Sunday, November 23, 2025

Folktale Week Illustrations: Dawn - The Firebird and the Maiden of Dawn

The Maiden of Dawn and the Firebird, 11" x 14" linocut print by Ele Willoughby, 2025
The Maiden of Dawn and the Firebird, 11" x 14" linocut print by Ele Willoughby, 2025

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here. And now the final day, Day 7: Dawn.

Here is The Maiden of the Dawn & the Firebird inspired by Edmund Dulac's retelling of a Russian Fairytale.

A Prince is prophesied to fly away on the Firebird on his 15th birthday & marry the Maiden of the Dawn. So the King imprisons him in a luxurious tower prison & holds an elaborate 15th birthday, without him. 

Frustrated, the Prince escapes by the window to the garden, unobserved by the guards enjoying the festival. At the edge of the garden he found a cave, illuminated by a giant bird. In the crystal pool below he saw an image of a beautiful Princess & fell in love. The bird indicated that he should climb aboard & they flew thousands of miles to a beautiful crystal palace at the Home of Dawn with the beautiful Princess asleep in the garden. The prince alighted & failed to wake the Princess. They returned the next night, to no avail but on the 3rd night she awoke at dawn as the Firebird stopped to pluck & give her a feather before leaving the Prince with her. They fell instantly in love & blissfully wandered the garden together. 

But her evil jealous sister enchanted the Prince & his body fell as if dead. The sorrowful Princess kissed his lips, which trembled & she understood her wicked sister must have enchanted him. In desperation she searched the palace then remembered the feather & used it to call the Firebird & fly far west to a cave. There her sister the witch was singing by her cauldron containing the Prince's heart. The Princess rushed forward, overturning the cauldron; the icy brine splashed the witch, killing her. The Princess grasped the frozen heart to her chest & they flew home. 

As they reached their destination, the Princess realized the heart had melted & was gone! Terrified she rushed onward. The Firebird alighted on the roof & the Prince himself came out to greet them. They embraced & she understood that his heart was back where it belonged in his chest, beating against hers. The Firebird's work was done & he flew away, but returned to circle their garden for their wedding, & brought them a feather each anniversary. They ruled as King & Queen of the People of the Dawn for many years & lived joyfully together.

Saturday, November 22, 2025

Folktale Week Illustrations: Storm and the Cailleach

The Cailleach, linocut print, 8" x 10" by Ele Willoughby
The Cailleach, Beira Queen of Winter, linocut print, 8" x 10" by Ele Willoughby

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here. And now Day 6: Storm.

In the Gaelic mythology of Ireland, Scotland and the Isle of Man, the divine old woman, or hag, created the landscape itself and the storms and weather of winter. Known by many names, she is the Cailleach (literally the old woman or hag) or Cailleach Bhéarra in Ireland, she is Cailleach Bheurra, or The Hag of Beara or Beira, Queen of Winter in Scotland, and the Caillegh in Manx. In Old Irish, Caillech  means 'veiled one', and her name may be a reference to her woollen cloak. 

She is a giant created with making the mountains and she carries a hammer to shape the landscape. Her staff freezes the ground. She is said to be the mother of all the gods and goddesses. She is the personification of winter, especially of destructive storms. She is associated with prominent, craggy mountains. Her skin is blue and her teeth coloured like copper. She rules from Samhain (November 5) through Beltane (May 1), when despite her efforts to fight against sprint, the goddess Brìghde takes over and rules summer through to the next Samhain.

As well as her cloak, staff and hammer, she is dressed in a great plaid, in accordance with folklore from the west coast of Scotland which tells how she ushers in winter by washing her great plaid in the Gulf of Corryvreckan (which means a whirlpool of the plaid). Over three days the roar of the tempest can be heard across the land and then her cloak is washed white as snow, which then blankets the landscape.

This print is part of my ongoing series of slightly sinister winter and yuletide folklore.

A thing that entertains probably only me, the word Cailleach is related to the Gaelic caileag and the Irish cailín ('young woman, girl, colleen') and my middle name is Colleen. Plus she rules from Samhain through to my Beltane May Day birthday.


Friday, November 21, 2025

Folktale Week Illustrations: Charm and East of the Sun, West of the Moon

East of the Sun, West of the Moon, 8" x 10" linocut print by Ele Willoughby

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here. And now Day 5: Charm.

My 8" x 10" hand-carved and hand-printed lino block print illustration of the beloved fairytale East of the Sun, West of the Moon shows the bewitched polar bear prince holding the charm, a magic silver bell along with his bride with the aurora in the night sky beyond them. Printed in dark blue ink, with fluorescent green northern lights, pink cheeks and silver bell, on lovely, delicate, Japanese paper.

The Norwegian fairytale tells of a bewitched polar bear who persuades a peasant to grant him his youngest and prettiest daughter's hand in marriage, promising riches in return. The kindly bear makes her a magnificent castle, and presents her with a magic silver bell that she can use to summon him. He is able to return to his man form at night, but only appears to his bride after she extinguishes the light, so she never gets to see his original form. Feeling homesick, she asks to visit her family; the bear grants her wish on the condition she never be alone with her mother. Her mother makes persistent attempts to speak with her privately, and when she succeeds and hears her daughter's tale, she assumes the bear must be a troll and tells her daughter to light her candle at night and check.

When the daughter examines her husband she falls in love with the handsome prince asleep in bed whom she accidentally awakes. He explains he has been cursed by his wicked stepmother the witch-queen. Had his wife not seen his true form for a full year the curse would be broken, but now he go to witch-queen's palace which is east of the sun, west of the moon and he must marry the witch's daughter. 

The young wife then goes on a long quest to find and rescue her husband and free him from the curse. It's a wonderful tale of courage, kindness and adventure and she ultimately frees her prince.

Thursday, November 20, 2025

Folktale Week Illustrations: Book - The Master and His Pupil

The Master and His Pupil, 8" x 10" hand-tinted linocut print by Ele Willoughby, 2025
The Master and His Pupil, 8" x 10" hand-tinted linocut print by Ele Willoughby, 2025

 

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here. And now Day 4: Book.

My hand-tinted linocut illustrates the English fairytale ‘The Master and His Pupil.’

A learned man of the north lands who knew all the languages of the world and mysteries of creation, had a big black book with iron lock chained to a table and forbidden to all others which contained the secrets of the spiritual world including details of angels and demons. 

His pupil and servant was a foolish lad, barely allowed into the same room as the book. One day when the master was out the curious pupil snuck into the room keen to investigate the magical and alchemical objects but he got nowhere without knowing the magical words hidden in the book. He noticed the master had forgotten to lock the book and he rushed over to read it! He could understand little but he sounded out the words and the room turned dark and there was a clap of thunder and the demon Beelzebub appears with glowing eyes, breathing fire. “Set me a task!” the demon roared, and threatened to harm him. Frantically the boy looked around and noticed the geranium. “Water yon flower!” he cried.

The demon left and returned with a barrel of water, he poured on the flower. And then he left and returned with more and more barrels, flooding the room. The boy pleaded with him to stop but he didn’t know the right words and the demon gleefully continued till the water rose so high that the boy climbed onto the table. The water continued to rise higher and higher and would have flooded all of Yorkshire had the master not recalled that he had left the book unlocked and he returned home as the water reached the boy’s chin. He spoke the right magic words and banished Beelzebub back to his fiery home!

This story has ancient roots, and can be linked to the Sorcerer's Apprentice, but I chose this version because it focuses on the book.

Folktale Week Illustrations: Rain and the Magpie Bridge

The Magpie Bridge, 11" x 14" linocut by Ele Willoughby
The Magpie Bridge, 11" x 14" linocut by Ele Willoughby

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here. And now Day 3: Rain.

My hand-carved, hand-printed lino block print of the well-known, ancient Chinese folktale of the magpie bridge linking the lovers, The Weaver Girl and the Cowherd, separated by a great river, which is the Milky Way, is printed on lovely Japanese paper, 11” x 14”.

There are variations of the folktale across Asia, but the story tells of lovers, the Weaver Girl, symbolized by Vega, and the Cowherd, symbolized by Altair, banished to opposite sides of a heavenly great river, symbolized by the Milky Way. Once a year, on the seventh day of the seventh month of the lunar calendar, a flock of magpies make a bridge across the river to reunite the lovers.

The story is the inspiration for the Qiqiao or Qixi Festival, celebrated on the seventh day of the seventh month in China since the Han dynasty, as the Tanabata festival in Japan and the Chilseok festival in Korea.

It is said that if it rains on the day of the festival it means the river has swept away the magpie bridge or that the rain is the tears of the separated couple. 

I had planned a colourful image but sometimes the trick to relief printmaking is knowing when to stop. I took my 11 year old son’s advice and stuck to black and white.

Folktale Week Illustrations: Echo and the Yama orabi

Yama orabi, 8" x 10" linocut by Ele Willoughby, 2025
Yama orabi The Echo, 8" x 10" linocut by Ele Willoughby, 2025

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here. And now Day 2: Echo.

Seeking less well-known folklore about echoes I found this Japanese echo yōkai. 

This hand-carved and hand-printed lino block print illustrates the mythical Yama orabi (山おらび) or “mountain shouter,” a small, tree-dwelling, birdlike yōkai or spirit who shouts replies, mimicking people’s voices and repeating their words creating an echo. They resemble small birds but have very large heads and sharp, pointy teeth. Any hiker in the mountains who is foolish enough to engage in a shouting match with the Yama orabi will soon die unless they can break the curse by ringing a cracked bell.

Folktale Week Illustrations: Night and La Chasse-galerie

La Chasse-galerie, linocut, 11" x 14" by Ele Willoughby, 2025
La Chasse-galerie, linocut, 11" x 14" by Ele Willoughby, 2025

I look forward to it every year! It's time for Folktale Week. Hosts post their 7 prompts for artists and/or writers to create illustrations or tell stories on these themes inspired by folktales, folklore, fables, myth and fairytales! There’s always a lot of magic submissions and it’s open to all. Most of the action is on Instagram (see @folktaleweek for more information) but you can find artists and writers sharing on other socials too. I am going to post my new illustrations here, starting with Day 1: Night.

I wanted to once again make sure I included some Canadian folklore. So for the Day 1 prompt Night I knew what to illustrate!

This hand-carved, hand-printed 11” x 14” lino block print on lovely Japanese paper illustrates the famous French Canadian folktale of the Chasse-galerie, or the Flying Canoe. The tale tells of some hardworking voyageurs in their timber camp, who miss their sweethearts back home, 100 leagues or 500 km away. After a night of heavy drinking on New Year’s Eve they decide they need to visit, despite being required to work the next day. The only way to make it there are back in time is to run the Chasse-Galerie; that is, they have to make a pact with the Devil so their canoe can fly through the air and speed them home and back in time. The Devil demands that if they mention God or touch the cross of any church steeple during their voyage they will forfeit their souls. The voyageurs swear off any more rum to keep their heads clear and they paddle as they speed through the air to the New Year’s Eve festivities where they dance and celebrate with their sweethearts. Eventually they notice it’s getting late and they rush back to the canoe, but their navigator is drunk. Their course back is dangerous and erratic. The navigator narrowly misses church steeples and begins swearing and blaspheming. The men are terrified they will loose their souls so the gag the navigator and elect a new navigator, but the first one tries to resume and they crash into a pine tree. Several versions exist of their various fates, either outwitting the Devil or doomed to fly the canoe through hell and reappearing in the sky each New Year’s Eve.

The popular folktale is believed to a a syncretism between a French version of the Wild Hunt folklore where a man named M. Galerie is chased by the devil all night and local Indigenous tales of a flying canoe. I love how you can trace a sort of family tree of folktales and find familial connections between stories. For me this print is another in my ongoing collection of slightly sinister Yuletide folklore.

Tuesday, October 14, 2025

Aeronautical Engineer and Queen of the Hurricanes, Elsie MacGill for Ada Lovelace Day

Elsie MacGill, linocut print, 9.25" x 12.5" on Japanese paper by Ele Willoughby, 2025
Elsie MacGill, linocut print, 9.25" x 12.5" on Japanese paper by Ele Willoughby, 2025

 

It is once again Ada Lovelace Day, the 16th annual international day of blogging to celebrate the 

Ada Lovelace, 3rd edition
Ada, Countess Lovelace, 3rd edition linocut by Ele Willoughby 

achievements of women in technology, science and math, Ada Lovelace Day 2025 (ALD25). I'm sure you'll all recall, Ada, brilliant proto-software engineer, daughter of absentee father, the mad, bad, and dangerous to know, Lord Byron, she was able to describe and conceptualize software for Charles Babbage's computing engine, before the concepts of software, hardware, or even Babbage's own machine existed! She foresaw that computers would be useful for more than mere number-crunching. For this she is rightly recognized as visionary - at least by those of us who know who she was. She figured out how to compute Bernouilli numbers with a Babbage analytical engine. Tragically, she died at only 36. Today, in Ada's name, people around the world are blogging.

 
You can find my previous Ada Lovelace Day posts here.

I am working on a new woman in STEM portrait for ALD25 and an upcoming #Spacetober print, but sometimes life gets in the way. We had a family emergency this week, so I am quite behind. But I want to share what I can, so read on to find my yearly - if a bit shortened - biography of aeronautical engineer Elsie MacGill (March 27, 1905 – November 4, 1980). Elizabeth Muriel "Elsie" Gregory MacGill was born in Vancouver, in 1905, and became the first woman aeronautical engineer and professional aircraft designer in North America, and likely the world. She was the first and, usually, only woman through her education at four different universities and engineering departments. She collaborated on many of Canada's famous and innovative bush planes and aircraft components, was entirely responsible for Canada's Maple Leaf Trainer II, a military flight trainer aircraft, and most famously, as chief aeronautical engineer at Canadian Car and Foundry (CC&F) in Fort William, Ontario (now Thunder Bay), she oversaw the manufacturing of 1,451 Hawker Hurricane fighter aircraft during WWII for the Royal Canadian Air Force (RCAF) and the British Royal Air Force (RAF), as well as 835 Curtiss Helldivers for the US Navy, becoming known as "The Queen of the Hurricanes." Her work helped make Canada a powerhouse of aircraft manufacturing. Later, she served as a Commissioner of the Royal Commission on the Status of Women in Canada, which published their report in 1970. Elsie came by her aptitude for social justice and blazing her own trail honestly. Her mother Helen MacGill was a suffragette like her mother before her, a journalist, a judge and a leader in Canada's women's movement. Her father James Henry MacGill, was a prominent Vancouver lawyer, part-time journalist, and Anglican deacon and supporter of women's suffrage. Elsie grew up with two older step-brothers and an older sister. Early home-schooling including drawing lessons with renown Canadian artist Emily Carr and swimming lessons with prominent lifeguard Joe Fortes. Then she attended King George Secondary, associated with McGill University, before entering UBC Applied Science, but the dean asked her to leave after one term. She moved on to the University of Toronto, where, she wrote, "My presence in the University of Toronto's engineering classes in 1923 certainly turned a few heads." She spent her summers working in machine shops, where she gained practical hands on skills to go with the classroom theory, and where she was exposed to aeronautical engineering. When Elsie graduated from the University of Toronto in 1927, she was the first woman electrical engineer in Canada. She got a junior job with Austin Aircraft Company in Pontiac, Michigan and began part-time graduate studies, then enrolling full-time at the University of Michigan. Two years later, she graduated from the University of Michigan, as the first woman with a master's in aeronautical engineering, anywhere. Just prior to completing her master's she fell ill with polio and found herself paralyzed from the waist down. She spent much of the subsequent three years in bed or relying on a wheelchair, told she would never walk again. She nevertheless fought to regain her mobility and taught herself to walk again using two canes. She treated her disability as a mere inconvenience. She continued to pursue her doctorate from MIT from 1932-1934, supplementing her income with writing magazine articles about aircraft and flying. At MIT she was finally not the lone woman, as a contemporary of aeronautical engineer and technical writer, M. Elsa Gardner. Upon graduating she returned to Canada, taking a job as assistant aeronautical engineer at Fairfield Aircraft in Longueuil, Quebec. There, she worked on the Fairchild Super 71(the first aircraft designed and built in Canada featuring a metal fuselage), the Fairchild 82 (a bush plane), and the Fairchild Sekani(twin-engined transport aircraft) and presented her paper, "Simplified Performance Calculations for Aeroplanes", to the Royal Aeronautical Society in Ottawa, on March 22, 1938, which was later published in The Engineering Journal. She took part in the CBC's six-part series 
The Engineer in War Time in a segment called "Aircraft Engineering in Wartime Canada."  In 1938 she was also first woman elected to corporate membership in the Engineering Institute of Canada (EIC).

In 1942, she was hired as Chief Aeronautical Engineer at Canadian Car and Foundry (CanCar, or CC&F), where she designed a training aircraft, and oversaw its production: the Maple Leaf Trainer II. It did not end up being used by Commonwealth forces, but Mexico purchased ten of them because of their excellent high-altitude performance. Then, the company was selected to manufacture Hawker Hurricanes for the RAF. She became responsible for increasing the workforce from 500 to 4,500 mainly women workers and the tooling of 25,000 precision parts which had to be interchangeable with the British made Hawker Hurricanes, and streamline the mass production of these aeroplanes. This involved designing the manufacturing tools and adaptations to the plane, including de-icing controls and landing skis, for use during Canadian winters. She wrote and presented a paper about the experience, "Factors Affecting Mass Production of Aeroplanes", later published in The Engineering Journal. It won the Gzowski Medal from the Engineering Institute of Canada in 1941. The work made her famous and she even appeared in comic book biography in an issue of True Comics in 1942, using her nickname, "Queen of the Hurricanes”.

Seeking a job to replace the Hurricanes, CC&F in 1943, they were awarded a contract from the US Navy for the SB2C Helldiver. Production did not go smoothly; MacGill and CC&F were foiled by repeated changes in specifications making mass production all but impossible. The US Navy, frustrated with delays fired MacGill and line production manager Bill Soulsby, rather than figure out the source of the problem. Soulsby and MacGill got married two weeks later.

The couple moved to Toronto and set up a consulting firm. MacGill wrote the International Air Worthiness regulations for the design and production of commercial aircraft, as a Technical Advisor to the International Civil Aviation Organization (ICAO). These regulations, with their updates, are still important to safety of commercial aircraft.  She became the first woman to chair a U.N. committee, in 1947 as chairman of the United Nations Stress Analysis Committee. MacGill presented her paper "The Initiative in Airliner Design", to the Society of Women Engineers (SWE) and subsequently published it in The Engineering Journal. The next year the SWE awarded her their annual Achievement Award. 

While recovering from a broken leg, in 1953, she sorted through her mother's papers. This in turn lead to writing her biography, My Mother, the Judge: A Biography of Judge Helen Gregory MacGill, which she published in 1955.

She followed her mother's example and worked on women's issues, serving as national president of the Canadian Federation of Business and Professional Women’s Clubs from 1962 to 1964. Prime Minister Lester Pearson appointed her to the Royal Commission on the Status of Women in Canada and she is a co-author of their 1970 report. She filed a "Separate Statement" so she could voice her opinions which differed from the majority on the commission, including her belief that abortion should be removed from the entirety of the Criminal Code. Abortion had become legal in 1969, through the Criminal Law Amendment Act, but only if a 3-doctor committee determined that the pregnancy posed a danger to the parent's health. In 1988, the Supreme Court agreed with MacGill, striking down the remaining Criminal Code provisions restricting abortion as unconstitutional; abortion is healthcare. MacGill was also a member of the Ontario Status of Women Committee, an affiliate of the National Action Committee on the Status of Women. This work along with her engineering career earned her the Order of Canada in 1971. She wrote, "I have received many engineering awards, but I hope I will also be remembered as an advocate for the rights of women and children."

She was granted honorary doctorates in law from the University of Toronto in 1973, and in science from the University of Windsor in 1976. The Ninety-Nines: International Organization of Women Pilots, awarded her the Amelia Earhart Medal in 1975. In 1977 she received the Queen's Silver Jubilee Medal. In 1979, the Ontario Association of Professional Engineers presented her with their gold medal. She was inducted in the Canadian Aviation Hall of Fame in 1983 and she was a a founding inductee in the Canadian Science and Engineering Hall of Fame in 1992. She has been honoured with a stamp, a commemorative loonie dollar coin, schools and cadet squadrons have been named in her honour and she was a subject of a Heritage Minute for her work during WWII.

References
Bourgeois-Doyle, Dick. QUEEN OF THE HURRICANES — The Elsie MacGill Story, Vintage Wings of Canada, accessed October, 2025

Queen of the Hurricanes Engineer Elsie MacGill, Canadians At Arms, accessed October, 2025

Elsie MacGill, Wikipedia, accessed October, 2025

Schiedel, Bonnie. Soaring High - Elsie MacGill was the world’s first female aeronautical engineer. Canada's History, February-March, 2025.

Tuesday, September 23, 2025

Paddling the Humber River

After finding we were too early for the salmon run at Étienne Brûlé park on Saturday we canoed the Humber on Sunday.

Even though it was busier than I have ever seen it with people in the park we saw so much wildlife. The biggest treat was a pair of deer, which you don’t expect right in the city.




In the same marsh on the Humber River there was a great egret and great blue herons.


The Humber is home to a very large number of double-crested cormorants. We often see mute swans, Canada geese and mallards but this time as the water level was so low in the marsh we saw dozens of these adorable little lesser yellow legs wandering around in the mud.





There were literally piles of turtles, mainly map and painted turtles too.


Friday, September 12, 2025

Making Cyanotypes in the Sun

I've been taking advantage of the late summer sunshine to make some cyanotypes with some of the specimen I gathered and put in my flower press while in New Brunswick and some "volunteers" from my garden.


Proso millet cyanotype, 11" x 14" by Ele Willoughby
Proso millet cyanotype, 11" x 14" by Ele Willoughby

Proso millet cyanotype, 11" x 14" by Ele Willoughby
Proso millet cyanotype, 11" x 14" by Ele Willoughby

Wild Carrot and Other Wildflowers cyanotype, 11" x 14" by Ele Willoughby
Wild Carrot and Other Wildflowers cyanotype, 11" x 14" by Ele Willoughby


Wild Flowers and Wild Carrot cyanotype, 11" x 14" by Ele Willoughby
Wild Carrot and Other Wildflowers cyanotype, 11" x 14" by Ele Willoughby

Two Ferns Cyanotype,  on handmade paper with a deckle edge, about 7.25" x 9.75"
by Ele Willoughby, 2025

Fern Leaf Cyanotype, on handmade paper with a deckle edge, about 7.25" x 9.75" 
by Ele Willoughby, 2025


Found Monarch Butterfly Wings, Wildflower and Leaves Cyanotype, on handmade paper with a deckle edge, about 7.25" x 9.75" by Ele Willoughby, 2025

Wednesday, September 10, 2025

New Natural History Prints

Every September I take part in #SciArtSeptember and post art on the daily prompts. You can see my picks and new prints on my socials  (Bluesky or Instagram or Cara). I'm going to share my new prints, including sneak peeks here.

First up, for the prompt islet, I made a mono print on my gel plate using pencil and acrylics. 


Islet monoprint, 11" x 14" by Ele Willoughby, 2015
Islet monoprint, 11" x 14" by Ele Willoughby, 2015


I was thinking about the tiny islands in the lake in New Brunswick. Islets, too small for human habitation can be a refuge for wildlife.

For the prompt jewel, I made a linocut ebony jewelwing damselfly. The forests of southeastern Canada and the eastern US are home to these metallic blue-green beauties known as ebony jewelwing (Calopteryx maculata) or black-winged damselflies. The males, like the one in my hand-carved and hand-printed linocut are turquoise with elegant black wings. The females are a duller brown with a white spot on their wings. Each print is on handmade khaki green paper with fibre inclusions and a deckle edge. I designed my linocut based on a photo I took in the Rouge National Park. Each print is 8" x 10".

my photo of an ebony jewelwing from earlier this summer 

Ebony Jewelwing, 8" x 10", by Ele Willoughby, 2025
Ebony Jewelwing, 8" x 10", by Ele Willoughby, 2025

For mimic, I shared the flower fly from my last post. The prompt trawl was also one which needed something new.

Glass Sponge Reef, 11" x 14" by Ele Willoughby, 2025
The Glass Sponge Reef, linocut print, 11" x 14", by Ele Willoughby, 2025

Glass sponges are fragile, brittle, living animals with skeletons made of silica, the same material we use to make glass. Reefs, widespread during the age of dinosaurs, are now quite rare, and in fact, were long believed to have gone extinct 40 million years ago. Then in 1987, scientists discovered 9,000 year glass sponge reefs or bioherms offshore northern British Columbia. All known glass sponge reefs today are found offshore BC, and its neighbours Alaska and Washington state. These important and beautiful biomes filter bacteria out of water, provide habitat for several species like spot prawns, halibut, squat lobsters and the rockfish in my print, store carbon and fertilize the ocean. These reefs in Canadian waters are now in marine protected areas as they can be destroyed, literally shattered, by pawn and crab traps, fishing lines, anchors and bottom trawling. Ocean warming and acidification are also damaging to these unique, vital ecosystems and natural wonders.

My 11" x 14" limited edition linocut print is made in watercolour paper and illustrates different glass sponges and a rock fish at the seafloor. The edition is limited to 8 prints.