Elemental Cyanotype Photos

SCHOOL PROGRAM LESSON PLAN – 10-12

Elemental Cyanotype Photos

Final Project Description:

A number of images (from transparencies and actual objects) developed on photo sensitive paper. The resulting images will be a deep blue on rag paper.

Description:

Students will work on using available imagery and objects to create their own personal imagery by cutting up and reassembling images printed on overheads. They can also experiment with semi transparent objects, arranging them until satisfied. This is an experimental workshop as it’s hard to predict how images will turn out until they are exposed. Students can work into their pieces with watercolour pencil or watercolour paint to add colour and detail to their work. They can also experiment with using black permanent marker or ink on transparency to make their own negatives for developing. They can also mask off sections with tape as a blocker.

Theory:

Students will (taken from the BC Curriculum PLOs):

-develop a personal visual voice through an exploration of their sense of selves as artists

-increase their level of sophistication, complexity and independence as they explore a range of art forms and their interrelationships

-respond to images

-use a variety of technologies to create meaningful artworks

Creation & Analysis:

-       Thoroughly explain the process by which paper has been treated. Reference the cyanotype handout in the instructor files and look online. Explain the ins and outs of conditions needed to produce a photo without exposing the paper before you get it to the light table. *Remember to always turn off the fluorescent lighting in the studio and keep regular light bulb levels fairly dim to get the best results.

-       Remind students of Koh’s sun:light piece and how artists sometimes use ephemeral or elemental phenomena to produce or inspire their work. We’re going to use light to expose chemically sensitized paper to produce images related to the sun, nature and weather systems or cycles that are effected by sunlight. Plants have always been a focus of cyanotype printing and use the sun’s energy to produce sugars. There will be a number of pre printed overheads with this kind of imagery on them, which students can cut up and overlay or collage into their own hybrid images. They can add found objects to expose or use tape as a block. If they understand how light passes through exposed areas or what parts of a negative image will result in a positive, they can guess at what an image will look like. For example, on an overhead, any black areas will become white and coated areas that expose will be blue (the unexposed chemical coating looks vaguely yellowish green). You can do a little quiz with them to make sure they get how their design choices will turn out and what to expect.

-       Show the cyanotype examples when you explain the process and some alternative ways to block out sections or manipulate the end results.

-       Have students prepare a negative by cutting up, drawing on and blocking off sections until they are satisfied. Spend a good deal of time on this, having them think about sunlight and its impacts. The photos expose in 12 mins, so once a few are exposed, have students work into them with watercolour paint and pencils to punch them up and give everyone something to work on. Assign this task to a student.

-       The cyanotype handout covers photo processing. *For safety, do not look directly at the light table, UV light is harmful to your eyes. Always use the cover. Use the wall clock or watch for timing your exposure.

-       Once exposed, rinse the paper in a shallow pan of water and put on the drying rack to dry or take it back to their desks to work wet. Use the plexi plates as a ground and have lots of paper towels for blotting.

-       Students can try to expose multiple prints or slightly change their negative to build up more imagery or touch up or change their negative for a better print.

-       Prints can be collected once dry.

-       Be sure you don’t leave the supply of sensitized paper in the light or you’ll ruin the whole batch!

-       For safety, wear gloves when taking prints out of the water bath.

-       If you’re using real plants, acidic ones in contact with the treated paper can release harmful chemicals. If you smell bitter almond, STOP!

Duration:

60 minutes in the studio – 10 mins on approach, 5 mins on safety and 20 mins on collaging and assembling, 20 mins for exposing and working in with watercolour, 5 mins for wrap up and possible discussion or look at other’s work to end class.

Materials:

Good quality paper from batch of treated paper

Scissors

Glue

Transparencies (in envelope in instructor files)

Sharpies or ink and fine brushes

Watercolour paint, pallets, fine brushes and watercolour pencils

Found objects or plant material

Masking tape

Light table

Look & Discuss:

-HAVE STUDENTS PUT THEIR NAMES ON THEIR PAPERS! This is important.

Prep:

-Cut good quality paper into smaller sizes so students can make multiple prints. Be sure to not expose paper or sensitize paper by having the fluorescents or bright lights on while you do this. You don’t have to do it in complete darkness, just be aware of where you put the paper when you’re prepping.

-Have a water bath set up at both sinks. Have non-latex gloves ready for shaking off wet prints.

-Set out lots of paper towel and absorbent material.

-Have a station set up where students can select overhead transparencies to cut and collage. Have black permanent markers and masking tape set out also.

-Set up watercolour palettes, brushes, cups, water and watercolour pencils

-Be sure to pass examples around.

-Have a flow worked out if students finish early. Expose several prints at once as each will take approx. 12 mins to develop. Make sure you’re able to time when to start exposing work so you’ll be done in 60 mins.

Take it further:

Have you ever thought about light as an art material? For photographers, light is everything. It defines photography. This process directly uses UV spectrum light to develop treated paper. Can you think of other applications you might be able to use this process for? Cyanotypes have been made on ceramics, fabric and wood. This process works outside in sunlight also – encourage students to think about trying this outside on their own. Cyanotype kits can be purchased online without the need to mix dry chemicals. Can they explain in their own words connections between their finished work and Koh’s work in the Gallery?