Bloom to Brush: Botanical Natural Ink-Making For Calligraphy | Joy Tay | Skillshare
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Bloom to Brush: Botanical Natural Ink-Making For Calligraphy

teacher avatar Joy Tay, Maker

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      A Warm Welcome And Class Navigation

      1:30

    • 2.

      Natural Inks - Foraging for Dyes

      2:00

    • 3.

      Natural Inks Introduction to Natural Dyes

      5:08

    • 4.

      Cleaning Your Tools and Equipment

      1:37

    • 5.

      Preparing Your Flowers

      4:31

    • 6.

      Bathe Stage: Extracting Colour Through Heated Water Immersion

      5:07

    • 7.

      Bathe Stage: Extracting Colour Through Pulping Without Heat

      3:13

    • 8.

      Filtering the Red Hibiscus Dye

      0:59

    • 9.

      Extending Colours With Additives

      3:29

    • 10.

      Effects Of Additives On Dye Colours

      8:11

    • 11.

      How To Create A Deckled Edged Effect On Paper

      2:56

    • 12.

      Design: Create An Escort Card With Natural Dyes

      8:07

    • 13.

      Design: Brush Calligraphy With Butterfly Blue Pea Flower Ink

      4:02

    • 14.

      Thank You! And Your Class Project

      1:12

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About This Class

Infuse your calligraphy work with the vibrant hues of Mother Nature herself with botanical natural inks. Bring the outside indoors with botanical natural inks, sourced right from your garden.

From botanical sources such as flowers and leaves, discover the hidden artistic potential lying around your garden. Marvel in the surprising shades that emerge from botanicals using this handcrafted natural ink-making method.

What You Will Learn:

  • Possibilities of botanical source items that can create natural inks
  • Two methods of extracting colour from colouring agents
  • Increasing your range of botanical natural ink colours through additives and modifiers
  • Examples of using botanical natural inks inks for an array of artistic applications, including background for brush pen calligraphy and brush calligraphy.


This class is for you if you:

  • looking for a new medium that is different from working with traditional inks
  • can embrace the unique characteristics of natural inks
  • are into embarking on a rewarding DIY project
  • are looking to reconnect with nature with your art

Whether you're a seasoned artist or a curious beginner, this class promises to help you reconnect with Mother Nature through creating and using your own handcrafted botanical natural inks.

Meet Your Teacher

Teacher Profile Image

Joy Tay

Maker

Teacher

Oh, hi there! I'm Joy Tay, your gal behind the joy-soaked fingers you see in all my classes.

I'm here to help you to use art to evoke joy from our hands to our hearts, through creating art. Check out the mussel shell lettering video above where you can see how I teach classes, as well as my tutorials on Youtube.

// FREE COURSES DOWNLOADABLE PLAYBOOKS FOR YOU //

1. Introductory Material-ligraphy "Add Your Calligraphy On Any Material" Course 2 Bonuses

- 20-page Guide to Lettering & Calligraphy On ANY Material &

- 21-page Curated List of Pens and Inks):

2. Basics of Brush Pen Calligraphy Course Bonus

- 28-page Brush Pen Calligraphy for Begin... See full profile

Level: Beginner

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Transcripts

1. A Warm Welcome And Class Navigation: If you've always been in all of the natural colors around you, and you want to bring it home with you through natural dyes. This class is for you. Welcome to this class. You can call me Joy, and I'm here to help you turn the colors from your garden into natural dyes. For this class, this is the overview and navigation. First we start with the introduction to dies. Then I'm going to take you on a walk where you see some of my favorite spots to get natural ingredients. Now in this class, I'm going to take you through two different processes, how you can extract color. The first one uses heat and the other one, no heat is required. You can see what works well for you. Now I'm also going to be talking about something called additives and modifiers. And these additives and modifiers actually help you to shift your color so that you can get a wider range of colors from the same material. Since we have created our Es, we're going to use it. One project that I'm going to go through with you is making a decor edge Escott with natural dies. Most of the videos are going to concentrate on the process of creating our dies. And if you need handouts to help you follow along, I've provided them under the Projects and Resources tab. Before we get started, come along with me, I'm going to take you on some of my favorite spots where I collect some of my natural materials. 2. Natural Inks - Foraging for Dyes: 0 a. 3. Natural Inks Introduction to Natural Dyes: Before we start, it'll be useful for us to have a good grounding and foundation about making natural. Yes. But first, why do we want to make natural? Yes, I really think that it's very beautiful to have a process that offers a connection with your surroundings. For example, if you always pass by this Hibiscus bush, you may get inspired by it and that's the E that's going to emerge from that inspiration. The beautiful thing about natural yes, is that unlike synthetic dyes that have a very flat color natural dyes, they actually made up of different color carrying particles, so there's a lot of depth to it. The colors for natural dyes also tend to be very subtle and soft, and they match very well with each other. It's also flexible because if you want the color to be brighter, of greater intensity, we can always use moderns. I'm going to be sharing also about cleaning and safety, common tools and equipment that you need. And also the process of creating your natural dyes first. Because you're working with natural ingredients. And natural ingredients are just so delicious, the bacteria and microbes that it's important for you to sterilize, disinfect, or sanitize your tools and equipment. Next, you can go to town getting all the kinds of tools and equipment that you need. But to be honest, please feel free to improvise and if you have another tool that can accomplish the same thing yeah, just use it. Here are some basic tools and equipment that you'll need for processing your coloring agents. You'll need a coffee filter, a mesh sieve, and a funnel. These will help you to separate out your natural materials from your De. If your coloring agent is too big, you probably will need a motor pestle to break down into smaller units. Alternatively, you can also use an old coffee grinder, but make sure that it's not used for food. If you're working with berries, it's also helpful to have potato masher so you can break down the fruit even further. Again, make sure that the containers that you use for making your yes are solely used for dye making. You may need containers such as a pot, a large bowl, or glass container for storage. You will also need some mixing tools like a spoon or stir stick, or even glass rods. Now, natural colors can stain. Ensure that you put plastic on top of your working surface. Protect your hands with gloves and also have a rag handy. Other things that you will need to measure the amounts of your die component will also be beakers, droppers, measuring cups and spoons. You'll also need paper because you want to test out your die and also because you want to create beautiful works of art with the die. Again, I talked about shifting the colors of the die, and you want to see what is the H. And for that, you'll need a litmus paper. Now, more about keeping things simple in the process of creating your natural dies. Just remember the process of BCD and what are they? A you really have to think about what is your coloring agent? Do you want to use flowers? Do you want to use leaves? And it's all up to you. Next is the bath stage where you're bathing your natural ingredients in water. This is the hot bath de, method, but if you don't want to use heat, that is also a pulping method. I share with you two different strategies. And you may need to take a look at your plant to see what is more suitable. Of course, when you're creating, yes, you may want to add some additives and that's totally optional. Then once your dyes are made, you get to be created with it. Now, when you're working with your natural ingredients, it's so important to be able to dance with your natural colors. For example, if you're buying a Windsor and Newton Watercolor set in one store, and then you buy the same set in another store, you are likely to get the same colors. However, if let's say you're getting a red french pan flower from one plant, and you get a red french pani flower from another plant in another season, it might give you slightly different colors. So just be open to the experience that the natural ingredients have to bring to you. It's also about the spirit of experimentation. So in this particular class, I'm using plants and natural materials from my own surroundings. You probably have your own native plants, so experiment and see how it works. If you're gathering natural materials for your. Yes, remember, don't uproot any wild plant for flowers sometimes. Later on in this video, you'll see how I pick up flowers from the ground. You can either do that, but if you're picking flowers, make sure that they're enough flowers to generate seeds for the next crop bar. Some plants are harmed. When you peel off the bark, make sure that you take the bark from either fal*** or removed branches. And don't pick so many leaves that you leave any branches bare. Alright, So now let's get to work making our Yes, but first cleaning. 4. Cleaning Your Tools and Equipment: I have a more in depth video in an early class on cleaning tools and what happens if you store natural inks and dies out for too long without a preservative. But let me emphasize three actions you can take to sterilize or disinfect your tools. One, clean your surfaces by rubbing it with rubbing alcohol. Two, for glass and metal tools, you can submerge them in boiling water for about 20 minutes. Three, if you have plastic, wash them with water and detergent, At the very least you can spray rubbing alcohol on plastic. I tend to avoid it because I found that at times it turns the plastic and especially acrylic materials cloudy. It's really important that you do clean your tools because we are working with natural ingredients. If you choose not to add preservatives, make only the amount of dye that you need for your project. That there is no need to store the excess ink. Otherwise, you might have unwanted gas like mold in your ink. I know it's gross. We're just going to cut the visual now. This has been a public service announcement. My friends clean your tools. If you're storing your inks for a long time, use preservatives such as whole clothes or wintergreen oil. Now let's get down to de making. 5. Preparing Your Flowers: We have three different kinds of flowers which are going to yield three different colors of dye. I know you think that these two actually have a similar color, but once it's dyed with paper, you can see that the colors are actually quite different. This is the Hibiscus in Malay, it's called bunge or celebration. Flower is a national flower of Malaysia. This is the butterfly flow. This is French red French Penny. The white version is actually the national flower of flowers. What we're going to do is we're going to put the flowers in the beaker, and we're going to top up the beakers with water that's going to form our dye bath. As you can see, hey, I'm wearing gloves. I think it's a good idea to wear gloves because you don't know if some of the flowers that you found are poisonous better be safe than you may be able to find Hibiscus tea. In that case, you can go ahead and use that. But I didn't want to pluck flowers of the shrub, I just took those that fell on the ground. What we're going to do is we're going to of the flower because if we were to put the whole flower in the beaker, there's not going to be enough space here. I have 100 ML beaker. I didn't want to make too much because I don't know if I'll be using that much. This is for me to show you how it's done. You may want to scale up the recipe and I'll give you the recipe in a while. Okay? What you're going to do is you are going to take all the petals and you're going to drop it in the beaker. This is just so that there's enough space when we put water later on. I'm just going to come back later on when I have peeled all the petals off and put it in the beaker, I'll be doing the same for the red fan. Penny, the smell divine. I've always loved the smell of French Penny. I think you would love it too. You can't smell it through the camera but there's almost narcotic. Sweet smell. Not nauseating, sweet but very intoxicating. Okay. I'll do this for the rest as well and I'll try to fill up the beaker as much as I can. For the butterfly blue, I don't need so much. It's a dehydrated. I will need maybe about 20 butts and I'll put it inside here. Okay. All the petals have now been broken off and placed into the bucker. I'm now going to place about 60 M L of water inside each beaker. One thing I would like to share with you about inks is it's not so much the volume that you get at the end that really matters the most. What's more important is you get the intensity or shade of the ink that you want. If you feel that the ink is too pale, then you might need to reduce it a bit more. You need to reduce the water a bit more, or you need to put in a little bit more of the coloring agent. If I feel that, for example, ten is not enough, then I'll probably put a little bit more just so that the color is more intense. Yeah, now I'm going to put them in a water bath. 6. Bathe Stage: Extracting Colour Through Heated Water Immersion: The water bath is now being prepared. I've already turned on the flame on my stove. We're now putting the beakers of coloring agents into the water bath. Now if you're careful about the heat or quite wary about it, you can always use tongs. You can already see the blue color coming out of the butterfly, blue pea flower ink. In the meantime, let's wait for the water in our water bath, the simmer. Now you might be wondering why I'm putting my flower petals into the beaker instead of putting them directly into a pot. The reason is because I don't need a large quantity of ink. A beaker is small enough to contain a small quantity of ink that I need. Also, as you can see, it's a much more efficient process because I can do three different kinds of dies at the same time in one water bath. Ever so often you are going to take a ceramic spoon. Your chopsticks or glass stir to push your power petals into the water before putting your spoon into the next speaker. Wash it first so that the colors are not contaminated from one beaker to another. You will be checking in on your yes periodically. For the butterfly blue ink, the dye is already quite concentrated. For the Hibiscus, the dye solution is also quite dark. It seems to be going quite well. However, if I look at my red friendship Penny, the dye solution is still quite pale. But the flower petals are already quite translucent. Which means that the petals have already seeded as much color as they possibly can. What happens if you feel that your E is not concentrated enough? You do something called a recharge. You can put more fresh petals inside into the same dye solution. What I'm going to do is I'm going to take out these petals. It's time to put their peers inside. You'll keep adding as much as you think you need until the concentration of the E is at an intensity that you want. Just the note, you need to know your natural ingredients well. For different botanical ingredients, the degree of heat and the ***gth of time the heat is supplied will change its color. For example, this is true of dragon fruit. If you heat it at too high a temperature and for too long, the color turns from a bright pink to a dull one. You need to experiment to see what works best for the botanical ingredients that you have on hand. It's not a problem for these flowers that we're working with. Now. You can continue extracting the colors for about 40 minutes or so to extract more colors from these botanicals. It's been 40 minutes. Now, let's check if all our flower petals have given out as much de, as they possibly can. Now, this is the red French penny. You can see that the petals are really pale. We can stop here. Rinse your chopsticks, so that it does not contaminate the other beakers. Now I'm checking the hibiscus. The petals are very soft and compared to the original red of the fresh petals, we can tell that a lot of the color has already been seeded to the water. The same goes for our butterfly blue pea ink. Now to check if you are happy with the color dye intensity, it is helpful to have a white ceramic spoon. Because against the white background of the ceramic spoon, it allows me to check if the concentration of the dye is an intensity that I like. For the butterfly blue pea flower dye, you can barely see the white of the ceramic spoon, which means the color intensity is high. The same goes for the Hibiscus. Lastly, our red fringe penny. Once you're pleased with the outcome, turn off the stove. Next step, we remove the botanical matter by filtering or straining the contents of the beaker so that we can get a clear de. 7. Bathe Stage: Extracting Colour Through Pulping Without Heat: Before you see the results of the dye solution we've created from flowers we have made, I wanted to show you one other method of color extraction that is through popping. I'm going to show you an example of the popping method through using panda leaves. I've already cut my panda leaves and they're all washed. What I'm going to do next is to cut them into smaller strips. If you're working with pandan leaves, pick older leaves because they contain more of the green pigment than the younger leaves. Also be careful with the ends of the pandan leaves. The ends of the pandan leaves contain some jagged edges that can cut. You do be careful when you're handling them and you can cut them away if you wish to. Pandan is a very useful plant in the Asian household. You can use it to make dessert too. My aunt makes this dessert cap salad, which is made up of glutinous rice with Pandan custard. My mom in law makes Pandan Shivon cake with it. Besides its food applications, many people also use it to ward off if you can believe it, cockroaches. What I'm doing here is just cutting down the leaves into smaller pieces so that it'll be much easier to pop it in my grinder or meal. The fantastic thing about working with dies like Panda is that you don't need separate equipment for your art and your normal kitchen use. Because we Panda is food and we're not adding any additional ingredients. So yeah, as I'm cutting down the Pandan leaves into strips. The side benefit is that the juices of the pandan is released. You can smell the aroma of a deep vanilla like fragrance that pandan is after all known as the vanilla of the East. Here you can see the pandan that has already been cut into strips. Now place your pandan leave strips into your food processor or in my case, a meal. I'm adding a small amount of water to help lubricate my mill and make it easier to extract the panda juice. Now we pulp the leaves. Once the leaves have been pulped, you can see the green goodness of the pandan juices as it flows out into a bowl. You can do this repeatedly until you get the amount of pandan juice that you need for your project. I've now separated out the pulped leaves of the pandan from its juices. Now you can place the juice into another container to make it easier for you to use for your projects. 8. Filtering the Red Hibiscus Dye: We have three flowers that we worked with, but I'll show you an example of the filtering and straining process using our red French penny. Here I have the beaker of red French penny that I took off the stove. And I have here a coffee filter filter and a glass container. So what I'm going to do is I am going to pour this to filter out any impurities. And you can see I've already taken out the petals, so I'm just going to pour it over. Okay, And we'll just wait to see the eventual solution. 9. Extending Colours With Additives: You've seen how color is extracted using water, and now we are trying to extend the color range by combining the dye with other additives. On my left, I have a solution that's 80% vinegar and 20% water. This means that for 100 milliliter solution, there is 18 milliliters of vinegar and 20 milliliters of water. What we're trying to see whether the acetic acid in vinegar will cause changes in the color of the dye. On my right is soy milk. The solution contains 13 soy milk with 23 water. To help us see the effect of vinegar and soy milk on our yes, I have prepared strips of paper. I've labeled them vinegar and soy milk so that we can distinguish the effects. We're going to dip the ends of the strips of paper into their respective solutions for about 30 seconds, not too long, so that the water color paper itself is not degraded by the acid. We will then dry them before using them with our natural dyes. What's the reason behind using vinegar and soy milk? I have here indicator papers so that you can see what is the p H of each solution from the visual scale. Here you will see a color attached to a number 1-14 When we dip the indicator paper into the respective solutions, we're trying to see what is the color change of this indicator paper because that will tell us how basic acetic each solution is. We start on the left with our acetic acid in vinegar solution. Quite quickly you can see that the indicator paper is turning red. The color responds most closely to the scale of two or three, which indicates that our solution is acetic. This means that when we combine this vinegar solution with our dies, it will act as a modifier that will change the ph of the dies. This will cause a color change in our dies, which you will see in a separate video. Next, why use soy milk? Because if you dip the indicator paper itself, there is not going to be a color change. However, the reason why we can use soy milk is that it is a known binder that helps the color from the Des adhere more strongly to the material. In our case, our material is watercolor paper. It's not so much about creating a color change like we have for the acetic acid in vinegar. Now, don't save the strips of paper in the solutions beyond a minute or they will start to disintegrate the paper. In my home, I have a drying rack, so this is just my set up to air dry the strips of paper, dry them away from the sun, and make sure that you have air that's circulating. 10. Effects Of Additives On Dye Colours: Okay, so all our Es have now been filtered. This is our red French penny, this is our butterfly, blue pea. And lastly, this is the Hibiscus. Here I have my papers that are already dry. This was soaked in the vinegar solution. This bunch of paper was soaked in soy milk solution and nothing has been done to it. This is just watercolor paper. Now we're going to see the effect of the dies on the paper. Let's take our vinegar, okay, in the. Leave them in for about 30 seconds or so just to see what the color looks like. You don't want to leave them in for too long because the paper fibers might disintegrate. Okay. I'm going to use my book. I'm just going to place it inside. I going to do the same, but a butterfly blue. Make sure you tap out any excesses. Remember to keep a rat candy or else sometimes the dice might stain your surface. Okay. And then we have our last one, this is from the Hibiscus. Tape out any excess. Again, of course you can use crocodile clips. You can use any other clips. But I just decided I have a book with me. So I'm just going to put this here. Okay. So these are from my vinegar solution. I'm going to leave this to dry somewhere else. Just I'm leaving it on this book because there's a certain thickness to the book so it wouldn't touch the floor. Now let's repeat the same with our soy milk solution paper again. We'll leave it in for about 30 seconds. Long enough so that the paper does not disintegrate, but there's enough time for the paper to absorb the E. Let's do the same. Take out your paper strip, make sure you tap out the excess, and then insert it into your book. Okay? So, I'm just going to compare this two because these two are my red French penny. Now I'm going to tap out the excess for the strip of paper. This is for the butterfly. Pea. Butterfly, pea flower. Okay. I think you're already starting to see the subtle changes in color. Okay. Next. Lastly, this is my hibiscus. Tape out the excess and put it inside your book. Yeah. I'm going to leave this to dry and we'll repeat the same for these strips of paper. It's not treated, so there is no soy milk, there's no vinegar, and it hasn't been treated with anything. And we'll compare to the. Let's leave this in for about 30 seconds or so. Okay? Same thing. Take out the piece of paper, tap it out, and you'll insert it into the book. I'll come back again and show you what the effect is when all these strips of paper are dry. Just look at the range of colors that we have. Now I want to compare our red french penny with our Hibiscus. All right? They almost look quite similar. The color seems pinkish red in the light. But do check out the color that emerges from the dye for the red frangipani. You would think it will turn out a little bit more like pink or red. But the original color is a little bit of a purplish gray. Isn't it cool like how different the color turns out? It's the same thing also with Hibiscus. If we compare our Hibiscus and our red frangipani, I don't know if you can see it clearly, but put this aside. Okay. If you compare this, our Hibiscus is a little bit more gray and our red franchi, penny has a little bit of red in it. But still, they turn out to be like, so different from the color the de, right on watercolor paper. Okay? And then we have our butterfly, blue pea. Butterfly, blue pea is a lot more predictable. The color you can see here is blue, and the color that emerges on the watercolor paper is also blue. Okay, and what about the effect of soya milk? When I looked at the eventual outcome, I didn't think that soy milk had a very big difference. But what had a big difference is our H modifier, which is our vinegar. So if you take a look at our red French Penny Yeah. Here before, I just want to put this aside so that you can see more clearly. Okay, this is the piece with vinegar, and you can see it has a greenish tinge to it. Whereas the original, without putting in vinegar or any other additives, is actually reddish gray. You can see that vinegar helps you to extend the color range of your natural dyes. Another dramatic change from blue to green vinegar actually changes the color from blue to green. For our butterfly, blue pea, also the same for our hibiscus. It changes color from gray to green. It's quite a dramatic difference. I'm just going to put this down a little bit so you can see it. Oh yeah. I hope that you're excited to see what additives can do. You can use other additives like alum, copper, and so on. If you want to change the H to make it more alkaline or more acidic, you can use baking soda, sodium hydroxide, and so on. Feel free to experiment and see what additives can do to your range of colors. We've just created together only a few of what you can actually use natural died in the real world. But just look at what range of colors you can already get with just a sampling of using natural materials. If you were to look at this, we're going to do a project together. We're going to make escort cards or place names. Think about what color you want to use. Do you want to use the blue? Butterfly? Blue. Have a think about what kind of colors would suit your event or what kind of colors you'd like to try. Then we're going to work on our project together. 11. How To Create A Deckled Edged Effect On Paper: Let's start with making the deco edge for our paper. Prepare a painting brush, water, and a ruler. Let's start on the short side of the paper. Align the paper with your ruler. I'm using a metal ruler as well as the plastic ruler. I'm actually more partial to using a plastic ruler. For the metal ruler, it is a little bit too sharp, although it's a lot more precise. The principle of making deckle edge on paper is that the water is going to make the paper soft when you tear it. Then there is a imprecise tearing and that creates a pseudo decal effect. Here's how we start making our deckle edge. Take your pain brush, dip it in water, and then dab the pain brush on the paper on the side of your ruler. You can also smooth out any excess water if you see any pulling on the paper. Now let's tear the paper. There are two ways to do this. The first way, you are going to pull the paper towards you upwards, that will give you a much cleaner edge. Two, you can pull it away from you to the side, and then that will give you a much blunter edging. I'm going to be alternating between both for the same side as I shared. You can pull it towards you and then away from you to the side. You can vary the effects a little bit, some towards, some away. Let me bring the paper closer to you so that you can see how the pseudo decal edging paper looks like. Now I show you the reverse. This is the decal edging that we're talking about. If you want to make the deck edging a little bit more straight, you can always tear off a little bit of the pieces that were jutting out too much. I'm also now going to create the deco edging for the other three sides. Also, we're going to make four escort cards from this one piece of paper. We'll come back when that's done. 12. Design: Create An Escort Card With Natural Dyes: This is one of the four pieces of escort cards which you saw in a previous video. I will be doing a wash with the brush lettering in the middle of the paper. In order for me to be able to have my brush lettering stand out. I'm going to put a painters tape. I'm cutting off two strips just to form the blank area where I can do my brush lettering on. On the sides of my table, you can see several containers of natural dyes. On my left, you'll see the butterfly blue pea flower dye which we created together in a previous video. I'll start to prepare my paintbrush by just dipping it in water. First, I'll start first with the lighter color, yellow, and that comes from onion skin, to make sure that all the different colors are well distributed. And I'm going to paint them on random areas of the escort card that is not covered by the paper tape. Now for a light purple courtesy of grape skin fruit in between colors, I'm going to dip my paint brush just to b***d out the previous color. My pink color, brought to you by the lack insect. This is carmine. We're also gonna put red from our beet root. Now comes the time for us to use the star of today's project, which is the butterfly, blue pea flower which we created earlier. If you want your wash to be more concentrated and precise, you can use a dropper instead of your paint brush. I'm just going to do it at the side just for that impact. Now we're going to set the escort cart aside for the dies to dry. Now that our dies are dry, I'm going to take off the painter state carefully. You can make an aesthetic choice. Do you prefer the larger area to be the top or do you prefer it to be at the bottom? Here? I'm using my tumble brush pen and it seems to be the right size for this area to do my brush lettering. I'm doing a brush lettering of the name has H, F, A, H. Now that the brush lettering is done, you know I love me, some glitter. What's going to happen is I'm going to decorate my deckle, edging with some gold. I will be using a gold pen to create that effect on my deckle edge. And here I have a pen for Marta. If you prefer a thin gold edge, you can start doing the gold by holding up your paper vertically and then doing the gold edging at the top. If you're going to do the thicker goal border, I would really recommend having a plastic paper in between your card and the table. This is because you're trying to make sure that the gold pen really goes to the edge of the paper and there's going to be some marking on your table If you don't have a protective sheet as you see here, I'm using the gold pen to just go over the edges of my paper following the contours of the decor. Edging. If you want a super thin gold, then you can just brush the tip of your gold pen on its side of the edging. I will be doing the gold edge on all the other three sides and I'll show you how it looks like in the end. I'm also going to do the same for all the other three sides. And we're just going to speed up the video a little bit. You can do a little bit of a touch up trying to make sure that you don't see whites of the paper on the edging. If you're thinking that is still too thin for a gold edging that I like, you can always do another contour just below your original line. Feel free to be experimental. Early on creating my deck edge. I use water, but you can always use the natural De, because it also contains water in it that will already give some kind of color to your edging here. I love that the goal just gives a hint of F to complement the rest of the quite subtle botanical dies that we created. Here's how the final piece looks like. 13. Design: Brush Calligraphy With Butterfly Blue Pea Flower Ink: With the butterfly blue pea flower ink that we created together. Let's now make a happy birthday card using the brush calligraphy technique. I'm using watercolor paper here, which is great for more watery inks. When you're doing brush calligraphy, you want to get the contrast of thick and thin strokes. Remember that when you're doing down strokes, like the stem of the letter B here, you increase pressure on the brush tip so that you can get a thicker line. As you're doing the embellishments on the left side of the stem, you are going to decrease the pressure so that you get a thinner stroke. I'm linking the bar of T to the stem of H with a ligature. I'm not completing the H yet because I'll be combining it with a swash towards the end. Instead, I continue with the letter D for the letter Y. I'm also stopping the descender loop at the stem and will continue later. Now that I have the word birthday completed, I know how long the word is and that will help me to gauge the size of my swash. Now I'll complete the H and extend the swash to emphasize the word for the word happy. I'll be starting my brush calligraphy in the middle of the word so that I can estimate the composition of the phrase much better. The stem of in the word birthday will double up as a stem of in the word happy. I'll start with creating the counter for joining it up with the next, then Y. Now as I complete the swash of Y, I'm going to join it up with the Y in birthday, because I want to have an integrated phrase. All right, let's now create the missing letters H and E to complete the phrase. Happy birthday. Here you go. From the humble butterfly, blue pea flower to a beautiful natural botanical ink. I hope this sparks more ideas on what you can do with your botanical inks. 14. Thank You! And Your Class Project: I had a great time creating the cards for you and I hope that gives you more ideas about how you can make your own natural. Yes, and that's what we're going to do for our class project one. Select a coloring agent that you like, maybe you found something on your walks. Then use the ABCD process that we have gone through together in the class videos to create a die with it. And snap a picture of your die. And post it to our class project section. The plants and material that I use for this class could be very different from what you have in your own surrounding. I cannot wait to see what you guys have. If you'd like to get in touch with me or have questions that I can help you with, you can go to the discussion section and post a new discussion. Or you can find me on Instagram at Join Hands, and also my website at Join Hands.com I also have other classes on creating natural dyes from things that we find in our kitchen, and also creating our own calligraphy inks from natural sources. I hope to see you in another class.