Cyanotype printing: how to make photographic prints without a camera
Cyanotype is one of the oldest photographic processes in existence, and one of the most beautiful. It produces prints in a distinctive deep Prussian blue — the colour that gives blueprints their name — using sunlight, two iron-based chemicals, and water. No camera, no darkroom, no digital equipment. Just light and chemistry, working together in a process that has remained essentially unchanged since 1842.
It is also, despite its distinguished history, remarkably accessible. The materials are affordable and safe. The process is straightforward enough for children. And the results — botanical prints of leaves and flowers, silhouettes of objects, photographic images transferred from negatives — are genuinely striking in a way that is difficult to achieve with any other technique.
We stock a Cyanotype Set at £22.99 and a Beginner's Guide to Cyanotype book at £14.99 at Craft and Canvas. This guide covers what cyanotype is, how the process works, what you can make with it, and everything you need to know before you start.
A brief history
The cyanotype process was invented in 1842 by Sir John Herschel, the British astronomer and scientist. Herschel was not looking for an artistic technique — he was searching for a practical way to make copies of his complex mathematical and scientific notes. The process he developed used paper coated with a mixture of two iron salts that reacted under ultraviolet light to produce an insoluble blue compound — the distinctive Prussian blue that defines every cyanotype.
Within a year of Herschel's discovery, his friend Anna Atkins — a botanist — was using the technique to document algae specimens, producing what is now recognised as the first book illustrated with photographic images. Her 1843 publication, Photographs of British Algae: Cyanotype Impressions, remains one of the most beautiful scientific books ever produced and a founding document of the relationship between photography and the natural world.
The process was taken up by engineers and architects well into the twentieth century as a cheap, simple way to reproduce technical drawings — which is how engineering blueprints got their name. The blue-on-white characteristic of a cyanotype is the origin of the word that is still used today to describe plans and designs.
More recently, cyanotype has experienced a significant revival among artists, printmakers, and crafters. The combination of historical resonance, striking visual quality, and genuine accessibility has made it one of the most popular alternative photographic processes.
How cyanotype works
The chemistry, while sounding complex, is straightforward in practice.
The cyanotype solution is made by mixing two iron-salt compounds — ferric ammonium citrate and potassium ferricyanide — in equal parts with water. The resulting mixture is light-sensitive: when exposed to ultraviolet light, a chemical reaction converts the iron salts into Prussian blue, an insoluble blue pigment that bonds permanently to the surface it is on. Areas that are not exposed to UV light — those covered by an object placed on the surface — remain unreacted and wash away when the print is rinsed, leaving the paper or fabric its original colour.
The result is a negative image: the exposed areas turn deep blue, and the covered areas remain white or pale. The bold contrast of blue and white, with the characteristic softness at the edges where light has scattered slightly under objects, is what gives cyanotypes their unmistakable aesthetic quality.
What you need
The Cyanotype Set at £22.99 contains everything needed to start — the two-part chemical solution (Part A and Part B), application materials, and instructions. This is the most practical starting point for beginners as the chemicals come pre-measured in separate bottles, removing the need to weigh or calculate quantities.
Beyond the kit, you will need:
A surface to sensitise. The cyanotype solution can be applied to any absorbent, natural surface — paper, fabric, card, or even wood. Watercolour paper at 200gsm or above works particularly well, giving a stable surface that handles the water rinse without buckling. Natural cotton fabric — plain white or light-coloured — is an excellent choice for textile applications. Avoid coated or glossy papers, which do not absorb the sensitiser.
Objects for printing. The classic cyanotype subjects are botanical — leaves, ferns, flowers, grasses — chosen for their interesting shapes and varying degrees of opacity. The most opaque parts of a leaf or petal block all light and print as clean white; more translucent areas allow some light through and produce mid-tones. Other objects — feathers, lace, flat stones, keys, paper cut-outs, stencils — all produce interesting results. The variety of what you can use is one of cyanotype's great pleasures.
A sheet of glass or perspex. Placing glass over the objects and sensitised surface during exposure holds everything flat against the paper and produces sharper, more defined edges in the final print.
Access to sunlight. Cyanotype uses UV light to expose the print — direct sunlight is ideal. The process works year-round, including on overcast days when UV still penetrates cloud cover, though exposure times are longer in lower light. A UV lamp can be used indoors as an alternative to sunlight.
Running water. To rinse the print after exposure.
The process step by step
Step one: prepare the sensitiser. Following the kit instructions, mix equal parts of Part A and Part B solutions. The mixed sensitiser is light green in colour and should be used promptly — keep it away from light until needed.
Step two: coat your surface. Working in a dimly lit room — not complete darkness, but away from direct sunlight or strong artificial light — brush the sensitiser evenly onto your paper or fabric with a foam brush or wide soft brush. Apply a smooth, even coat and allow it to dry completely in a dark or dim space. A cupboard, a darkened room, or a shaded area indoors all work. The coated surface is greenish-yellow when dry and ready to use.
Step three: arrange your objects. Once the coated surface is dry, arrange your chosen objects on it in a dimly lit space. Work reasonably quickly — the sensitised surface will begin to react if exposed to light for too long during this stage. Place the sheet of glass over the top to hold everything flat.
Step four: expose in sunlight. Carry the prepared board outside to a sunny spot and remove any covering. Expose to direct sunlight. Exposure time varies considerably depending on the season, the time of day, cloud cover, and how intense the UV is. On a bright sunny summer day, five to ten minutes may be sufficient. On a cloudy day or in winter, exposure may take 20 to 30 minutes or longer. The sensitised surface will change colour as it exposes — it turns darker and more bronze-toned as the reaction progresses. This colour change is a guide to exposure, though experience and test prints help you calibrate your process for the specific conditions.
Step five: rinse. Once exposed, bring the print inside and remove the objects. Place the print under gently running cold water and rinse until the water runs clear — typically a few minutes. As you rinse, the unexposed areas wash away, the background turns a vivid deep blue, and the silhouettes of your objects appear in white. The transformation from the dull greenish exposed surface to the rich blue of the finished print happens in the water and is one of the most satisfying moments in any printmaking process.
Step six: dry. Lay the print flat to dry in a shaded indoor space, away from direct sunlight. The colour will continue to deepen over the following 24 hours as the print fully oxidises. Do not judge the final colour until the print is completely dry.
What to make
Botanical prints are the most classic and rewarding cyanotype subject. Ferns, leaves, grasses, and flower heads all produce beautiful results. Pressing botanical material flat for a few hours before printing produces sharper, more defined edges. Mixing fresh and pressed material in the same print gives a range of tones and qualities.
Prints on fabric. Cyanotype works on natural cotton, linen, and silk, producing washable prints that can be used in garments, bags, cushion covers, and home textiles. The fabric must be washed to remove any sizing before sensitising to allow the solution to absorb properly.
Photographic negatives. Printing a photographic image using a negative printed onto acetate or transparency film produces a cyanotype photograph — an image in blue and white that has the quality of a historical photograph. This opens up a much wider range of subject matter beyond objects and botanicals.
Combined media. A finished cyanotype print makes an excellent base for other media — drawing, painting, collage, or stamping over and around the printed image extends the work into mixed media territory.
The Beginner's Guide to Cyanotype
We stock the Beginner's Guide to Cyanotype by Kim Tillyer at £14.99 at Craft and Canvas. The book covers the cyanotype process on fabric, note cards, paper, and a wide range of other surfaces, with detailed instructions and a broad range of project ideas. It is an excellent companion to the Cyanotype Set for anyone who wants to go beyond the basics from the start.
Frequently asked questions about cyanotype printing
Does cyanotype work on cloudy days?
Yes — UV light penetrates cloud cover and the process works year-round. Exposure times will be longer on overcast days or in winter, and the results can be slightly less contrasty than on bright sunny days, but cyanotypes can absolutely be made without direct sun.
Is the cyanotype process safe for children?
The chemicals in the cyanotype kit can be a mild skin irritant and should not be ingested. Wearing gloves when handling the sensitiser is recommended, particularly for younger makers. The process is otherwise straightforward and suitable for older children with appropriate adult supervision for the chemical mixing stage.
Why did my print turn out pale or uneven?
The most common causes are underexposure (too little time in the sun), uneven application of the sensitiser, or the paper not being fully dry before printing. Run a series of test prints at different exposure times to calibrate the process for your conditions.
Can cyanotype prints be washed?
Prints on paper should not be submerged in water after fixing. Prints on fabric — once fully developed and dried for 24 hours — are generally washable in cold water with a gentle detergent, though very hot water or harsh detergents may affect the colour over time.
Will my cyanotype print fade?
Properly developed and fixed cyanotypes are photochemically stable and fade-resistant under normal display conditions. Avoid prolonged exposure to very strong direct sunlight over long periods, as with any coloured artwork.
Can I use a UV lamp instead of sunlight?
Yes — a UV lamp designed for resin curing or nail gel works well as a cyanotype light source and gives more consistent, controllable exposure times than sunlight. This is particularly useful for printing in winter or during poor weather.
Shop cyanotype supplies at Craft and Canvas
We stock the Cyanotype Set at £22.99 and the Beginner's Guide to Cyanotype at £14.99 at Craft and Canvas in Hebden Bridge and online at craftandcanvas.co.uk.
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