earmstrong8, Author at Inspired By Everyday Beauty

Dye With Love

As you know, last summer I became captivated with the Magic of eco dying. At Summer camp I had lots of fun playing around with old cotton fabric and different leaves and flowers that I had gathered on my walks. You also know that I like Creating with purpose.

I decided the next step was to try printing on paper.

I had a few dry runs. Or, I should say wet runs. My first attempts to press leaves between rust-water soaked papers resulted in a bit of a soggy blur. I’ll spare you pictures of that mess!

Through practice, I discovered a few tricks:

use a good quality paper–I used cold press water colour paper
wet the leaves rather than the paper
separate all the leaf layers with parchment paper to avoid bleed through
stack the papers and press them very tightly between two ceramic tiles
steam (i.e. not immersed in water) for 90 minutes
cool completely before unwrapping to peek at the creations

I used six 8″ x 10″ pieces of paper folded in half with leaves in between every layer and every layer separated with parchment paper.

If you are following the math, that means I ended up being able to make a three-section journal, each section with two nested sheets. Folding the sheets in the middle means each section has 8 printed sides and the whole journal is 24 pages.

Some of the parchment papers were too beautiful to discard. I added a few into the journal for secret note space and textural variety.

The original intention was for words to be added free form throughout the journal, but I knew that it might be difficult to dive in and start to write on the flora imprinted pages. I added some lines for encouragement and to give sections for guiding script. I added dyed lined paper, and also stitched in some black lines. I remembered how as a child I had loved running our old Singer treadle machine with no thread over paper pretending to sew. This seemed like a fun idea to add texture and the suggestion of lines.

Next of course, I had to figure out how to bind the whole thing together. A a quick google search lead to directions on how to bind a book with waxed thread.

*Three sections bound with waxed thread*

After binding, there were a few long ends on my threads, which once braided were too nice to cut, so I added some wild turkey feathers, foraged on a summer walk, to serve a book marks.

My dear friend Martha in her retirement is focusing on a love of the written word and expressing herself through poetry. What better reason to create a special journal in which she can scribe beautiful words. This journal was definitely a project of dyeing with love.

*The final poetry journal dyed with love*

A Room of My Own

It was many years ago that I heard of Virginia Woolfe’s Room of One’s Own, but I recall that even then, when I had neither the funds nor the room to be creative, I thought it a brilliant idea.

I feel as though finally, I have arrived.

After a full renovation of our house, a process that spanned over ten years as my husband lovingly made our house a home, the final piece was an upstairs atelier for me!

As you know, since retirement I have plunged into creative pursuits of all kinds and creativity needs space! Not just for an afternoon, but sometimes for more lengthy periods as projects evolve and “mijote” as the French say. It may be possible that my husband tired of my work areas spreading throughout the living room, the kitchen, the dining room, the basement, and occasionally the bedroom. But, whatever the impetus he came up with the great idea to build me a room of my own–an atelier where I could have all my bits and pieces at hand, and keep all my bits and pieces somewhat contained!

I love it! Once and for all I have almost all my ‘stuff’ together in a workable space. There is room for a big design board to post and plan works in progress; my new sewing machine fits into my old 1913 Singer machine table; a workbench gives space for drawing and printing and painting; an in-wall ironing board allows for quick pressing and doubles as an alternate work surface; lots of shelves house books and papers and supplies; and a big reclaimed glass cabinet stores a good chunk of my fabric stash.

The laminate floor works well for spotting rogue pins and quick sweeps, with a couple of sheepskin rugs for cozier footing when needed. The roman blinds can be pulled right up for maximum light. The sliding pocket door closes off the nearby washroom (read water supply), and opens up for more light and heat when needed.

The light is optimal: two big north east windows providing natural light are supplemented with a bar LED light for drearier days and night work, and a desk lamp for closer hand work.

The space is small, but efficient (8′ x12′) and everything is within reach. I’ve been spending winter days holed up in my atelier happily working away on projects, listening to CBC radio and gazing out at the neighbourhood.

That my friends, is the explanation for not having posted a blog in a while…I’ve been too busy playing and creating in the room that is my own.

Fabric Collage Play

Sorry to say I’ve fallen behind in my blogging, but I’ve been very busy having fun! In November, I attended a Fabric Collage workshop at the Kingston Seniors’ Centre https://seniorskingston.ca/ and it has given me a fun new obsession. The workshop was presented by Linda Coulter, a local fibre artist who specializes in collage https://www.lindacoultertextileart.com/

Fabric collage seems to be a perfect combination for me. You can use every scrap and piece of fabric, thread or bobble that you already have in your stash; you can have a lot of fun cutting and laying out pieces to build your design from either your imagination or your favourite photos; and, after tacking everything together, you can secure and ‘paint’ the piece with lots of hand sewing.

At the workshop, we each chose a prepared bundle of fabrics that provided a foundation or ‘ground’ fabric and a mix of cotton in compatible colours, different scales and different values. Who doesn’t love to get a little bundle of fabrics? Let the fun begin!

Linda provided a great balance of instruction, guidance and freedom to appeal to participants ranging from debutants to those more experienced with design and fabric construction. The introductory lesson was a good refresher for me to consider pattern, scale, colour value, movement, light/dark and focal point.

My bundle had an overall warm-toned assortment of yellows and oranges that are not my usual preferred colour palette, but I decided to roll with it and experiment. I used my bundle of fabrics for inspiration and began to lay out a base that would show some depth. I used a variety of scales to create a foreground and background. The instructor had brought a mountain of other fabrics from her stash and we were encouraged to hunt for any bits that we needed for our design. This was pure, unfiltered fun.

While cutting, layering, and adjusting our collages we kept stepping back to view the design from different angles for overall effect. This is very useful to know when to add or take away pieces, to achieve balance, movement, and a focal point. Once satisfied, the next step was to pin and baste all of the pieces onto the ground fabric. Not to worry though, basting can be removed, and pieces could still be shuffled around or changed at any point (the benefit of not using any glue)!

That is as far as we got in the short workshop. We bundled up our work to take home where, as Linda advised, we let it sit for a bit looking at it from different angles and distances before finalizing it. Then my favorite part, the hand sewing. I love to hold the fabric in my hands and add stitching with coloured threads to adhere the pieces to the collage, and to highlight any detail. To me, this is a bit like mess-free painting that can always be picked out and changed to correct mistakes.

*Baste and pin all the pieces to the ground fabric*

I did try not to make a landscape, but it seemed to migrate in that direction. It’s reminiscent of a forest gone to swamp land, as I see so often on my country walks in the countryside north of Kingston. My focal point–as is very plain to see–was the gorgeous bright flower cut from a larger fabric piece. Have I mentioned how much I love flowers? If you look closely while out in nature, no matter how bleak a landscape may seem from a distance, there is almost always at least one flower to be found. In this piece, I flipped the narrative–as one can do in collage–by making the swampland retreat to the background allowing the larger-than-life flower to dominate. I finished the piece with a border of muted, moss-coloured faux suede to tie into the imagined landscape and highlight the brightness of the flower.

Having tried my first collage guided by fabrics and imagination, I decided to try the next one using a favorite photo for inspiration. You know I love flowers… I chose this photo of a dandelion gone to seed because of the beautiful texture of the seed globe. As it turns out, you will see that the dandelion becomes my oversize focal point and I take great liberty in imagining the background setting in which it can be found. Maybe there is a theme developing here of letting flowers shine in their environments…

It was time to dive into my stash and choose fabrics that would create the background and setting for a dandelion star. I was intrigued with how I might show the texture of the fluffy seeds and considered using strands of white mohair, but decided to keep with cotton thread and stitch technique to avoid letting the piece become too busy. I used a variety of scale and pattern all in the same bright palette, to build a pastural scene fading off to woodlands, hills and sky. It was great fun to experiment with the adhering stitches, varying style and colour to alternately blend into or define the background.

**Imagine lying in a field looking up at this beautiful dandelion surrounded by pastures, woods and hills beyond.**

Fair to say I am now hooked on fabric collage and will add it into my long list of other fibre-based obsessions. I can’t wait to create more using my photos, fabrics I print and dye, hand sewing and free-motion machine stitching….if only there were more time in a day!

Evolve

As I am exploring pictures, postings and websites with artists’ fibre creations I love to zoom in and dissect them visually to analyse what they have done to achieve their effect. Sometimes, in magazines or on individual artist’s blogs there will be a description of the steps they have taken to create their piece. This is very useful as a learning tool to figure out the technicalities and skills needed.

What I would like to know more about though is the process, the inside scoop on how a piece actually evolves. Do ‘real artists’ just dive into a bucket of paints or cloths or threads and magically end up with a dazzling creation that has translated their inner thoughts through their hands? Or, do they secretly and carefully pre-plan their creations, using design principles and mathematical calculations to ensure that their vision will be transformed into a tangible interpretation?

I would argue that as with just about anything…it depends. It depends on the artist, and the medium, and the mood, and the desired outcome…. As with so many things, there is a time and a place for each style, even a time and place for a bit of each.

I have tried both. Sometimes ‘just diving in’, although very therapeutic and tons of fun, can result in one big mess, but it can also render some wonderful surprises! Careful planning, thinking and calculating on the other hand can help you to arrive at an end point with no catastrophic mistakes leading to ruination, or, leave you bogged down forever in the planning and fretting stage without ever getting at it. Both processes can end in big wastes of money, time and resources, and both can result in beautiful pieces of art.

Maybe the true skill is to know how to listen to your feelings toward any given subject, the medium and the desired outcome in the very moment when you want to create.

So all that, is a lead in to my latest endeavor which started with a dive in and then evolved from a disaster to a finished piece that I love.

As you will know from my previous blogs (Magic), this summer I fell in love with eco dyeing. I did most pieces on cotton and was happy with the results. Then I decided to try eco dyeing some beautiful Queen Anne’s Lace on a piece of wool–I dove in. Well, long story short, I think the wool was too fuzzy and although I got a great physical imprint of the flower from the pressure added in steaming, the print of the flower itself was a dark, blurry mess. So, I tucked it away in a bag and moved on.

Later in the summer, I decided it was time to start learning how to free-motion stitch on my sewing machine. In part to speed up some of the work that goes into embroidery, but also to try out a method I had seen that can embellish both wet and dry felt pieces. Aha, a purpose for my Queen Anne’s Lace mistake. What better way to start than to try free-motion stitching on a throw away piece of wool?

I backed the piece of wool with a light-weight, iron-on interfacing to give it some stability and to prevent wool dust clogging up my machine. I dropped the feeder feet on my machine and removed the presser foot. These recommendations are all made by Moy Mackay, who has written several books on felting techniques (http://moymackay.com).

I started by loosely following the impressions the flowers had left on the wool, roughly staying within the dark black shadows of the blooms. This seemed to be laying down a good base and I was starting to get the hang of my hands controlling the speed of the fabric movement rather than the machine foot pedal controlling the speed. I decided to keep on going and added two tones of green free-motion stitching to define the centre of the floral bundles.

The piece was starting to develop into something, so I kept on playing. For a different texture I switched to hand sewing. Deciding it needed some definition to make it look a little more like the fields of Queen Anne that were my inspiration, I used three strands of cotton embroidery floss to add in some stems. Using a heavy linen thread, I added some floret detail.

Now that I had a wool piece that I was starting to like, I turned my mind to how it could be mounted. I just happened to have a bundle of recently acquired silk ends. Hmmm, maybe one of those could be a border? I intended just to put one framing border so I auditioned the different silks. I wanted to complement the tones of the piece and not overwhelm it with the border so I settled on the smaller, green and gold print to pick up the colour of the stems and flower centers.

I decided on about a two inch border to frame the wool and then, the piece started to grow. I really liked that cream coloured silk, maybe a second, wider border around the first? What about the gold plaid? It was beautiful too and I did like the taupe tie in. This is the point where I had to take a step back and breathe. I needed to consider when less is more and get ready to make the call on when more would be too much. In this case, the plaid was out, it had started to get too busy and detract from the main piece.

*Loved the cream border, but it still needed some finishing*

One more round of the gold and green fabric would finish it nicely, giving it a ‘contained’ feeling. When I put it up on my design board it still wasn’t quite right though, so I added one final element by hand quilting around the detail of the commercial embellishment on the cream silk.

*Finished piece: Queen Anne’s Lace Embellished*

My initial plan was to mount this piece by stretching it over a wooden frame but as it evolved I realized the puffiness the batting on the frame gave was not the look I wanted. Instead, I backed the piece with the plaid silk and suspended it on dowels.

The final surprise was that although I hadn’t planned it, this piece fits perfectly in our dining room! It was a long path of experimental evolution for this one, but I like how it traveled from a throw-away mistake to a treasure.

What is your style, do you plan ahead or just jump in? Let me know what you think in the comments below.

Magic

Well, the real term is ‘eco dyeing’, but it feels like magic. In my previous post about Summer camp, I touched on eco dyeing and promised I would elaborate later. Seeing as it is currently one of my favourite things to do, I have been busy and have lots of pictures to share!

Top: *Water lilies* Bottom: *wet blanket*

Water lilies are taking first place for my favourite eco dye leaves. Earlier, I used water lily leaves and stems on a dry piece of cotton, covered with a ‘wet blanket’ (cotton soaked in iron solution). I loved both the leaf print itself, and the impression that was left on the blanket. Interesting how the green of the leaves showed up, but I also like the dark impressions and detail on the blanket.

With visions of Monet dancing in my head, I was inspired to use water lilies in a bigger project. To start, I would have to gather some lily pads, so we set out in our kayaks to forage on a calm and sunny day. It took no time at all to fill the kayak with lily pads of all sizes. I may have overdone it, maybe a kayak full wasn’t necessary, but I would have lots to chose from.

Back on dry land, I put the lilies into a 5-gallon bucket of water to transport them home and kept them in the bucket overnight until I was ready to try the roll up.

I had recently purchased a 100% cotton sundress and could picture water lilies floating up from the hem on a cool summer day.

Enough of the dreamy visioning though, my mind turned to planning out the technicalities of how to turn my vision into reality. As always, I started with the end and thought backwards. You may think this is a trick used only in computer programming, or reverse engineering, but don’t let that scare you off. Thinking backwards is a great way to come up with challenges to solve. Basically, it means thinking of where, or what, you want to end with and then planning all the steps to get there. I try to remind myself that when you want a functional outcome, this crucial first step gives better results than just ‘throwing it all together and seeing what comes out’!

When thinking about my final piece, how it would look on a moving body; how it would fit into my wardrobe colour scheme; how it would wash; how to best highlight the beauty of lily pads; I came up with a few challenges:

How could I get a permanent, beautiful background colour, without the orange tinge of the iron dye interfering?
How should I lay out the leaves to give the desired effect of carefully balanced/random placement?
How could I work with a ready made dress that has pockets, neck and arm binding and a hem, each with a subtly different thickness and texture?
How would I print the front and the back of the dress, without the prints bleeding through and muddying each other?
How should I apply the iron water? Would it be better to use a wet blanket, or wet the leaves, or wet the dress?
How would I get the mirror image effect on the front and back of the dress, not on a wet blanket?
How would I roll the leaves and dress up for steaming without creating creases in my prints?

I can tell you, this took some thinking. As I played out the process in my mind, each challenge seemed to present another sub-challenge. I’ll spare you all of that rumination and just share with you the steps I settled on.

Oh yes, one final thing that I often have to do to move myself from planning to executing: Consider the worst case scenario. It could end up as one big mess. But, in this case, all I will have lost is a cheap cotton dress and some time. At some point, you do have to just plunge in and take the first step, remembering that this is all a big experiment, and it’s meant to be fun!

With the dress being a dress, it had seams, arm holes and a neck hole to contend with, and I wanted a mirror image print on the front and back of the dress so I had to figure out how to use the same leaves, keep them from bleeding through where I didn’t want them, and not waste their print on a wet blanket.

First, I soaked the whole dress in an iron water solution and wrung it out until damp. To make the most of the strength of the print, and to make sure it showed on the right side of the pockets (not the inside), I turned the dress inside out, and placed the leaves sandwich style between the front and back so they would have direct contact with both the front and the back. I started with the biggest on the bottom near the hem and floated up to smaller ones near one shoulder in a bit of a wavy drift.

I knew the print would come through to the backside of the fabric and didn’t mind that, but I didn’t want bleed through when I rolled up the bundle. I have been using saran wrap to block in my smaller pieces, but the dress seemed too big for that so I decided to try using parchment paper and it worked a charm. I laid out enough paper to cover both the front and the back completely. In essence, I now had a five-layer sandwich: paper, dress back, leaves, dress front, paper.

*Bonus: the waste parchment paper was beautiful!*

The piece was now ready to roll so I chose the longest stick that would fit in my steamer. I carefully folded in the sides of the dress to make it as evenly thick as possible and about 12 inches wide. This was rolled onto the stick, and bound as tightly as possible with string. Next, I popped it into the steamer and waited, ever-so patiently, for 90 minutes…plus another half hour or so for cooling. Then, the great reveal!

The biggest surprise at this step was beauty of the waste parchment paper which had blocked the bleeding by picking up the print. I’ll definitely be using this later.

*Round one: lily leaves on iron rust background*

As for the dress itself, I was pleased with the basic outcome. The leaves were well defined in tones of purplish black. As anticipated, the main colour of the dress was a pale orange from the iron water. I briefly considered leaving it this way, but really the dress is for me and I am pretty much stuck on blues, I still had a water image in my mind, and orange wasn’t very ‘Monet’.

The easiest solution, given my recent foray into indigo dyeing, was to give the dress a few dips in the indigo vat hoping that blue over light orange might make a nice blueish green. Things looked promising when the dress was hung on the line, but after the first rinse and dry, the indigo faded quite a bit (possibly the vat had been tired), and too much of the iron orange was showing through muddying the colour.

*First over dye with indigo became much paler when rinsed*

*Procion mx dye: electric blue & sun yellow*

OK, one more try. Third time’s a charm right? I decided to deviate from the natural path and treat the dress with a bath in Procion mx dye. I soaked the dress in a soda ash solution for 20 minutes to ensure colour fastness, and then put it in the dye to ‘stew’ overnight. Next morning, a rinse in ice water, hand washing, line drying and a hot ironing finished it off.

Finally, the dress was finished! I love the blue/green background, and the front and back mirror image. A bit of the underlying rust shows through, but I think it adds to the richness of the water effect.

What do you think?

Summer camp

I’ve never been to summer camp. When I was about six or seven, I would occasionally whine, or beg, to be allowed to join the small groups of sunburned kids who were trailing behind their camp counsellors at the local beach, but it never happened.

My mother thought it was much more fun for us to have free range during the summer when our cousins came up for their annual visit from Toronto to Muskoka. Now, I think she was probably right. We lolled at the beach, lathered up with Noxema and taught ourselves to swim; tramped through the woods, braved black flies to gather plump, delicious raspberries for homemade jam; and made costumes and sets for basement productions of plays and performances.

But, the latent desire for summer camp has lingered.

Who says you are too old to attend camp as a senior?

This summer, the perfect opportunity presented itself. As a birthday gift, my husband/advocate registered me for a week-long fabric dyeing creative workshop offered at our local art centre (http://the tett centre for creativity and learning). The event was billed as a retreat, but I’m calling it camp for a check on my bucket list. It was a full five days of fun with like-minded friends, led by artist in residence Bethany Garner facebook.com.garner.bethany

Let the fun begin. About sixteen of us gathered at the Tett to experiment, play and learn, trying out a different dye technique or fabric treatment every day. I think we all arrived half and hour early, dropped off by our devoted spouses, or carpooling with friends. We each hauled in bags and carts of supplies, materials, and gear. We chose our tables, set up camp, checked out the hearty stash of communal supplies, and anxiously waited to dive in. Part of the fun was that each participant brought their own wealth of knowledge and area of expertise and even though each one of us was totally absorbed with our project of the day, no one hesitated to share information, or technique, or a special tool when asked. Great friendships were made and our collective creative network was widened….see, just like camp!

Let me take you through the week and share a few pictures. I’m sure I’ll write some other blogs on the specifics of techniques, or to update you on what I do with all the fabric I’ve generated, but for now, lets stick to the fun of playing and learning at camp.

Day One Flat Dyeing. Admittedly, I had only a very vague idea what this would be, but it sounded like fun. Basically, it involves laying out pre-soaked pieces of cloth on a table, pouring dye on the fabric and moving it around with your gloved hands. A little like finger painting for grown ups.

*layer dyed pieces between plastic* *and let sit for at least 48 hours*

The wet fabric was wrapped and left to sit for 48 hours and the results were like surprise packages when unwrapped, rinsed and dried.

I am thrilled with the colours and the possibilities for creating fabric pictures with these pieces waiting for project designation. Good thing I like the results because I do have a bit of a stack!

Day Two Mark Making. Hmm, what would this entail?? Well as always with Bethany, lots of options were laid out and then everyone was left to take their own path. The intent was to make marks, on paper or on fabric, again with a big emphasis on playing. There were lots of fabric dyes, markers, pens, paints, brushes and books for available for incentive. My new friend Marilyn did a wonderful series of marks by experimenting with black inks and brushes.

I decided to try gelli plate printing. Sounds fun and easy, right? Well, this was my least favourite. It wasn’t quite as easy as it looked on YouTube. Rather than buy a commercial gelli plate, which was a bit pricey, I decided to try an easy homemade recipe using gelatin and glycerine. I should have taken it as a bad omen when in order to economize, rather than buying a package of knox gelatin, I went to bulk barn and put a hefty scoop in a bag. What I didn’t realize until I got home: 1. I only needed 30g, 2. one hefty scoop of bulk gelatin goes for about $15. Well, on the optimistic side, if I took to gelli plate printing, I’d be set for a lifetime supply of gelatin. Unfortunately, I didn’t take to gelli plate printing. Very early in the game, my homemade gelli plate split into pieces–likely not thick enough, pretty disheartening. My friend Marilyn came to the rescue and loaned me her commercial gelli plate, and I gave it my best shot, but my pieces just seemed to come out a mess. I was glad I was only practicing on paper. I will try again, because if you google gelli plate printing as I did, you will see lots of exciting possibilities. And it’s not like I’m short on gelatin.

Day Three Eco Dyeing. OK, I’ll admit it. I jumped the gun on this one and it is easily my favourite to be added to current obsessions. With no clue of what eco dyeing was, I started to prowl around on the web and a couple of weeks before camp, I started on my own. I was mostly inspired by http://MadeByBarb.com where you can find all kinds of recipes and directions. Eco dyeing is magic–or for those of you with a more scientific bent, a reaction between ferrous (iron) and tannins (found in foliage) catalysed by heat and pressure, which looks like magic. Of course being keen on both magic and science, I couldn’t wait for camp and jumped into experimentation on my own. The basics involve laying foliage (rose leaves, oak leaves, water lilies, sumac, worked best for me) on natural fibre cloth (I used old cotton pillow cases); adding ‘iron water’ (ferrous sulphate and water, or water vinegar and old rusty metal bits) either by wetting the leaves or wetting the fabric; rolling up around a fat stick as tight as you can; and steaming for 90 minutes. **Caution: if you try this you are playing with chemicals. Please wear a mask and gloves and use caution as always when cooking with steam. I promise I’ll do a blog with more specific directions later. The results are pretty magical.

Fellow camper and artist Shirley had great success using mixed foliage including horse chestnut and black walnut leaves.

Day Four Wet Felting. This was something I had been wanting to try for a while. As you know from Art with a view I recently tried dry felting and really liked it. Wet felting is a bit more tactile and I knew we were in for a treat. Felting is what happens when you toss a wool blanket, sweater, or socks into the washing machine by mistake and end up with a 3-4 times smaller, densely matted and ruined piece–we’ve all been there.

But, the good news is you can make beautiful art by purposely felting! You start with wool roving, which is fluffy, unspun wool, available in all colours and many different weights and textures. Felting happens when wool fibres tangle up together and shrink to form a tight mat. When you are doing a more controlled method than the agitation of your washing machine, you use warm water, liquid soap, bubble wrap and lots of hand agitation.

After wetting down the fibres with warm water and soap, you massage it with your fingers to do the initial ‘bonding’. This is the fun part, a bit like sensory play.

Next comes a bit of work. You roll your piece up in bubble wrap and start to roll/slam/knead it, first in one direction, then in the next until it has been thoroughly rolled in all four directions. When you are done, ta da, more magic, the piece has shrunken in size and matted into a nice piece of felt.

Now if you were paying attention, you noticed that in the early stages of this piece I was planning on a dark blue angry sea and wispy white clouds. Well, in the vein of Things rarely go as planned, I ended up liking this better upside down and it will now be a snow scape with dark winter sky. I’m intending to go back to this piece to hand stitch some silver stars and use a bit of machine over stitching to define detail.

Day Five Choose Your Own Adventure. Let’s face it, one of the reasons my mother knew I wouldn’t cut it at summer camp is because I have difficulty following prescribed directions. So, day five was my kind of day! I decided to veer off and work with all the handmade paper I had generated in June –see previous Art with a view for details of that adventure. Inspired by how earlier in the week while flat dyeing the clean-up paper towels had absorbed the dyes so beautifully, I started playing around with dyeing my rough paper. I don’t know what I’ll use these papers for, but I sure had a lot of fun making them, and one woman’s mess is another woman’s ??? I may transform them into cards, or journal covers or who knows what!

The End. All good things must come to and end, and much like any campers we were exhausted, but fulfilled. We learned new skills, shared ideas, forged friendships and imagined the possibilities for future get togethers. A good time was had by all! Thanks to everyone who contributed to a fantastic week!