In early October, Jason Logan walked through a small wooded area next to the Humber, the river that runs through the west end of Canada’s most populous city. At the foot of a stand of tall oaks, he bent down and picked up an acorn.
“I like that they have these pinstripes, like little gentlemen,” he said, talking over the hum of traffic crossing a nearby bridge. Then, he popped it in his backpack.
Mr. Logan uses acorns and the other materials he gathers in semi-urban, semi-wild spaces like this one to make inks, pigments that over the past decade have been used enthusiastically by a small but distinguished group of
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