The Nature of Pattern

Experience is the real thing. Breathing in the teeming, earthy fragrance of a spring morning is an ordinary, sensory experience. Dipping bare feet into a rushing stream or examining faceted crystals on a frosty windowpane are common experiences that, if we pay attention, have the power to awaken a profound place of beauty within us. We have the capability to recognize the beauty and mystery of nature because beauty and mystery are at the heart of our being. It is in all the life around us – it is us.

When we’re hand-printing nature and reveling in all her shapes and patterns, we begin to notice similarities within the seemingly different: how wood grain looks like the ripples on a pond, how a cut lemon is like a daisy. The patterns of nature — branching, radiating, turbulence, and spiraling, to name a few — recur in different forms.

The branching pattern we see in trees is typical of vascular systems. It is found in leaf veining and root growth in plants, and in lung structures and blood circulation in animals. Colonies of bacteria, ice crystals, water channels, and lightning all exhibit branching patterns.

Radiating or explosion patterns take place in stars and volcanoes and can be seen in the streaming rays of the sun, yet the explosion pattern also occurs in diminutive flowers. From a daisy’s golden center disk burst radiating petals. Named because it mimics the sun, daisy comes from its Old English name, “day’s eye.”

Turbulence exists in the swirls of moving air currents and clouds. Turbulent water flows are experienced while riding the ocean waves or watching the vortex that’s created as water spirals around the sink drain. A similar spiraling pattern is found in the unfurling tendrils of grapevines, morning glories, and fern fiddleheads and in the florets of sunflowers. In most plant species, leaf growth forms a spiral up the stem. Fingerprints, the muscles of the apex of the human heart, mollusk shells, antlers, spiderwebs, and tornadoes are all spirals. In The Curves of Life, by Theodore Andrea Cook, we learn that the spiral formation was widely used as a decorative pattern throughout the ancient world as a symbol for “creative power or energy, the strength and divinity of the sun . . . and many sacred phenomena of life.” The double helix of DNA is a molecular spiral, and the Milky Way, like most galaxies, is a cosmological spiral. The pattern of the universe itself is an enormous primordial turbulence.

These patterns are maps of nature. Ultimately, everything belong to the same repeating patterns and consists of the same particles of matter that constitute life. Categorizing these elements makes us realize how fundamentally similar everything really is. Nature is our source and inspiration. When hand-printing nature, we recreate the artistry of her designs and unveil some of her secrets. We learn that we belong to Nature and that Her subjects are our own.

*excerpt from my book Hand Printing from Nature (copyright L.Bethmann, 2011)

*illustrations: nature printed sassafras leaf, rose petal and maple seeds.

 

 

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Nature Printing – On the Go

                                    For the gentle readers of my books, and for nature printers of every kind, the following includes a few tips and a list of supplies I take with me on printing outings and on vacations – you never know when you’ll come across something lovely to print, like this little strawberry plant.

Make Your Own Nature Printing Travel Kit

Find a container for your nature print  travel kit.

A travel kit for nature printing must be small enough to carry yet big enough to hold the essentials. First, gather all your printing supplies and decide which items are necessary for what you will want to accomplish while printing on the go. Then, find a convenient box, bag, bucket, basket or case to carry them. If your printmaking papers won’t fit or remain flat, stash them in a separate notebook.

Here’s What I Bring

  • Safe Wash Caligo Relief Inks  one tube each of process blue, process red, process yellow and opaque white. These will mix almost any color I need, including black.
  • Ink Applicators  3-inch soft rubber brayer and several cosmetic foam wedges in a small plastic bag.
  • Ink Mixers  scrap mat board pieces, cut to about 2″x 1/2″, and rubber banded together.
  • Palette  length of freezer paper, rolled.
  • Cover Sheets  newsprint or paper towels cut into convenient sizes for covering inked objects when printing.
  • Tweezers  for handling tiny leaves and other small bits of nature.
  • Scissors  for cutting paper and plant materials.
  • Knife  for slicing through fleshy plants and fruits.
  • Masking Tape  for taping down corners of freezer paper palette.
  • Drafting Tape  for keeping printing papers in place on a breezy day.
  • Small Spray Bottle of Water  for cleaning hands, brayer, etc.
  • Paper Towels  for cleaning hands, brayer, etc.
  • Heavy Plastic Trash Bag  to serve as a clean surface to work on.
  • Small Trash Bag  for cleaning up at end of printing session.
  • Apron

The following items don’t fit in my kit so I carry them separately.

  • Notebook filled with newsprint for making test prints and a variety of printmaking papers. Newsprint also serves as slip sheets in between prints that haven’t yet dried.
  • Small Journal and Pencil for recording notes.

Nature printing outdoors feels reminiscent of the adventurous pioneers in the New World. As these trailblazers headed west, encountering many plant species, both familiar and unknown, they blackened the leaves over campfire smoke and impressed their images into travel journals.

For lots more information on the art, craft and history of nature printing see my newest book, Hand Printing from Nature.  And stay tuned for some upcoming tutorials on nature printing techniques.

 

 

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A Little Night Magic

The best time to work – if you’re me – is in the middle of the night (or, technically, very early morning). My thoughts come clearer after the midnight hour. Something in my brain kicks in to wash away the murky covering that accumulates during the day when life is more of a struggle.

This mysterious burst of energy arrives when everyone, including the editing naysayer in my head, is safe and sound in their beds. This is an energy of the most indescribable kind –unnerving and unfathomable except when it’s there. A powerful creative energy. No doubt you’ve experienced it.

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Artist Lecture – George Nick

February 7, 2012

Went to a lecture on Saturday. Massachusetts-based realist painter George Nick let us all have a peek into his process and art philosophy. We were at the Noyes Museum in Oceanville, NJ and I never heard anyone speak in such a matter-of-fact way about emotion. I was intrigued.

He told us to “…use the world as it is”.  He pays attention to “…what the world is really giving me.” He seems clear on what the world is giving him, though I suspect that many of us have less surety. Must work on that.

 

 

 

Mr. Nick expressed that painters are makers and that painting is about color. Quite professorially he stated “Don’t be afraid of putting down the wrong color.” He’s not, apparently, but after many decades of work (he’s very energetic at 84 and appears a good deal more youthful) I got the impression that he works rather fast.

Asked about his schedule, he responds “All I have to do is get up. I don’t need coffee…”. He’s raring to go as soon as he opens his eyes. I’m a generation younger and, as a morning slug, quite envious.

OK, my three favorite comments during the lecture:

  • He points out that “Your mistakes and chance-taking feed you”.  — So true.
  • When asked what books he’d recommend he wasn’t too keen. “There are no books -you have to feel it. Experiment.” And he exclaimed “Rules are superficial.” — At least where art is concerned, I agree that rules are superficial. And experimentation is definitely key – you do have to Feel the work. Although, as a firm believer in books, I think there are a few good ones out there. He has such confidence in his own work ethic but isn’t particularly attached to the work once it’s completed. For him it’s all about trying to resolve the current painting.
  • The group eagerly followed him from painting to painting as he discussed aspects of selected works and at one point a number of people began to chatter among themselves. George Nick recovered our attention with “Wait a minute, you’re getting too happy”.  — Love that!

All around, it was a great way to spend an hour. Thank you, Mr. Nick, for an inspiring morning. Check out his fabulous work at the Noyes Museum, noyesmuseum.org; georgenick.com; or gallerynaga.com.

 

 

 

 

 

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