SHADES OF BRILLIANT BLUE: Cyanotype Printing Brings Creatives Into the Sunlight
Rachel Urban shares the impact of artist workshops, reciprocal values found in printmaking
Step into the vibrant world of cyanotype — where sunlight, chemistry, and flora combine to paint images in shades of brilliant blue. Through the delicate artistry of this alternative print process, pieces of the natural world are transformed into preserved moments in time.
Rachel Urban, a creative artist and cyanotype printer, local to Eau Claire, has always had an eye for learning analog skillsets — with an emphasis on alternative printing processes. Surrounded by her supplies, she dedicated her early undergraduate days to fully immersing herself in the art of teaching printing processes to others.
“When I teach people, I get to see other people interpret (printing), take on that process, and create in a different way,” Urban said. “I'm very inspired from other people that are trying (printing) for the first time, because they will (create pieces) that I haven't done.”
"I really appreciate this (printing) process the most because we're constantly inside every day – and with this process – you need the sunlight, you need to be outside.
RACHEL URBAN
CYANOTYPE ARTIST
While serving as an art educator through a summer camp in Wisconsin's Northwoods, she shared this artform with young creatives and discovered the lasting impact of cyanotype printing.
“That's the best feeling: when you inspire other people to be inspired,” Urban added.
Urban also draws inspiration from Anna Atkin’s legacy. Atkins, a botanical artist, collector, and photographer was the first person — and woman — to illustrate a book with photographic images. All brought to life through varying hues of blue, resulted by the cyanotype printing process.
Atkins and Urban’s work are similar by premise: bridge the gap between art and science and inspire individuals in both career fields.
Cyanotype prints first begin with preparing the emulsion solution to paint onto the paper — Urban’s emulsion mix contains a blend of iron and salt compounds. When combined, the solution becomes UV-sensitive when placed in direct sunlight, allowing any pressed botanicals to create a contrast.
Next, Urban will determine the size of each paper print, coat the paper in a dimly lit area, and allow the coated material to dry completely in the dark — often with light sensitive bags and equipment.
After collecting plants or flora of choice and placing them with intention across the page, she then places the paper between a piece of cardboard and glass and exposes the print to the sun. Urban prefers to print between 10am and 2pm, when the sunlight is most direct and overhead.
Witnessing the photographic print develop in sunlight, the emulsion transforms from a vibrant green to an aqua, ultimately achieving the deep royal blue characteristic of a fully realized cyanotype.
Environmental conditions, the seasonality of specific flora and foliage, and the duration of sunlight exposure on the emulsion all influence the one-of-a-kind cyanotype prints Urban creates. She will often preserve cuttings from house plants or from travels, to document growth patterns over time.
In tandem with this approach, Urban embodies the act of reciprocity through many of her creative pursuits (modeling her artwork on the “golden rule" framed by Robin Wall Kimmerer, author of Braiding Sweetgrass). In short, this rule embraces the interconnectedness of all living beings and the importance of reciprocal relationships.
When Urban ventures through the forest, wild prairies, and along riverbeds for supplies, she embodies active care in her community; being mindful of any gifts received by the environment, and returning these favors through gratitude, ethical stewardship, and mindful consumption.
“I would put (cyanotype printing) underneath the respectful harvest, where you only take what is needed for the prints and show the land respect,” Urban said.
Over time, Urban has led a number of cyanotype printing workshops at key locations in the Chipepwa Valley, each rooted in the value of art education: Beaver Creek Reserve, Brent Douglas Flowers, the Heyde Center for the Arts and Chippewa Valley Technical College.
This year, Urban also presented a gallery collection of 11x14 cyanotype prints at the Eau Claire County Government Center (721 Oxford Ave., Eau Claire).
Urban’s cyanotype workshops offer the opportunity for attendees to express themselves through each brush stroke; physically place the emulsion onto paper, arrange a composition based on their artistic eye in the moment, and out in the natural landscapes that surround them.
Her favorite setting to create cyanotype prints and educate others on the craft comes back to camping with loved ones. Around the campfire, with extra time to spare, Urban and friends share conversations about their respective creative passions whilst foraging for materials specific to the season and the trip.
“I really appreciate this (printing) process the most because we're constantly inside every day — and with this process — you need the sunlight, you need to be outside,” Urban said. “I'm always hoping to teach people where art can take place, and in more than just one area.”
This summer, Urban will continue to collect pieces of ephemera and the foliage that surrounds her for future cyanotype projects. Urban is currently working on a new series utilizing the cyanotype method, involving contact printing film negatives directly onto an emulsion mix on paper.
The images slated for this series are personal photographs Urban has collected over the years, each holding significant meaning to her life's narrative.
For inquiries about Rachel Urban's cyanotype prints — or to bring this printing process to your venue — please contact them via email at rachelurban123@gmail.com. You can also follow their ongoing projects on social media (@_rachel_urban).
