Lumen Printing

20th June 2020

Having spent many weeks cataloguing my samples I’ve had the opportunity to look back and review my work from a fresh perspective. I am usually so wrapped up in the design process and that ‘in the moment’ zone to reflect in this way. It’s not something that usually happens until long after the completion of a project. This wasn’t something I planned to do in my critical path, which incidentally went out the window when I changed to part time study and again at the onset of Covid-19, but the result of serendipitous circumstances. Namely the sunniest April on record coinciding with lockdown, which provided the perfect conditions to spend my days dedicating myself to Cyanotype experimentation.

I have previously talked about the progression of the resulting body of work from April but alongside my Cyanotype experiments I also dabbled in Lumen printing; a contact printing method using expired black and white photographic paper. The process is similar to that of Cyanotype, but the best images result from the introduction of water and a minimum of 48hours exposure to daylight.

First Lumen Print.

This made for an interesting alternative to Cyanotype that utilised the rainy days throughout March to continue my sampling. Initially I prefered my Lumen prints, even with limited plant growth I was able to produce what I thought were beautiful, luminous images with a few weeds from my garden. It seemed to have so much potential to generate imagery that I could use for pattern development in comparison to the Cyanotypes I was producing then, which although nice enough were not exactly inspiring.

First batch of Cyanotypes.

However, as my experiments with Cyanotype progressed and I developed methods of creating images that visualised the themes central to my masters project, Lumen prints began to take a back seat. Bound by the size of photographic sheets, in comparison to Cyanotype solution which can be applied to a multitude of surfaces, at any scale desired; Lumen printing began to feel very restrictive. Subsequently Lumen experiments fizzled out at the beginning of April, which at the time that felt like a natural progression of my work.

Looking back though I now feel that I stopped too soon. There are qualities to the Lumen images that could be developed perhaps with a more open minded, problem solving approach. It occurred to me that most of the restrictions I mentioned could be worked around or simply regarded as part of the normal design process. Constraints of page size and base materials are irrelevant when I’m probably going to digitise my designs anyway.

Lumen print sample using transparencies, Clover leafs and seasalt.

There is no doubt that Cyanotype offers a different approach to the application of pattern to fabric, perhaps one that produces instant unique results that utilise the 3D nature of a garment, and this is something in itself that I’d like to pursue further but there is also room to push pattern design through the Lumen process.

Lumen print sample using transparencies, Daisies and foliage.

When I look back at my Lumen prints, I managed to create some interesting images quickly and easily in comparison to the length of time it took me to achieve satisfying results with my Cyanotypes. That makes me think that if I apply the same level of commitment to developing Lumen printing, I could produce some truly beautiful and innovative design. Many of the techniques I developed to create my Cyanotypes could theoretically be applied to the Lumen process with the prospect of creating quite different visual outcomes. And although I have really grown to love the process of Cyanotype, in reflecting on my work to date it seems wrong not to revisit Lumen printing to explore it’s full potential.