Blue

 

The first layers of my gum prints are blue, the Prussian blue of cyanotype prints to be exact. I choose to use a cyanotype as my bottom layer because I absolutely adore the color of blue this type of printing produces, and cyanotypes offer a lovely crispness/sharpness to my first layer that makes registration of other layers easier and the final image more defined. Sometimes, I am so in love with the monochromatic blue image produced that I have a hard time adding my gum layers over the top. There are times that I make a second of print of the same image so that I can keep the first cyanotype. The monochromatic blues just have a way of enchanting certain images. It easier for me to focus on moving past the blue stage by using separation negatives for my images because without the other layers my image is not complete. Using separation negatives also helps to keep the cyanotype from overpowering the layers to come. But, in my opinion sometimes an image just needs to be blue.

Leah003_lowres

Cyanotype meant to be the first layer of a gum print, but I fell in love with it. (single negative, hot press paper)

Leah002_lowres

Cyanotype meant to be the first layer of a gum print, but I fell in love with it. (single negative, cold press paper)

Leah004_lowres

Cyanotype layer with a separation negative, printed with the cyan layer.

My love of cyanotypes carries through to the development stage. I really enjoy the transition of the image from a dull olivey green, yellow, gray-blueness of the exposed image. The exposed, but undeveloped image, hints at what will appear in tonal values, of rich blue to white, once that first drop of rinse water washes over it.

There is a great chapter in Rebecca Solnit’s A Field Guide to Getting Lost that speaks about blue, blue light to be exact (blue is not blue until your brain tells you its blue). She speaks so eloquently on the subject and finds it of such importance that every other chapter in the book is titled The Blue of the Distance. In the very first Blue of the Distance chapter Solnit describes, “The world is blue at its edges and in its depths. This blue is the light that got lost.” She had me when she said ‘blue is the light that got lost,” but she then further follows her statement up with a bit about the physics of light and how the blue end of the spectrum doesn’t travel as far. Science plus sentiment has the ability to make my heart mushy and my brain buzzy. I found myself devouring this chapter thinking ‘ yes, yes’to all words Solnit wrote about Blue.

Here a few snippets that really spoke to me:

 

“..the light that gets lost, gives us the beauty of the world, so much of which is in the color blue.”

 

“The color of that distance (in reference to far away horizons, mountain ranges, anything far away) is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.”

I am not a poetic person, but when I think about blue like this it is easier to understand why I cannot always cover the enchanting blueness of an image with subsequent gum layers, even though I love all colors. I am finding cyanotype + gum printing to offer a large variety of image options, but occasionally I think I am just going to stick with blue the color of ‘light that gets lost.’

Leah001_lowres

3 Layer Gum Print (cyanotype, red, yellow) from a single (not separation) negative.

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3 thoughts on “Blue

    • Not really, more of a both kind of situation. I am still perfecting the separation negatives and if I get that part right the cyanotype layer is less a complete image so the temptation to stop at that layer is not as strong. Although, I have to say with eAch coat if I like the image already it gets harder to keep going and not just be safe and stop.

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