# data[].attributes.body
Beginner friendly tutorial. I recommend checking out this channel's other videos too for further insights.

# data[].attributes.attachment_link.title
How to make recycled paper (+ mould & deckle diy) | Tutorial

# data[].attributes.headline
Lino printing all-in-one kit from Cassart

# data[].attributes.subject
Lino printing all-in-one kit from Cassart

# data[].attributes.body
Not sponsored. Can also be bought in any Cassart store.

# data[].attributes.attachment_link.description
Create beautiful prints with the Essdee Lino Printing Set. Get perfect results every time with this easy-to-use printing kit that includes everything you need.

# data[].attributes.attachment_link.readable_text
Do printing and ink always go hand in hand? The definition given by the Oxford English Dictionary for the verb "to print" is: "Produce (books, newspapers, etc.), especially in large quantities, by a mechanical process involving the transfer of text or designs to paper." Whether it's a digital, planographic or permeographic process, direct or indirect, we usually think of printing as involving the transfer of ink to paper. But the definition above does not exclude other types of "printing".

When we talk about "printing" we don't just mean traditional printing with ink. There are, in fact, various techniques with which you can mark paper (and other materials) that are far removed from the most commonly held idea of printing.

Can we explore these techniques using just the tools found in the house? The answer is yes! Let's look at a few of them.

Debossing

The first inkless printing techniques that we'll look at are embossing and debossing. These are printing processes that involve creating images that either protrude from or are sunken into the surface of a material (normally paper, but fabrics and leather can also be used). This impression is usually obtained by pressing the material between a raised die and a recessed die.

generates an image that is raised against the backgroundon the other hand, generates an image that is indented into the material.

When this technique is used on an industrial scale, the raised die is made of metal, and the recessed die is generally made of resin. The exact process used depends the type of impression and the number of copies being produced. For large print runs, embossing usually adopts a system of rollers through which the material being printed passes.

To replicate this technique at home, you need to know how the process works and the have the following to hand:

First you need to cut out the desired shape from one of the cereal boxes and stick it onto another cereal box that's larger than the sheet you want to print.

Using the spray bottle, moisten the sheet of paper and place it on the raised die you've just made. Using the ruler, apply pressure to the moistened sheet of paper, especially around the die's edges. The impression will begin to take shape.

Go over the edges once again during the drying phase. You've finished your embossing!

Punching

Whereas embossing involves creating raised images on a material, punching or perforation means making holes in it.

While "embossing" is a term specific to the graphic arts, "punching" is more generic. In this article, by "punching" we mean the act of perforating a material with a tool that leaves a circular hole.

This technique employs that stalwart office tool, the hole punch. Hole punches usually come in two or four-hole varieties and are used to make holes in sheets of paper so they can be filed away in ring binders.

But by taking this piece of equipment out of its usual context, you can achieve a creative printing effect. What's more, depending on the size of the holes you want to make and what you want to make them in, you can use various other common implements for punching:

First, take a pencil and draw the shape you want on the material that you're going to print on.The lighter the line, the easier it will be to erase it once you've finished punching.

Next, choose the tool you're going to use to make the holes. Now punch the holes by carefully following the shape that you drew with the pencil. The more consistent the pressure used to create the holes and the more regular the distance between them, the cleaner and sharper the end result.

If you use a tool that leaves small holes, like an awl, you could trace the entire outline of the shape. But if you use punch pliers, which make much bigger holes, you could create the shape as a "positive" instead.

Layering shapes

Here's another inkless printing technique that moves away from the idea of a matrix that leaves an impression. It's halfway between printing and collage.

It's a process that involves the layering of materials of a similar type but with different finishes. The most common approach is to use different colours of the same type of paper, but you can also try using paper with different finishes and textures.

It entails cutting the different layers into original shapes and arranging them slightly "out of register", so to speak. That way, the sheets of coloured paper will not be perfectly stacked on top of one another, but they will be misaligned to create a figurative, three-dimensional effect.

You need the following for this technique:

Sheets with different characteristics (in this case, different colours)

A pair of scissors

As this technique is more figurative than the previous ones, you need to keep in mind the end result you want to achieve, and be prepared for a fair bit of trial and error.

You will need to cut out and position the coloured sheets based on the composition you're after.

This technique offers enormous possibilities. By adding lots of elements and increasing the complexity, you can create veritable sculptures or book-objects that explore the possibilities of paper and its compositional qualities.

Now it's over to you, to experiment with these techniques for inkless printing.

# data[].attributes.attachment_link.title
DIY printing techniques: how to leave a mark without ink | Pixartprinting

# data[].attributes.attachment_link.description
Is it possible to print without ink using just household items? Yes! Here are three simple tutorials describing creative ways for printing on paper without using ink

# data[].attributes.body
https://naturaldyes.ca/maiwa-guide-to-natural-dyes-pdf

# data[].attributes.body
https://www.oneframe.co.nz/blog/circular-economy-explained

The circular economy aims to be regenerative and free of waste

# data[].attributes.attachment_link.readable_text
Did you know that paper can be made from mushrooms? The cell walls of fungi are made of a biological polymer called chitin, which is a similar to cellulose-the key ingredient in plant-based paper. The use of cellulose fibers from plant material for making paper was first developed in China in the 1st century C.E. Before the invention of paper, important information was written on various other materials such as clay tablets, metal tablets, papyrus, and animal skins. The art of fiber paper spread from China to Japan in the 6th century and eventually to Europe in the 10th century. By the 19th, century paper production was fully mechanized with papers and books becoming widely available. In our modern era, paper is used for all types of consumer items including newspaper, packing material, bags, boxes, and single-use coffee cups to name just a few.

In the 1970s, scientists and environmentalists became interested in alternative fiber sources for paper production. Pioneering research in this field led to the production of paper from the shells of shrimp. Shrimp shells are made from chitin which is similar to the chitin in fungi. This discovery led Miriam Rice, who was working with mushrooms making dyes, to experiment with mushroom-based papers. Miriam knew that fungi are also made from chitin. She tried and successfully made beautiful artisan papers from various types of fungi, particularly wood conks. Miriam Rice has written several excellent books on mushroom dyes and mushroom paper and has great advice on making paper for beginners or accomplished fungal artisans.

Various species of fungi that grow on trees can make attractive and usable paper. Trametes versicolor (Turkey Tail), species, and Fomitopsis species are all good choices for making paper. These hard, woody, tree-dwelling fungi have good qualities for making paper-the fibers are strong and durable and hold up well to dyeing and inks.

There are a few ways to get wood conks for making paper: purchasing, wildcrafting (the sustainable harvesting of forest plants), and cultivating. Ganoderma lucidum, also known as "Reishi" or "Ling Chi", can often be purchased in Asian grocery stores or Chinese herb shops. These stores may also carry other woody polypore species that will make great paper. Alternatively, you can go into the forest and wildcraft wood conks for your home paper mill. If you don't live near the forest, many of these species can be grown at home either outdoors on logs or indoors in bags. Both Ganoderma lucidum and Trametes versicolor can easily be grown on logs by hobbyists using inoculated dowels (plug spawn) or on a larger scale using sawdust inoculum. Small-scale indoor cultivation using mushroom kits is also an option if you don't have logs or an outdoor growing space. If you are fortunate enough to have an indoor growing room then you can quickly mass-produce mushrooms from inoculated blocks of either Ganoderma lucidum or Trametes versicolorand have control over some qualities of the mushrooms. Once you have your mushrooms from wildcrafting, indoor or outdoor cultivation, proper drying is important to preserve them for long-term use.

A small-scale mushroom paper operation can be fairly easy to assemble as there are only a few necessary pieces of equipment. Most importantly, paper making is a wet art and needs to be done in a space where water is available and can be used without fear of messy activities. A blender is also needed to pulverize the mushroom to pulp. Once pulped, you will need a tub to hold water and pulped fiber slurry, a mold and deckle to lift and shape a film of pulp out of the slurry, and sheets of fabric to absorb the excess water from the paper sheet on the mold. The paper sheet is then pressed flat and slowly dried to retain its flat profile.

Making paper from fungi at home can be a fun and rewarding project. It can be a focus for wildcrafting and is a good activity do with children and classes. Paper making can be a fairly easy activity for almost everyone and simple low-tech equipment is all that is needed. It can help you to learn a few mushroom species as well as make beautiful functional art! There are very few books or guides to mushroom paper making, but Miriam Rice's book Mushrooms for Dyes, Paper, Pigments and Myco-Stix™ is an excellent resource with plenty of information to guide you successfully through making mushroom paper using fungi in your local area. With a little practice and effort, artisan mushroom paper can be made and enjoyed.

# data[].attributes.attachment_link.description
Did you know that paper can be made from mushrooms? The cell walls of fungi are made of a biological polymer called chitin, which is a similar to cellulose-the key ingredient in plant-based paper. The use of cellulose fibers from plant material for making paper was first developed in China in the 1st century C.E.

# data[].attributes.attachment_link.title
Embossing handmade paper with leaves [Video] | Handmade paper art, Embossed paper art, Handmade paper

# data[].attributes.attachment_link.description
Born In Paper: Handmade Paper Stationery, Kits, Wedding Invitations & Workshops. Byron Bay and buy online.

# data[].attributes.headline
Feel free to dm @eco.publication on Instagram to add a project or process to this padlet.

# data[].attributes.subject
Feel free to dm @eco.publication on Instagram to add a project or process to this padlet.

# data[].attributes.attachment_link.title
How to Get Spores From Store Bought Mushrooms

# data[].attributes.body
You can find a plethora of short tutorials, including DIY natural incense!

# data[].attributes.attachment_caption
equipment, community, paper artists, guide books, etc...

# data[].attributes.body
Plethora of possibilities. (You can make paper out of jeans?!)

# data[].attributes.body
The Climate Emergency Network is non-hierarchical, distributed, and evolving. Channelling creativity into climate action across UAL.

# data[].attributes.attachment_link.readable_text
The Climate Emergency Network is non-hierarchical, distributed, and evolving. It's a platform for channelling creativity into climate action across our Colleges, research centres and institutes. Our community includes undergraduate students, professors, support staff, alumni, and friends.

Our purpose is to foster an internal movement for change. We aim to give opportunities for everyone to engage in climate action. We host monthly Climate Cafés and seasonal Climate Circles. We develop campaigns, actions, and activities to show that the arts can, and must, respond to the climate and ecological emergency.

Contact us: climatenetwork@arts.ac.uk.

What we've done so far

Curation and production

We've curated:

We've produced:

Collaboration

We've developed partnerships and worked with organisations across arts and culture, civil society, higher education, and scientific research sectors. This includes:

Glasgow School of Art

Culture Declares Emergency

The Barbican Centre

V&A Dundee

Architects Climate Action Network

King's Cross Canopy Market

Citizens UK

Extinction Rebellion

FranklinTill

and more.

We've taken part in nationwide climate campaigns such as COP and Earth Day. We've also promoted and celebrated annual environmental campaigns. Other campaigns include embedding climate justice into our research and Knowledge Exchange and working in conjunction with our Climate Advocates. Want to collaborate? Get in touch.

Events

We've brought UAL students and researchers together with scientists, activists, community organisers, artists, poets, illustrators, journalists and more. We support pilot projects and initiatives through a 'living lab' model that create real-world learning and research opportunities for students and staff, while bringing environmental impact to our wider community.

You can follow us on Eventbrite to keep up to date with our latest events. We host events at key points in the University's calendar. For example, the Big Welcome, when we welcome students at the beginning of the academic year. The Big Welcome tells students about the ways in which sustainability is central to everything we do. This covers our green buildings, energy use, and encouragement to join our Climate Emergency Network.

We also induct students online with an e-induction (PDF 1.75MB). They're orientated when they check in and get resources to learn about sustainability at UAL.

We also host Climate Circles to mark the changing in seasons and align our collective vision with nature's own rhythms. A different member of our community facilitates each seasonal event or gathering. These artist-led meetings offer a place to share news, meet like minded creatives, plan activity and support each other.

What we'll do next

We'll:

build the Climate Emergency Network as a movement of staff and students advocating for change

work with educational, cultural, government, industry and civil society partners to advocate for change

develop collaborative and multi-disciplinary approaches to campaigning, advocacy and movement building.

@climate_emergency_network

I chose to go back to university because I realised, that being a field activist isn't the only way of making things happen for a better future. We need more sensibility and a plural understanding of what the future could be. How can we make culture evolve? The only discipline that can do that is art. - Laurane Le Goff Climate Emergency Network member

# data[].attributes.attachment_link.title
Climate Emergency Network: Changing the way we work together

# data[].attributes.attachment_link.description
UAL's climate action community helps shape our response to the climate emergency and sustainability.

# data[].attributes.body
Using charcoal, ash, onion skins, grass

# data[].attributes.attachment_link.readable_text
The issue of sustainability-in its various incarnations-has been appearing with increasing frequency wherever graphic design is discussed. Despite its relative importance, few designers have a clear understanding of what the word and its attendant concepts actually mean, while fewer still can relate it to their everyday business practice or understand the implications it holds for their future.
SUSTAINABILITY IN THE SIMPLEST OF TERMS
Leave the place in better shape than you found it. This may sound like common sense, but this deceptively simple idea is tough to apply. Before you can even really begin the discussion, you have to wrestle with the word itself. "Sustainability" has raced to the top of everyone's buzzword watch-list with record-breaking speed (in Vancouver [AIGA Power of Design Conference 2003] , I overheard a group of designers in the elevator declare that if they never heard the word again, it would be too soon). Keen noses to the wind, designers relish virtually any backlash; the sustainability backlash promises to be no different.

To compound the irritation found in the word itself, many people don't really understand how "sustainability" relates to (or differs from) the more widely recognized "environmentalism" (in fact, my spell-checker is telling me that there is no such word as "sustainability"). This confusion warrants some clarification. Unlike the traditional environmental movements dating from the 1960s and '70s, which are primarily driven by over-reliance on regulatory power and grass-roots activism and have traditionally stood in staunch opposition to business interests, sustainability represents a different way of conducting business, and thus is being championed from within progressive and idealistic corporations. Indeed, many of sustainability's heartiest proponents are entrepreneurs (Yvon Chouinard, founder/president/CEO of Patagonia, Ben Cohen of Ben & Jerry's and Anita Roddick, founder of The Body Shop) and business consultants (William McDonough and Michael Braungart, authors of Cradle to Cradle). So from a business perspective, the glass-half-full approach represented by sustainability is much more palpable than environmentalism. And-like it or not-since the business community and the capitalist system in which it operates sets the pace for society at large, acceptance here is crucial for any meaningful impact.
SO HOW DOES THIS PLAY OUT IN THE BUSINESS WORLD?
A random examination of almost any industry vertical will reveal at least one company trying to do things the "right" way. Patagonia and American Apparel provide role models in the apparel industry. Toyota's popular Prius hybrid is leading the way in the automotive world. BP has publicly committed to moving "beyond petroleum. " The Body Shop, Aveda and the upstart Mrs. Meyers are pioneering new techniques in cosmetics and consumer products. Herman Miller and Interface have made very specific commitments in the furniture and textile industries. Organic food is becoming increasingly common in supermarkets. Indeed, many companies now have C-level executives (i.e., chief sustainability officer) in place to account for this fundamental shift in business practice. Hewlett-Packard, Nike, Starbuck's and Ford are but a few companies that have such executives, all of whom are playing a much larger role in guiding corporate strategy. One can find even more meaningful examples by looking into European business practice.

As sustainable issues become more pronounced, other companies have begun to make forays into this territory. One needs only to make a quick comparison of the current Wall Street outlook on two auto manufacturers to understand the motivation they are now experiencing: GM-with its fleet of oversized trucks and SUVs-has just recorded the single largest quarterly loss in corporate history and has seen its stock down-graded to junk bond status. Meanwhile, last year's Toyota Prius is being sold on eBay for more than this year's list price because no one can endure the waiting list necessary to obtain a new one. Additionally, many companies are realizing that sustainability represents good common sense and that using less material, treating fewer toxins and creating less waste is an economic no-brainer.

One of the principle goals of any sustainable initiative should be to get more companies to recognize the inherent value in such behavior, and to alter theirs. For all of the emphasis placed on "innovation," businesses really spend more time looking from side to side, checking out what their competition is doing. Once generally recognized industry practice changes, other companies will follow suit accordingly. With any luck, the business world will eventually undergo the radical change necessary to achieve the "natural capitalism" described by Paul Hawken, author of The Ecology of Commerce.
HOW THIS RELATES TO GRAPHIC DESIGNERS
I should use recycled paper, right? Sure, but that's just the beginning of the discussion. Currently, most designer's concerns around sustainability are centered on the physical manifestation of our own efforts, primarily printed materials. Rightfully so, as printing is a messy business, lumber resources are at a premium and paper accounts for a significant quantity of landfill. But frustration often arises from the fact that designers have no direct control over how printing plants are run, how timber is harvested or what becomes of the end-products after they are distributed. Nonetheless, as the end customers for these paper products and print services, designers do play an influential role in how those businesses conduct themselves. Designers often take for granted that as specifiers, we have a tremendous amount of power over what is available within the design and publishing marketplace; and that as trendsetters and communicators, we have the ability to affect the habits of industries outside of our own.

There are numerous resources available to designers that can provide the knowledge necessary to question supply and service partners. The AIGA Design and Business Ethics Series, Number 7: Print Design and Environmental Responsibility details many of the issues that relate to sustainable printing. Celery Design Collaborative has published an extensive list of environmentally-conscious paper choices (www.aigasf.org/ committees/environment/guide_intro.html), and a similar list was published in Communications Arts ("Eco-Preferable Papers" March/April 2003). A number of FAQs are addressed and some printing myths are debunked on Cenveo Anderson Lithograph's environmental Web site (www.andlitho.com/sustainability). In San Francisco, the bi-annual Compost-modern design conference (www.compostmodern.org) provides a forum for graphic designers to grapple with these issues firsthand. The Greening of Print (www.greeningofprint.com) is an industry sponsored study that addresses sustainable issues within the print and packaging industries. Additionally, sustainability matters are cropping up in design periodicals with increasing frequency.

Reviewing such material is perhaps most constructive when designers realize that we need to get our own house in order before we can effectively question the business practices of others. If we are to be taken seriously, we must first practice what we preach.
BIGGER FISH TO FRY
As important as the artifacts we produce might be, the more significant role that designers have to play involves the communications challenges surrounding sustainability, which is a complicated, multi-faceted issue that has a wide variety of implications for different industry verticals, communities and demographics-and serious consequences for the future. There is an increasing need to explain these issues to a world eager to understand them. Many companies are already addressing sustainability in a variety of print and online communications. Sustainability reports and citizenship reports have become staples in many companies' communication efforts (www.nike.com/nikebiz/nikebiz.jhtml and www.hp.com/hpinfo/globalcitizenship). Some companies-such as BP (www.bp.com)-have even restructured their principle branding efforts around sustainable concerns.

To keep track of these changes (and we hope validate their sincerity), there are numerous reporting mechanisms, voluntary governance and business conferences. Triple bottomline reporting-a "people, profits, planet" approach to determining the true "value" of a company-is becoming commonplace at the large accounting houses (i.e., PricewaterhouseCoopers) and admission into the Dow Jones Sustainability Index is a highly-coveted distinction in the investment community (www.sustainability-index.com). Organizations such as The Global Reporting Initiative (www. globalreporting.org) and SustainAbility (www.sustainability.com) supply reporting frameworks, and Business for Social Responsibility (BSR) and the Coalition for Ecologically Responsible Economies (CERES) hold well-attended annual conferences to recognize companies for their sustainable efforts and provide a forum for advancing this agenda (www.bsr.org and www.ceres.org).

So whether it's booming new businesses (hybrid cars, hydrogen), or the changing nature of existing business (solar panels, corporate governance, organic foods) or entirely new demographics to address ( ReadyMade magazine, Organic Living magazine), there is ample subject matter to which designers can apply their efforts.
WATER IS THE NEW OIL
History is littered with unfortunate examples of societies squandering, warring and expiring in the face of diminishing natural resources. Pulitzer Prize-winning author of Collapse: How Societies Choose to Fail or Succeed Jared Diamond predicts that we will eventually fight wars for the environmental resources that we currently take for granted. On the other side of the political spectrum, recent Pentagon reports cite looming environmental and ecological threats as much larger military concerns than global terrorism. Other books and articles submit a grim vision of the future in which the world struggles to adjust to life without petroleum. So unlike other business fads and buzzword-laden prognostications, sustainability, unfortunately, promises to play an ever-increasing role in our daily lives. Even if designers had nothing more to do than prepare the world for the post-petroleum economy, the notion of "design as a vehicle for social change" is due for a workout. The increasing value that will be placed on the planet's resources ensures that the communications needs associated with their use will continue to rise.

One only need consider our current military boondoggle (and low international regard) to imagine what will happen if we do not address these issues now. In the future, international relations will be even more terse if we do not make adjustments to our current way of life and the business practices associated with it. But how can designers expect to contribute? In the increasing absence of government regulation of such matters, non-government organizations (NGOs) now supply the check on industry that government has traditionally supplied. Many of these organizations would benefit tremendously from the involvement of design professionals. A past campaign by Forest Ethics was responsible for Staples increasing the amount of post-consumer waste in its copier paper. Their current action against Victoria's Secret (www.victoriasdirtysecret.net) and Greenpeace's similar campaign directed at Kimberly-Clark (www.kleercut.net) take those companies to task for their consumption of old-growth forest in their catalogs and paper products. At their best, these organizations also work with companies to develop better solutions to their business goals.
LOOKING AHEAD
Due to all of the implications that sustainability holds, it has been cited as one of the emerging business trends upon which designers would do well to hitch their star. At the recent AIGA GAIN Business and Design conference, Larry Keeley of the Doblin Group listed sustainability as one of his eleven emerging "convergence points" around which future business activity will revolve. Long the niche-oriented concern of environmentalists and activists, sustainability promises to become a mainstream issue. Indeed, it can already be found cropping up in general interest publications (i.e., Time magazine, www.time.com/time/2002/greencentury/enarchitecture.html) and ads touting companies' good behavior. As such, it promises much work for designers-complicated programs and initiatives will need rollout, government and regulatory issues will need to be explained, land use, development and manufacturing protocols will undergo much tighter scrutiny, and a vast array of corporate reporting will need to be performed and then evaluated. As designers continue their ongoing struggle to communicate design's inherent value, sustainability could very well prove to be the crucible in which that promise is fully realized.

A common complaint at many a design conference is that designers are not taken seriously in the business world. Designers want to sit at the adult table. Yet despite the fact that sustainability is fast becoming a top-level business priority, and that it represents a progressive issue for which many designers should be sympathetic-design community awareness currently trails existing business initiatives (and related disciplines such as architecture and industrial design). When looking for examples of "design with a capital D," sustainability holds tremendous potential. Designers like to characterize themselves as problem-solvers. If this is true, then they should have little difficulty inserting themselves in the midst of this crucial emerging business dynamic.
SO WHAT TO DO?
There are a number of steps that designers can take to further their understanding of these issues (and apply their skills accordingly):

* Develop communities of practice. Whether at a local level like Berkeley's Ecology Center, a national level like the McDonough/Braungart affiliated GreenBlue consultancy (www.greenblue.org) and its Sustainable Packaging Coalition (www.sustainablepackaging.org), or internationally through informal Web groups such as the 02 Network (www.02.org)-there are numerous opportunities to find others with whom these issues resonate.

* Engage other disciplines in dialogue on the topic. Don't restrict your time outside of the office to design conferences only; talk to the business community on their own turf. At an international level, executives from Fortune 500 companies turn out in droves for conferences and events such as Business for Social Responsibility (BSR) and the Coalition for Ecologically Responsible Economies (CERES). On a more colloquial level, off-site retreats such as the Ecoshack in Joshua Tree provide low-impact settings for brainstorming (www.ecoshack.com).

* Look to analogous efforts in other industries. After much talk of sustainability in the world of architecture, that field's efforts have crystallized in a concise set of guidelines known as the LEED standards (www.usgbc.org), a certification process that has enabled architects and their suppliers to move from conjecture to implementation at an industry-wide level. In the world of manufacturing, ISO 14000 certification is playing a similar role (www.iso.org).

* Evaluate the communications materials and objectives of your own clients. Some of your own clients may have practices already in place, but are doing nothing to capitalize on their effectiveness. Other clients may be missing opportunities to implement changes in their business, and some businesses may be "greenwashing" (paying lip service to sustainable principles). Do you know where your clients stand on these issues? Can you think ofways to motivate them to change their outlook, or to capitalize on efforts they may already have in place?

* Familiarize yourself with corporate governance issues. Many of the items listed above have evaluation criteria associated with them, and triple bottom line reporting is growing in popularity. Look for opportunities to effect policy-making and advocacy (through AIGA initiatives or otherwise). Designers should recognize that while individual habits are not to be discounted, it is the policies and practices of institutions and governments that have the more profound impact.

* Prioritize your efforts. Familiarize yourself with sustainability's basic principles so that you understand which things matter and which things do not. Consumer habits do play a part, but in ways that most people do not realize. For instance, the decision to buy an energy-efficient refrigerator dwarfs any of the typical "paper vs plastic" or "cloth vs disposable" decisions that typically prey on the mind of most consumers. Hammering people on issues of little consequence leaves them too weary or indifferent to care when it really matters.

* Channel your nonprofit efforts into designer activism and socially-responsible projects. Like the aforementioned Forest Ethics campaigns, there are numerous nonprofits in need of designer assistance. There are also grants and foundations, such as Sappi's Ideas That Matter (www.sappi.com), that can be utilized to create or assist new endeavors.

* Seize the opportunity to put a new face on a hoary old movement. The hemp clad, patchouli-soaked environmentalism of my hometown Berkeley isn't going to play in Peoria. Sustainability and environmentalism are in desperate need of a makeover. Seattle's Sustainable Style Foundation (www. sustainablestyle.org/home.html) is doing their best in the world of fashion, but there is much work to be done to make sustainability attractive for the masses.

* Stick a toe in the water. Ask some questions, provide some feedback, toss out some ideas of your own. The amount of dialogue on the topic is growing; find a way to participate in it.
SOME FINAL THOUGHTS
There is an urgency attached to sustainability. All of the world's living systems are in rapid decline while the population continues to grow at a steady clip. In fact, many would argue that the measures discussed in this article are not sufficient, that a more radical reconstruction of society is in order. On the other hand, some people feel as though designers should not be held responsible for solving these issues, that it's just too much. But if designers aren't going to play a part, then who is? Couldn't everyone beg out of this if they wanted to?

Sustainability represents nothing less than a fundamental shift in how business is conducted; designers need to recognize their potential role in this shift and seize the opportunity it presents. A recent cover of Dwell magazine (June 2005) reminds us that "good design comes from constraints." Rather than looking at sustainability as a set of restrictions or as an impediment to good ideas, designers must embrace it as a source of inspiration and a challenge to be met with gusto. ca
FURTHER READING
Bendrick, Lou. "Queer Eye for the Green Guy." Utne Reader. May-June 2005.

Brower, Michael and Warren Leon. The Consumer's Guide to Effective Environmental Choices. Three Rivers Press, I999.

Diamond, Jared. Collapse: How Societies Choose to Fail or Succeed. Viking, 2004.

Hawken, Paul. The Ecology of Commerce. Harper Collins, I993.

Hawken, Paul, and Amory Lovins and L. Hunter Lovins. Natural Capitalism. Little, Brown & Company, I999.

Roberts, Paul. The End of Oil. Harper Collins, 2003.

# data[].attributes.attachment_link.title
Sustainability and Graphic Design | Communication Arts

# data[].attributes.attachment_link.description
The issue of sustainability-in its various incarnations-has been appearing with increasing frequency wherever graphic design is discussed. Despite its relative importance, few designers have a clear understanding of what the word and its attendant concepts actually mean, while fewer still can relate it to their everyday business practice or understand the implications it holds for their future.

# data[].attributes.headline
Video tutorial on how to print leaves on paper

# data[].attributes.subject
Video tutorial on how to print leaves on paper

# data[].attributes.body
low-tech/diy

non toxic

budget friendly

prep time: 10 min.

wait time: 2hrs.

# data[].attributes.attachment_link.title
How to - Leaf Prints on Paper #ecoprint #botanicalprinting #printingwithleaves

# data[].attributes.body
If your mushrooms are about to go bad, turn them into paper

# data[].attributes.body
paper's texture is from the surface is dries on. if you want soft finish, consider drying it on a smooth surface, e.g. glass.

you don't need a lot of paper scraps to make a few sheets. you can store your pulp in the fridge, but for no longer than 2 weeks.

consider categorising your paper scraps into colours to naturally have different outcomes.

# data[].attributes.body
Eco-printing (or Botanical printing as it is also known) is a process by which the colours and shapes of leaves or other natural plant material are transferred onto fabric or paper.

# data[].attributes.attachment_link.description
With Lucas LefflerBack in Paris in April 2021, I discovered a small festival dedicated to unique prints. During my visit of the a ppr oc he festival, I discovered the work of Lucas Leffler. I was intrigued by the texture of his works and even more fascinated when I discovered that Lucas was printing with mud.

# data[].attributes.attachment_link.title
Mushroom Spore Prints - AUTUMN ART PROJECT

# data[].attributes.headline
Swap Shop: A Circular Material Hub at Central Saint Martins

# data[].attributes.subject
Swap Shop: A Circular Material Hub at Central Saint Martins

# data[].attributes.body
Some of the materials were sourced from Central Saint Martin's 'Swap Shop'

# data[].attributes.headline
Blind Embossing, or printing without ink - The Curious Printmaker

# data[].attributes.subject
Blind Embossing, or printing without ink - The Curious Printmaker

# data[].attributes.attachment_link.readable_text
Blind embossing involves pressing deep textures into paper, creating subtle and dynamic images that change with the angle of light and the position of the viewer. Sometimes inspiration blossoms when your choices are limited, and if you are used to printing with colour, blind embossing will stretch your understanding of the printed surface, introducing sculptural elements into your printmaking.

Planning an embossed print

Some of the textured printing plates you have already made will work well as embossed prints, but it is also interesting to start from scratch and make a plate designed to be embossed rather than inked.

Your textures can be much bolder and deeper than those on plates you plan to ink up. In this example I used very coarse sandpaper, which would be impossible to ink successfully but works really well for embossing.

For one off prints just arrange the shapes loose on a base plate. If you want to print your plate several times, fix the shapes down with double-sided tape or spray mount. A registration sheet showing the position of different elements will help to get things in the same position for an edition of blind embossed prints.

See paper in a new light

Designing a plate to be embossed means working with the properties of paper to mould around and hold shapes. You are focussing purely on shadows and light to create texture and form. To make a successful embossed image choose nice thick paper (at least 220 gsm) and give it a good soak. Have a look at the post on preparing paper for more information on this.

Printing without ink is a clean process

No apron, no gloves, no cleaning up - no ink!

constructing an embossed print

On a recent embossing workshop with printmakers everybody automatically put on aprons and rolled sleeves up, as you do. It was strange to realise this little ritual was not necessary, but we skill kept our aprons on due to some deeply ingrained sense of habit. Do all printmakers feel naked without an apron?
The lack of potentially messy ink makes this a great quick drop in activity, and also an easy one to do with children.

Test the pressure on the press

Once you have constructed your plate, simply lay it on the etching press and cover with a sheet of damp paper. Set a tight pressure; it's a good idea to do a test run with different materials to judge the best pressure.

If your print is not very sharp tighten the press a bit, if it tears or wrinkles the paper try loosening the pressure or using thicker paper.

With very deep textures it can help to put a piece of foam rubber under the press blankets to add more squashiness and help the paper reach the deeper areas of the plate.

Materials for Blind Embossing

There are loads of potential materials you can emboss. The key things to look out for are:
1. Thickness
Anything much less than a millimetre will make quite a subtle indentation. Objects, which are too thick, can tear the paper, or won't actually go through the press.
2. Hardness
Soft materials like fabric may not have enough density to impress in to the paper. Ideally your materials need to be hard enough to withstand the pressure of the press, but not so sharp that they cut the paper.

The things listed below have all been tried and tested, I hope you will explore other materials and leave a comment if you discover anything else we could share on the blog.

Wire and metal

Plastic coated garden wire is easy to cut and bend into shapes.

Why not try printing the same wire shape several times, changing it as you go like an animation?

Small flat metal objects emboss very clearly; see the image above for paperclips, and below for a print made with keys.

Pond liner and lino

I love using 1mm PVC pond liner, which is easy to cut with scissors or a knife and also carved with lino tools. You may be able to scrounge some offcuts from the garden centre. Clear PVC works in a similar way.

Nb. Rubber pond liner, (as opposed to PVC) is not carveable, however you can easily cut shapes out of it.

When you cut out shapes don't forget to keep all the offcuts as well, these are great for making positive and negative designs. I found up to four layers will print if you grade them up and down in steps.

Lino cut plates look great when embossed. Before you roll ink on your plate to print it conventionally, try running it through the press with damp paper to see how it looks as a blind embossed image. In fact you can try this will all your textured plates before you print them, it helps to test the pressure of the press, and provides a new perspective on your plate.

Fabric and string
Strong stiff fabric works best for embossing. Try things like scrim and coarse textured braid. Hessian and enviromesh are all worth experimenting with as well.

You can make interesting designs with string or thin rope, as long as it isn't too soft.

Cardboard

Strong card that you can cut or tear is a good embossing material. Often you will find packaging with punched shapes (try the Scrapstore).

I particularly like jigsaw pieces, and buy different sized jigsaws from charity shops, then spend a happy tea break picking out the shapes that look like little people.

Assorted found objects

Try anything strong and flat. Cut up shuttlecocks, plastic packaging, combs and disposable cutlery are all worth a go. I found this plastic skeleton on the road! Cheap toyshops are a good hunting ground...

a toy skeleton embossed on paper

A wooden take-away fork

When you incorporate recognisable everyday items in your prints it lends humour to an image and encourages people to look again at familiar objects.

Cement and glue

Bathroom tile cement is a good material for creating very textured plates, but don't forget to sand it to remove sharp points.

Thick glue is also fun to try - here is an example made with a glue gun. Its a good idea to seal glue with a coat of shellac or varnish to prevent it sticking to the damp printing paper in the press.

Adding colour

embossed prints coloured with pastels

Once the paper is dry you can change the image by rolling ink over the top - the indentations will stay white, alternatively try rubbing the top surface with pastel crayons, which also produces colourful results. I have found that children enjoy this - it is a bit like those magic painting books where the image miraculously appears.

two embossed faces, one with ink rolled over

Deceptively simple prints

Blind embossing can seem very simple at first glance, after all it is used commercially for letterheads and book covers, but once you start experimenting with it you will discover a world of texture and shadow that can lead you along exciting new printmaking paths.
For more inspiration have a look at the post ' Artists prints with blind embossing '

Credits
Some of the images here were made by students on the Embossing course I ran at the Arthouse in Wakefield.

# data[].attributes.attachment_link.title
Blind Embossing, or printing without ink - The Curious Printmaker

# data[].attributes.attachment_link.description
Blind embossing involves pressing deep textures into paper, creating subtle and dynamic images that change with the angle of light and the position of the viewer.

# data[].attributes.body
Biophilia: your relationship to nature

# data[].attributes.attachment_link.readable_text
1. Introduction

1.1. Ecological Identity

Our 'relationship with nature' has been described as a construct that can be measured, using a wide array of quantitative tools (for a review, see [ 1]). Prior studies indicate that these scores can change, yet little is known about the mechanisms underlying these changes. Using a qualitative approach, a deeper exploration of individuals' subjective experiences is possible, allowing a richness of detail and the distilling of key themes.

Fundamentally, ecopsychology links nature and spirituality, locating humankind within the ecosystem and incorporating a spiritual aspect into this connection [ 2, 3]. By examining the psyche's deepest-rooted questions surrounding the perception of the self and nature [ 4], ecopsychology encourages a removal of the self from the current materialistic worldview to form a more empathetic link with the Earth [ 5]. Deep ecology takes a similar approach [ 6], describing humankind as "organisms as knots in the biospherical net" [ 7] (p. 95), to highlight a deep interconnection between the wholeness of the self and the Earth [ 8]. According to Naess [ 9], in order for the self to develop and grow, the boundaries of the egoic self must be overcome to break from our pre-existing social structures and move towards a more symbiotic relationship with the planet that we call home. Both approaches de-emphasize an anthropocentric view, opposing the idea of nature as a resource and necessitating a more transpersonal explanation of humankind's relationship with nature. Such a shift in view may be vital in the wake of a broad erosion of human connection to nature [ 10] and a lack of interventions to reduce environmentally destructive human behaviour [ 11] in the midst of a mass extinction event orchestrated by our species [ 12, 13, 14].

1.2. Psychedelics and Nature Connectedness

Nature connectedness (sometimes referred to as nature relatedness in the literature) is a measure of one's self identification with nature, encompassing "one's appreciation for and understanding of our interconnectedness with all other living things on the earth" [ 15] (p. 718). It can be considered analogous to biophilia, which has been defined as "the connections that human beings subconsciously seek with the rest of life" [ 16] (p. 350). The recent resurgence in psychedelic research has resulted in a number of studies reporting increased connection to nature.

Connectedness has been defined as a psychological state with three domains: connectedness to self, others, and world [ 24]. The last domain, 'connectedness to world', includes the natural world and transpersonal dimensions. Doyle [ 25] describes the 'ecodelic' insight as "the sudden and absolute conviction that the psychonaut is involved in a densely interconnected ecosystem" (p. 20). Doyle also goes on to highlight the importance of transpersonal dimensions and their role in making sense of the strangeness arising from these psychedelic experiences. When psychedelic experiences are beneficial for people, they tend to increase connectedness across all three domains [ 24, 26], thus a shift in one's relationship with the natural world after a psychedelic mystical experience is not surprising.

Increased connectedness to nature post-psychedelic use does not appear to be reliant upon whether or not the psychedelic was taken in a natural or clinical setting. Kettner et al. [ 18] identified a role for the perceived influence of nature in the acute psychedelic state; however, an increased connection to, and enduring shifts in the relationship with, nature has also been evidenced in the non-natural environs of clinical trials [ 22, 23]. Psychedelic administration in natural settings is proposed to lead to more substantial increases in nature connectedness [ 10], but researching this question remains problematic owing to the legal restrictions around undertaking research of psychedelic substances.

Psychedelic research suggests that mystical experiences shift the experiencer away from an ontological materialist understanding of the world by increasing spirituality in experiencers [ 36, 37, 38, 39, 40]. Research suggests that psychedelics may be causally influential in the shift from hard positivism to metaphysical positions such as panpsychism [ 41]. Psychedelic experiences, for some individuals, might facilitate an expansion of worldview to incorporate a more ecopsychological or animistic understanding.

1.3. Purpose of This Research

Although the current global legal restrictions have limited psychedelics' experimental investigation to clinical trials and naturalistic studies, the data from this research indicate increases in nature connectedness [ 22]. However, the quantitative tools used in such studies contain numerical ratings on a predetermined set of features. A relationship with nature is personal, subtle, and deep. Feeling oneself as part of a wider interconnected web of life can be a profound experience, often predicated upon contact with the natural world that is emotional, visceral, and multisensorial. Additionally, quantitative measures can only partially elucidate the underlying mechanisms by which nature connectedness develops and changes. Therefore, although previous research provides an outline regarding the possible impact of psychedelics on nature connectedness, there is a lack of qualitative data to provide richness of detail. This research seeks to flesh out the understanding of individuals' psychedelic use as it relates to changes in their relationship with the natural world. By accessing a large number of respondents, we seek to provide a general understanding and highlight areas for future development in the field of ecodelic research.

2. Methods

2.1. Participants

A total of 272 participants were opportunistically sourced from two online communities of psychedelic users. One set of respondents (n = 32) were attendees of Breaking Convention-a 3-day biennial conference on psychedelic research-and the second (n = 240) was sourced via a research participation request from a psychedelic user group on the social media platform Facebook (see Table 1 for additional participant data). To be eligible for participation, respondents must have reported use of at least one drug type listed. Participant responses were recorded on frequency of use scale where 1 = never, 2 = once, 3 = occasionally, 4 = often, 5 = regularly, 6 = extensively, and 7 = excessively (see Table 2 for mean values). Ethical approval for this study was granted by the Psychology and Counselling Research Ethics Panel of the University of Greenwich, London, England.

2.2. Methodology

Participants were served statements (see Appendix A) relating to prior drug use, ecological attitudes, the brief measure of nature relatedness (NR-6) [ 42], and inclusion of nature in self (INS) [ 43] scale. Participants were then asked to complete five open-text boxes exploring factors relating to the development of pro-ecological attitudes.

Owing to the large number of responses and the exploratory nature of the research, an experiential [ 44] inductive [ 45] approach was taken in coding data. Independent double coding was undertaken by the first (A.I.) and third (F.H.) author in order to reduce bias [ 46, 47].

Data were coded in an iterative method of content analysis (Stiles, 1999), where each emerging code/theme is applied in a reassessment of the complete dataset. Data were analysed using the 11th edition of NVivo in a process of thematic analysis [ 45]. The main themes were discussed and agreed upon by authors A.I. and F.H. and subsequent lower-order themes were discussed at length. Latent superordinate themes were developed by analysis by the first author (A.I.) using an inductive approach to theme generation.

The process of theme generation began with translation of the data from survey tool to analysis tool once the qualitative and quantitative data (published in [ 48]) were parsed (i.e., Qualtrics > SPSS > NVivo). The quantitative data were analysed in a collaborative manuscript investigating associations between retrospective psychedelic experiences and nature relatedness [ 48]. The qualitative data were retained for analysis here. NVivo software provides a useful way to decompose large chunks of data (i.e., interview data) into cases (i.e., participant data) for subsequent identification of codes (themes) and necessitates early involvement with the data. This process of familiarisation continues as the process of theme generation begins by identifying potential themes, with some inevitably becoming redundant before groupings are explored.

The purpose of this research was to explore participant experiences rather than understand the meaning behind an ecodelic experience per se; in line with this, a semantic approach was employed to examine the content present in the data. Understanding the complex content reported to occur in the psychedelic state requires some degree of interpretation and the process of theme generation cannot be said to be wholly free from researcher imposition. The interpretation of meaning within the often metaphorical and analogous language used to describe the psychedelic experience required careful attention to detail and consideration of context (e.g., previous responses and continuing narratives).

3. Results

Each of the superordinate themes (transpersonal: 3.1, revealer: 3.2, amplifier: 3.3, and psychedelic use in nature: 3.4) are detailed in Table 3.

3.1. Transpersonal

By far the most prevalent theme was that of transpersonal experiences, that is, "experiences in which the sense of identity or self extends beyond (trans) the individual or person to encompass wider aspects of humankind, life, psyche or cosmos" [ 49] (p. 203). Transpersonal experiences often include spiritual aspects but do not necessitate a theistic interpretation.

3.1.1. Unitive Experience

Among the transpersonal experiences reported by our participants, the most frequent was that of the unitive experience reported in a multitude of ways, as experiences of "no divide or separation" (P 116), a "seamless consciousness" (P 233), and the "interconnectedness of all life" (P 63). One participant describes gaining an understanding of humankinds' position in the cosmic framing of nature:

A new prospective [sic] of human being as part of a bigger ecosistem [sic], at the same time so small in a macroscopic universe. (P 127)

Within the overarching theme of transpersonal, there were some contributory themes that were identified as transpersonal experiences with specific reference to participants' relationship with nature but disparate enough to represent distinct clusters of contributions to the superordinate theme.

3.1.2. Interspecies Communication

A number of participants indicated that their psychedelic experiences contained aspects of interspecies communication, providing access to humankinds' "natural capacities of awareness of reality... unblocking some of the usual limits of our perception, [it] allows me to see earth's aliveness" (P 10). Most commonly, these experiences related to communication with flora, e.g., being "comforted by a flower" (P 10) and being able to "communicate with trees" (P 49, P 153). These experiences also included aspects of the natural world-and indeed the world itself-not commonly considered alive:

I understand now that nature is fully concious [sic], that communication with plants and rocks is possible. (P 78)

To be able to talk to and with Earth in the psychedelic state. (P 134)

A small number of participants also described experiences of "speaking to plants" (P 269) that extended beyond the acute psychedelic experience, also reporting that the experiences informed new metaphysical beliefs:

"I basically became spiritually animist". (P 134)

3.1.3. Transmogrification

The reported instances of experiencing life as "other entities" (P 49), be that other species or features of the natural world, were specifically aligned with a role in increasing nature connectedness. These experiences commonly spanned multiple aspects of nature allowing individuals to "experience reality as a tree, a bear, an eagle, as the jungle, as a river..." (P 81). These reported experiences were also framed in the context of boundary dissolution and the unitive experience and included experiences of embodiment with multiple aspects of nature:

I became the forest. First the tree, the branches, the leaves, then I went underground and became the roots, the ground, the living beings in the ground. I was everything. (P 22)

I experienced a complete breakdown of the nature/self divide, and then had an incredibly visceral experience of metamorphosing into a wolf. (P 255)

I melt with the universe and I felt trees and animals melting with my body. (P 200)

I was spread over the surface of the earth on the surface of all water, connected by the water in which I was standing to the surface of all water in a gravitational unity. (P 56)

3.1.4. Spiritual/Energy

The transpersonal experience was also framed to encompass aspects of the spiritual, which were described in numerous religio-spiritual frameworks. Often, the spiritual connections were framed as having the property of an undefined energy e.g., "[connection] to plant network and to Earths [sic] energy" (P 231) or as personification of nature and substances themselves, e.g., "the spiritual element of earth" (P 65), "Gaia" (P 56) and "Madre Ayahuasca" (P 138). One participant linked an interconnectedness of all things to an undefined force:

The wind, trees, grass and even soil constantly radiate an energy that we are undeniably part of. (P 119)

3.1.5. Nature as Self

A number of participants expressed the view that, following insight gained through psychedelic experiences, "harming nature would be like hurting myself" (P 41). The interpretation of the ecological damage caused by humankind as self-harm was also linked to reports of increased interconnectivity occasioned through psychedelic use. This new perspective was commonly described as feelings and knowledge resulting from unitive experiences:

[The] use of psychedelics has demonstrated that there is actually no real separation between humanity and the natural world and that our interconnectivity makes it absurd to exploit and damage any part of our environment. (P 152)

Tripping on LSD...feeling the earth's [sic] pain regarding what we are doing to the environment. (P 19)

Feeling in various ways "one with nature" or "I am nature" on LSD trips and magic mushrooms made me want to preserve it even more because of the better understanding that when nature is hurt, I am hurt. (P 46)

3.2. Revealer

One route by which psychedelics were responsible for an increased connectedness with nature was by revealing a new knowledge or understanding of nature. A profound change in participants' understanding of nature was often reported, for instance, that "small things are part of a larger mechanism" (P 106). Others reported experiences suggesting that all things share some dimension of fraternity, that "we are all one, we all come from the same Source [sic]" (P 73). Aspects of nature that might often be considered non-sentient were also described as animate, with psychedelics creating an "awareness of nature being alive" (P 100). These insights were also shared from seemingly non-terrestrial sources, highlighting the wide range of revelatory experiences:

Contact with alien life forms which are watching humanity and remind me that we are stewards for the earth [sic]. (P 235)

Often, participant revelations included aspects of the world that had previously been masked from conscious experience. New perspectives on humankind's place in the ecology of the planetary organism were also evident, as highlighted by two differing takes on views of an urbanised London following psychedelic use:

I remember being on LSD and overlooking the London skyline. Plenty of fog and smoke, complete lack of "nature", it all looked very toxic, but also delicate. It felt as though nature could quite easily take back what isn't ours. (P 42)

I remember coming into work on a Monday morning after doing mushrooms at the weekend, and looking out of the 20th story office window over London. I was amazed, because I saw a woodland in front of me, with buildings poking out between the trees, where beforehand, I had only noticed the buildings and the trees were the background. It was a complete foreground/background cognitive switch. (P 255)

The most common reappraisal of an individual's understanding is found in the transpersonal aspects of some psychedelic experiences-specifically, unitive experiences and the epistemological shifts they engender:

This [using psychedelics] is where I can actually experience unity, and seeing that the wisdom and the beauty are in all that exist. When you are so awake, you simply see it. Feel it. And truth. Once experienced, it doesn't need proof. It simply knows itself. (P 107)

They make one realise the interconnectedness of everything... the soul of the world and the sentience in all organisms. (P 253)

3.2.1. Pattern/Structure

A small number of participants described the role of "heightened pattern recognition" (P 63), perceptions of "complex...structure" (P 251), and noticing "the pattern of the leaves" (P 121) in increasing their connection to nature. Others framed this heightened perceptual experience as informing a new cosmological understanding; "all the atoms in this plane are constantly vibrating. I saw that nature is a manifestation of this" (P 205).

Parallels between the patterning of the body of the Earth and the human body were also highlighted by participants noticing "repeating patterns in nature that are also present in myself" (P 110). Another participant expands on this idea:

As I came back into my being, the dawn began to break and [e]very rock, grain of sand, tree branch, etc. became reflective of the patterns that exist within the human body and its organs. (P 233)

3.2.2. Awe

Exploration of nature's wonder during psychedelic experiences often gave rise to intense feelings of awe. Nature was described as "wonderful" (P 261) and "incredible in everything it does" (P 127). One participant described wonderment at visual aspects of nature, which informed their nature connection:

While using LSD, I experienced the beauty of butterflies in the forest, in broken beams of lights through the canopy, I was in awe. I felt as though nature is beautiful and delicate and needs to be protected and respected. (P 137)

Revelations about nature's intrinsic wonder were poetically described: "incredible in everything it does, from germinating a seed in the soil to amazing rainbows in the sky" (P 127). Another participant described finding awe in the mundane beauty of nature's capability to sustain life:

It was as breathtaking as any wonder of the natural world, yet this was a productive farm, feeding a small community. (P 261)

3.2.3. Nature Vision

A number of participants described visions that occurred during psychedelic experiences leading to an increased sense of connectedness to nature. Commonly, these visions conveyed an understanding about nature, as one participant reported that their psychedelic experiences facilitated an "awareness of the mycelial network beneath our feet, it helps to expand my own conscious awareness and feelings of connectedness to all living beings and nature" (P 70). Another participant described how this information can be both explicit and less than obvious:

It seems very clear to me that information is conveyed very directly from plants to humans, what type of information is sometimes extremely clear and other times obscure with meanings becoming apparent later or much later. (P 265)

Commonly, visions were described as being delivered by, or pertaining to, aspects of nature, such as experiencing how "Earth grieves the losses she/they has experienced at the hands of humanity" (P 134). Entities encountered within psychedelic experiences also conveyed new knowledge about humankind's impact, with trees communicating "all the madness we have done here on Earth" (P 61), ancestors showing "the life force we've been burinin [sic]" (P 8), and extraterrestrials cultivating psilocybin mushrooms on Earth "to make some people more concerned about the environment" (P 226).

The reported content of visions was a mix of positive, connective experiences such as witnessing "a sweeping vista of the sunrise across Africa simultaneously with the dawn I was in in England" (P 69) and negative experiences such as "the entire forest being destructed [sic], burnt [sic] etc, and its people killed" (P 96), but both were implicated in promoting positive ecological attitudes. Some visions viscerally highlighted the sheer extent of ecological destruction as a tragedy of self-harm:

In effect, that we were killing ourselves, we had the right to kill ourselves if we choose to do so, and that she [Gaia] would continue. (P 56)

3.2.4. Diet

Often, a change in diet resulted following the psychedelic experience, although the specifics of the experience and its relationship to the behaviour were not always explicit. Some participants linked their changes to transpersonal experiences with aspects of nature:

I felt animals around me living through me and planta growing with me... ... No animals products are in my diet since. (P 200)

Increased my sense of connectedness to nature (an ayahuasca ceremony leading me to become vegetarian). (P 132)

Changes towards meat-free diets were also described as unintentional. Aversions, such as not being able to "stomach chicken or meat any longer" (P 258), as well as moral reasons were implicated in change. Participants reported a desire to "limit suffering" (P 50), citing "compassionate and environmental reasons" (P 228) and a newfound "compassion for all living things" (P 79). Increased connectedness was also linked to these increased feelings of empathy for other beings, "a violent bad trip including visions of slaughter... made me feel like a cannibal" (P 44).

One participant succinctly explained how diet fitted in with their ecologically conscious behaviour changes they attributed to psychedelic use:

I have gone from a daily meat eater to a vegan, from having ambitions of any well-paid career to having a career that has a positive impact on society or the world. (P 266)

While dietary change was most commonly in the direction of reduced meat consumption, a small number of participants found justification for a shift in the opposite direction through their psychedelic experiences, providing a new understanding or perspective:

Psychedelics in general have given me a better sense of empathy for animals raised in unethical conditions, however they have also taught me that humanity is part of nature so eating meat itself isn't unethical or immoral. (P 247)

I began a healing process I was vegan before I drank ayahuasca and after my first session I saw how I punched [sic] myself and the grief and anger I carried was a reflection of the suffering in nature. Now I eat meat and I celebrate nature. (P 207)

These alternative justifications for dietary change highlight the subjectivity present in individuals' experiences.

3.3. Amplifier

Other participants expressed experiences that changed their relationship with nature, describing a reinforcing role of psychedelic experiences rather than experiencing a revelation. A large number of participants who reported psychedelics having an amplifying quality on their pre-existing relationship with nature referenced the importance of early life experiences involving the natural world. The potential for psychedelics to bolster this relationship applied across multiple types of environment (e.g., access to urban green spaces and rural upbringing). Those who described an "initial passion" (P 112) for nature commonly referred to these experiences as having a validating capability, to "reinforce" (P 228) and "strengthen" (P 220) a prior connection with nature. Other participants described their experiences with a wide range of adjectives:

Psychedelics really cemented my connection to the environment. (P 13)

Enhanced a personality that already felt much affinity with nature. (P 101)

DMT and psilocybin experiences have always intensified my relationship with nature. (P 23)

The redoubling of prior beliefs also permitted "remembering what's actually important" (P 170), reminding participants that "I am a part of nature and nature is within me" (P 81). Some participants who described strong prior relationships with nature explained the role of psychedelics in making connections more apparent:

I've always been empathetic but psychedelics made me see our connectedness clearly. (P 259)

Magic mushrooms... allowed me to *feel* what I already knew. They increased my confidence in its truth. (P 251)

Often, pre-existing relationships with nature were described as a "strong connection" (P 183) and psychedelic experiences for some of those individuals also provided support for their metaphysical hypotheses:

It wasn't like I met something new or foreign. It was more like a validation for the deeper reality of nature that I thought I had been in contact with. (P 184)

3.3.1. Growing up in Nature

A large number of participants who reported psychedelics having an amplifying quality on their relationship with nature referenced experiences of growing up with access to nature. How this access was defined varied. A large proportion of those individuals found this initial connection to be the result of proximity to more wild nature:

Growing up on an isolated farm, playing in nature as a boy. (P 56)

Living in quite a remote area, growing up around nature/the outdoors. (P 126)

Childhood experience of rural environments encouraged and supported by family members. (P 265)

However green spaces in urban environments were also considered important ways to access nature. One individual's experience of growing up describes how a "city with an amazing park sparked my love of being in nature" (P 98). Additionally, "building up a close relationship with the sea" (P 165) and other blue spaces was referenced as important in nature connectedness:

Being in beautiful places, particularly by water and in sunshine... all reinforce appreciation and care for ecology and natural systems. (P 232)

For some, this relationship with the natural world was also facilitated through less long-term immersions such as travel and "vacations to national parks and jungles" (P102), "field trips" (P 68), and membership to experiential clubs such as the "girl guides" (135).

3.3.2. Lifestyle Changes

Individuals also described how psychedelic use led to increases in pre-existing pro-ecological behaviours such as "recycling, saving energy and water" (P 257) and becoming "more aware of my own impact (garbage production, past overconsumption)" (P 86).

Participants also commonly framed these strengthened feelings and actions in terms of increased sense of "duty" (P 152) and described feeling "compelled" (P 9) to act. One participant describes their change over a range of efforts to act pro-environmentally:

Connecting with nature on psychedelics has reinforced my feelings of a responsibility to make better actions with regards to me and the environment. I eat less meat, choose locally sourced ingredients where possible, reuse and recycle- basically become a more environmentally conscious consumer. (P 222)

For some individuals, psychedelic experiences were seen as responsible for increasing their resolve and deepening dietary lifestyle choices already established. This was primarily framed in terms of changes to diet such as the drive to "eat less meat" (P 44). Some participants described the changes arising from their psychedelic experiences as a reaction to negative emotions they experienced:

Mushrooms made me confront my feeling of guilt over unnecessarily eating meat, amd [sic] gave me courage to finally stop. (P 228)

I've been berated for not being fully vegan. (P 13)

3.4. Psychedelic Use in Nature

A pre-existing relationship with nature informed the way in which psychedelics were used. One theme that was common was the use of psychedelics in nature. The nature-connecting effects of psychedelics were reported as being "heightened when done in nature" (P 149), forming the "most powerful direct and significant influence" (P 167) on nature connectedness when taken in that context. For some participants, using psychedelics in nature was fundamental to the development of their "relationship with nature" (P 253) and was also described as closely linked to their development of nature connectedness:

All the psychedelic experiences Ive [sic] had in nature have enhanced my feeling of connection to the natural world. (P 261)

Once you step foot, barefoot in the rain with the earth and grass in between your toes on a full moon soaking the vibrations in while enjoying psychedelics is enough to start the ball rolling in the way to appreciate nature and the earth [sic]. (P62)

This role of being immersed in nature in shaping the interconnectedness reported was also clear for some participants:

Take mushrooms and wander around a forest for hours. Only under the influence of mushrooms will you notice and understand just how precious and miraculous nature really is. (P 58).

Every time I use psy [sic] in nature I feel connected to nature more and this closes the feeling of myself being separate from nature, instilling me with greater desire to act in an ecologically conscious way. (P 167)

For some participants, psychedelic experiences in nature factored into the development of a kind of stewardship role: "this sense of connection and shared essence influences my concern and sense of responsibility to care for Earth" (P 235). Psychedelic use in nature created a novel environment to explore the natural world, "just being in nature while on psychedelics is somewhat of an explosion for all the senses" (P 221), and allowed time for others to deepen their connection, "being in nature and appreciating it in the close up" (P 109).

There were also expressions of nature as being the preferential setting in which to use psychedelics, with participants seeking "experiences in nature rather than indoors" (P 97) and in the "countryside vs. the city" (P 119), describing nature as the "safest and most interesting place in which to explore the psychedelc [sic] state" (P 56). Some participants also indicated that location was an influence on their decision to use psychedelics, "I only really like to do psychedelics in a natural environment. As a pedestrian living in a city, I don't really use them as much" (P 104). Another participant described actively seeking out "nature and solitude away from artificial noise" (P 92) to improve their experience.

Participants frequently reported associations between psilocybin mushrooms and nature connectedness. Psilocybin mushrooms were also commonly linked with reports of outdoor psychedelic use:

Mushrooms in nature seems [sic] eminently capable of revealing intimate connection of self and world. (P 260)

Take psylocybin [sic] and look up at the stars! This whole place is a fucking miracle. (P 67)

Participants also frequently reported using psychedelics in combination with outdoor activities such as "walking" (P 112), "hiking" (P 30), and "camping, as well as swimming in a lake while naked" (P 43), suggesting, for some individuals, it forms an intrinsic aspect of their relationship with nature.

Nature as a Remedy

Nature was also cited as having a curative effect during challenging psychological aspects of the acute psychedelic state, with participants expressing feelings of "needing to be in nature" (P 34), providing both a physiological and metaphorical "well needed gasp of air" (P 78). For one participant, proximity to nature was a major consideration as a tool for harm reduction:

During these times when I felt it was too much for me, I have always used the outdoors and nature to get me through them. (P126)

Elements of nature were important in this regard, with challenging experiences being "sorted with either earth or water" (P 136). One participant expanded on this, describing nature as providing both physiological and psychological relief during a difficult part of a psychedelic experience:

I needed to be in a natural environment or else I would break out in sweat and barely be able to talk. (P 78)

Some participants also described drawing on memories of prior psychedelic experiences in nature "in order to relieve anxiety" (P 193) and to manage well-being: "if I'm ever worrying or stressed, I fall back on this feeling" (P 220).

3.5. Reflexivity

Researchers have studied nature connectedness and psychedelic experiences in depth, making complete separation from the topic impossible and potentially influencing theme generation.

4. Discussion

A qualitative analysis of responses from a psychedelic user group on a series of questions exploring factors and experiences relating to their connection to the natural world revealed a set of common themes. The thematic analysis generated four superordinate themes, transpersonal, revealer, amplifier, and psychedelic use in nature, that related to an increased connection to the natural world.

Nature connectedness is a complex and multidimensional construct, and these superordinate themes suggest that psychedelics can influence nature connectedness in multiple ways, with shifts encompassing contact with nature, emotion, empathy, meaning, and perceptions of beauty, all of which have been highlighted as pathways to enhanced nature connectedness [ 50].

When used in natural settings, psychedelics may have a proclivity towards evoking meaningful nature experiences, defined as "powerful non-ordinary experiences with/in nature that are particularly profound, significant, affective and difficult to wholly describe." [ 51] (p. 4). They may be sparked by perceptions of symbolic phenomena in nature, such as patterns and visions, and commonly involve a heightened state of awareness, emotional intensity, a sense of connection, and shifts in normal perception [ 51, 52, 53]. Such experiences can in turn lead to deepened nature connectedness [ 51, 54]. As previously mentioned, recent findings [ 48] suggest that the effects of psychedelics in promoting the nature connection may be most common in users of psilocybin mushrooms. This interesting finding, drawn from analysis of multiple combined data sources, highlights the need to investigate how the nature-connecting capacity of different psychedelics varies.

4.1. Transpersonal

This interconnectedness with and empathy for nature resonates with many indigenous/shamanic perspectives, whereby the ecosystem is respected as a living, interconnected entity of which humans are but a part (e.g., [ 70, 71, 72, 73]). Perspectives of deep interconnectedness with nature are an important aspect of many indigenous belief systems shared by numerous cultures separated by time and space, such as the Māori worldview (te ao Māori), which acknowledges the interconnectedness of all living and non-living things [ 74], and the Rarámuri worldview, which encompasses 'iwigara': the total interconnectedness of all life, physical and spiritual [ 73].

Communication with plants and other non-sentient aspects of nature during psychedelic experiences enabled some participants to connect with the natural world. Instances of transmogrification had similar effects. The concept of communication with and embodiment of other entities under the influence of psychedelics has been noted by anthropologists studying animist societies [ 75]. Communing with other species is often an aspect of the psychedelic experience [ 76] and shamans in some animist societies use psychoactive medicines with the precise intent to engage in this process [ 77], as is frequently prevalent in Amerindian shamanism, and termed 'perspectivism' [ 78]. This "intimate communication" [ 79] (p. 144) with nature has also been noted in non-shamanic psychedelic use [ 79, 80], and even in clinical research settings.

Spiritual connections with nature were sometimes framed in the context of an undefined energy or essence and encompassed the planet, or biosphere, as a whole, with this energy attributed to both animate and inanimate aspects of nature in some cases. In other instances, elements of nature or the psychedelic substances themselves were personified. This may be partly aligned to perspective shifts following psychedelic use that seem to relate to more animist beliefs, with greater adoption of panpsychist views [ 41], and a greater attribution of consciousness or life force to both animate and inanimate objects in nature [ 81]. Animistic beliefs are highly ancient and transcultural and are often linked to shamanism, and personification of the earth or natural elements appears to be tied to such beliefs [ 77], such as the Andean Aymara and Quechuan concept of Pachamama [ 82, 83] and Māori concept of Ranginui (Sky Father) and Papatūānuku (Earth Mother) [ 84] (p. 131). Spiritual agency may also be attributed to the psychedelic substances themselves and, in a previous survey, was widely reported to occur with the ingestion of naturally occurring psychedelics [ 85] and has been referred to as animaphany [ 86].

Research also links empathy for nature and anthropomorphism [ 87], providing an explanation of motivation to value non-human aspects of nature and incorporate them into one's own worldview. An anthropomorphic understanding of nature is proposed to "generate a sense of connectedness to the anthropomorphized entity" [ 88] (p. 519), potentially leading to increased nature connectedness and pro-environmental behaviours (for a review, see [ 89]). Empathy towards the living planet and all its flora is proposed to operate in a similar way to the extension of empathy humans offer to animals [ 87, 90] and planetary empathy may better predict pro-ecological behaviours than inter-human empathy [ 91]. Unitive experiences may provide a visceral experience of this felt empathy. For a review of empathy enhancement and ecodelic mechanisms with psychedelics, see [ 5].

4.2. Revealer

The theme revealer describes the experience of feeling a closeness with the natural world that participants were previously unaware of or had not experienced prior to psychedelic use. Participants described how, through unitive experiences, they came to have novel perceptions and understandings about nature. Insight and mystical-type experiences have an individual but correlated role in the benefits to the psychedelic user [ 92]; for a review, see [ 93]. Insight arising in psychedelic-assisted therapeutic work may be arrived at through contemplation and subsequently consolidated through integration; however, the revealing of new worldviews, such as an increased connectedness to nature, might be arrived at in a more tacit or intuitive way.

Psychedelic experiences, in particular, are regularly described as having noetic properties, or conveying innate truthfulness [ 94]. The perceived veracity of, and confidence in, new understandings are considered more calcitrant when obtained through insight [ 92]. In line with Timmermann et al.'s [ 41] "context-independent belief shift" (p. 8), a number of participants expressed worldview shifts away from those consistent with materialism (cf. [ 94]). Combined, this stickiness of restructured beliefs and their increased potential to arise through psychedelic use suggests that long-term changes in metaphysical beliefs and worldview revisions (e.g., ecocentrism), such as those highlighted by participants' transpersonal experiences, may be possible.

The subtheme of awe was included in the revealer category, as definitions of awe include an element of wonder or surprise. These instances of awe were evident from a number of sources: visual appreciation, beauty, interconnectedness, and impressions resulting from transpersonal experiences. The experiences of awe were not necessarily limited to those aspects of the natural world commonly reported in the literature such as dramatic landscapes or colossal forces of nature [ 32], but also included the microscopic and mundane as well as beauty in the machinations of nature, a concept proposed by Beery and Wolf-Watz [ 95].

The description of nature and its ability to create awe put forward by Keltner and Haidt [ 32] is associated with the idea of the vastness of nature and the perception of the "small self", an idea also echoed in some participant responses.

4.3. Amplifier

A large number of participants whose experience was identified through the amplifier theme detailed substantial previous experiences in nature, with a large proportion of these individuals referring to their proximity to wilder nature as being important. Psychedelic substances have been proposed to act as an "unspecific amplifier of mental processes" [ 96] (p. 6), and an intensification or renewal of a pre-existing sense of connection to nature/spirit was a central theme to emerge in a qualitative study of ayahuasca usage [ 56]. While time spent in nature has been associated with nature connectedness [ 42, 97], contact with nature during childhood appears to be a key predictor of connection to nature in later life [ 98, 99, 100]. Contact with natural settings of higher biophilic quality or harbouring higher biodiversity has also been associated with higher levels of nature connectedness [ 97, 101, 102]. Such settings exhibit a richer sensorial tapestry than less nature-enriched areas, which is likely to positively influence nature connectedness, with some participants stating that shorter-term or experiential visits to such places were also important in the development of their relationship with nature.

Psychedelic experiences were interpreted as playing an important role in the development of individuals' eco-consciousness, regardless of whether this was a novel understanding or a deepening of pre-existing beliefs. Therefore, lifestyle choices-including dietary changes-also formed a lower-order theme within the amplifier theme, which included the accounts of participants with a pre-existing connection to nature who found psychedelics to enhance and solidify it. Some participants altered their diet in line with perceived pro-ecological choice (e.g., veganism). Dietary change can occur through a number of ways including internal and external triggers, such as critical self-perception [ 103] and non-ordinary states of consciousness (e.g., OBEs) [ 64]. Dietary change has also been associated with psychedelic use [ 24, 80, 104]; these findings suggest one mechanism through which this may occur.

4.4. Psychedelic Use in Nature

Participants reported use of psychedelics in natural settings, and a pre-existing relationship with nature seemed to influence this. The nature-connecting capacity of psychedelics was considered to be enhanced using psychedelics in natural settings, and some reported that such experiences could promote feelings of stewardship towards nature. Feelings of interconnectedness with nature may be particularly prominent in the context of contact with natural settings and recognition of our place in the web of life [ 105, 106, 107, 108], and the perceived influence of access to nature during psychedelic experiences has been positively associated with increases in nature relatedness among those rating below-average in the trait in one study sample [ 18]. Furthermore, mystical experiences occurring within natural settings may be more likely to elicit positive change in pro-environmental behaviour than mystical experiences occurring in indoor settings [ 109].

5. Study Limitations and Future Research

Our sample was a self-selecting sub-population of psychedelic drug users being asked about experiences of nature connection; as a result, it is perhaps not surprising that psychedelic drugs featured heavily as factors in the development of pro-environmental attitudes. This also makes disentangling their potential impact from those factors socially determined and culturally influenced difficult. The reporting of ineffable experiences occasioned by psychedelic experiences poses a particular challenge for scientific investigations [ 115] and the limitations surrounding our method of data collection are also a consideration. It is, however, also possible the approach we employed may harbour positive benefits, such as limiting researcher bias in the process of data collection. Online survey capture also provides a larger dataset from which to investigate common themes than individual interviews might allow.

It is important to note that the quotes highlighted here represent the views of a group of people who had chosen to attend a psychedelic conference, or partake in an online user group, suggesting an enthusiasm for and positive experience with psychedelics. Negative experiences with psychedelics are not rare and appear to be more likely to occur in unsafe and unsupervised settings [ 116]. While our findings generally constitute positive experiences, taking psychedelics does not guarantee a positive or nature-connecting experience, and for the potential benefits of these hugely powerful tools to be realised, a cautious and responsible approach is required.

6. Summary

Psychedelics were cited as having both an independent effect on positive relationships with nature and a compounding effect, most commonly through transpersonal experiences of increased interconnectedness. These unitive experiences generally increased participants' connection to nature through the generation of new perspectives on nature and individuals' place within it. Individuals with prior experiences of access to natural settings often expressed a pre-existing connection to nature; however, it was often reported that psychedelics played a role in confirming and amplifying these pre-existing attitudes and beliefs.

Psychedelics were also understood as being tools to help strengthen, cement, and crystalise pro-environmental attitudes and behaviours, and some individuals described huge changes in worldview that led to increases across both domains.

7. Conclusions

Thematic analysis of qualitative user accounts suggests that psychedelics have the capacity of kindling a sense of kinship with nature in those without a prior nature-centric relationship, as well as deepening this connection for those individuals with a pre-existing relationship. They appear to reliably induce experiences and insights that can cultivate the formation of an 'ecological self' [ 117], encompassing a more expansive and transpersonal sense of self built on the perspective of the fundamental interconnectivity and kinship of humans with the rest of nature [ 70]. Given the importance and urgency of coming back into balance with our planet, it makes sense that the great Albert Hofmann came to view the potential of psychedelics in helping address our disconnection from the natural world as perhaps their most fundamental role [ 118].

# data[].attributes.attachment_link.description
Objective: To explore the perceived influence of psychedelic experiences on participants' relationship with the natural world. Method: A total of 272 participants reporting previous use of psychedelics completed free-text response requests via an online survey. Thematic analysis was used to explore group participant responses.

# data[].attributes.attachment_link.title
Recipe: Natural, Water-based, Relief Printmaking Ink

# data[].attributes.attachment_link.description
This recipe is based on the very ancient and little-known Japanese process called the Moku Hanga technique of making your own water-based relief inks. This ancient technique has always used all non-toxic ingredients. The ink is for wood block prints but can also be used for linoleum cuts and mono prints.Ingredients: Earth & Mineral PigmentsAlcohol (preferably gin- makes ink more archival and durable)Nori (Rice Paste)Optional Ingredients:
Magnesium CarbonateTools: 
Roller or soft brushPaletteSmall containerPalette KnifeStep 1: Mix 1 tsp alcohol and 1 tsp. water (1:1).Step 2: Mix pigment with gin/water mixture in a small container to make creamy ink consistency.Step 3: Scoop ink onto palette.Step 4: Add 1-2 tsp. Nori paste, thinned with a little water.Optional: If ink needs to be thicker, add Magnesium Carbonate (Mag. Mix- optional), about ½ tsp., adjusting as needed.Step 5: Continue to mix with a palette knife until the ingredients are evenly combined.Step 6: Roll out until it’s evenly coating the roller (note: if it’s not sticking to the roller well, add more Nori).Step 7: Roll onto your printing surface. Step 8: Print with your desired technique, either with a press or with a barren.Notes:
The ancient Japanese technique is to actually brush the inks on the woodblocks with a wide, short bristled brush, rubbing the ink into wood vigorously. They also used wet paper to print on, although dry is what we used. This recipe makes enough ink to make 1-2 prints. Mix more to make more prints.All pigments have different absorption qualities and drying times, so adjust the recipe as needed.Recipe from printmaker Shannon Yost.Interested in more recipes featuring Natural Earth Paint products? Visit our Recipes page!Follow us on Instagram, Facebook, and Pinterest for more natural inspiration.

# data[].attributes.body
Coprinopsis atramentaria

# data[].attributes.attachment_link.authors[].name
Making Ink from Inky Cap Mushroom (Coprinopsis atramentaria)

# data[].attributes.attachment_link.title
Making Ink from Inky Cap Mushroom (Coprinopsis atramentaria) TextureNick Neddo eartharts—The Organic Artist book

# data[].attributes.attachment_link.description
It was a beautiful Fall afternoon, with crisp Autumn sunshine and an occasional lazy breeze.  There it was, pushing the sugar maple leaves aside as it reached up out of the soil: an Inky Cap! Some people hunt these critters to eat them, but this encounter was exciting to me for a different

# data[].attributes.headline
Article: How to make yellow paper and some activities

# data[].attributes.subject
Article: How to make yellow paper and some activities

# data[].attributes.attachment_link.authors[].name
Tami O’Connor, Educational Innovations, Bethel CT

# data[].attributes.attachment_link.title
How to make goldenrod paper and some activities | Chem 13 News Magazine

# data[].attributes.attachment_link.description
In August 2015, Educational Innovations was able to bring back goldenrod paper. For years, this paper had been discontinued, apparently because goldenrod paper was not able to be recycled. The fibers in the paper were saturated with golden colored dye.

# data[].attributes.body
A digital version of Eco Publication.

# data[].attributes.body
It's preferable to opt for traditional linoleum blocks as they are biodegradable.

# data[].attributes.attachment_link.title
How to Lino Print for Beginners - Linocut Artist | Boarding All Rows

# data[].attributes.attachment_link.description
A guide to lino printing for beginners. What is linocut and how to do it at home including lino printing supplies and the process step by step. And, easy beginner linocut tips and techniques.

# data[].attributes.body
LOW TECH Magazine underscores the potential of past and often forgotten technologies and how they can inform sustainable energy practices.

# data[].attributes.attachment_link.description
This is a solar-powered website, which means it sometimes goes offline

# data[].attributes.body
by Julia Watson

# data[].attributes.attachment_link.readable_text
Lo-TEK is an award-winning, bestselling book, which has inspired "- a design movement to rebuild an understanding of indigenous philosophy and vernacular architecture to generate sustainable, climate resilient infrastructures. . . expanding the definition of contemporary technology."

Written by Julia Watson and published by Taschen in 2019, Lo-TEK creates an alternative but parallel story about the evolution of technology that is inclusive, sustainable and based on nature.

Design by

Radical Indigenism

"The Lo-TEK Living Curriculum, created in collaboration with Melissa Hunter Gurney of The Omni Institute, was written to accompany the book Lo-TEK Designs by Radical Indigenism. This curriculum for high school students addresses the future of our environment, reignites dismissed voices and ensures access to phenomena and land-based education, with interdisciplinary exploration and thinking. Although we aren't teaching how to build Lo-TEK explicitly, the Lo-TEK Curriculum opens students to a new way of understanding technology for climate resilience. Available to educators , students gain an understanding of indigenous technologies and practices that expose connectivity to their own histories, local landscapes and current views.

Lo-TEK, an acronym for

(Lo)cal + (T)raditional

(E)cological (K)nowledge

Watch Julia's TED Talk here with links to press below.

# data[].attributes.attachment_link.description
Written to accompany the book Lo-TEK, Design by Radical Indigenism, the Lo-TEK Curriculum for high school students addresses the future of our environment, reignites dismissed voices and ensures access to phenomena and land-based education, with interdisciplinary exploration and thinking.

# data[].attributes.body
Digital showcase of Eco Publication, my final project for my Graphic Comm. Design course at Central Saint Martins.

# data[].attributes.attachment_link.title
Eco Publication - Louison Coutte - UAL Showcase

# data[].attributes.attachment_link.description
From handmade recycled paper to organic mushroom prints, this eco-conscious archive showcases sustainable print crafts along with their experimental results.Acc...

# data[].attributes.body
Here's a simple recipe using common household items:

Instructions:

1. In a small bowl or container, combine powdered charcoal or graphite with a binder (linseed oil, vegetable oil, or gum arabic).

2. Start with a small amount of binder and gradually add more until you reach your desired consistency. The mixture should be smooth and spreadable but not too runny.

3. Optional: mix in small amounts of natural pigments (e.g., turmeric for yellow, beetroot for red)

4. Store the ink in an airtight container for storage. Keep it in a cool, dry place away from direct sunlight.

Experiment with different ratios of ingredients and natural pigments to customize your homemade ink to suit your preferences.

# data[].attributes.body
"You may be surprised, but London is one of the world's most sustainable cities. We've got zero-waste bars, carbon neutral gyms and even ethical enchiladas. But that doesn't make it easy to sort the green from the green-washed. If you want to enjoy the city while reducing your impact, this opinionated guide will show you where to go to live the good life."

# data[].attributes.attachment_link.readable_text
'An Opinionated Guide to Eco London'. Text by Emmy Watts. Photography by Charlotte Schreiber. 160 pp, paperback, 112 x 162mm. Contains 56 places, an introduction, a map and top recommendations.
You may be surprised, but London is one of the world's most sustainable cities. We've got zero-waste bars, carbon neutral gyms and even ethical enchiladas. But that doesn't make it easy to sort the green from the green-washed. If you want to enjoy the city while reducing your impact, this opinionated guide will show you where to go to live the good life.

Emmy Watts is a Yorkshire-born writer specialising in fun things to do in London with kids . She lives in Camden with her own two children, who she's attempting to raise as sustainably as possible (though that's easier said than done given their shared aversion to vegetables and penchant for pink plastic).

Charlotte Schreiber is a German fashion and editorial photographer based in Hamburg and London.

This book is carbon neutral. This is the first edition.

ISBN: 978-1-914314-20-9

# data[].attributes.attachment_link.description
If you want to enjoy the city while reducing your impact, this opinionated guide will show you where to go to live the good life. You may be surprised, but London is one of the world's most sustainable cities. We've got zero-waste bars, carbon neutral gyms and even ethical enchiladas.

# data[].attributes.headline
Do you find the 21st century overstimulating? Try ‘longstorming’

# data[].attributes.subject
Do you find the 21st century overstimulating? Try ‘longstorming’

# data[].attributes.attachment_link.title
Do you find the 21st century overstimulating? Try ‘longstorming’ | Psyche Ideas

# data[].attributes.attachment_link.description
As the treadmill of life speeds up, sublime outdoor spaces help us tap into timescales that are longer, slower, planetary

# data[].attributes.headline
Print and Production Finishes for Sustainable Design - E.Denison

# data[].attributes.subject
Print and Production Finishes for Sustainable Design - E.Denison

# data[].attributes.attachment_link.readable_text
Acheter des livres sur Google Play

Parcourez la librairie en ligne la plus vaste au monde et commencez dès aujourd'hui votre lecture sur le Web, votre tablette, votre téléphone ou un lecteur d'e-books.

Accéder à Google Play "

# data[].attributes.attachment_link.title
Print and Production Finishes for Sustainable Design

# data[].attributes.attachment_link.description
Print and Production Finishes for Sustainable Design is an indispensable ideas sourcebook and practical guide to what has become an important consideration for many designers: sustainability. The book shows examples of environmentally friendly inks, varnishes, pigments, and finishes that can be used in a wide range of standard printed media.

# data[].attributes.headline
Tutorial: Make a quick Art Journal using paper scraps

# data[].attributes.subject
Tutorial: Make a quick Art Journal using paper scraps

# data[].attributes.attachment_link.title
Make a quick Art Journal using paper scraps | Tutorial | 🦋 Shanouki Art 🦋🧿

# data[].attributes.body
I recommend "Non-adhesive binding", a book compiling many different ways, by Keith A. Smith.

This is a non toxic approach to modern/commercial book binding (tying a book's pages together and adding a cover for protection) which doesn't use glue.

Instead, examples include stitch binding. This process is traditional and there are endless possibilities.

# data[].attributes.wish_content.attachment_props.alternative_text
Handmade artsy book with a Japanese (orange) stitch binding.