Experiments in wet cyanotype - part 91

Time for another round of wet cyanotype goodness! I started with a large panel of cotton sateen and some peony leaves.

Followed by a medium sized panel of cotton, with small woven details, and some fig leaves.

Next up, some mineral paper prints using Virginia creeper leaves.

And then some more peony leaves, also on mineral paper.

For all of these I used a splash of Solarfast mixed with the cyanotype chemicals.

Here they are after exposure but before rinsing.

I love the effect provided by the woven circle details in this cloth.

They are so pretty and interesting at this stage. Most of those brown and rusty tones will be lost in the rinse.

Here are the finished prints. I got just the right shade of peony pink on this one.

The fig leaves are slated for a current work in progress. I'm happy with the turmoil happening at the top.

These stayed lovely and delicate.

And these peony leaves are bold yet tranquil. I never tire of these experiments because they turn out different each and every time.

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Experiments in wet cyanotype - part 90

More wet cyanotype goodness, this time with an assortment of oak leaves on mineral paper.

I also made some prints using pokeweed leaves, Phytolacca americana, on mineral paper.

I printed a large panel on cotton sateen using oak leaves, black locust leaves, and some of the ubiquitous Japanese knotweed. All of these were quick opportunistic arrangements, using leaves readily at hand. I used cyanotype solution with just a glug of Solarfast solar dye.  

Here are the prints after exposure but before rinsing. 

I can already tell at this stage that they are going to be complex and wonderful.

Here are the finished prints.

The backgrounds on these are giving me astrophotography vibes.

That bit of yellow on the bottom right of this cotton panel is making me very happy.

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Experiments in wet cyanotype - part 89

Another summer, another deep dive into the never-ending adventure of wet cyanotype printing! 

I'm not the least bit tired or bored of doing it, and I doubt I will ever be. For me it's just the right blend of mastering a technique but with an element of unpredictability.

For this batch I started with mineral paper and small leaves gathered around the garden. There's Chinese wild ginger, some ferns, and elm leaves.

I'm using Jacquard cyanotype chemicals, with just a soupcon of Solarfast solar dye.

The papers were covered with glass and left to bake and develop in the bright sun on a warm day.

Here they are after exposure but before rinsing. I love this stage, but it's ephemeral, so I like to record the images.

The way the chemicals really scurry around on the mineral paper is spectacular.

Also included is a large (22" x 44") cotton sateen panel of black locust leaves (I forgot to take the pre-exposure photo, I'm out practice.)

Here are the finished prints. Since I'm being all French and fancy today, my response to them is mainly "Oh la la"! I couldn't ask for anything more from them.

They bring to mind all sorts of imaginary locales and situations.

The black locust leaves came out so crisp, and the background is swoon-worthy. It joins the queue of  prints to be stitched and made into quilts.

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