Myrth cut-paper prints framed on a green wall

Summary

The brand's graphic language applied as interior art: a three-print series of flat cut-paper botanical shapes, framed in pale oak and hung evenly across a dark green wall.

Visual description

A deep green painted wall, lit by soft diagonal daylight that leaves a visible shadow across the upper right, carries three portrait prints at equal spacing and height. All three sit on the same pale sage ground with a slim natural oak frame and no visible mount. The left print shows a citrus branch: two large terracotta rounds with five-point star calyxes and one smaller fruit, wrapped by dark green leaves on a thin stem, with elements cropping off the left edge. The centre print holds a symmetrical dark green bird or winged figure with a terracotta head and a small terracotta twig floating above it, its wings and tail drawn as long tapered strips. The right print is a flowering plant, dark green leaf paddles up a central stem with terracotta blossoms and a heart-shaped bud at the top. Every shape is flat, edges are slightly wobbled as if scissor-cut, and there is no line work, gradient or texture inside the fills.

Key takeaway

Restricting an illustration set to three flat colours and one cutting gesture lets a series read as one family even when the subjects differ, and the sage ground inside the frames stops the dark wall from swallowing the artwork. Cropping shapes at the frame edge makes each print feel like a detail of something larger.

Reuse notes

A good pattern for hospitality and retail interiors that need owned artwork rather than stock, and for brands wanting an illustration system that any designer can extend. Works because the wall colour is one of the illustration colours darkened; on a neutral wall the prints would need a stronger frame or a deeper ground.