question is where.”
I looked around. “I certainly want some cards,” I said. “And I’d like to hang some of the prints here. But I don’t have enough room to do your work justice. What you need is some gallery space, where the framed prints can be hung at eye level. And where you can display some of your other things—cards, fabric, giftwrap.”
“Do you think,” Ivy asked hesitantly, “that the Emporium might work for me?”
“It would be perfect!” Ruby said. “The walls are white, the floor is polished wood, and there’s lots of natural light. It’s ex- actly what you need to display your prints.” She paused and cast a questioning look at Ivy. “But I don’t know how much the rent might be,” she added.
Nature printing is a lovely way to preserve plant images. To get started, you’ll need to collect some garden plants and weeds and press them (a telephone book makes a sturdy plant press). When you’re ready to print, assemble the pressed plants (make sure they’re clean), some newspapers, a few sheets of printmaking paper, newsprint, a flat glass plate, water-soluble ink such as Speedball (it’s best to start with one color, say, green), an artist’s brush, tweezers, and a few sheets of nontextured paper towel. Squeeze or scoop a small blob of ink onto the plate and brush it out evenly. Lay the plant material on the newsprint, veined side up. With the brush paint the ink evenly on the leaf, beginning at the center and working outward. Use the tweezers to gently lift the inked leaf and place it on the printing paper, veined side down. Place a paper towel over the inked plant and gently press outward from the center. (Don’t rub—you’ll move the plant and smear the ink.) Remove the paper towel and use the tweezers to lift the plant. Let your print dry, frame it, and hang it where others can admire it. For examples, ideas, and detailed instructions for creating stationery, cards, and printed fabric, read Nature Printing with Herbs, Fruits, and Flowers, by Laura Donnelly Bethmann (Storey Publishing, 1996).
“Money isn’t really an issue,” Ivy replied. “My husband died two years ago and left me pretty well off. I can do just about anything I want to do, except bring him back, of course.” Her smile was just the slightest bit crooked. “If I want to hang out my shingle as an artist—well, that seems pretty reasonable to me, if maybe a little brazen. I’m not sure I’m that good.”
“Not brazen,” Ruby amended. “Brave. Anyway, you’ll never know whether you’re good until you put your work out where other people can see it.” She began to put the prints back into Ivy’s portfolio. “Come on—we’ll introduce you to Constance, and you can take a look at the Emporium.” She gave a little laugh. “If you promise not to turn up your nose at the peeling paint.”
“And watch those porch steps,” I cautioned.
The Emporium’s cosmetic problems didn’t seem to bother Ivy, and within the hour, the arrangements were made. To my surprise, Ivy and Constance hit it off amazingly well. Ivy chuck-led at Constance’s jokes, and Constance was visibly awed by Ivy’s botanical artistry. By the time the deal was consummated, the two seemed well on their way to becoming friends. Ivy signed a six-month lease and gave Constance a check for the first and last months’ rent.
“There are some things I’ll want to do before I open for business,” Ivy said, as we stood on the front porch, saying good-bye. “A new carpet, green, I think. The walls will need painting, and I might try printing some leafy borders, in different shades of green. I’ll want new blinds for the large window, maybe those very thin bamboo blinds that diffuse the light. And a few wicker chairs and a couple of large plants.” She smiled happily. “I want it to look just like a real gallery.”
“It will be a real gallery,” Ruby said.
“Well, then,” Constance said with a gleam in her eye, “we’ll
I looked around. “I certainly want some cards,” I said. “And I’d like to hang some of the prints here. But I don’t have enough room to do your work justice. What you need is some gallery space, where the framed prints can be hung at eye level. And where you can display some of your other things—cards, fabric, giftwrap.”
“Do you think,” Ivy asked hesitantly, “that the Emporium might work for me?”
“It would be perfect!” Ruby said. “The walls are white, the floor is polished wood, and there’s lots of natural light. It’s ex- actly what you need to display your prints.” She paused and cast a questioning look at Ivy. “But I don’t know how much the rent might be,” she added.
Nature printing is a lovely way to preserve plant images. To get started, you’ll need to collect some garden plants and weeds and press them (a telephone book makes a sturdy plant press). When you’re ready to print, assemble the pressed plants (make sure they’re clean), some newspapers, a few sheets of printmaking paper, newsprint, a flat glass plate, water-soluble ink such as Speedball (it’s best to start with one color, say, green), an artist’s brush, tweezers, and a few sheets of nontextured paper towel. Squeeze or scoop a small blob of ink onto the plate and brush it out evenly. Lay the plant material on the newsprint, veined side up. With the brush paint the ink evenly on the leaf, beginning at the center and working outward. Use the tweezers to gently lift the inked leaf and place it on the printing paper, veined side down. Place a paper towel over the inked plant and gently press outward from the center. (Don’t rub—you’ll move the plant and smear the ink.) Remove the paper towel and use the tweezers to lift the plant. Let your print dry, frame it, and hang it where others can admire it. For examples, ideas, and detailed instructions for creating stationery, cards, and printed fabric, read Nature Printing with Herbs, Fruits, and Flowers, by Laura Donnelly Bethmann (Storey Publishing, 1996).
“Money isn’t really an issue,” Ivy replied. “My husband died two years ago and left me pretty well off. I can do just about anything I want to do, except bring him back, of course.” Her smile was just the slightest bit crooked. “If I want to hang out my shingle as an artist—well, that seems pretty reasonable to me, if maybe a little brazen. I’m not sure I’m that good.”
“Not brazen,” Ruby amended. “Brave. Anyway, you’ll never know whether you’re good until you put your work out where other people can see it.” She began to put the prints back into Ivy’s portfolio. “Come on—we’ll introduce you to Constance, and you can take a look at the Emporium.” She gave a little laugh. “If you promise not to turn up your nose at the peeling paint.”
“And watch those porch steps,” I cautioned.
The Emporium’s cosmetic problems didn’t seem to bother Ivy, and within the hour, the arrangements were made. To my surprise, Ivy and Constance hit it off amazingly well. Ivy chuck-led at Constance’s jokes, and Constance was visibly awed by Ivy’s botanical artistry. By the time the deal was consummated, the two seemed well on their way to becoming friends. Ivy signed a six-month lease and gave Constance a check for the first and last months’ rent.
“There are some things I’ll want to do before I open for business,” Ivy said, as we stood on the front porch, saying good-bye. “A new carpet, green, I think. The walls will need painting, and I might try printing some leafy borders, in different shades of green. I’ll want new blinds for the large window, maybe those very thin bamboo blinds that diffuse the light. And a few wicker chairs and a couple of large plants.” She smiled happily. “I want it to look just like a real gallery.”
“It will be a real gallery,” Ruby said.
“Well, then,” Constance said with a gleam in her eye, “we’ll
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