Have you ever created a leaf rubbing? Or painted one side of a natural object and then pressed it to paper to make a mirror image? If so, you’ve engaged in nature printing, an ancient practice that marries scientific documentation and art. Fossils are a kind of nature print, and leaf prints were featured on early American currency. Relief printing, intaglio, cyanotype—all are types of nature printing.

Capturing Nature: 150 Years of Nature Printing examines this art form through two centuries and across continents, illustrating no fewer than 45 types, compiled by Matthew Zucker and Pia Ostlund from the Zucker Collection, the largest collection of nature prints in the world. The resulting volume is a “wondrous mix of nature, technology, and the human desire for learning,” and it’s a stunning addition to any nature lover’s library.

U.K. artist James Brunt “works with what nature gives”: only what is found on the ground, in natural settings like beaches and woodlands. Imagine great spirals, mandalas, grids and other patterns composed of rocks, twigs, seeds, fern fronds, petals or leaves upon sand or forest floor. In Land Art, Brunt familiarizes us with his creative terrain—also famously explored by land artists such as Andy Goldsworthy and Robert Smithson (“Spiral Jetty”)—and invites us, too, to “get outside and play.” He provides exercises that first coax us into engagement with our natural surroundings and then into the act of art-making. For starters, find 10 of anything, such as pine cones or other seeds; then arrange them in a pattern of your liking. Brunt’s work, presented with infectious enthusiasm through full-color photographs, is gorgeous and mesmerizing.