Autumn in the Kaleyard

Kale is another word for cabbage. I learned recently that Scottish “Kailyard” literature displeased the artspeakers of the late Victorian era who found it sentimental and cottagey, not nearly edgey enough, too sweat-blood-and-tears free, so to speak. James Barrie, author of 'Peter Pan and Wendy' was a kaleyardist author, and thus much sneered at by the critics of ' kaleyard' (or 'kailyard') lit, a genre so- named for the ordinary country-Scot of tradition who had kept a cabbage patch ( or 'kaleyard') beside his wee house to feed his family way before the potato came north…You may even have noticed 'cole' (AKA kale or cabbage) depicted in medieval MSS. showing images of jolly, contented peasants tending seasonal crops.

In growing the absurdly handsome 'Lacinato' black kale (AKA 'Dinosaur' kale) this year, I had the most innocent of intentions, just looking for some kitchen dyes and a little summer salad. I had no idea this plant would turn out to be the decorative star of the front yard, a neighbourhood conversation starter like no other and an art-political statement besides. Here it is, flanked on the left by the lovely native great blue lobelia, or Lobelia syphilitica.

Dino kale leaves (backed by natives coreopsis on the right and black-eyed susans on the left, out of focus.)

 

Kale colour and texture are foils to a chartreuse barberry, saved from severe garden editing as a Native Plant Gardening Don't, only because it was too prickly to pull out that day – but which turned out to be a Garden Designer Do (Does Glamour magazine still run pics of their fashion Do's and Don'ts? ). The sedum 'Autumn Joy' is still summer green in this photo:

And here is the much-expanded kale beside the fall rust-pink of Sedum spectabilis:

 

Pollinators love the fall-blooming Michaelmas daisy:

 

Pot-grown indigo beside the kale: this will overwinter indoors, like Japanese indigo (Persicaria tinctoria).

 

Calendulas love the cooler fall weather: and burnt orange beside kale green is eyepopping.

 

These humble, cottagey little kaleyard sparrows love their bath at ground level:

 

This is the sparrows' Birds' Eye view of the fall colours in my kaleyard. The lobelia has gone to seed. The rue (back left) is divinely thick and blue-green, lighter in tone than kale, with a lacey texture for contrast, harmony and repetition.

 

Looking up, the sparrows can see the black elder, native Sambucus nigra, in full fruit:

 

And under the bird feeder, some new garden sculptures by Shlomo, in my favourite orange and blue combo:

 

Fall means foraged wild apples for apple butter:

 

And for art this late summer and early fall, eco prints a-plenty, using mostly the native plants from my garden.

Coreopsis with Aronia melanocarpa berries and Prunus cistena leaves:

 

Prunus cistena, Aronia melanocarpa, sumac.

 

Japanese maple and grevillia (exotics!)

 

Varia:

 

Almost all native plant prints. The reds are coreopsis and bloodroot; the blues are various blue berries, e.g., aronia, elder and dogwood.

 

Iron enhanced prints from Cotinus obovatus, Baptisia tinctoria and Sanguinaria canadensis.

 

Ditto, as above; blues from red cabbage and aronia berries.

 

Plus an embroidered Artist Book or two: this one is about daisies ( o how kaleyard a topic!) and incorporates embroidered imagery along with vintage textiles (o how kaleyard an art!)

Spidey below was not the only weaver in the kaleyard:
 

 

This year, Kaleyard visitors were invited to weave fibers and plants on the garden loom (hinged like a gate to the shed and painted as near to Yves Klein blue as we could manage with Home Depot paint).

 

And finally, we began to hang up some of the art we have had stashed since we moved here a year ago: blue and orange, my faves:

 

Next time, more about Artist Books and native plants for eco printing; plus some long overdue updates to my other pages here, notably the tutorials page, the eco dye references and the plants.

I also have a set of thrifted chairs that need new seat covers and a new paint job. TBD!

 

Regards from your Kaleyardist blogger

 

Wendy

 

 

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August prints from native plants: Virginia creeper (Parthenocissus quinquefolia)

Eco dyeing and printing are seasonal activities for me, closely tied to my garden's rhythms. Late summer and early fall in AgCan/USDA zones 4/5 is a period rich in accumulated plant pigments. Even though eco printing as a technique relies on the knowledge of tradional dyeing, it does not always turn up the same pigments in the dye pot as do the traditional “whole cloth, dye bath” techniques for dyeing fibres.

Furthermore, due to the nature of the eco print processes ( bundling, stacking, steaming, composting, tying, solarizing, etc.) , more than one colour may show up from one plant on a dye printed surface. This happens when the eco print processes force pigments in the plants to separate out into constituent colours on the surface of the substrate. These colour differences can often lost be when the plants are processed to extract colours by first heating them in water in a pot to make a dye bath, then processing the fibres in the dye bath to take up the colour.

I like to approach my print surfaces as if they were abstract compostions; thus, I am concerned with the interplay among colours, forms and field. The second image (rather far below) shows silk crepe de chine eco printed with a selection of native plants from my garden last week: a background lightly coloured pale- ish yellow by just a tad of goldenrod ( a few sprigs removed from the tops), a lot of coreopsis verticillata (the whole plant in bits) to give small, varied and strong red-orange marks, the blue-black berries of Aronia melanocarpa ( black chokeberry) smooshed on to contribute blue, purple and lavender areas to the field (plus the darks and lights of analagous colours, as does the coreopsis), purple sandcherry leaves for deep teal greens (not shown), and on the right, a Virginia creeper (Parthenocissus quiquefolia) leaflet in its red fall colours – but scarcely any eco print from it.

This image right below shows coreopsis (red and oranges) and red cabbage (blues) on silk. The colours and distribution of forms across the field of the textile reminded me of flower paintings by Seurat and Odilon Redon- along with the orange-blue Impressionist fave colour combos. Playing with the dye outcomes is for me the most fascinating part of contact printing with plants

Back to the Virginia creeper (VC)

VC, a native vine, is not much used in the traditional dye pot, as far as I can tell. It seems to be a kind of Bait and Switch plant, flaunting spectacular red and purple fall foliage, adorned with rich bunches of black berries that birds devour; but it appears to be a Tame, Timid and Stripeless Tiger in the trad dye pot. Adrosko, Cannon, Casselman and Dean (to mention some Big Trad Dye Names, see my References page) make no mention of VC as a dye plant. Other sources do mention it but without enthusiasm: Richards and Tyrl in their book on on North American dye plants have it classified in their chapter about plants that give little or no colour, noting only a pale yellow-cream. ( I guess that is the chapter every poor dye plant dreads to be consigned to… But take heart, Virginia creepers. Eco printing is your friend.)

Daniel Moerman (in “Native American Ethnobotany” ) writes with erudition that the Kiowa Indian tribe (in Canadian usage: “First Nations” or Kiowa native peoples) obtained pink dyes from VC berries to colour feathers used in war dances.

The notion of long-term “fastness” is not generallly addressed, other than to recommend the use of the Usual Suspects as mordants. I suspect tannins and iron might help VC colour up in an eco print process more than in the trad dye pot.

The only really hopeful discussion about potential eco print colour from the VC appears in a 1986 publication entitled “Dye Plants of Ontario” from the Burr House Spinners and Weavers Guild ( see Reference page). The guild tested the vine for dye potential, using the whole plant, having gathered it in November and noting: “This vine is not known as a dye plant.”

With alum as mordant , a 6:1 plant-to-water ratio and 45 minutes in a simmering dye bath, the colour given is “butterscotch”. Other mordants were as follows: with copper, a rich tan; with iron, a golden tan. As a modifier post-dye bath, iron gave deep bronze; ammonia, a bright golden tan. Summer foliage gave ivory with an ammonia rinse, and olive greens with a vinegar rinse. No longer recommended as mordants are tin and chrome though the Burr House dyers did report their experiments with these.

Thus, with this info In mind, I plan to experiment further with the Virginia creeper as it matures in my garden and in the environs.

And after all that “learned” text above, I expect, Dear Reader, that you will be wondering when your author will finally put up the Eye Candy.

Here it is:

 

The red leaf on the right is one leaflet of the five leaflets ( the “quinque” in quinquefolia) of the Virginia creeper. But hardly any eco print at all. The reds and purples came from coreopsis and aronia berries, though of course, one could be forgiven for hoping the VC had printed thus. But we know that what we see in a leaf is not what we necessarily get on an eco printed substrate. (And I think snails ate the holes in the VC leaflet – the vine was covered in snails. )

Next, I will mess around with tannins and iron to see if an eco print can be coaxed out of the Virginia creeper. There were no iron bits, bark or tannin rich plants in the bundle shown here. Of course, I am just guessing that we could get a print from the VC in the environment of these mordants/dye assistants. TBD.

Inspiration for this post

Thanks to the edltor of the Journal for Weavers, Spinners and Dyers who asked me about fastness of dye in the Virginia creeper. That question became my research topic for today, and led me down this most interesting rabbit hole. I have been planting lots of the native Virginia creeper this summer to attract birds, to give fall colour, to cover the tattier parts of our fence and to give privacy. Perhaps VC leaves can make an interesting eco print, or perhaps the VC berries can dye some war dance feathers pink (gonna try for those pink feathers for sure but maybe will weave them into the garden loom instead of my hair. Turn swords to ploughshares, kind of.)

Meanwhile, here is a taste of some more Eye Candy in relation to future posts about dyeing with native plants. The next post will be about eco prints on silk with other native plants from my garden. See if you can guess the plants printed here:

 

 

 

 

 

 

Hints: Walnut, coreopsis, sumac, aronia berries, rose, cotinus, goldenrod, purple sandcherry.

 

Until next time

 

Wendy

 

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!

 

More May Art

Today some more views of prints starring Coreopsis verticillata. This coreopsis is a native of North America. The Cherokee apparently knew of its red dye. Other forms of coreopsis, like “tinctoria” give deep yellows, and “lanceolata” blooms give yellowy- orange. I am trying each of these, and the whole plant not just the bloom.

Here Is what she looks like in bloom:

Meet C. verticillata's cousins, C. lanceolata and C. tinctoria (in front of Husband's Maypoles…(Did you know that medieval herb gardens often used brightly-coloured, striped wood to delineate square planting beds? I had that in mind when I, errrr, “commissioned” this sculpture from my resident Garden Art Sculptor) The coreopsis bloom with the red striped face is tinctoria.

I tried all three kinds in a wee “Blizzard” book (thank you, Hedi Kyle, for showing us that freely), inserting entire stems with blooms into the book pages and then steaming as usual. (C. Verticillata has no blooms yet). With these results. Coreo v. = all red; Coreo l. = orange-ellow and deep red-brown blooms, brown stems; Coreo t. = yellow blooms, brownish stems. Grey-blue from…???

 

 

A spent marigold joined the party, with large golden prints on the point of the left triangle fold: a bit of sumac, too. Going Native, you see.

 

The C. lanceolata gave the deep blackish marks here.

In the steamer: I wrapped the Blizzard Book in paper to avoid the bamboo strips printing on the book.

I have to say, they look edible…like exotic pastries…

Now a selection of printed papers (Strathmore Wet Media, 90 lb, mordanted with alum acetate in an overnight soak) First, some sprays of pink crabapple blooms with red leaves and stalks (Malus “Royalty”) that printed beautiful yellows and blues with teal. The white space does wonders for the composition.

Acer saccharum seeds with spent tulip petals and anthers: Nice to play with the colours and the placement of elements. Baroque curliqueues.

More tuiip petals: pink, yellow and red ones with black patches and anthers.

Maple seeds alone:

Elm leaves:

More red “Royalty”: Amazing teal blue-greens!

Ms. Isabella Preston's legacy blue lilacs: yellow leaf prints, turquoise blooms, a bit of iron.

A LOT iron, dipped post-printing. Coreopsis v. with Prestonia lilacs. Accordion folded paper, opened out. The colours settled so well in the folds.

More iron dipped colours: turquoise lilacs turn blue-grey.

A paper liner from under bundles in the steamer:

Tulips a-rioting

A stack of riotous prints:

White lilac with Purple Sandcherry and red “Royalty” crabapple. And a slice of rusty metal.

To finish: some more Embroidery Retrospectives. These embroideries were inspired by our Boreal spring growth and rushing snow-melt waters

“Beyond” – on painted silk.

“Summer Willows”. On painted silk organza.

 

Until next time and the last of my May posts for this year.

The crabapple and has now dropped all its blooms, and the tulips are nearly all gone. So no more eco prints from the garden using these lovelies.

The lilacs and the Prunus cistena will be with us for maybe another week, soon making way for iris, peony, poppies, cranesbills and the first of the roses.

But faithful coreopsis will be sticking around all season – no spring ephemeral is she.

Next post: A review of coreopsis in my dye studio

May Eco Colours in Layers

Blooms and green leaves aplenty in the May garden! How rich might they be in pigments, though, so early in the season? Especially if printed on linen, a cellulose fibre- which can be challenging to print if new. I was thinking that some of the colours would be weaker this season.

To get the best colours, I like to refer to the dye books for advice. The trad dye lit recommends a three-step mordanting process for cellulose fibres: alum, tannin, then alum again. I used alum acetate as the linen mordant – it needs no heat, only a soak overnight. The tannin came from fresh young sumac leaves in my garden.

I cooked a pot full of leaves with water to cover along with a length of white linen at 180 F and obtained a yellow liquor (a dye as well as a tannin mordant). I skipped the usual first alum soak and put the tannin-mordanted linen straight into the alum bucket (having used one tablespoon of alum to each half pound of dry-weight fabric in water to cover) Within half an hour, the linen had become bright yellow-green! Hmm. Had not predicted quite such a vibrant yellow!

The sumac tannin bath: yellow for sure!

The off-white linen dyed yellow-green, post-alum soak:

Layered with a selection of May blooms and leaves:

Dandelions and spent tulips :

…Canada Violets:

…lilacs:

 

Flowering Crabapple (Malus “Royalty”) – red leaves, deep pink blooms.

Purple Sandcherry (Prunus cistena):

Bundled into the steamer for an hour or so:

After the bundling: Diffuse marks.

Lots of blue-green teals with deep yellows on this layer; pinks and purples from the tulips; dark, dark blues from the tulip anthers; deep blue-green from the crabapple red-purple leaves; ditto, the sandcherry. The bright yellow is from the pink crabapple blossom: the dotty blues from the lilacs and teal blue from the violets. Way more blue than I predicted. Looking now for some shapes and forms to complement the range of colours obtained, I laid out more plants.

The linen was layered again with the same selection of plants plus some rose leaves:

 

This time, the fabric was torn into smaller pieces and layered flat in the steamer, in the same way that I eco print papers.

With this result:

..and with a stalk of Coreopsis verticillata (Threadleaf Coreopsis) – that is the bright red on the right over the sumac leaf that prints golden.

And now yet another layer, this time with more Coreopsis Verticillata to give precise form and brightly contrasting colour- the Orange-Blue opposition is one of my favourites. But first, just look at the red in the jR on the left here! Within half an hour, the coreopsis stalks in the jar had given up this much dye in a jar of warm water with half a teaspoon of alum acetate. On the right, the jar contains fresh stalks in plain water. The incredible red colour is from the leaves and the roots: later, when the blooms arrive, they too will print bright red.

Sumac and coreopsis for the third layer, to give colour contrasts and precise botanical forms:

With these results:

The first four samples were modified with iron before the final layering: that had interesting effects all over the piece. Note how the sumac print yellow-greens have become blue.

 

 

The sumac imposed its yellow over the base and made bright yellow patches when it came in contact with the lilac:

Primary colouration…

Compare the green sumac print (below) with the blue sumac print, iron-dipped, above. The next few samples were not treated with an iron dip.

Next post: Some of these same prints modified with iron and over-printed with sumac and coreopsis. Plus some embroideries, as promised last time, and lots of eco prints on paper using the same range of plants.

 

Wendy

Slow Clothworks: curing, washing and rinsing eco prints

Arlee Barr’s eco-print washing-out adventures have inspired this post! Thank you to arlee the unvarnished.

A Spring 2012 review of my inventory revealed a box of vintage cottons and linens, eco printed in June 2011 and left to cure, unwashed and unrinsed until now, some twelve months later. The long curing, I must admit, was more by accident than by design because for the most part, I had simply let my June 2011 dyed and eco-printed textiles dry in the summer sun then washed them out right after that.

(And should I also admit “gloating over my hoard” instead of the slight fiction expressed in the above sanitized “review of my inventory”? With 30-odd years of the virus Academia in my blood, Strict Honesty, as in “Unvarnished and Unembellished Truth” dies hard, dear Readers. We need to have our answers ready for the question: What isTruth?)

Back to eco prints!

What would be the effects of long waiting before washing out? Would they lose the colour? and if so, how much? Last summer’s posts detailed the post-washing results for many similar linens and cottons mordanted, dyed and printed in the same manner.This week, a “cured” collection of eight met an (overly-thorough?) half capful of Synthrapol and two tablespoons of Orvus paste in a washing machine filled with cool water, set to two rinses.

Note that I normally unbundle my eco prints when cool, immediately after printing or dyeing, thus, so far, I have not let bundles “cure” before unwrapping.

Mordants

The little stash was mordanted June 2011 by soaking (not cooking) in a classic (from the traditional dye lit.) three- step alum-tannin-alum sequence, with tannin from fresh sumac leaves, garden-gathered, simmered in water to cover, strained, then cooled. The alum was the food grade variety from Bulk Barn.

First was the preparation of the mordants: sumac-tannin mordant and alum, then the cool soaking period for each step of the mordanting – 24 hours at least for each -IOW, until I got around to the next step…

Indeed, the process was Slow. Could have been Slower, too, if I had let the bundles sit for some time before unwrapping.

Plant materials

The leaves for the eco prints were (variously) perennial geranium, Purple Sandcherry (prunus cistena) purple pansies, dried red rose petals (from rosebud tea), dried hibiscus petals (from hibiscus tea), willow leaves and sumac leaves. Most prints in this collection were obtained early in the season by steaming, while one 2011 leaf print was sumac-mordanted earlier then bundled and dyed in black walnut juice in September when walnuts were available. The sumac soak acted as both tannin mordant and as a light yellow-green dye, so the prints are all somewhat yellow-based. (FYI : A colour- free tannin mordant can be obtained as powder from Maiwa in Vancouver…In late fall, when I was out of fresh sumac juice, I switched to this second source of tannin..BTW, the tree barks I used in June 2011 were tannin rich too, but more on that in later posts.)

Here are some images showing the Before and After of the curing- washing-rinsing phases for this collection of Slow Cloths

1. Before: Willow leaf on linen (Black Walnut dye – note the bundling string marks plus the labels I wrote …you think you will remember the printing details? NO way…I write a quick set of material and process notes on a label and pin that to the cloth. Make your own labels or buy a box of manila ones)

After:

Detail : a willow leaf print…

2. Before: Purple Sandcherry with one willow leaf.

The Before pic shows a deeper colouration than After, I think, so I see some loss of colour even after a year of curing in a box in the dark.But can we say more mellowing or a patina than a loss…(see what I mean about the way we can varnish the truth?)

After:

3. Before: Purple Sandcherry and Perennial Geranium with purple pansy:

After: Some fading (truthful observation!) I think, but not major, and some “blooming” of other colours. That may have happened because another textile in the wash had been post-mordanted with iron.

4. Before: Sumac, hibiscus petals (dried), rose petals (dried), perennial geranium leaves and flowers. The dark speckles are dried rose bud petals which had pretty well pulverized in the tea. The pinks are from hibiscus, large dried petals from tea. Dabs of purple came from the geranium flowers.

After: A loss of the pinks and purples due to the iron in another textile washed with this one. Iron turns hibiscus pink to grey. I took a chance washing the collection together in one batch..so this colour change was a result I had anticipated.

5. A few details of another print, post-wash (no Before pic ): perennial geranium on sumac dyed cotton, I found little fading after washing. Amazingly strong print from the geranium.

More detailsl: layered prints.
The greens are from the P. Sandcherry which give both green and purple, depending in the time of year. Later in the season, post-June, I observed more and deeper purples, especially on silks. The darkest lace is from the rosebud tea prints. The vintage cottons and linens do indeed develop a kind of patina.

A last note from a lovely willow leaf, later in the season.

Next post: More on the eco printed stash as I prepare to select Art Cloth for the July show in Ottawa.

Cheers

Wendy