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Cyanotype
cy·an·o·type n: a photographic print in white on a bright blue background or blue on a white ground used especially for copying maps, mechanical drawings, and architect’s plans.
This hands-on process, invented in 1842 by English mathematician, astronomer, chemist, and inventor Sir John Herschel, uses a simple combination of chemicals and sunlight to create brilliant indigo prints. Botanist Anna Atkins, often recognized as the world’s first female photographer, used the process in 1843 for photographs of British Algae. Her work was both scientifically significant and stunning.
Since its inception, cyanotype has been used for commercial and scientific as well as artistic purposes. Through the years, Elaine Buckley, Upper School Art Teacher has been interested in the opportunities it offers, but wasn’t sure how to implement it with her students. The technique has seen a bit of a resurgence and an article in the popular Magnolia Magazine, sparked her curiosity once more and she was moved to action. What began as a pilot project in Art 4 has now expanded into Art 3, with the hope of bringing it even further down the sequence in the future.
To better understand the technique, Art 4 students built a makeshift darkroom in the studio. Soon, measuring chemicals, navigating red lighting, timing UV exposure, rinsing prints, and troubleshooting unexpected surprises became part of daily class life. The space buzzed with excitement—and, occasionally, coffee—when they learned that instant coffee and black tea can tone cyanotypes into rich, warm hues.
Throughout the process, the student’s work has been on display in the art studio. Not just the finished work but the tests, studies, mistakes, discoveries, breakthroughs, and experiments that reveal how artists learn. Elaine shared, “The artwork students are creating is impressive, and the process has been so exciting. We’ve all been reminded of the connections between science and art and we’ve all been learning together.”
Students have printed on both fabric and paper, inverted photographs to create negatives on transparency film, explored the outdoors for natural textures, controlled bleaching and toning, and—important for any cyanotype artist—learned the patience necessary to achieve the perfect shade of indigo.
Here are some things our students can now confidently tell you:
- How to work together in the tight quarters of a shared darkroom
- Why keeping distance from the red light matters
- Where inspiration hides around campus
- How household ingredients (like washing soda and instant coffee) influence toning
- How chemical strength affects contrast and color
- Why fabric must be washed before coating
- How to stop the bleaching process at the right moment
- How sunlight exposure changes a print’s intensity
- How to create photo negatives for printing
- Why innovation and patience are essential artistic tools
The creativity emerging has been extraordinary:
- Katie Loomis created a stunning cyanotype wall hanging, layering materials to build depth and movement.
- Kate Allen is pushing boundaries in a way I’ve never seen—printing cyanotypes on unprimed canvas and then sewing those pieces into a wearable garment perfectly tailored to fit her.
- Brooke Nowacki (Art 3) is mixing cyanotype with collage, combining two mediums into one bold visual narrative.
- Brooke Erlinder, our incredible volunteer mentor, has been guiding Kate through the challenges of sewing on such unconventional materials. Kate is so committed she’s giving up an entire Saturday to continue work at the Erlinders’ home. We are beyond grateful for Brooke’s expertise and her generous mentorship in sewing and fiber arts.
And this is just the beginning. More projects are still to come, and the ideas are electrifying. One senior plans to bring in a full-sized kiddie pool to soak fabric for an oversized print. Another is ordering a large-format negative for a dramatic sunlight exposure.
Bringing things full circle, Mrs. Buckley was so inspired that she sent Joanna Gaines a letter with student cyanotype images. Ms. Gaines’ team wrote back—and even referenced a garment created by Rachel Simmons ‘25 which caused tremendous excitement in the classroom and gave her the confidence to deepen the cyanotype curriculum this year.
Rachel Simmons was part of the first class at BA to work with cyanotype. Her piece earned recognition in the Fashion category in the Scholastic Art Awards at both the State and National levels. And now, something remarkable: Scholastic Art has introduced a brand-new Experimental category specifically for cyanotype photography—nationally—for the first time in its history. When Mrs. Buckley visited their New York office, there was real buzz about fashion-forward cyanotype work. Is it possible that Rachel’s piece helped spark that conversation? It’s fun to think that our students may be influencing national trends in art education!
All the photos included in this exhibit are original student work.
