Eco Printing on Paper

Eco printing is not limited to fabric. Paper — particularly thick, absorbent, natural-fibre papers — accepts botanical prints with beautiful results and in some ways is more forgiving than silk or wool. It is an excellent starting point for beginners because the materials are cheap, mordanting is simpler, and the results can be framed, used in journalling, or incorporated into bookbinding and mixed-media art.

Choosing Paper

Heavy watercolour paper (140 lb / 300 gsm or more) is the most commonly used substrate. Its thick, textured surface holds moisture well during steaming and absorbs plant pigments deeply. Handmade papers made from cotton rag, hemp, or kozo (Japanese mulberry) give particularly rich prints because of their high cellulose content and porous structure. Avoid coated or glossy papers — the coating prevents pigment absorption entirely.

Mordanting Paper

Unlike fabric, paper can be mordanted very simply. A common approach is to paint or soak the paper in a dilute alum solution (around 10–15% WOF equivalent, though paper is not weighed in the same way — a light, even coating suffices), allow it to dry, and then use it within a few days. Some eco printers skip mordanting altogether and rely on tannin-rich leaves to both mordant and print simultaneously — this works especially well with oak and sumac on cotton-rag paper.

Iron liquor brushed onto the paper before leaf placement shifts colours toward darker, more muted tones and dramatically increases tannin prints from leaves like oak.

The Bundling Process

The method mirrors the fabric approach described in Step 14 — Bundling and Steaming Techniques, with some adjustments. Lay leaves face-down on the mordanted paper, fold or stack sheets to sandwich leaves between them, and roll around a wooden dowel. Tie firmly. Because paper is more fragile than fabric when wet, avoid over-handling once steaming begins.

Some paper eco printers prefer to lay their bundle flat in a shallow tray of simmering water rather than fully immersing it, or to steam entirely without any water contact.

Results and Variations

Paper prints often show more detail than fabric prints — the non-woven surface picks up fine vein structure that can be lost in the weave of cloth. Colours tend toward earthy tones: rusts, golds, warm browns, and occasional blue-greens from eucalyptus or iron-modified tannins.

Completed sheets can be used as art papers, cut into cards, incorporated into handmade books, or mounted under glass. Because many botanical prints on paper have limited lightfastness, framing behind UV-filtering glass and keeping them away from strong sunlight will help preserve them. For a fuller discussion of fastness and care, see Step 18 — Lightfastness and Caring for Naturally Dyed Items.