace, and stencils.

Designing and Exposing Print

Place an object or photographic negative onto the prepared paper. I recommend objects with interesting shapes and outlines. This is why plants make such a perfect subject matter. Lace, cut stencils, transparencies, and negatives, make equally engaging images. Details will be obscured by the wax, so it is best to think of cyanotype as a starting point to your creative layering and use elements with high contrast and distinct edges. Once your composition is set, place glass on top, and secure it with clips.

The paper is exposed when placed in the sun or a UV light box. I prefer the sun. It’s free and doesn’t require space or maintenance. The paper will begin to change color during exposure, from yellow green to a dark silvery blue. When this happens, it’s time to wash out your print.

Use glass and clips to secure designs and place in the sun. In the winter months (as seen here), it will need to be exposed for a longer time. Here is a print that’s been exposed in the sun. It has not yet been washed out in water.

Washing Your Print

The image can be fixed with plain water; no need for filtered or distilled water. It’s one of the reasons I like cyanotype so much. Rinse your paper in water by submerging it in a tub until the blue solution washes clear. This fixes the paper and will stop the development process. Once rinsed and dried, the paper will darken over the first few days.

Print has been rinsed in water and dried.

Time to Add Wax

Once your cyanotype is dry, it can be used like any other type of collage material. It can be torn, cut, and layered to provide elements to a collage work, or it can be used whole, similar to encaustic photographic material. Rice paper is very absorbent and is a good choice for this process. Begin by applying two layers of wax to your substrate. Lightly burnish your paper to the warm wax and then adhere with a tacking iron. Add additional layers on top, based on design preferences.

Paper adhered with a coat of wax. Use a tacking iron to adhere paper to substrate.

Pan pastel used to enhance image

Once the wax has hardened, you can use pan pastels, ink, and wax crayons to enhance the work. Cyanotype is one more variable to add to your encaustic tool box. Get out in the sun and make some images.

Flower girl Cyanotype and encaustic on cradle board 10 x 8 x 2 in

A Walk Among Flowers Cyanotype and encaustic on cradle board 8 x 8 x 2 in

Michele Randall lives in Pennsylvania and is influenced by her natural surroundings and her love of travel. Her work considers the concept of boundaries, both physical and psychological. Living with the pandemic and becoming an “empty nester” has heightened these considerations.

She is drawn to artistic practices that are material and process driven. Michele grew up in a resourceful family among other “makers.” She graduated with an M.F.A. from Penn State with a specialization in printmaking and continues to incorporate ideas of replication and patternmaking in her work.

She is represented by the Roaring Artist Gallery, www.roaringartistgallery.com/michele-randall, an online website for female artists, and she also shows her work regularly in the Northeast. Her work as an instructor complements her studio practice, and she has taught as an adjunct instructor and workshop facilitator with adults and children. Her bucket list includes residencies along the coast of all the oceans.

You can view Michele’s work at michelerandallart.com www.instagram.com/michelerandallart