Day 1: Introduction to Cyanotype

The workshop will begin with an introduction to (or refresher on) the fundamentals of cyanotype. Participants will learn how to mix chemistry, coat paper and fabric, expose materials using sunlight, and properly wash prints. We will explore the basic principles of exposure and composition while creating initial prints using fresh and pressed plants. Demonstrations will include the basics of pressing and preparing botanical specimens for cyanotype. Participants will begin collecting and working with local flora, making the experience site-specific and establishing a foundation for creating their own botanical source material to use throughout the workshop and in their future work.

Day 2: Objects, Plants & Photographic Sources

Participants will expand their approach to image-making by printing with three-dimensional objects and a variety of found materials, including lace, string, bags, glass objects, jewelry, and other translucent or textured objects. We will also explore paper cutouts and photographic negatives as ways of creating more complex and intentional imagery. Demonstrations and hands-on exercises will focus on layering, composition, transparency, and multiple exposures.

Day 3: Experimental Cyanotype

With a foundation in the traditional process, we will begin pushing the boundaries of cyanotype through more experimental techniques. Participants will explore multicolor wet cyanotype and other methods for introducing variation, unpredictability, and painterly qualities into the photographic process. We will experiment with layering and multiple exposures, considering how color, timing, moisture, and the placement of source materials can transform the final image.

Day 4: Toning, Painting & Collage

Day four will focus on altering and transforming cyanotypes after they have been printed. Participants will explore toning with a variety of natural dyes and materials, as well as painting directly onto cyanotypes. Demonstrations will introduce collage and other mixed-media approaches, encouraging participants to think of the cyanotype as a starting point rather than a finished image. We will consider how layering, color, gesture, and materiality can shift the character and meaning of a print.

Day 5: Developing a Personal Practice

The final day will bring together the processes and techniques explored throughout the workshop. Participants will have time to develop individual work, experiment with combinations of techniques, and receive guidance on pushing their cyanotypes in a more personal direction. We will also discuss practical considerations for continuing to make cyanotypes independently, including studio setup, materials, chemistry, sourcing imagery, and working with botanical specimens. The workshop will conclude with a review and discussion of participants' work and ideas for continuing to explore the medium beyond the workshop.
*Please note that the day-to-day schedule will be impacted by sunshine, clouds, and/or rain so we will maximize the opportunity for printing when we have sun and go over other parts of the process during less sunny days.

Materials I suggest bringing are:
• Paper such as watercolor paper or any other special paper you want to try with cyanotype *optional (I am providing paper for everyone but the quantities will be limited so if you want to be super experimental and/or prolific I suggest you also bring some)
• Scissors and Xacto knife *optional (if this are a problem with flying in just omit these) The WP studio has plenty of scissors to borrow.
• Self-healing mat for use with Xacto knife *optional
• pencils and erasers 
• sketchbook or scrap paper
• simple paint set such as watercolor, gouache and/or acrylic paints
• brushes 

• paint markers and/or colored pencils *optional
• apron/smock/clothes you don't mind turning art-filled 
• your own exposure units if there is a special one you love working with *optional

(We will have glass, backer sheets and thin plexiglass on site but feel free to bring your own if you are driving to the workshop since I will be flying in from the East Coast)

Optional things for making cyanotypes with that I suggest bringing along:
• pressed flowers/plants
• translucent negatives 
• paper cutouts 
• 3d objects that could make for interesting exposures such as keys, jewelry, etc
• lace 
• sheer clothing items 
*Please note that these are just some options and you certainly do not need to bring everything (or even anything) on this list. I will also be bringing a large assortment of negatives and other things with me, so these are just for making the works more personal to you.

Born in Newbury, VT, Julia Whiney Barnes spent two decades in Brooklyn/NYC before moving to New York’s Hudson Valley in 2015.

She received a BFA from Parsons School of Design and MFA from Hunter College. Whitney Barnes works in a variety of media from cyanotypes, watercolor, combined media works on paper, oil paintings, glass, ceramic sculptures, murals, site-specific installations, and limited-edition prints.

She has exhibited widely in the United States and internationally including the Albany International Airport /Shaker Heritage Society, Albany, New York; Dorksy Museum, New Paltz, NY; Frances Lehman Loeb Art Center, Poughkeepsie, NY; Hancock Shaker Museum, Berkshires, MA; Woodstock Artists Association & Museum (WAAM), Woodstock, NY; Institute of Contemporary Art, Portland, ME; Carrie Haddad Gallery, Hudson, NY; Kenise Barnes Fine Art, Kent, CT; Garvey|Simon NY, New York, NY and Galerie Julian Sander, Cologne, Germany.  Her work is in numerous private and public collections.

Julia Whitney Barnes is the recipient of fellowships from the New York State Council on the Arts, Winterthur Museum, Lower Manhattan Cultural Council, Arts Mid-Hudson, Abbey Memorial Fund for Mural Painting/National Academy of Fine Arts, and the Gowanus Public Art Initiative, among others. She completed two significant commissions in 2024 including an immersive double-sided glass artwork for Public Art for Public Schools/NYC Percent for Art in Brooklyn, NY and a room-wide mural for the new Vassar College Institute in Poughkeepsie, NY in 2024.

In 2025 she created a wraparound exterior mural in Cambridge, MA based on local flora and inspired by the famous 19th century glass flowers in the collection of the Harvard Museum of Natural History.

There is limited accommodation available at Willow Pond House. Reservations will be managed on a first-come, first-served basis. Willow Pond House is a private residence and you will be hosted by Carol and Jean Paquet and an on-site chef. Select your workshop under the tab of the room of your choice and the number of nights is automatically calculated for the workshop duration. If you choose to stay on site, your reservation will include breakfast and dinner. This is a separate booking from the workshop and is accessible under the GUEST ROOMS menu tab on Willow Pond’s website. Please note - we are not licensed to sell or serve alcoholic beverages however you are welcome to bring your own. There is a fridge available to students in the studio.

In addition, there are numerous AirBnB’s and VRBOs within a few miles of the property. We also recommend hotels in Pismo Beach and The Agrarian Hotel in Arroyo Grande. Both of these locations are less than a 10-minute drive. Recommendations with link can be found at the end of the GUEST ROOM page.