Nature’s Palette; A Guide to the Best Leaves for Eco Printing

Eco-printing is my beautiful and sustainable way to create unique patterns on fabric using natural materials. One of the most important factors in successful eco-printing is my choice of leaves. The right leaves can produce stunning results, while the wrong ones may not yield the desired effect. Here’s my guide to the best leaves for Eco printing. (with video)

What Makes a Good Leaf for Eco Printing?

• High Tannin Content: Leaves with high tannin content, such as walnut, maple, sumac and eucalyptus, tend to produce darker and more vibrant colors.
• Strong Veining: Leaves with prominent veins often create interesting patterns on the fabric.
• Texture: Textured leaves can add depth and dimension to your prints.
• Size and Shape: Consider the size and shape of the leaves when choosing them. Larger leaves can create bold patterns, while smaller leaves can be used to create intricate designs.

My Amazing Autumn Colour:

I get excited each fall when I see all the colour around me here in Canada. But do not be fooled; they do not always give the colour that would expect.

Using Iron as a Mordant:

One the most common elements for successful Eco prints is iron, in the form of rust water or the simple solution of Ferrous Sulphate. The amount of iron used will affect the colours of the print. I tend to use a lot of iron so you may notice that my prints are quite contrasty and dark. It is often used as an iron modifier.

Above you see some very well used iron blankets. Much of my experimentation happens on old cotton sheets (cellulose fibres) with the use of homemade Aluminum Acetate Mordant.

What is that?! When you see a defined outline around the Eco print leaf shapes it usually means that there was the use of the Iron blanket to bring iron into the equation. It is old flannel fabric that I soak in ‘iron water’. Look through my many tutorials to sample all the variations available and more!

Where I find my leaves:

We have much park space here in Canada so I have access to many leaves. There is an abundance of maple trees of all varieties.

My Always Reliable Leaves:

After quite a few years of printing I have started to have a list of ones that will never disappoint me. I have also figured out where each of these trees are.

When I plan to do a large batch of printing it is easiest to collect and carefully stack the leaves in ziplock bags in the fridge until I’m ready. They keep pretty well for a even a few weeks. For more long term storage I will press and dry them. I do have a stock pile of dried leaves.

Here’s my Personal List of favourite Eco print Leaves:

#1 Silver Maple

If I had to choose one leaf I think this would be it! These Silver Maple (Acer saccharinum) leaves have so much shape details and always provide me with good prints. They do turn a bit golden in the fall, especially at the edges. Pressing these also easily allows them to be stored and dried for later use.

#2 Other Maple varieties that have changed colour:

Norway Maples (Acer platanoides) are abundant here and I usually don’t use them until they have some fall colour. I look for colours that are not too dark and interesting patterns.

#3 Red Maple in early fall:

I always check out my favourite trees in early fall as Red Maple (Acer rubrum) one gives such amazing colour once it is bright red. It has a distinct shape compared to the the other maples.

#4 Staghorn Sumac:

I am so fortunate to have a lot of Staghorn Sumac (Rhus typhina) available to me. It grows in vast areas and along roadsides here in Canada. It is quite reliable and also acts as a release printer with some natural dyes. It is a bit more tempermental when trying to dry for future use as it will mold easily if pressed tightly.

#5 Cotinus:

Smoke bush (Cotinus coggygria) or is in the same family as sumac. The leaves have tones of greens and reds, especially in the fall. Sometimes they will gift us lovely blue prints on silk fabric. ‘Such magic seems to happen as they develop patterns on the leaves.

#6 Weigela:

#7 Walnut:

Black walnut prints quite strong but I find it is more difficult to dry leaves for later use. They also seem to be quite early to fall in Autumn.

#8 Black Locust:

Black Locust (Robinia pseudoacacia) leaves bring a good variation of shapes to your design choices. These leaves are delicate and give medium strength prints. Keeping them flat may be a challenge as they tend to like to fold themselves.

Other Leaves that also print well:

Please do not think that the list stops there! Many find that Oak leaves, Eucalyptus (certain varieties), Rose leaves and Blackberry leaves. The eco-printing process is not limited to only leaves; certain flowers also provide prints. Geraniums, Coreopsis, Marigolds, Cosmos and others are great to experiment with.

Laying out & Preparing a Bundle:

The leaves are laid out on the damp cotton strip with the veins down. They release much easier from the bottom of the leaf structure (except Eucalyptus which will print both sides) Here’s a hint; if you mix your varieties the if some print very light then the others will fill the composition.

The iron blanket is laid on top carefully. To prevent any ghosting through layers there is a barrier added on top before rolling tightly and tieing. I plan my width carefully and do not use metal pipes since I usually process in the microwave.

Unveiling the Magic:

This cotton fabric sheeting was mordanted in Aluminum Acetate (alum, soda ash & vinegar mix) overnight, rinsed and then dipped in a weak solution of iron ‘water’ before adding an iron blanket. A barrier is added and then it is processed using my special method in the microwave.

This method of double application of iron creates a print of the leaf and also the telltale contour that the ‘iron blanket’ creates. I often seem to have heavier use of iron but that is my character, I like strong contrasts. Once you do your tests you are free to choose your own signature style.

As you see the use of my favourite leaves above there is less dark outline. This means I only dipped the mordanted fabric in an iron water and did not use an iron blanket. Each technique yields a different result.

The Cotinus above shows a lovely purple and the Weigela prints golden this late in the season. Embrace the colours that you get as it may not always be completely predictable. The different fibre content also play into how easily they accept the prints. Cellulose and Linen are more difficult to get rich colours than wool or silk.

The Red Maple tends to give prints of blue or purple compared to the warmth of the sumac.

Fall Maple Leaves:

Although the leaves in fall may be bright the colours often will be wonderful but not exactly as you see them. These prints on silk dupioni exhibit a wide range of muted colours. The fabric texture plays wonderfully into the design elements as well.

Adding Colour with Dye:

Additional colour can come from a natural dye such as Cochineal, Logwood, Cutch, Weld or others. Some times it seems like the ‘stars align’ as the reactions and even ‘release’ (leaf makes the dye change or diminish) make amazing things happen. There’s your reason to take notes and sometimes throw caution to the wind!

Pure golden wool pashmina accepting some simple impressions since the colour was pre-existing.

Opening a bundle after it has sat overnight is exciting to wake up to! Silk captures the more vivid hues from the Cotinus and Smokebush! The little ‘sparks’ of light seem to escape from the ends of the leaves.

Pure Wool scarves are not easy to find but when I do they warrant a pretty leaf! That’s when I use the Red Maple for purple prints! Intricate contours again are captured with the use of and iron blanket.

Thicker wool means more fibres that can take up colour. Later gathered fall leaves may bring darker tones as they also get more brown. The contour comes from the use of the iron blanket.

Repeated use of the iron blankets results in a collection of prints on them as well. These flannel cotton ones get better with each round. I do wash them quite well between use so that the tannins they may collect do not pass to the new target fabric.

Colour does not print as we see it:

Red and orange fall leaves may not (probably not) print those strong hues. Depending on the specie and stage of colour as well as use of mordant will affect it. The purple here is from the bright Red Maple leaves.

The tannins in these fall leaves can have quite the affect on the pre-dyed silk. Since some natural dyes are quite sensitive to PH the leaves can discharge the colour or change it! It is one of my favourite techniques when I use Cochineal and Logwood dyes. The distinct edging again come from the use of the iron blanket.

What are your favourite leaves for Eco printing beautiful textiles? Do you share any of my faves?!