Botanical Cyanotypes with Erin Byrne
 
IMPORTANT: This is to rent this series, not download. You can watch for 12 months.
 
Watch the Series Highlights: https://youtu.be/72im9UnILGw
 
Discover the Blue Magic of Art and Science
 
Step away from the screen and rediscover the simple joy of making things with your hands. In this thorough, real-time walkthrough, we explore one of the earliest and simplest photographic processes: the cyanotype.
 
This series is our very first studio recording. We have used a professional three-camera setup to ensure there is no rushing and no fluff. Erin Byrne, a painter and printmaker living in Kent, guides you through every stage using approachable methods she developed both at home and in her role as a print technician & teacher at Canterbury College.
 
The Workshop Journey
Session 1: Blue Magic
Understand the foundation of this process: a mixture of iron compounds that react to UV light.
Learn how to mix part A and part B in a simple one-to-one ratio.
Master the technique of hand-coating watercolour paper using sponges or brushes.
Create your very first print and witness the chemistry oxidise into beautiful Prussian blue.
 
Session 2: Nature Impressions
Explore the history of the process, from the discovery by Sir John Herschel in 1842 to the pioneering botanical work of Anna Atkins.
Learn how to collect, dry, and press foliage to create characterful silhouettes.
Develop your eye for composition by considering negative space and the natural form of different species.
 
Session 3: Playing with Light
Master exposure times using both natural sunlight and UV lamps.
Experiment with creative techniques including layering foliage and creating stencils.
 
Discover how to double-coat papers for more complex, ethereal double exposures.
 
Frequently Asked Questions
Do I need a professional darkroom to do this? 
You do not need a specialised darkroom, but you should mix your chemistry and coat your paper in a reasonably dark environment. Standard LED lights usually do not affect the chemistry, but you must ensure you are away from direct sunlight or open blinds.
 
Is the chemistry safe to use at home?
The toxicity levels of these chemicals are very low. However, it is recommended to wear gloves when handling wet chemicals and to avoid using any metal containers or tools for mixing.
 
Can I still make prints during the winter?
Yes, you can certainly create cyanotypes in winter. While the UV levels are weaker, you can simply use longer exposure times outside or use a UV lamp to create prints at any time of day.
 
What kind of paper works best?
Matte watercolour papers are ideal because they are absorbent. Erin recommends Fabriano Academia 200 GSM for its natural white colour and the way it handles deep blues, though you can experiment with many different types.
 
How do I know when the exposure is finished? A key indicator is the colour of the print: you are looking for a beautiful bronze hue to appear.
 
About Erin Byrne
Erin is a Kent-based artist who transitioned from a career in architecture to focus on her passion for fine art. She currently works in the visual arts department at Canterbury College and is inspired by the sensory play of light in nature. Her main objective is to help participants find their creative side, learn new techniques, and, most importantly, have fun.
 
Note on Materials
To participate, you will need a cyanotype chemical set (Part A and Part B), quality watercolour paper, and access to a UV light source such as sunlight or a UV lamp. A complete and detailed list of all required supplies will be sent to you upon purchase.