AN old darkroom photographic technique is being revived by artists and crafts lovers the world over especially in Europe. Known as cyanotype, the method for this old photographic printing dating back to 1842 involves coating paper (or fabric) with a light-sensitive chemical and exposing them to sunlight. Various objects are placed on the paper before the exposure to create dazzling patterns in blue (cyan).
A visiting cyanotype artist from Hong Kong, Lai Garling, was here recently to introduce this technique to local art lovers. Currently based in Kuala Lumpur, she travels around the country to learn more about Malaysian art as well as share her knowledge on cyanotype through workshops.
The cyanotype process, explains the 26-year-old who’s also a textile artist, involves creating a photo-sensitive solution by mixing potassium ferricyanide and ferric ammonium citrate. “A chemical reaction will occur once the surface coated with the solution meets ultraviolet light, turning it from brown into beautiful blues.”
Garling, as she’s popularly known, holds a degree in textile design from the University of Arts in London (UAL) and had specialised in weaving techniques. “I love the history and beauty of weaving, but I didn’t enjoy the long boring process of calculation involved in the making,” she shares, before adding: “So I combined contemporary heat-transfer printing method and hand dyes to hand-woven fabric instead. However, in Hong Kong, this method is very expensive so I had to look for an alternative that’s not only cheaper but easier to carry out. That was when I began learning about cyanotype.”
She started practising cyanotype at the beginning of last year in Hong Kong and has had her cyanotype works exhibited in HK and Malaysia. However next month, one of her woven textiles with cyanotype will be exhibited at the Isle of Wight, her first outing in the UK.
“Currently, I’m exploring Malaysian heritage art and am travelling around Malaysia. I also make trips to other Southeast Asian nations, such as Indonesia,” says Garling, excitedly. “I like meeting the local people, so teaching cyanotype is my way of getting to know them better without having to master the local language well. I’ve taught people from Nepal, Indonesia, and Malaysia without facing any communication barrier.”
No limit to creativity
The chemicals used in cyanotype prints are not very expensive, says Garling, but few retail stores carry them.
“They’re widely available online though and are not costly; perhaps just a little inconvenient to purchase. The solution is very safe to use, even with bare hands, but I still recommend that practitioners use gloves and tools during the making process.”
She continues to add that there’s virtually no limit to exploring one’s creativity using cyanotype — as long as there’s sunlight or a source of ultraviolet light to trigger the chemical reaction on the photosensitive paper. Her only limitation, concedes the petite lady, is size.
“Creating a big piece is very difficult for me due to the space limitation of my small studio,” she confides, adding: “The biggest I have done is A1 size (594 x 841mm) which is already almost half of my size. Making cyanotype prints also requires the paper to be sandwiched between a wooden base and a acrylic/glass on top. I use plenty of clips to secure the three layers and the entire piece can be very heavy to carry. Since I work in a studio, carrying it to an outdoor area for sun exposure can be a problem.”
Like other branches of specialised art, cyanotype print making has its followers too. “It’s very popular in Europe compared to Asia,” says Garling. “I believe it’s also very popular in Taiwan. One of my favourite Taiwanese artists, Wu Chi-Tsung, uses cyanotype to explore the aesthetics of traditional Chinese landscapes.”
Works created using cyanotype is dazzlingly beautiful but they need to be well framed to prevent oxidation.
“Also, it can’t be placed under direct sunlight as long-term exposure to UV light will cause the colour to fade,” cautions Garling, who’ll be holding a cyanotype workshop on July 1 in Kuala Lumpur.
The artist is reachable at her Facebook page www.facebook.com/laigarling. Readers can follow her via Instagram at www.instagram.com/laigarling
Cyanotype P\printing
CYANOTYPE printing was invented by English scientist and astronomer Sir John Herschel in 1842. Although he developed the process, he only used it to produce blueprints of his notes and diagrams. It was botanist Anna Atkins who used the method to document ferns and other plant life in a book using the technique, possibly making her the first female photographer of nature.
The process:
A photosensitive solution is mixed in the right proportion of potassium ferricyanide and ferric ammonium citrate. The solution is then painted on paper and allowed to dry, kept away from strong light source.
Items are placed on the cyanotype paper which is set on top of a wooden base. The items should preferably be flat and they can comprise lace, leaves, flower petals, or even hair.
A piece of acrylic or glass is placed on top to keep the three sandwiched layers as tight as possible, and secured using clips. The whole contraption is placed in direct sunlight or under an UV light box for 10 to 15 mins.
Once the pattern is formed, the paper is removed and washed under running water. This will cause the blue patterns to emerge.
Cyanotype works best on watercolour paper but according to Garling, any natural materials with a smooth texture, even tightly woven fabric, wood or pebbles can be used.