A Garden Printed in July

Eco dyeing and eco printing are, for me, art forms sprung from my lifelong love of plants and gardening. My earliest childhood memories, in fact, are of the textures, forms and colours of plants – bilberries, heather and fuschia growing in Orkney. Since then, I have made a garden in every place I have lived, starting small in England with seed packages of orange calendula, blue cornflowers and purple Virginian stock that my garden-loving parents gave me. In my current Ottawa garden, just two summers old, I am slowly building a collection of plants native to eastern Ontario or other parts of North America, but not so exclusive a collection as to banish well-beloved European green immigrants, sentimental favourites, that have adapted to our eco zone. I am also delving into the tradtional use of dye plants by First Nations of this area. Some of the latter plants (Sanguinaria canadensis /bloodroot, for example) had made themselves at home in my new garden years before we bought the house. Such are the plants that I want to use for eco dyes and prints – local, regional, national and a few well-travelled and well- behaved internationals. The epithet “eco” in eco dyeing can mean several things, of course, but first, I use it to refer to my use of plants that are native to my geographical area, especially those I can grow myself or forage with respect in the neighbourhood.

And now into the garden during a hot and humid month of July in Ottawa. What to find in bloom there, full of seasonal colour for printing? Below, a little bouquet of favourite flowers and leaves that work for printing: Clockwise from the left: Bee balm, Japanese maple, Coreopsis verticillata, rose leaf, blue cornflower, calendula, burgundy cornflower Anthemis tinctoria (Dyer's marguerite), Cotinus obovatus (smokebush).

Not only the oft-invoked serendipity and spontanaity but also some deliberation and discrimination went into planning this series of “July Gardenista” prints. Instead of going first for the “dark and stormy” eco print that is the result of putting iron and tannin- rich plants together in the bundle, my goal with this little collection was to pair complementary colours and to promote a range of analagous colours by a careful choice of pigment-bearing plants. I wanted clear, bright summer's day colours , a “painter's palette” .

And after first showing you the “painter's palette” prints I obtained on paper, I have included some of my “dark-and-stormies” : the iron-tannin-indigo prints that develop fast outside on the stones in the heat of a 35 C day!

Here are the ” painter's palette” results.

The plants below were printed on (thrifted) handmade paper, highly textured, most likely some kind of mulberry (kozo).

The cornflowers, calendulas and coreopsis above are still attached to the paper

Orange calendula print and bloom, above.

Blue cornflower print ( Renaissance artists considered this blue to be inferior – or so say some of the art historians like Daniel Thompson) I love that blue-orange opposition!

 

Cotinus in July – a new colour each month from this plant! Blue with green from cotinus

The pink-purple is Monarda didyma ” Cambridge Scarlet”/ bee balm

Coreopsis verticillata red with marigold yellow

A few pages together. The red stems of the coreopsis bring essential structure to the design on tne surface so covered with abstract smudges of colour

Blue pansy, fresh, prints teal-green: a strong shape in a strong colour. Then we have the yellow- purple complements via Anthemis tinctoria and Monarda didyma, amorphous stains

More red- green complements, with interesting strong red lines and loose smudges in contrast. Plus a bit of blue in there. Where did that come from?

 

A rose leaf (below) offers a soft yellow to complement the also-soft pink-purple of the bee balm. Strident deep orange-reds sing loud with a powerful dark teal green print from a blue pansy, And an emerald cotinus leaf.

The many contrasts of colour, form and value in these prints keep them from being insipid, don't you think?

And now to the “dark-and-stormies” .

To get really dark prints (black, charcoal, blue-black) from leaves, we need to choose tannin-rich leaves like sumac, oak, walnut, geranium and others and process them with iron bits.I do my D and S's in three stages – three, if I dip the thing in indigo for the last stage.

First stage: Bundle the paper and textile/layer with iron and vinegar to get a good iron print; bundle up the iron chunks and slosh on the white vinegar, 5% acetic acid, no exact proportions. Wrapping the iron or layering it flat works well. No need to alum-mordant; but if you do, no matter. Put the textile or paper with iron between heavy black plastic garbage bags, weighted down, and leave in the sun for a day (or even less if it is very hot outside, say over 30 C. Keep checking…) Leave it to print until you are happy with the result, then unwrap and evaluate. You can add more iron, vinegar, tea leaves and leave it for a while longer if you like.

Second stage: For this stage, I layer on leaves, then I steam the bundle to print the leaves. I layer tannin-rich leaves onto the textile or paper, put the iron bits back in, bundle or stack the package in the dye pot, slosh again with vinegar and process (covered) over high steam heat over water for about an hour. The leaves print blue-black if they are tannin-rich. You may get smidges of yellow or green colouration also. Very nice. I suggest using leaves of contrasting size and shape, like the longer pinnate sumac with the smaller palmate geranium. This kind of attention to shape and size of print elements makes for a more interesting surface design. After all, sooner or later, an artist might like to feel they have some control over the essentially- spontaneous exo print process. Serendipity and considered choices make good partners in design.

Third stage for indigo: Either dribble on a diluted indigo solution from pre- reduced crystals and let dry; or skip this stage and dribble the indigo onto the substrate at Stage Two before steaming.

For good info on using pre-reduced indigo, check out Catherine Ellis' fine PDF via Earth Guild.

NB The indigo I am using at the moment is not the “granola” indigo, i.e., the “haute eco” indigo used by “eco-printerati” which comes from real leaves. MIne Is the synthetic variety, alas, the pre-reduced crystals. But rest assured, Dear Reader, for when my potted Indigo indigofera plant grows big enough, I, too, shall aspire to membership in the aforementioned elite company. And you shall be the first to know. ( And I do have my Japanese indigo in the works, too. )

And now some the pics of the the iron/rust, tannin and indigo prints.

Shlomo cut and welded these iron bits:

The bundle was dribbled and blobbed here and there with indigo: iron bits with tannin from tea leaves.

Other iron bits for the bundles/layers/stacks:

Leaves layered on the textile after the first printing with iron and tea leaves only:

Ready for steam processing: Indigo dribble, tannin marks from some ? leaves in the bundle that printed in the heat of the sun: lots of great rust marks.

Papers and iron stashed under plastic in the hot sun:,

Rust prints on paper with indigo and tannin-rich tea leaves, dry.

 

Part of a rust printed textile:

Sumac prints blue-black with iron bits:

Indigo and rust with tannins and leaf prints:

 

And one last print: Japanese maple and geranium without iron but with indigo. Just the usual eco print process to print the maple and geranium on rice (mulberry) paper, then pre-reduced indigo dribbled on with a bulb baster. The maples printed different colours on rice paper than on linen where ir gave purple and green, And here, different colours from the upper and under side of the leaf.

And that is it for ” July Gardenista” prints, Dear Reader.

We are off to Brooklyn this week for a week to babysit our newest grandbaby! And to give the poor parents a break – little Zev is no sleeper! We may have time for some arty things – the Brooklyn Botanic Garden is nearby…we will not be able to resist a nice walk in the gardens with our little grandson.

Leaving you with one of my faves:

Until August, then.

Wendy

 

 

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June Dye Plants in July

Through many dangers, toils and snares I have come since last post, dear Reader! Pinched nerves, spine miseries, carpal tunnel syndrome have kept me away from blogland and the garden for too long….But TG for physio and MRI machines…Still, I had to save my mobility and energy for family visits (new baby), a family trip to the Muskokas and a couple of eco dye classes that I gave in June. But I did keep taking pics of the June dye plants growing in nicely without me fussing; so here are some of them ( even though we are half way through July) along with a few samples of eco prints done by students in June:

Cotinus coggygria (R) with Rhus typhina (above R); nasturtiums in the wheelbarrow ( for hapazome) and dogwoods by the fence.

Front garden with the eco print star, red Japanese maple, probably “Bloodgood”

At this time of the year, this red leaved maple prints greens and purples. For complementary contrast, it is paired with yellow-primting sumac ( a student print).

And here is the Acer palmatum again, this time green, with red Coreopsis verticillata as colour complement, and yellows from baptisia as analagous colours.

Coiinus surprises in June, with red coreo for a bit of sizzle:

Iris always blue:

Tall bearded blue iris:

Baptisia australis: blue and purple blooms on the same plant! Fluorescent yellow from ththe leaves, deep blue stains from the little flowers:

This plant is NOT in my garden: Rhamnus cathartica (buckthorn) is an invasive non-native soo fair game for June foraging. Green from the berries, a trad dye plant in Europe. The local Buckthorn Police were happy that this Most Wanted on their list had been hunted down…

Japanese indigo ( Persicaria tinctoria): two overwintered plants that I layered and that consequently filled the whole planter: a plant with the will to live and leave a legacy; dye pot coming.

I still have loads of dried J. Indigo from last year, plus a 2014 vat that will get reactivated later this month:

The very well informed and generous mad dyers over at FB pageThe Wild Dyery have told us how we can get the vat going again.

Above are prints from a lichen solar dye pot that I started on my return from the Muskokas where I found huge rocks covered in umbilicaria (Rock Tripe) lichen, and which our B&B owners allowed me to gather.

The liquor looks like rich red wine at the moment; I shake it to areate the jar each day and I catch the dye drips on a piece of linen under the jars. The underside of the lichen is green when wet.

The umbilicaria, above. Not sure of the variety. FYI: The ethics of collecting lichen are in still in dispute. I feel comfortable having collected three small jars worth from over a large area on private property where a lot of the lichen has detached spontaneously from the rocks. The colour will fully develop in about six months.

A lovely print by expert linocut printmaker and teacher Deidre Hierlihy who took a little eco print instruction session from me this month; print on handmade Canal paper by Saint Armand. Smooshed blue aronia berries with Salvia officinalis (culinary sage) and rust prints.

One of my favourite wild flower scenes in the Muskokas: orange Indian paintbrush (talleja) backed by white clover and tall yellow hawksweed. Native peoples used the talleja for pigments according to Moerman ( see my refs page)

Last pic is of ME, dear Reader. I have been reluctant to show my face and be somewhat personal, but I know you perhaps wonder who is speaking to you and what I might look like. So here I am, dressed for the photo and right after I had my grey hair dyed…I cannot tell a lie, paper was not the only thing that got dyed in June… I got these great copper-oxidised earrings from the kids for Mother’s Day; the kids insisted I send them a pic with me wearing them; so I am daring to share it with you. The earrings were made by the very talented young jeweller artist Shane Cook, a grad of NSCAD. Behind me in the pic are some of my embroideries. A couple of these works will soon appear in a text book about modern textile art embroidery published by the Hong Kong Polytechnical University.

Next post will be in July!

 

Wendy

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dye colours from the late July garden

Finally I have taken a break from the reno's of house and garden and turned my heart back to my dye pot. A squirrel convinced me. A well-fed little pest heaved himself onto my new, young sumac just as that precious plant had reached the top of the fence…and snapped the head off the sumac…I just had to use that sumac in the dye pot.

(Husband has now been equipped with an humungous $10 water pistol that shoots sprays of water forty feet…yet, in wildlife-friendly native plant gardens why curse when wild natives show up?)

So here also was the chance to check out the dye pigment potential of some of the other plants in my garden, plus one or two from the local wilds.

Let me begin with Hypericum perforatum, Saint John's Wort, foraged (rescued!) from nearby wild acreage dedicated to a future Big Box shopping centre that has been a long time coming…TG…

Fo my research, I have read all the reference books I own and have come away dissatisfied. Lacunae abound. Hypericum perforatum is not native to North America, though it has cousins here. It is considered a noxious, invasive weed in some quarters; even respected dyers like Rita Buchanan would rather not bother to dye with it because it is too troublesome to pick the needed quantity of flowers. (Note that other dyers may use all parts of the plant) Still, I find that hypericum offers interesting challenges.

The plant is reputed to give red, green and yellow colours, but a very particular order of extracting the pigments has been counselled by some of the Deities of Dye, chief among whom (IMHO) on the subject of hypericum performatum is Jenny Dean. ( See my Reference page for details) Most of the other Dye Deities kind of vaguely wave their sceptres over the hypericum and mutter something about it possibly giving red if you really want that..then fudge off to the next dye plant on their list whose dye properties they actually can present with authority. Or they avoid the trouble and simply quote another Dye Diva, equally vague on this plant as a dye source.

Hypericum perforatum.

The black dots along the edge of the petals actually print! If you hold the leaves up to the light, you can see wee perforations. Glands on the inflorescence hold the red dye.

 

The “smoosh test” ( i.e., squishing an interesting new plant part with my fingers is my first line of investigation always) yielded this maroon colour from the flower head crushed onto paper towel:

 

Steeping the whole plant in rubbing alcohol was my next step.

Absolutely none of the dye authors, not even Dean or Cardon ( see refs page) managed to explain to my satisfaction how to move from dye-infused red rubbing alcohol (e.g., above) to red-dyed fibre…Many authors mention the alcohol extraction method but none provides useful details for the next step after steeping. Flint provides teasing images of the colours one might obtain with various mordants on protein and cellulose fibres, but no explanations of how obtained.

One guesses that topping the alcohol up with water might make a dye bath, so TBD, once my two jars have steeped a day or so. But I am puzzled. Why bother with the alcohol extraction when water baths seem to extract the red pigment quite easily (cf. Dean et al)? Or perhaps just smoosh the colour out for a contact print? Another TBD. Plus the authors on my Reference list offering differing counsel about which plant part to use to obtain which colour, not to mention differences in other information about processes, such as best season to gather the plant, process time, mordant, etc. I figure, as usual, that one's own experiments are the way forward, after having made genuine efforts to uncover “Best Practices”.

Hypericum (whole plant, roots included) in isopropyl alcohol:

 

Thus my research with Hypericum perforatum continues.

 

July eco prints with native plants

Now to a couple of familiar native plants that give up pigments for contact dyeing, namely sumac (Rhus typhina) and coreopsis (Coreopsis verticillata, 'Zagreb' and 'Route 66' varieties. 'Route 66' is new to me. I am not pedantic about sticking to the purely native species like C. lanceolata or C. verticillata. Hybrids are OK with me, well-behaved relatives, such as Cotinus coggygria. This plant is from 'Away', as one might say, but is the worthy cousin of Cotinus obovatus, a North American native that was here in my new garden, to my delight, along with the Bloodroot (Sanguinaria canadensis), well-known as a dye source among First Nations peoples.

'Flower Pounding' or 'Hapazome' to make contact prints

To check out some of the pigment potential in plants for contact print /dye material, I made a few prints by pounding the plant material with a hammer in order to transfer the colour and form to watercolour paper and silk. I also thought this method might be useful in revealing info about the hypericum red colour. I found that alum mordanted substrates gave best results, and that one can modify the colours obtained by pounding if one uses the customary post-dye assistants such as iron, copper, ammonia, etc.

Some plants I tried 'pounding':

 

Red geranium (pelargonium) with yellow-orange coreopsis v. With blue borage , top right. On water colour paper, no alum:

 

As above, but with alum. That coreopsis red sings!

 

'Route 66' (a bi coloured coreopsis, red and yellow) with red Japanese maple and red geranium , with alum:

 

Coreopsis verticillata 'Route 66':

 

Hypericum perforatum, with alum, post-modified with ammonia: You get the hypericum red this way, too!

 

Pansy, Japanese maple, hypericum with alum and post-modifier, ammonia (to bring out the greens) The maple lost its blue and purple – compare with the previous images:

 

And now the three Squirrel Bundles (no, I did not…) Three dupioni silk panels were layered with sumac, Japanese maple, Cotinus obovatus and coreopsis plus a tad of sliced bloodroot (Sanguinaria canadensis). I used mostly the busy and abundant Coreopsis verticillata 'Route 66' because my 'Zagreb' is quite weedy this year – dunno why. Since all three texiles were bundled with the same collection of plants, I expected the colour results to be the same in each. I achieved variety by using post dye-bath modifiers.

(Aside: The bloodroot and the coreopsis gave reds that look the same to me. Vibrant! )

And FYI for vintage fibre fans: the three bundles of dupioni silk were tied up with thrifted wool yarn that originated in the Rosamond Woollen Mill in Almonte, near Ottawa. When the mill closed, it became the Mississippi Valley Textile Museum (I have shown my work there in the past). The textiles were bundled with plants over copper pipe and steamed about an hour.

 

 

Two cones of vintage wool yarn from the Rosamond Woollen Mill, Almonte, Ontario:

 

The silk panels below, post-dye pot, are alum-mordanted dupioni, each treated with a different post-dye modifier to shift their colours.

L to R: post- modified with copper acetate; with iron; with ammonia.

 

The Bloodroot deserves its name:

 

Detail, ammonia:

 

Detail, iron:

 

Detail: Copper acetate

 

 

In future posts: dyeing with weld (Reseda luteola) and indigo (Indigofera tinctoria). The plants below in the pot were started from seed in May 2014.

The weld can be transplanted to the garden and stay over the winter but the indigo will have to be potted up and brought inside. A hitch-hiking, self-seeding columbine joins them for now…

 

Seeds saved from my last batch of Japanese indigo (Persicaria tinctoria) grew into these lush babies! Soon it will be time to process the leaves for blue. TBD! (They like heat and water)

 

For the next dye – pot, I will not wait for the squirrel…

Wendy

 

More ecoprints on paper from plants of the Subasio

At Arte Studio Ginestrelle, my studio set up for printing on paper was dependent on found materials, whatever could be repurposed for steaming papers and textiles. I used wire-mesh screen material scrunched up in a pot or a lasagna pan with a few inches of water below and a large terracotta tile for a lid. A Gypsy Campfire was not an option because we were located in the Regional Park of the Subasio and thus subject to strict forest fire controls. My heat source was propane, the same as we used in the house for cooking (when not using the wood stove). It was a simple and effective set up in an outside barn studio. With a daily temperature of around 75 degrees, that was no hardship!

A pot with wire screen bent to fit (and it makes interesting grid prints, too)

 

Iron bits to make rust prints; abundantly available around this former three storey farm house ( built to house a family of ten) :

 

…The bundles of textile or paper were for reasons of practicality on the small side. This textile bundle had been simmered in some of the plentiful walnuts strewn under the trees on the property. I usually stacked my paper bundles six sheets of papers high, weighing the stack down with a rock on top of a tile. I bundled paper and textile in thick white linen thread and used it later to sew my Artist Books, after it had taken on pigments:

 

I used a lot of different locally available papers, some unavailable to me here in Ottawa. To my surprise, the quality Fabriano paper known worldwide was just not available in Assisi or Perugia nearby, nor in Florence – the latter because the art supply shop was closed when we visited it. (Businesses often close from 1 – 3 pm in the afternoon as well as on Saturday and Sunday). I used thicker papers ( over 300 gms) to enclose my bundles; from these I obtained prints from pigments leaking through the stack. (Fabriano is about two hours drive from Assisi towards the Adriatic at Ancona. )

Here are some samples of my papers that were printed in the first week or so of my residency when I intentionally printed only one kind of plant on each page or between two pages. This was to enable me to judge the colours I could obtain without the colour mixing that occurs when you bundle several plants together.

Post ecoprinting, I often treat paper and textiles surfaces as paintings, taking the colours and forms in directions I choose as counterpoint to the spontanaity in colour and form that is the result of an eco print.

After printing this first set of papers, I enriched their colours in various ways: by using iron as a modifier and painting on iron liquor: by resteaming the papers with other leaves or by using the same type of leaves again and steaming them longer or under more pressure; and by applying natural dye colour (e.g., madder) as powder sprinkled on or as liquid, painted on.

These papers are in their early stages of development in the layering. Later, along with the eco printed textiles, they will be layered with embroidery and taken along other colour roads.

 

The grid prints are from the screen mesh and from a metal rack during the first printing. For layered colours, I made second and third printings. Rust and madder were painted on to give more colour post-printing; squishing blue coloured berries on top of the print introduced some complementary blue shades beside the yellows and oranges.

 

 

I enjoyed the “distressed” effects on some of the thinner papers caused by the high heat in the steambath and the fact that the paper sometimes tore or developed holes. The distressed surfaces and broken colours recalled for me fresco surfaces that have faded or flaked off over the centuries. These papers will form the content of more work on that “distressed fresco” theme now that I am back in my home studio.

Meantime, here are some more examples of “Little Plants of the Subasio” gathered together as pages of botanical scrolls, or destined to be:

Italian Maple (Acer opalus):

 

Rusted pages with Rosa canina (Wild/Dog Rose) and a “ginestrelle” seed pod:

 

 

Rust print:

 

 

Italian Maple with Oak (Quercus robur) modified with iron to give black:

 

 

Blackberry smooshed on maple:

 

 

Maple with iron:

 

 

Dogwood with iron:

 

 

Paper stack barrier sheet: with leaked colour from maple and madder.

 

 

Walnut (Jugland regia) with Dogwood berries and iron:

 

 

Walnut leaf and fern with iron:

 

 

Not sure- maybe maple…Did not take good notes on that one! The blue is Dogwood berries.

 

 

Sicilian Sumac (Rhus coraria)

 

 

Fern, Blackberry and iron:

 

 

Maple, iron and Blackberry:

 

 

Fern, maple and iron:

 

 

Collection: Maple, oak and vine leaves; blackened with iron liquor painted on, post printing.

 

 

Next time: More pages for “Little Plants of the Subasio: October Scrolls” Artist Books

 

Books, boxes and eco prints

Time to catch up on reports about studio work! Where did July go? Well, this month took me and Husband on a new adventure. We have sold our house and have (almost) bought another, much smaller and with a much smaller garden…so lots of work ahead of us, sorting and recycling and, O Lord help us, DESTASHING…But somewhere in between the house selling and house hunting I managed to fit in some July eco prints – for the good of my soul and my sanity – challenging myself to work with wool, (What a great distraction from the Task At Hand…) Thanks to the generosity of James Dennison, eco printer extraordinaire, who sent me some wonderful pre-felt yardage (second-hand wool is hard to come by), July did not pass without an eco print or two…

To start:, A coiled pre-felt: the coreopsis leaks red…the strings were iron-dyed and made their own marks:

 

Three pre-felt fragments, printed with Black Walnut, Golden Rod, Purple Sandcherry, Coreopsis, Rose and Sumac:

 

 

Detail – greens, blues and teals from Prunus cistena: red from Coreopsis verticillata, yellow from sumac and Golden Rod:

 

 

A little silk habotai with coreopsis and Purple Sancherry:

 

 

My friend Carmella Rother, a felt artist, tried eco printing for the first time on her felted and embroidered merino. We had a fun session at my studio, with many lovely results. Even a first-time “student” print can succeed beautifully, as you can see. Carmella is captivated! She is now experimenting with eco prints on her felted vessels

 

Here, coreopsis and rose leaf with iron bitsmon felted merino:

 

 

String embossments on felt with eco prints (Purple Sandcherry)

 

 

Sumac and Purple Sandcherry on felted merino:

 

 

Sumac, coreopsis, Red Salvia blooms on embroidered felted merino:

 

 

Native plants for eco prints: Monarda, Golden Rod, Coreopsis, Black-Eyed Susan:

 

 

…Book Report

My books arrived back from the July Canadian BookBinders and Book Artists Guild National Show in Calgary.

A Blizzard Book (Hedi Kyle design) with soft cover: clamshell case by Shlomo Feldberg. Eco printed with maple and rust.

 

New World Scroll: Acer Saccharum. Eco printed papers, bookcloth, embroidered. Slip case by Shlomo (Book and box covered by eco printed papers and cloth)

 

 

Coptic binding; rust and maple printed papers; maple-printed linen covers (iron-dipped):

 

 

Rust printed and embroidered cloth; rust and maple printed papers:

 

 

That's it for now. Next project is to install a small show of eco printed Artist Books and prints at the Ottawa School of Art on August 12. The Iris Green books and prints will be part of the display as well as other books, including the ones in this post.

I will be giving a class in eco printing on paper at the Ottawa School of Art August Fri 23 Aug evening and Sat 24 Aug, for the day.

Hope to have some more student prints to share after the class!

Wendy

 

September Goodbyes

Not goodbye to my blog this September but certainly goodbye to the studio and garden at 20W. The Blue Heron came to say farewell:

 

Spent all of August and September so far sorting, packing, recycling, chucking out:

 

 

Of course, I saved a stack or two of this summer's printed textiles for blog pics. July was basically my last month working in the studio, racing to finish eco printing wools for an article in the British “Journal for Weavers, Spinners and Dyers” (www.thejournalforwsd.org.uk); making sure to use up all the iris leaves in my garden to make paper and the frozen irisvblooms to print book pages and cloth; finally, printing up silk that had been soaking for weeks in alum water.

First, the wool ( a recap of last blog post):

 

Wools eco printed with iron, maples, sumac, coreopsis and prunus cistena. Now for the silks:

 

 

Prunus cistena and coreopsis, above.

 

 

Rose, marigold, iron, sumac, prunus c.:

 

 

Coreopsis verticillata, rhus typhina, “Purple Passion” apple slices:

 

 

Rugosa rose, prunus cistena, iron, sumac:

 

 

Tagetes, iron, prunus:

 

 

Rhus typhina, Coreopsis v., Rosa rugosa:

 

 

Tagetes, Prunus cistena, Eucalyptus globulus:

 

 

As above, with “Purple Passion” apple slices.

 

 

The Story Table.

Witness to the spinning and weaving of many life-tales ( and plenty of unravelling, too) this (five-dollar) school library table was rescued and gifted to us 40 years ago…Oh, it has seen and heard many a story…For the new house, it will get a face lift but it will always remain our communion table:

 

Here we all are, as we are on Labour Day 2013, saying goodbye after a final meal as a family in our home of 35 years and celebrating our 40th wedding anniversary.

Clockwise from the tallest: Shlomo, Shannon, Sarah, Scott, Hannah, Matthew and Wendy. Seated ( L to R) : Nemo the Lab, Dylan, Noah, Layla.

 

Next up? Making art in Umbria, Italy!

Off to spend the month of October experimenting with the dye properties of plants in Umbria along with bookbinding traditions there as well as papermaking…Will be posting from Mount Subasio near Assisi.

Arrividerci!

 

Midwinter Eco-printed Scrolls

 

In just a few days, the darkest days will be over and light will stay with us longer! This post, I had been hoping to share some pics of illuminated MSS on loan from the Bodleian to the Jewish Museum in NY…unfortunately, I seem to have lost them somewhere in cyberspace.( I learned from “The Art of the Saint John's Bible” by Susan Sink that the term “illuminated” refers to the gold used for illustrations in the manuscripts. ) So instead, I offer some images of my dye garden in midsummer and midwinter as illumination to your imagination!

Midsummer past:

Midwinter present:

The harvest of that garden keeps me close to summer all year. Besides the dye flowers you see in the summer garden ( coreopsis, tagetes, amaranthus, baptisia australis, borage, basil, viola ticolor) nearby are Red Maple (acer rubrum), Sugar Maple (acer saccharum), Silver Maple (acer saccharinum) Chokecherry (prunus virginiana) and from the kitchen, tea (camellia sinensis).

In the fall I eco-printed watercolour papers with tree leaves as content for another series of botanical scrolls (suite to my textile scrolls exhibited in July), artist books entitled “New World Scroll” . Some images:

Rust and leaf eco prints provide form and content of the New World Scroll. as does the book's accordion structure. The first books were in scroll form, flat or pleated or slatted (depending on its culture of origin). I am using paper to recall ancient form and marking it with plant dyes as a contemporary take on ancient practice, and also as a comment on disappearing traditional natural dyeing knowledge and skills, a loss now connected with disappearing plant diversity and ecological imbalance.

I have handwritten the names of the plants in Latin and English as is proper to a botanical document but in pleated scroll style. I have to say I was hesitating to use my own hand ….dreamed of perfect type from an elegant letterpress…but concept and earthiness won out. Hands on, the powerful presence of a maker in the lettering.

The plants recorded on the scroll are both native and immigrant, a witness to the ideal of a global sharing of knowledge and skill for the benefit of all. A blog, kind of.

Each double spread is inserted inside a fold in the accordion spine and presents four different prints. There are twenty-four eco- printed pages, two eco-printed end papers and a set of eco- printed and embroidered linen covers.

Some closer looks:

The embroidered and printed covers refer to traditional skills and knowledge that have faded away but which are being recovered gradually in textile circles – women's work, mainly…and with new appreciation for the artistry in the ancient practices.

Chokecherry and Red Maple pages in the scroll

Chokecherry pages

Simple pamphlet stitch spine

Opening the scroll

Next time:

More book arts!

And more NYC because that is where I will be spending Christmas. I wish you all the blessings of this holy season

Wendy