One of the trickiest moments when processing cyanotypes is the drying process. An unevenly dried exposure will produce unwanted and distracting purple streaks as the residual salts gather in puddles. As such, when I'm producing a group of cyanotypes, my studio often looks like a laundry room. The most effective way to dry them I've found is by hanging them with a fan gently moving the air around the space. The second issue is the integrity of the paper can become compromised during the development process - this can be dealt with by applying the chemical to any substrate, but most of my exposures have been produced on 40lb bond - a paper that tends to disintegrate when not handled with extreme care.
Inspired by Josef Albers and Bridget Riley, I produced a series of simple Seriographs made from scripted patterns (illustrator + scriptographer) then translated by hand to produce vibrant color studies. I've got stars in my eyes.
I've been digging through old files this week. This collection of images came from a student project I assigned to a class of first year architecture students. This one did not disappoint!
I presented the students with an old typewriter on the first day of class. I had never seen students seem so eager when I instructed them to completely disassemble the machine. Within two hours, eleven students completely disassembled this relic from the past, a de facto time machine. From the thousands of parts, the students generated eleven abstract constructs that would be used to create 5 individual cyanotypes each. The final product, a tabula rasa of 55 figure ground cyanotypes.