Last year, after the initial discovery of wet process cyanotype and subsequent frenzy of printing had passed, I became interested in pushing the process into the cooler months.
I made several batches of prints as autumn wound down, using plants that were still untouched by frost, along with some sweetgum leaves that I had preserved in glycerin.
I followed my usual wet cyan process of adding moisture as I assembled the print, and leaving it outside for an extended exposure. But with the cooler temperatures, and the weaker sunlight, the chemicals did not break down as extensively as in the hot humid summer. The effects were more subtle, but still very different than with traditional cyanotype.
I really pushed the process by leaving prints out to expose overnight when they were subject to freezing temperatures and a light snowfall. At that point, the weather changed dramatically, due to a low pressure system pushing through, and I paused my printing experiments for the year.
I kept thinking about the delicate beauty of this set of prints, so this summer I picked out a group of them and starting arranging and re-arranging them on a design wall, looking for a pleasing configuration.
Up next, Part 2
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