A generative image model tuned to the quiet drama and material sensitivity of historical cyanotypes. Images emerge in deep Prussian blue with crisp silhouettes, soft tonal blooms, and the feeling of light pressed directly onto paper. Subjects often feel archival or botanical, sometimes architectural, with compositions that balance scientific precision and poetic abstraction. The overall mood is contemplative and tactile, drawing on early photographic experiments while translating them into a contemporary visual language.

Brief history of cyanotypes
The cyanotype process was introduced in 1842 by the English scientist and astronomer Sir John Herschel. Instead of silver chemistry, it relies on iron salts that react to ultraviolet light, producing a rich blue image after washing in water. The process was quickly adopted by the botanist Anna Atkins, who used cyanotypes to document plant specimens in Photographs of British Algae, often cited as the first book illustrated with photographic images.

Because cyanotypes were inexpensive and easy to reproduce, they later became widely used for architectural blueprints. In recent decades, artists have returned to the medium for its tactile qualities and its ability to bridge photography, printmaking, and conceptual practice.