A Turn Toward Cyanotype Blue
If the watercolor group is soft, this one is a deliberate shift into something cooler and more graphic — and it starts with a technique instead of a motif.
Cyanotype is one of the oldest photographic processes there is: sun-printing, using UV exposure to turn paper a deep Prussian blue everywhere the light hits it directly. I brought that same logic into paint — layering a hand-painted peony directly over a paisley ground, so the peony reads like it was exposed onto the paisley rather than added on top of it.
The hero of this group is that peony-over-paisley print. It's the most technically layered piece in the collection, and it's where the shared turquoise thread shows up most literally — the blue that ties every group together started here.
The sun-printed lace allover takes the exposure logic and runs it across a full repeat — lighter, airier, built to work as a background print rather than a focal one.
The scalloped paisley border closes the group with the most controlled, most placement-driven piece — an edge print, meant to finish a hem or a trim rather than fill a yard of fabric.
Where the watercolor group was about looseness, this one is about layering with intention. Same collection, different muscle.
Coming next week: the marker group — and the print that's become the face of Picnic Club.
