"Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try to do things. You simply must do things." Ray Bradbury

I had written an entire blog post for this month, then decided I wasn't happy with it.

How often do we decide we're not happy with our art or writings or whatever, then re-work it. Or maybe just live with it for a while before deciding on a fix. Or worse, realizing the last few steps need to be undone, like when we discover a problem with knitting or sewing and have to unpick dozens of stitches. Ugh!

And yet these are a normal part of the creative process. A writer is not done after doing just a first draft. It can take many edits before the author is satisfied with what they have written. That's what happened with my blog post. I'm not deleting it, but it will need to sit for a while before I decide what needs to be changed or removed or added. I don't know what it will look like or morph into - or if I will end up eventually deleting it. I know I can't force the post to happen. I just have to sit with it for a while longer. 

Which brings me to art we made years ago. You know, those pieces we liked (or not) at the time, but have now outgrown them. They may have been hidden away for a time. Maybe there are some unfinished ones. I don't like to just throw them out. So I've taken to having a good look to see if I can update them or maybe embellish. 

Two years ago I cut an older piece of art into strips and wove them together, adding in other materials and embellishments. I was delighted with the new piece (below) and included it as part of a gallery show by my Fibre 15 group. The original piece was neither a success nor a fail, but rather was created as a possible background for future art. By re-working, we can breath new life and possibilities into our art. 

"Woven Stories" Shown at Art Pontiac's Stone School Gallery in 2022

Another piece I cut up (below) to use as ATCs (artist trading cards). There is enough left to cut several more ATCs for an upcoming swap in July, and to which I will add some stitching and embellishments to complete them. 

Old textile art being cut up for use in artist trading cards

As I sort through lots of older art pieces and as I'm moving in a couple of months, I'm deciding which art and supplies to keep, which to purge, what I will probably never use again, what to give away, and what has potential to re-work into new art.

Until next month,


Related posts:

Broken Saucer Leads to Creative Discoveries

Artist Trading Cards: Deceptively Creative for Problem Solving Skills


" something every day that you have never done before. This may be as small as having tea instead of coffee in the morning, or going somewhere you have never been".

What Would You Do If There was Nothing You Had To Do, 
Practices to Create Your Life the Way You Want it to Be. 
By Winslow Eliot

I spent the last days of 2023 and the first couple of weeks of 2024 house and cat sitting, something I had never done before. I've looked after oodles of times, but never while staying in someone else's home. My 2 little charges were the most affectionate cats I have ever met, wanting to cuddle and be on my lap (and happy to take over my yoga mat lol).  It was also some me time,  stitching and working on a new piece of fibre art, and some planning for the year. 

I brought a few projects to work on, including one hand-sewing and mounting mushroom-like fabric pieces onto a piece of barnboard, based on the photo here of mushrooms on tree bark. I have lots of lace I wanted to use for the edges of the mushrooms, and old upholstery samples I thought would be suitable for the main part. 

This type of three dimensional effect was not one I had tried before. My challenge was deciding how to mount the fabric mushrooms onto the wood. I made some with wire mesh between layers, and others without, not being sure how well they would attach to the wood background. After assembling the mushrooms I added a small crease at the back side and glued this crease onto the barnboard, then used a staple gun to further secure the mushrooms. This seemed to work out well. I quickly discovered the larger mushrooms definitely need the wire mesh. And a couple of pieces that I forgot to glue down first didn't stay on the wood very well, so I had to remove the staples and glue down first before stapling again. 

I also added liquid stabilizer to the lacey parts as they needed the added structure. I think this fibre art piece is now done and I am sitting with it for a few more days to decide if it needs more or not. I have a few extra mushrooms on standby just in case.

Mushroom Fibre Art

Detail of the mushroom art

I also have had my homework for the creative arts therapy class I'm taking, preparing the next set of assignments for submission. And stitching is underway on this gelli printed piece - stitching on paper is a favourite technique. I've been adding dark stitches to enhance the feathers, and hope to have this done in time for the class I'm teaching at the Ottawa School of Art Orleans campus on February 15th. 

Gelli Print of feathers - with some stitching added - in progress

Walks in nature were also on my agenda. I had hoped for some snowshoeing time, but with a green Christmas and New Year's, it was not to be (until a major storm yesterday that brought 20+ cm of snow). But we take what is given to us and I instead enjoyed some walks in nature even though it was cold.

Until next month, 

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Awe and Wonder


"Awe can literally stop you in your tracks, and it induces significant physical effects. You might shiver. Your pulse quickens. You might feel a warmth in the chest and tears in your eyes brought on by awe's influence."

From Your Brain on Art, How the Arts Transform Us by Susan Magsamen and Ivy Ross

Finding the Wow and Awe

For me nature offers up that sense of awe, the "wow" escaping my lips when I spot magical lichens or unusual plants or curious patterns or shadows. Music can have an awe effect on me too - pieces that reach the depth of my emotions, bringing on a shiver or goosebumps as I immerse myself in the rhythm and and sounds. 

With winter almost upon us here, that for me means more time to create. I have a list of art pieces I'd like to make, mostly based on my two trips for an art retreat the last 2 summers where we were immersed in nature. Here are just a few of the scenes of awe I came across and which I'd like to now turn into fibre art.

This last photo was fun to take, as I was using a new macro lens that simply clips onto a smart phone. Who knew one could take such good pictures with a little clip-on lens. My only challenge was choosing which photo turned out best. 

Music and my Creative Arts Therapy Classes

I'm not only enjoying the online class I started last month but am also realizing just how useful the activities are and how much the arts can benefit us in so many ways. This month includes activities using music and experiencing how it can boost our emotions and mood, and enhance creative expression and focus. 

Do you have a playlist you listen to when creating? My playlist when I'm making art typically includes Native American flute music and artists such as Sarah McLachlan, Adele, and Cat Stevens. And through this class I've now tried several other artists and music genres, and yes even silence, experiencing the effects of each on my art-making. I'd love to know what music sparks your creativity - please let me know. 

Using AI for Workshop Descriptions

One of my goals for 2024 is to develop a series of mini workshops on artsy mending and fixes for clothing and textiles that are torn or discoloured, and also to offer more gelli printing workshops. Now I'm not the greatest at putting together descriptive promotions and I never thought I'd give AI a try, but when I saw an opportunity to have it write my workshop descriptions, I decided to give it a whirl. . 

I was pleasantly surprised. It took the words I fed into it and came up with some creative paragraphs. Some fixups were definitely needed but the copy was better than I could have hoped. I've now done a few using AI, and perhaps they will help with my own creative writing skills. 

Image Transfers Workshop Using the Gelli Plate

I taught a workshop earlier this month on image transfers using the gelli plate, experimenting with 4 different methods. It was a small class which I prefer as I can give so much more attention to everyone.

And what a creative group and with good results by all with a bit of practice. I will be running this class again on February 29, 2024, at the Ottawa School of Art Orleans Campus. Registration is available at I'm also offering a general class on the gelli plate on February 15:

Here are a few of the images my students achieved. My goal is to ensure they can start to achieve success in my classes and start to find that sense of awe as they see the potential in  these techniques. 

Until next month,

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"Music is full of longing and movement. Painting should be the same."

I read this quote in Hundred and Thousands: The Journals of Emily Carr and I cannot agree more with this sentiment. Whether a painter, fibre artist, writer, photographer or working in another medium, we can always grow as artists as we strive to add emotion to our creations while reaching and resonating with our viewers.  

My art this past year has been all about trying to reach that movement and longing. I haven't always been successful but it's given me a goal. It's meant giving myself permission to explore and play more, to allow failures. Because that's how we grow. What we learn from them and how it shapes our next steps is what is important. And I've learned more about the creative process this past year than I could have hoped for.

It's been months since I've blogged. I got away from it all these months as I've focused on other areas and made some changes in my life. It's been a year of self reflection as I've entered a new decade.

So where am I now?

  • I'm teaching more, mostly Gelli Printing - both beginners and more advanced classes, and am developing a workshop on image transfers using the gelli plate which I'll be teaching on December 2nd at the Mississippi Valley Textile Museum in Almonte. More workshops are planned for next year. 

  • I also developed and taught a class on Journaling to Enhance Creativity, and ran a reduced version with my fibre arts group. This has so much potential and I hope to take it to another level in 2024, as it gives us much to consider as we on our artistic journeys and finding that much sought after longing and movement in our creations. 
  • DRAW - the artist retreat sponsored by the Canadian Parks and Wilderness Society Ottawa Valley Chapter (CPAWS-OV) was a highlight of my summer, providing lots of inspiration for new art. A week in nature and with like-minded artists was just what my soul needed. 

  • I've started my third year as Chair of the Out of the Box Fibre Artists. It's been a very rewarding position as I try to bring in the inspiration that so attracted me when I first joined the group several years ago. 
  • And I'm going back to school! Yes! A bit scary but I've started in a year-long program called Holistic Integrated Creative Arts Therapy Practitioner Training. It builds on a college program I took years ago on the Expressive Arts Therapies, which I loved but didn't do as much as I wanted in that area. This will fill in the gaps that I need to take my teaching to the next level. I'm just two weeks in but am already finding it of much benefit. Thankfully it's all online and I can work at my own pace to get the readings and assignments done. And music does play a part in this program and I'm excited to bring back my love of music and be able to use it as part of my artistic practice.
My new plan for this blog is to send something out on a monthly basis. Writing that down should make it happen, right!?!  I plan to include quotes, photos, and an update on the classes I'm both teaching and taking, along with other tidbits of inspiration.

Until next month,


My last post was about fibre art I had made highlighting a piece of broken saucer from my Downton Abbey teapot set, and with 3 pieces remaining from the saucer, my plan was to create a series around this one theme.

I have now done just that, and was further inspired - and even surprised - by some discoveries I made while in the process of creating: 

As I progressed making this series, it began to feel less about the saucer fragments and more about studying the colour white. The fragments became part of the medium for this exploration, with the white of the saucer and textiles being dominant, a touch of black in the words and in the background for contrast and balanced with light browns or copper.

- A realization came to me as I reflected on all the art I have made in the last few years that my best works are the ones where I use only one colour (or colours within the same family) which becomes the dominant element, contrasting with just a bit of neutral or the complementary colour, and not those with multiple colours or with another element of design being dominant. 

- For the past couple of years I have consciously used line as the dominant element and I'm now noticing a shift to balance that with more quiet areas - smooth rather than full of line or texture. I like to use sew & slash as my technique choice, and think I now prefer to include just a bit of line. A little can go a long way, as they say. This is now allowing my one colour choice to sing.

My planning for this series included the selection of old tablecloths as the textile choice to fit the era of Downton Abbey. A comment came my way observing "the tension between the delicacy of the textiles with the sharpness of the shards". That was a perspective I had not thought of and yet fits. (Thanks!) Good to be reminded that the viewer may see things in our art we had not thought of.

- It's easy to make just one of something then move on to something different, thinking we'll get bored quickly by doing a series. Not so! In this case one idea led to another until I had ideas I wanted to try with all 4 fragments of the saucer. While the 4th idea did not work out, it led to more experimentation until I happened upon the answer, in this case including a small branch. I quite like the contrast of nature against the saucer and fabric..
After finishing this small series and preparing to start another using leftover floor tile fragments, I got stuck fairly quickly, not being happy with the compositions. Deciding to move on to a piece about an old door (I love that weathered look) seemed like a good idea, yet I again got stuck.

I realized then I needed to listen to my intuition which was guiding me to continue working in white. And so I have started a winter scene based on a photo taken while snowshoeing and I'm pleased to say I'm making good progress. I have many great winter photos and I think these are now leading to a whole series of "studies in white". Sometimes it's the struggle that matters, other times we just have to have trust in our intuition.

Stay tuned!

A broken saucer .... repurposed....

I broke the saucer part of my favourite teapot a few months ago, a Downton Abbey teapot my stepdaughter gave me a few years back. I fortunately still have the pot and bowl section intact and use them daily.

The saucer broke into 4 sections and could have been glued back together, but I choose instead to sit with the pieces, awaiting an answer on whether I should fix it or do something else.

I've been intrigued lately with using fragments in art. And realizing that my best art is usually monochromatic, it seemed right to create art using not just the saucer fragments, but also the colours in the fragment: white, black and a wee bit of tea stain.

A dig through my fabric stash revealed an old cotton tablecloth remnant, perfect for the backdrop. I added more layers from two other white-ish tablecloths, one rather lacey, so I could then sew & slash (faux chenille is my preferred technique). The bottom layer was from a black tablecloth, giving just the right amount of contrast.

The word "renewal" was coming to mind for this repurposed art, and so I printed out the word in a font I felt fit the style I was seeking, and pinned it onto the back of the fabric layers, then sewed around the letters. I have been slowly and carefully cutting through the layers from the front to reveal the word against the black on the back (it needs a bit more work but I'm getting there).

Having decided where to place the saucer fragment, my next challenge was to attach it to the fabric. Stone wrapping techniques seemed like a good idea but I was not happy with the result. In the end, I used Alene's Original Tacky Glue to attach the fragment, then once it dried I attempted some wrapping with copper coloured thread and a light tea-coloured cotton yarn that is used for warping a loom. A touch of gel medium on these threads to keep them in place was all that was needed to ensure the fragment was securely attached.

For a bit of embellishment and to finish sewing the fabric layers together, I sewed white on white lines, using a twin needle on my sewing machine. I'm new to using this type of needle and I love its potential. I then added 3 white dowels horizontally, repeating the lines in the cotton tablecloth. 

Lastly, I added a bit of black watercolour marker, enhancing the word "renewal" and, as I had not done any slashing, I chose to slash in only one spot to reveal the lacey tablecloth below. Any more than that, and the piece would become too busy. Simple yet meaningful was my objective.


I am very pleased with the result so far and with the colours and contrast. With 3 fragments left from the saucer, as well as some floor tile remnants, I hope to turn this into a new series and continue exploring the possibilities.



While listening to the singing during my sister's choir concert earlier this month, it was the harmony of voices that captured my attention the most: the blending of the 45 or so Tenor, Bass, Alto and Sopranos, accompanied by a pianist and, at times, by a young cellist. The cello added a richness to the music, an element I didn't realize was missing until I heard the passion of its tones. 

Together these added up to some powerful expressions, seemingly so simple when combined, yet very dynamic, creating music that resonated with me, touching my soul, allowing me to be focused on the present moment.

If only were that easy to create harmony in our visual art. Yet I know this choir spent a few months learning the pieces and practicing for their concert. And they perhaps struggled at times, just as visual artists do with our compositions. Sometimes creating art comes together quickly, other times it can take months before it's ready to present to the world. 

I realized during the performance that I had gotten away from playing music while I create my fibre art. And yet the playing of music can be an instrument to help us express our vision. It adds to our concentration, and stimulates both the left and right hemispheres of the brain. It has the power to enhance our creative practice. 

This was a topic I researched while pursuing a certificate in the expressive arts therapies several years back. 

The style of music we play is what matters when we are creating. Rock music, for example, stirs up passions and energy which could be reflected in our art through striking colour, large brush strokes, or strong contrasts. Salsa encourages movement and dance in our creations, impressionistic music invites a free-flow style, drumming can lead us to mimic the rhythm and repetition, while big band music and country can stir up memories which we then reflect in our art. Music without vocals is best so we are not distracted by the lyrics.

Below is a sample of just one playlist I like to listen to while working on my art, intended to enhance creativity by focusing on right brain activities.


Music has the ability to relax the mind, leaving us open to visual expressions and focus. It enhances our self-expression, our capacity to learn, and helps us clarify thoughts and feelings. Google The Mozart Effect if you'd like more information and to find out more about studies that have been done about music and creativity. 

In the meantime, I'd love to hear what music you listen to and find enhances your creative practice.

Related Posts:

Sketching Hands through Stitch

Creating Art from Music

Why Silence is Power in Art

Music (and Harry Potter Magic) to Enhance Creativity

Artivism: The Power of Art for Social Transformation

It's been several weeks since I've written a blog post. I think I needed a break from writing then I got busy with other projects and activities while enjoying the autumn months.

But there is one event I wanted to mention: I was honoured earlier this month to make a presentation as part of an Artivism initiative by Adelphi University in New York. They have been arranging a series of guest speaker presentations that demonstrate how the arts can make a difference in creating awareness and for social change. The presentations cover not only visual arts, but also music, performance, community projects and many other initiatives. There are presentations via Zoom most Mondays, and are uploaded to their YouTube page afterwards.

My topic as part of this initiative was Embracing the Natural Art Around us for Self-Reflection and Personal Growth. in which I speak about my how my art represents timeworn and weathered objects around us, both in nature and manmade, and how it can help us find connections and create opportunities for self-reflection, growth and gratitude.

I think it went well, and my friends tell me they gained insight into the meanings behind my art. I invite you to watch the presentation at the link above. I'm pleased that I've had lots of opportunities for public speaking over the last year - all that practice definitely helps. And it really is easier to speak to an audience when it's a subject we are passionate about.

I was referred to this Artivism initiative by my good friend, international tapestry weaver Krystyna Sadej, who made a presentation on Art Made of Recyclable Materials. hHr husband, Andrzej, Paralympic Head Coach and Coaching & Education Director with Judo Canada, will be presenting on Monday, November 21, on Social transformation in the art of judo by developing a program adaptable for the visually impaired, alongside his athlete, Priscilla. Krystyna's daughter, Katarzyna Sadej, international opera and concert and classically trained mezzo-soprano, spoke this past spring about her Earth Singing Project

Related Links:


You've heard the saying, I'm sure, and perhaps seen this visual:

This definitely applies to creating art. And as a fibre artist, we have an abundance of techniques and materials to choose from.

At the recent DRAW art retreat hosted by CPAWS (Canadian Parks and Wilderness Society Ottawa Valley Chapter), a paddle maker had donated small paddles that could be used as backgrounds for our art. The idea was to paint on them or collage or use whatever technique we wanted to make something artistic, then return the completed paddle to CPAWS to sell at fundraisers.

I opted to take one, thinking I would collage some of my sun printed leaves onto the blade of the paddle. 

But after experimenting with this idea and possible layouts, I decided the results were not as dynamic as I had envisioned. I instead settled on trying an image transfer using one of my photos taken during the retreat.

To prepare, I sealed the wood of the paddle, chose my photo and printed it on a laser printer. But after doing the image transfer, which incidentally I had done successfully in the past, I wasn't satisfied with the results.

It didn't fit my original concept of something simple yet impactful. In hindsight, I should have chosen an image with better contrast and not nearly as much detail - while I could envision this particular image on the paddle, in reality it didn't work as it was too busy. I would have spent hours adding paint to strengthen the transferred image. Collaging the photo may have been a better approach...

My next thought was to be true to the technique which has become my voice these days: sew 'n slash. I therefore decided to sew a Jack Pine tree which I could mount onto the blade. For the background, I would need to paint over the image transfer and up the shaft and grip to create a sky, adding a few clouds here and there on the shaft. 

While the subject and sky felt right, the sewing didn't. It was the smallness of the branches needing to be sewn then slashed that was bothering me. It was too fiddly, and I just wasn't feeling up to playing with that kind of small detail.

The tree trunk however could be made using this technique - and I had fabrics in mind that would give just the right texture for the trunk. That left the branches for the tree. These could be made through through needle felting. I don't often do needle felting these days, but I have the tools and lots of rovings in the right colours. 

So here it is, just about finished. I'll sit with it for a few more days than finish by varnishing the painted parts with a matte varnish. I think I've hit on the right combination of techniques and materials this time. It fits my original vision, and I love that it has a bit of dimension to it. It has the uncomplicated look I was seeking.

Why am I sharing all this with you?

Because, as fibre artists, we have such a wide range of possible techniques and possible materials we can access to make our art. There is no one right technique for any of us, and no one right material. We may have an initial vision but it is rarely a straight line that takes us from start to finish.

We meander. We audition colours or fabrics or even techniques. We may give one or two a try to see if the results fit with what we envisioned. This can be frustrating for some - but it's an important part of the creative process. Sometimes it means one step forward, two steps back. 

To draw an analogy, writers - of fiction, non fiction, songs, music et al - never complete a piece without making changes. They revisit, edit, rewrite, revision again and again until they are happy with their artistic creation.

As visual artists - whether through fibre, paint, collage, mixed media, sculpture, et al - we need to keep that in mind. After all, what works today, may be the right answer for something tomorrow.

Happy creating!


Preparing for the DRAW camp earlier this month, I had anticipated being able to start a new piece of fibre art each (or most) days and being "immersed" in making art all week. This was partly based on my plan to focus only small 6x6 samplers, not large pieces, as I would be doing all the stitching by hand, I had even prepared by cutting up many fabric pieces as I would not know what colours I would need until I was at camp.

The reality was quite different from what I expected.

Most days included an organized outing or sometimes just 2 or 3 of us: a hike up a mountain, a talk by a local canoeist and expert on the area's history (Wally Schaber, author of The Last of the Wild Rivers), the Grand Chutes area, the historic trail along the river, bogs and ponds, a canoe day. The idea behind these was to learn about the area, see the scenes, experience local nature, learn of the history and measures to protect this as a wilderness area and, of course, to be inspired in our artmaking.

Several of the artists had been on this retreat in previous years. They appeared to have a good idea what they wanted to focus on, spots they wanted to visit again, scenes they wanted to capture in paint or on camera.

For those of us who were attending this retreat for the first time, we needed to see all that was on offer, and to then be able to decide what to work on. I found for the first 5 days I wasn't focused on creating. Rather I wanted to be immersed in my surroundings as I walked and explored the spectacular views, the magic of the trail, the colourful mushrooms, the discarded and rusted metal implements, even the frog and spider webs at the beach.

I came across a quote by Julia Cameron recently (best known as author of The Artist Way) in her book, The Vein of Gold:

"We speak of "food for thought" but seldom realize that as artists we need thought for food. Walking, with its constant inflow of new images, gives us new thoughts that nourish us. It replenishes our overtapped creative well and gives us a sense of ... well, wellness." 

Very true, I think, and especially important on this trip.

And of course spending time with the other artists and the CPAWS staff talking, getting to know each other, learning about each other's art, bonding were an important part of our process. Meal times, doing dishes, power naps, cooling off in the lake were also a big part of our day, as well as time around the campfire to catch up and share, before retiring to our tents for much needed sleep in preparation for the following day.

While I did get 3 art pieces started, my focus was on capturing (over 350) photos on my camera and making thumbnail sketches and notes about my impressions, materials I could use, colours and textures, even an embellishment technique or two. All this has helped me sort out what I want my focus to be as a result of this experience.

I've now identified 15 or 16 possible pictures to make. The 3 pieces started at the camp are now finished. And I have begun the step in the creative process of gathering materials for a the next 2 or 3.

If I do go back to this retreat next year - and right now I think I'd like to - I'll have a clearer focus of what to work on. And I may be able to pare down my creative process while I'm there. 

As a final note, there were 2 books several of us found to be of great benefit in helping us identify many of the plant life in the area: Edible and Medicinal Plants of Canada and Mushrooms of Ontario and Eastern Canada. I already had one, and now own both.

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One of my goals at the DRAW (Dumoine River Art for Wilderness Retreat) was to experiment more with sun printing - but before I get to that I wanted to share one of the pieces I finished this week based on a portion of rock canyon wall along the rapids of the Dumoine River and the reference photo I have been working from. 

This has 5 layers of fabric (upholstery material, organza, tulle, cotton, and felt) sewn together, then slashed, working as an ensemble. The slashed parts represent the crevices in the rocks, other areas are cut back to reveal the variation of rock colours and erosion. I added modified French knots to intensify the crevices and build contrast, and French knots in green where plants were thriving on this rock wall. A small sparkly stone also made its way into this art piece, and a hint of metallic gray and white paints to further enhance some areas of the rocks. 

I have several more pieces planned using similar layering and embellishing techniques, based on these photographs from the trip (and more not pictured here):

But now, on to the sun printing and what I learned:

  • I've been working mostly on mineral paper (paper made from rocks by Yasutomo Inc.), quickly becoming my favourite background to print on with good results so far. I have also been experimenting with old cotton fabric, birch bark, and Yupo paper.
  • My experiments with birch bark prior to the retreat worked out well, but not so well at camp. Both times I soaked the bark in water for an hour. The difference is that at home I ironed the pieces between layers of parchment which stopped the edges from curling and the paint from pooling. At camp, although I tried clamping the bark to a backing board using clothespins, it still insisted on keeping its curls and waves. 
Birch leaves on birch bark
  • With some very hot weather at camp, my painted fabrics and bark dried too quickly and I did not have a spray bottle with me to mist the materials. Some of the prints failed, others were not as bright as expected. The mineral paper however seemed to march to the beat of its own drummer: even though the paper appeared dry, upon lifting the leaves I discovered a fair bit of liquid remaining, drying only after removal of the leaves.  
  • Fern fronds, maple leaves and sumac leaves have consistently worked well on all the surfaces I tried. Others I tested at camp included milkweed, birch, sweet woodruff, and sweet fern, with only the sweet fern giving good results. Thin and freshly cut leaves really do seem to adhere the best on the background. At some point I will test ironed and frozen leaves too. 
  • Natural inks yielded interesting results, especially on Yupo paper. I wasn't pleased with the ink on the birch bark, so overprinted with paint after returning home. Good to know this option can work. 
Printed using a natural ink, then overprinted with soft body paint and fresh leaves
Indigo ink on Yupo paper

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"Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try...