Project 4 Printing and Painting Stage 2

Experiments with techniques

I'm really apprehensive about this section of the course so I thought I'd spend a little time just seeing what I'd got and how it works.  First I tried some printing on sugar paper with a roller.

I've been reading the woodblock printing section of World Textiles by Gillow and Sentence and found this lovely example.  I like the symmetry of the design and the variety of the allegorical patterns. I decided to use the square idea in some of my experiments.

Adinkra cloth from Ghana

I used a wooden Indian block to stamp a regular, repeat design.  I used a mid brown but then overprinted (a little offset) with yellow in alternate squares.  I then used a blue to complete the pattern.  I think it looks very effective for little trouble.

There is some work ethic in me that makes me think the blocks are just too easy so I looked around and made my own design from bits and bobs.  I ruled some lines and used the end of a spoon handle to decorate between them.  I used a milk carton top for the large circle and criss crossed each circle with the short end of a bendy drinking straw.  A cork was used for the heavier central blob.  The very small circles were the end of the straw.  I'm pleased with this

My next attempt started with a scourer. I covered the page and got a stipple effect.  On top I put a paisley design with a wooden block.  I alternated the pattern and in the spaces I placed a small Islamic design in yellow.  The colours were determined by what I had in by stash.

The stipple effect seems to be a good base for an otherwise plain design.  I like the way the paisley takes centre stage.  The stamps I've used are crisp and clear and I seem to be able to get the pressure just right.

It's time to see if I can do something for myself.  I've got a selection of bottle tops so I looked at them and decided to use different sizes to make a block.  First I drilled a hole down the centre of a cork then cut it into sections and stuck it into a milk carton cap. Then used sandpaper to make sure the surfaces would make proper contact.  I just tried one at first to check that it worked.

On my first try I didn't get the pressure right but the second go was better.  I made some more and stuck them onto a block.  I used Sticky Fixers so that I can re use the base.

The block....

...printed once.....

......printed twice

Putting five tops on has made a difference to the repeat pattern that I'd not really considered.  I could either use six as my number (thank goodness for Sticky Fixers) or intersperse with another stamp.

A shadow of blue and a smaller stamp as well

This made a bit of difference but it wasn't anything I'd want to repeat. I tried using six tops.

Six tops on the block worked much better

I used the shadow idea again alternating the colours and put smaller circles in between and I was much happier with the outcome.    It seems that whilst an odd number may be OK for a stand alone piece it's not so good for a repeat pattern.

Incidentally, Sticky Fixers are not waterproof so the end was a bit messy!

I wanted to make a block that was flowery so I did this with medium cotton string.

My natural inclination is to use a neutral fabric to print on but I decided to be a bit more adventurous and I used a piece of material I dyed last week (in fact an old tea towel).  I knew I would have more of a challenge with the colours and that proved to be the case.  To get at least something on the fabric I started with white and that was subtle but OK.  My original intention had been to overprint but that proved impossible because the pattern was not regular so I opted for an irregular stamp.  Without washing the block I introduced a really bright pink that immediately got lost except over the white.  I did the same with a bright blue.

My colours on newspaper

I'm pleased with the way the block worked but my prejudice against dark fabric has been reinforced.  

I tried the same method but on paler, lighter weight material.  This time the white paint faded into the background and the colours came to the fore enough for me to play around with them a bit.

The string on my block was still damp so the early paint spread a little.  That encouraged me to use water to blur things a little more.  I used a brush to ink the block and towards the end I was using multi colours for each print.  This is very different to the previous sample but I don't necessarily think it's any better for being on a paler fabric.  I feel this task has given be a lot of experience regarding what can be expected of fabric paints.

I came across this image and thought how relevant it was as well as being beautiful.

Silk spools

I wondered if I could use printing to embody the excitement of these silks.  I have some new fabric paints I want to try out and this is the perfect opportunity.

I'm quietly pleased with this.  I used a double layer of corrugated cardboard to print with but my usual method of sponging the paint on didn't work and I ended up painting the cardboard with a brush.  I mixed paints with gay abandon and because I hate to see good paint go down the sink every last bit was wiped onto some calico to make a serendipity design that I'm sure will come in for something or other.

My course notes encourage me to print layers to develop my designs and to try different paper so next I took the piece of work I did with the roller and embellished it.

This was so worthwhile.  Once again I chose household items and although the pattern is very simple it is interesting.  The colours work well together as well. I can imagine it printed on fabric as a repeat pattern and maybe made into a skirt like my batik one  (Project 3 Research point).  I love Islamic art and this print has that sort of feel to it.

I looked at my sketches and photos and went back once again to my photo of leaves mainly because I like it so much.  I have some hand made tissue paper with bits of woodchip embedded.  I took a dark brown piece and scattered some small torn bits of a paler paper on top.  I used  Heat and Form to create a design.  It was the first time I'd used this material.  You need to heat it close to a hot iron then embed the design into the soften foam.  I chose a selection of brushes (the handles) to embed and found the pad cooled too quickly to get enough of a design.  I reheated the pad and quickly used a knitting needle to make a pattern.  I then stuck the needle point into the pad to make depressions.

What you end up with is not the pattern you printed on the foam but the negative image.

My photo of leaves

Printed using Heat and Form

This photo looks much more orange than the reality.  It's a really attractive piece.  My confidence is growing all the time.

I could kick myself for not looking at Gwen Hedley's Drawn to Stitch before I started the printing.  I've just spent an hour looking and reading and it's truly inspirational and it makes me want to start all over again. Admittedly Hedley's resources are greater than mine but if I'd had the sense to look earlier my work might have been improved.  

My reading has given me ideas for painting on fabric particularly using discharge techniques.  There are so many things I want to try.

Gillow, John and Sentence Bryan, 1999, World Textiles, Thames and Hudson, London
Hedley, Gwen, 2010, Drawn to Stitch, Batsford, London