Every art form is malleable. Learn the basics and make it your own. Sun printing, or cyanotypes, is the poster child for malleable. It’s 19th century wet photography that adores experimentation and agumentation, all without AI of any kind.

My take on cyanotypes uses plants or negatives exposed on coated cotton cloth, then embellish them with traditional Japanese stitching called Sashiko. (Read the last post about creating cyanotypes here: https://jeanevogelart.com/2025/04/29/a-plant-some-chemistry-and-the-sun/)

Sashiko dates to 17th Century Japan as a way to repair and strengthen home-spun clothing. Over time the patterns became more personalized and standardized. Any color of cloth or thread can be used, but white thread on indigo-dyed fabrics are traditional. The blues of cyanotypes match the indigo traditions well.

The process is simple: a grid is drawn on the finished cyanotype, the grid guides the stitching pattern, and the thread is drawn through. Unlike European embroidery, no hoop is used. The fabric much be gathered in the artist’s hands and pushed into the needle in simple stitches. The fabric moves, not the needle, then the thread is pulled through the 6-10 stitches.

I love the unexpected combination of photography and stitching. It’s especially gratifying to teach this technique: it’s different, though you might have made sun prints at camp as a kid; it’s personal; it’s easy. Everyone can do it.

There’s a health benefit too. Tradition believes that rhythm of stitching the sashiko patterns is calming for the artist, and ultimately for anyone who sees the art.

There is no greater gift we can give in these callous days than calm.

Note: I teach this class a couple of times a year in yarn and craft stores, conferences, and guilds. It’s the perfect one or two-day workshop. Email me if you’re interested.