Enjoying Art (again): Ido Vunderink

Yesterday I visited the historical city centre of Woerden. The museum there shows an exposition by local artist Ido Vunderink. He’s an 80 year old who nowadays paints abstract Dutch landscapes and flower arrangements in bright colours:


I was thrilled to discover his work, earlier that morning, while I was still in bed waiting for the cortisol to kick in and start the day. His art reminds me of my own work, when I was so very much inspired by Norwegian mountains and their running waters, and made art there, ten years ago:

Abstract shapes reminding you of something in the real world.
One dark colour, one light and two in between.
Bright, happy colours to lift the spirits in the dark days of Winter.
Intersecting lines, defining planes.
Planes connecting behind other planes.
Lines running beyond their boundaries. Reappearing.

Vunderink is exploring the same things I did! Playing with the same toys!
(Not saying we’re at the same level, I was just starting, he is a master.)

I never got to transport my muse to Holland nor did I manage to reconnect with my teachers at the Jeroen Bosch Academy and talk about any of this. I subsequently dropped out of art school and dropped out of health. I haven’t been able to make art since.

Ido Vunderink, Dutch artist
“Evening Light” by Ido Vunderink.
Is that a city scape whose rhythm extends into the sky above? Or are these tulip fields in the Netherlands? With the beach and the sea at the back. It’s whatever you like.

Viewing the works of a kindred artist, who finds inspiration here in Holland, today, fills me with tremendous joy. So, it IS possible to find things here that lead to the same playing field of art. This overcrowded, over-gardened piece of land DOES offer shapes to talk about large spaces and slow time and natural compositions.

The exposition was thrilling. I spend two hours there, sketching the works, examining them close-up, watching from afar, drinking in the colours and following Vunderink’s conversation about composition, colour, contrast. I felt like a fellow-artist and was very happy about it.

For all the bursting colours and abstractions, this was nonetheless my favourite:

Ido Vunderink, Dutch artist
“Kruiken”. 2014. Ido Vunderink

The same subjects are still here: lines, shapes, planes, colours. But they all play closer to the chest. The abstraction doesn’t leave you guessing what’s portrayed although the painting is quite high so it’s more about vertical lines than it is about tall jugs.
The colours are similar to each other, you have to stand still and look at it for a bit to appreciate their differences and their interaction.

This painting is magical!
The undersketch is coming through, in purples and olives and intense yellow, while the planes themselves were made so thoroughly opaque and in these fantastic colours! The light and dark contrast is subtle but meaning full. The jug in the middle is the main player but it’s mates are brighter, except for the one at the most right.

Vunderink has signed his name in the wet paint, a lovely way to do that doesn’t interfere with the colours.

Yes. This is the painting I would love to own and look at for the years of my life left. In turn it lifts me up, makes me laugh, makes me contemplate, makes me silent, makes me curious, makes me investigate, makes me want to paint and it makes me … “carefree” is the word I guess.

I’m trying very hard to stay in that moment. To not think about making art myself, picking up where I left off. Not making ANY PLANS. Not thinking about either the future or the past. Not spinning any stories to put my life into some kind of perspective.
Reverse Therapy has me working hard in shutting up my chatterbox of a mind, that sock puppet with its running commentary:

Shut up muppet. We’re here to enjoy the moment. Living in/through the body.

The exposition is held in a very old building that’s very sympathetic with little windows and shutters and wooden winding stairs and hand cut details and little bricks. This added to my joy:
Screen Shot 2015-12-23 at 18.39.48

Vunderink’s exposition here runs until the 10th of January.


Art: scribbling to explore shapes

These are the scribbles I made.
I know they’re nothing.
But I am showing you them because they are everything:


These are two figures by Bonnard. I sketched them pretty soon after I returned from visiting his work in Amsterdam. I love how the countoures of the dress and the hand of “dog lady” echo’s in the shape of the dog. The sheer and shared dog happiness is bursting from the page.

The “cat lady” also echoos shapes the cat has. In her dress, in the leaves around her.
These are things I revel in. Shapes, contours, echoing, relations.

Here now follow the scribbles I made this morning, trying to catch animal shapes from the internet (as I am convinced Bonnard took his cues from photographs) with the same freedom and happiness Bonnard used:

I’m a cat person but dogs are easier ;)
Dogs have limbs and ears all flying about and being flappy, literally illustrating their mood and their zest for life. Cats are more contained balls of fur, with ears at impossible angles. Their expression is more in the face. Which are not drawable at all.

My sketches.
It takes a lot to show these on the internet. They are so easy to be criticized.

But I want to show:
a – that art begins with harmless scribbles, without fear of doing it right or wrong, without self criticism. Just scribbling away, having some fun.
b – that I have to come back from a long distance. Usually a page and a half of these kind of scribbles is just the warming up for an artist. But this took me two hours. And this is all I have and also the best I could do. This is where I am at the moment, with my brain, with my ability to concentrate. It’s not pretty. But I am not ashamed of it.

I think I may like to document how I slowly work my way back to making art, here, on this blog. Share it with you.
Yes, I think I’d like that. That we may together see how things come together for me. How all that talk and thinking about shapes translates in actual art study and expression.
This blog as part of my artist’s notebook? Because I love notebooks…

Monday: Spring, Art and Methylation

Today is Monday. I just went for my daily little walk and the air was soft. Spring! The birds were calling it too.
Suddenly I remember Spring and Summer. The smell. The joy of just being amidst green grass. Bugs flying about. How could I have forgotten that feeling?

It’s the same in the Fall. In Fall there’s that first day when suddenly you remember how it is to have cold in your body. Being cold. Somehow you forgot about it in Spring and Summer.

Today was that day for me: Spring! With that smell.

Today is Monday. Last Wednesday and Thursday I had switched to another pill for Methylation Cycle Protocol. Untill then I had been taking Methylcobalamine (mB12) and Folinic Acid. Both processed forms of the foods that are so good for you: vitamine B12 and Folate. Both of which I do not process well in my body cells due to mutations in my genes. (MTR and MTRR to be specific)(to be totally specific: I’m homozygous for MTR A2756G and for MTRR A669)

I had been taking 1200 mcg of mB12 and about 800 to 1200 mcg of folinic acid (the pill Leucovorin). This fired up my methylation cycle nicely. My cells suddenly started using “B12” and “Folate” and started detoxing.
On Wednesday I read about another form of already processed folate: Metafolin (brand). The nutriënt Folate goes through numerous steps before the cell is able to utilize it, about 12 of them. Folinic acid is the third step and Metafolin is the last. Making Metafolin the form easily absorbed.

So on Wednesday I took a pill that combined mB12 with Metafolin. I had already noticed I’m quite vulnerable to the folinic acid and thought I’d safe my body the trouble of converting it.
Thursday too: 1200 mcg of mB12 and 800 mcg Metafolin (this is pretty much the correct ratio although I think it’s empirical found, not theoretical)

By Thursday evening I was stark raving mad. Very hormonal. Desperate. Tired of life. Convinced it was all to no good anyway. Convinced I had thrown it all away, that I was useless and that from here on it would only get worse. Life.
Luckily I know what this is. This is toxification of the brain because the body cannot process the toxins fast enough and/or there’s die-off. Here’s a good description of how it works.
I breathed through it, cognitively. I took extra Valerian, extra HCL and extra Progesterone.

On Friday I took a break from Methylation. I had that workshop Enamel the next day and wanted to rest up a little. During the day my good spirits returned. I got energy. I even withstood the bout of stress that the legal papers about the manure plant brought. Double Progesterone got me through the night.
On Saturday I took no Methylation. I did the workshop just fine. Was utterly tired afterwards and just about made it home.
On Sunday I took no Methylation protocol. I was soooo tired.

But a curious thing happened while on a break from Methylation. Art happened.
On Friday I studied online about enamelling. Found lots of art. Thought about them a bit.
On Saturday there was a piece of copper plate waiting for me to saw into a shape. This was possible because I was the only participant in the course, there was time for me to learn the techniques and deeper details. Usually they work on preshaped circles or squares. Now I got to saw.
Inspired by the workshop and having to make various pitstops on the drive home I got to think about shapes a lot ánd got to draw them on parking lots along the motor way.
Sunday I could do not much more than lay in my bed and surf and learn about enamel and think about shapes. About art! It all started humming! A lot of the old fascinations with shapes and contours and counter shapes came back. All the stuff that intrigued me when at the Art Academy. And before!

There was a small bout where I thought out a masterplan to become a professional enamelist.
But soon I realized this was one of those crazy, ambitious routes my mind takes when it wants control and assertance. (why this not english? you understand what I mean nonetheless, I hope)
So I shut down that train of thought and focussed on what ties this to my other fascinations: shapes, contours, countershapes, spaces. All my old friends.

I am ASTONISHED that this all came back to me yesterday. That it’s all still there.
It came together with the eagerness to explore. To sketch. To draw. To look. To explore with paint and fingers and scissors and colours.

Today is Monday. This morning I spend my golden hour thinking about shapes and sketching. I feel an artist again. I feel like me again.

But today is Monday. I have started Methylation Cycle Supplements again. I need to get rid of all the toxins that have built up in my body for decades. I have entered detox state again.
But at half the dose now. 500 mcg mB12 and 400 mcg Metafolin. (together with all the other nutriënts needed for this protocol: Mg, Mn, Se, I, Li, Zn, Mo)

I think this will kill the artist in me. No, not kill. Put to sleep. Wintersleep. Alive. But silent.
Soon I will enter brain fog again. Hormonal state even. Then all I can do is muddle through the day, eat my soup, take my supplements, take my walk and shed the toxins. Untill it goes better.
It will go slower at this lower dose. But I may be in a better mood.

All in all. Monday.
Spring is promised.
Artistry too.
If I can keep doing it slow, keep to two things a day, I will get there.

PS because I like it when everything makes sense I’m putting this link here, it explains why people with ME or Chronic Fatigue Syndrome need days (or weeks) to recuperate after a tiring day/event.
Especially the alinea below the middle called “Explanation of the Fatigue Problems in CFS Patients”. With all the talk about ATP.

For me recuperation time used to be three months. Then two weeks. Now two days. (6 if my gut health is involved, say with gluten)

By now it’s Monday afternoon and I can report that it seems my body has dealt with the detox of today. (I take my supplements in the morning, together with a very hearty breakfast brunch lunch). I feel the energy picking up. My brain is turning to art once again, I might do some reading. Who knows, another scribble?

Art: I saw The Mediterranean by Pierre Bonnard.

Yesterday I spend hours in Amsterdam. I walked the city, enjoying its history and current atmospheres. Capitals are such a delight, especially when you walk slightly off the beaten tourist track. See where the real people live.

I visited museum l’Hermitage, which is a Dutch dependance of l’Hermitage in Saint Petersburg in Russia. Thanks to the historical appreciation our two countries share, starting when Peter the Great came to Holland and admired our skill in building sea vessels.

It showed some works by Gaugain, Bonnard and Denis that usually are in Russia, in the magnificient Winter Palace.
I came for Bonnard.

Mediterranean by Bonnard

They showed Mediterrenean View. A tryptich commissioned by the wealthy Russian collector Ivan Morozov who fell for these painters when they were alive and painting. He commissioned Denis to illuminate his grand ball room. It was reconstructed in Amsterdam and I see why it was the talk of the town, back in the day.

Bonnards work is also large. Three canvasses about 2 m wide and 4 m high each. They were hung with two mock collumns in front, to mimic how it would have looked in the russian house.

I spend all in all an hour and a half in front of the painting. Thinking new things, seeing new things all the time. Colours, shapes, combinations, claire-obscure.
It was a lovely time.

My artist’ blood started flowing again.

PS there are some quirky things in this painting!

  • What’s the bright red and blue shed doing in the far right? Bonnard is all about pastels, why feel the need to insert these bright blobs?
  • Who in their right mind puts warm egg yolk yellow in the green lushes of a tree? Bonnard, that’s who. In the top of the middle panel.
  • The right panel has clear dark and light shapes playing against each other. The left panel does not however. Does that make this painting lob sided? If not, why not?
  • some parts have gotten no paint at all, the bare beige canvas is just showing. What guts to send it to a collector and declare it finished!
  • On the left, that’s his wife. Playing with a cat. Guts! And a cat nut. You’d be surprised how much paintings of Bonnard have a cat in them.

Illustration: sketching for Serious Request

I’ve started sketching for a charity my friend Nelleke is organizing with her divers association Hippocampus. It’s about reducing the number of children who die from diarrhea. wikipage in english here

I’m sketching on the cover of small notebooks with my pencil. Later on I will ink the sketches with black ink and a white pen. On Sunday I will bring the booklets over to her and we’ll knit for a bit.
I’m trying to think up funny images for people who like to spend their time underwater.



The strange thing is: I find this one of the most enjoyable activities I know. Still I have procrastenated beyond believe!
I’m sure there’s some psychological reason behind it. Fear of failing. Fear of shutting down possibilities once you settle on a course or design. snore! It doesn’t matter
What matters is that I’ve smiled about it.
And that I am illustration right now, having a lovely time!

Ps. Do wash hands before illustrating. The second notebook will be mine as I’ve left greasy fingerprints on the cover and the carton soaked them right up. That’s ok, it’s a nice canvas to try out the white pen and my black ink.

Illustration: 2 small ones

After two weeks of yearning I found one hour this afternoon to draw. Initially I wanted to pencil and ink a drawing of the cat of my friend Lieneke. She has a Turkish Van, Mimi. Beautiful! And so funny.

But that didn’t work out.
Instead I inked two drawings I did earlier.



It’s so weird all the things that have to be right for me to start illustrating. Which is one of the nicest things I know how to do.
But there has to be peace. And time. No to-do list. No cats or husband distracting me. Some other things. Weird…

The last time I drew was a couple of weeks back, i did not have the cleaning media with me. The ink got stuck in the “collar” of the brush. That’s a sure way to ruin your brush fast.


After this I cleaned it, with the ink soap. I hope it’s all right.
I used the sable-synthetic blend. I like it best. Next time I’ll buy some 100% sable and see how that works for me. The Kolinsky seems to be too much for me.

Well, I hope to brush some more soon. I see having pencilled sketches ready works well for me so I’ll try and make some in an unclaimed minute.

(I don’t have much of those. It’s still pretty much every day living like a vegetable aside from twice one hour uptime. That’s for dressing, showering, cooking, the lot. I really hate my life at the moment.)
(of course this is pms-week…)

moving towards illustrating

Still thinking about making my life meaningful



somehow rekindled my interest in illustration. Particularly making beautiful ink lines with a brush.

It’s what I love about Sumi-é. And it is what I admire in comics. I have tried before to make beautiful lines but I never found the tool that suited my hand. Well, except for sumi-é brushes but they must be used on rice paper. (I feel).

Laying sick in bed the last past weeks I read a lot of blogs. For example Sweasel.com:



Entertaining and funny. I liked it so much that I started reading it from the start, all the way back when we were young and the world made sense. There’s so much fun to read in the comments! Lovely past time for the brain fogged. The owner is an illustrator by trade and lets you freely steal and paste the art all over the web. I paste it all over this page, all art today by sweasel.com!




Somewhere in 2007 in the comments they talked about illustrating. And linked to this site called hand-print.com where a guy talks a lot about all the different brushes there are. Finally! An explanation! A map!

That lead me to a search about “Kolinsky” which is some kind of weasel in Russia whose hairs have magic properties.



magic weasel


The hairs of the tail of the male are used to make brushes. Each hair tapers to the end, making for brushes that hold a lot of ink while having a fine point and bouncing back in form every time you release pressure from the paper. They are expensive brushes! 20 to 30$ for a brush!

Which is why lots of other brushes are also called “kolinsky” but may not contain any magic weasel. Magic stoat, magic squirrel but no magic weasel. Even if a “kolinsky” brush really is made of Kolinsky weasel it may not have been made properly. Any stray hair can ruin the brush. Buying any brush without checking its quality is a big gamble.

Learning about “Kolinksy” and wanting to learn how to find a good brush lead to the blog www.comic-tools.com. Which is a GOLD MINE for the “love-ink-don’t-know-where-to-start”- people among us. If only this blog provides me with more words to pour into the google and the youtube! Searching for “Ink”, “inking”, “expressive line”, “brush”, ‘”thumbnailing”, “Windsor and Newton series 7 #2”, “dr. Martins Blackstar High Carb”, “calligraphy line”, “cola pen”, “Bristol Board” helps me to hone in on that niche in art that particularly holds my interest. That makes my heart sing (which is a good compass for finding out what makes my life meaningful. But more about that later)

There’s a whole scene of people who have a love for expressive black lines and made it their profession! They are the people that “ink a comic”. They know about the love your hands and eyes feel when a line comes out just right. Or better than you’d expected. The joy of good tools. Et cetera.




Reading the comic-tool blog made things come together for me. Here’s talk of ink! Here’s talk of brushes that bounce back and are able to make a thin line thick and then thin again! Just like I love with my quality sumi-é brushes (which I would never use with commercial ink, only the hand made Japanese ink.) There’s even talk about my experience that seems very common: trying to make beautiful ink lines with an inferior brush -especially an expensive one!- will turn you away from brushes. Stray hairs ruin the crispness, bad brush posture will spread the hairs and make an ugly line.

I’ve found some friends, momma!


Suddenly I saw a line from my past running into my present. I have always loved comics, especially the monochrome ones, with clear contrast and expressive lines. Interesting page build ups. Visual inventions. I bored my fellow students at the academy with them. Without drawing myself!

Before and after the academy I’ve done sumi-é brushwork, experiencing the joy of a good brush and good ink and developing technique. Learning to hold my brush vertical. Which is how comic ink people hold their brush too!

Ahhh… now I have a chance to make those pencil drawings from a few weeks back into something more. But first: the hunt for a good brush.


My local artist supply shop was unfriendly today, they clearly thought I was nuts. And a nuisance. Even though I admitted to be a beginner and having beginners questions. Because I had just learned that to find a good brush you’d best dip it in water, let it soak up all it can. Then tap it once (on your wrist, for example) and then look at the fur. It should have snapped into a perfect shape. No stray hairs. A sharp point. Perfect shape.



“Well, we don’t have water here.” the woman said, shrugging.

“So how do people asses the quality of a brush?” I asked.

“By buying them!”

I’m not buying a 20 to 30$ brush without trying it out when expert users tell me maybe 5 in every 10 expensive brushes are usable! But I didn’t tell her. Instead I asked about the difference between drawing ink, calligraphy ink and east Indian ink. Which was also a stupid question, apparantly…

Well, I won’t be going back there any time soon. (Luckily the lady at the chocolate shop was much nicer.)

Back home I went online and ordered a couple of brushes from Rosemary & Co in the UK. The people over at comic-tools.com are no longer enthousiastic about the quality of those brushes but I might get lucky and with their cheap prices I don’t mind to gamble. I ordered some Kolinsky’s and also a couple of nylon brushes. I would like to investigate how well the nylon brushes have been innovated the last couple of years. Perhaps by now they are able to make a brush that’s flexible, retains its form and doesn’t have stray hairs.

The trip to the shop was exhausting so no more playing today nor tomorrow. Perhaps later in the week.



In the mean time:

unclestoatyand I would welcome it too.

Here again is the link for sweasel.com


visual arts: thinking about styles and planes

this picture by LoveAshleyDesigns on etsy.com :

reminds me of Kay Nielsen: East of the Sun, West of the Moon:

Sure, Ashley Taylor uses a different visual style, it’s more formal, more “clean”, more “now”. But it shows some of the same use of proportions, decorative fields and fairytale atmosphere. (Nielsen is a bit more ‘sharp’ in his atmosphere I think)

A lovely opportunity to think about recreating a loved image in another style, not your own. Just to play with lines, planes, fields, atmosphere.
If I have the time and the energy, I’d love to do that more. :)

Some other art that popped up on my radar is about using two fields of colour to create an image. Using planes and not lines offers a whole range of interesting puzzles to solve.
These puzzles have been played with for centuries in block printing and silhouette cuttings. Last century in comic novels. Nowadays in decals. It’s a dear fascination of mine, only recently in that pop up card I got to play with it again.


Here’s some work by artist Shou:

All the “black” has to connect to each other if these are to be cut out of one sheet of media. The details in the face of the last woman do not. But that’s a detail. I love how with silhouettes and wit the use of concave/curves all kinds of shapes are made and atmosphere is suggested.

I also like the free hand style that is used. It talks to me of Sumi-é, my other fascination. In which I also have a particular taste for expressive, high contrast work. This is one of my own brushings:

In the last century Frank Miller made the comic Sin City. Also quite expressive and full of contrast. (All his work can be found here.)
Some images from Sin City. The comic itself is more brutal, more sexual.

Bill Watterson from Casper and Hobbes also has this expressive use of line. I love it. On more than one occasion I have tried to find out what kind of brush he uses so I could start to play like this too.
I love brush technique but I have yet to find a brush that act like I want. Basically I’d love my fingers to have some sleek tails.

Watterson also plays with the style in which he presents his images, switching them around:

I am in absolute awe, especially because the fun he has doing this radiates from the work!

And I totally support the man in his decision to stop when he was done; to remain a private person and in his views on merchandizing and judging art. See wiki for the synops on that.
Watterson’s publisher

I’ve set up a reasoning to think my way out of feeling useless in life. I’m too tired now to present it to you, this art post took way longer than anticipated. But I will in the near future. At least before I lose my line of thought. Or can no longer read my scribbles…


(don’t bother, I took too poor a picture for you to read. Not on purpose though.)

Basically I first look at “being in existence”, if that yields any purpose. Animals, plants, bacteria, planets. (Nope. But a few interesting viewpoints to try out for fun.)

Then I look at “being human”. This yields results. I follow a few ways of looking at things: how judgement works; how values come into play; what is typical for humans and what is typical for me. This gives a few areas that require more investigation for me personally.

“Typical human” is then focused on some more. I divide it in having this brain and having emotions. Both give interesting clues for leading a purposeful life, as a human being.
Then there’re all kinds of overlaps and connections between intellect and emotion to discover. Quite fun to think about.

“Typical me” is concerned with how I roll (what fascinates me and what boundaries are sensible for me). This would differ for every individual. For me this will ask adaption and adoptation of mental attitudes. I’ll need to learn some new habits of how I look at the world, at life and at my days.

five jobs: Started to draw (no pictures yet)

I have begun to draw. The beginning of my job as an illustrator, I hope. One of my five jobs.

This is a weird job. I can’t sit at the table at 9 in the morning, get my stuff and start working. Drawing for me is done in that minute between other things you want to do. I have to do my day and have a notebook handy and just when I’m about to get up and make some tea, I stop myself and instead draw for 45 seconds.

There has to be absolutely no pressure. Of course I started to dream up future publications and merchandize immediately which made the no-pressure-thing pretty obvious pretty quick. When the world emporium ambitions started, my scetchbook stayed empty or had just a few schematic drawings. “I’ll fill in the details later” is a red flag for me. That means I’m thinking, not drawing.

No dreaming of publications at any time because not only does it kill my drawing I’ll also alter my work to what I perceive to be the publics preferences. Right now I need to draw for fun. Draw something because the subject interests me. Because spacial relations interest me. Because lines interest me. They do, they do, they do.

I’ve been at it for a few days now and some old familiar feelings have sprouted. The feelings I know from back when I was an artist. Things like these:

  1. there’s a buzz. A restlessness. It lingers all day (and night). My mind is preoccupied with art, it is always in the back of my mind. I have to juggle this restlessness with the ones I experience from too much chocolate, too little hormones, too much Copper and the legal procedures about that darn manure factory they’re planning across the road.
  2. I see more. Everywhere I look I see lines and textures and subjects. And beauty. It’s a wonderful eye to have.
  3. The need to adjust the compass constantly. For example, I have to remind myself that not every art that is possible needs to become in existence. It’s ok to not draw something that would be beautiful and/or loved by others. Take a breath, take it easy. Another example: I tend to turn away from things that really fascinate me and go to safer things. These safer things I make into style exercises and I convince myself that that’s important. I need to stop this ratio-cackle and just draw for the fun of drawing. Last example: the inner critic. A well known voice for many people. It looks at what’s in my notebook and finds it appalling. Childish. It probably is. But that’s no reason to criticize it. I’ll need a lot of practice anyway, to find my own style. AND I need to accept my own hand of drawing, not try to draw like some of the artists I admire.

Really fascinating subjects: alternative stories to well known fairytales. Or something weird I saw in Dublin. But they are hard to render onto paper. Because it all has to come from the mind. There’s no model.

Easier and safer subjects and just as much fun: drawing the cat. In various styles. Or taking interesting artists and studying their work (with a pencil).

Well, this is what I’m doing. In between things.

Here’s an artist I’m looking at at the moment: Kay Nielsen

wonderful compositions.
'Then He Took her Home' - Kay Rasmus Nielsen (March 12, 1886 – June 21, 1957) was a Danish illustrator who was popular in the early 20th century, the "golden age of illustration" which lasted from when Daniel Vierge and other pioneers developed printing tIllustrator Kay Rasmus
pictures by Amber Case, caseorganic on flickr

ps that inner critic is a drag. It also gives me lip about how this blog is looking. With all the words. When pictures are so much easier to look at. Well….

from Icanhascheezburger.com