Momigami paper

Momigami paper originates in Japan and was traditonally made using hand made paper which has long fibres.  It is coated back and front with a paste made of the starch of Devil’s tongue root – konnyaku.

I'm always on the lookout for new things to try and I found this information on the web.

http://midlifecraftis.blogspot.co.uk/2013/02/momigami.html

I had just opened a new pack of photocopy paper so I decided to have a try.  To begin with the paper was very shiny and I thought it would be sure to tear.  

However, I followed the instructions above.

a) I put oil on my hands and rubbed it all over the paper

b) I gently pulled in the corners and slowly crumpled the paper.

c) I opened it up and repeated the process several times

I wasn't quite sure what I was aiming for but this is what I got:

The reverse side

The reverse

The front (still high gloss)

The oil has penetrated the multitude of creases I made by scrunching and kneading and the paper has become soft and pliable.

I need to press this flat but it's really quite beautiful.

There are some more lovely examples of momigami paper on this site

http://60by62.com/#/book-15-momigami-sampler/4535390482

Project 7 Collograph workshop

From not knowing anything about collography to doing a workshop took exactly a week.  Wikipedia has a comprehensive description of the process:

Collagraphy (sometimes spelled collography) is a printmaking process in which materials are applied to a rigid substrate (such as paperboard or wood). The word is derived from the Greek word koll or kolla, meaning glue and graph, meaning the activity of drawing.
The plate can be intaglio-inked, inked with a roller or paintbrush, or some combination thereof. Ink or pigment is applied to the resulting collage, and the board is used to print onto paper or another material using either a printing press or various hand tools. The resulting print is termed a collagraph. Substances such as carborundum, acrylic texture mediums, sandpapers, bubble wrap, string, cut card, leaves and grass can all be used in creating the collagraph plate. In some instances, leaves can be used as a source of pigment by rubbing them onto the surface of the plate.
Different tonal effects and vibrant colours can be achieved with the technique due to the depth of relief and differential inking that results from the collagraph plate's highly textured surface. Collagraphy is a very open printmaking method. Ink may be applied to the upper surfaces of the plate with a brayer for a relief print, or ink may be applied to the entire board and then removed from the upper surfaces but remain in the spaces between objects, resulting in an intaglio print. A combination of both intaglio and relief methods may also be employed. A printing press may or may not be used.

www.wikipedia.org/wiki/collagraphy

I did the workshop with Carol Eason at the Bean Coffee Shop and Gallery in Bolsover.  The following photos chart the day.

The start of Carol's demo plate

Further progress

I used the image of the melon from my theme book as a basis for the shapes.

Layers of texture

I got layers by cutting and taking away the top layer of the card (the brighter white).  I put snippets of lace, shredded credit card pieces and spots of PVA on.  When the spots had dried I covered it all in PVA the consistency of single cream and when that was dry did the same on the back and sides.

Inked up

I inked up with a violet and an orange ink.  I put the ink on with my gloved finger. The shapes I had made were really hard to work with and there was a mix of the colours which I was assured was OK.
After the ink is applied it takes some time to wipe off the excess.  This is done with newspaper first and then finally tissue paper.

On the press

Carol was kind enough to let me use some lovely paper.  The paper needs to be soaked prior to printing so the shapes sink into it.  I placed the plate on the press with no real idea of what to expect. 

Surprise, surprise
coming of the press

Carol was delighted with the result but for me it's a bit messy (as is the whole inking up process).  Some of the detail is lost and I think it would have been better to stick with one color.  There is a real need to touch this print as it is very tactile but 36 hours on it is still wet in places.

The  completed print

The lace is on the left

The credit card marks

The plate after printing

The last picture shows the plate after printing.  In the centre the PVA coating has broken down and needs to be repaired before another print is taken.

I had to leave the workshop early and I felt a good deal of pressure from this.  If I can get hold of a small quantity of ink I'll try printing from the plate again because several can be taken from one plate providing it is cleaned straight after printing.

Fusing fabric

I've been keen to try fusing fabric for some time and now that I've completed Part 3 I feel I have a bit of time. This can be accommodated as "surface structures" I'm sure.

My soldering iron has several "nibs" so I tried most of them.  I gathered various bits and pieces to help with drawing lines and I used acrylic felt topped with 3 layers of organza.

I followed the instructions in Fusing Fabric by Margaret Beale.  I made a range of possible marks on paper then did similar ones on my fabric.  I was warned in the text that holding the soldering iron would be the major challenge but I found it comfortable.  At first it was tricky to get the right pressure on the soldering iron and once or twice I almost went through the felt but I was fairly pleased with the result.

Towards the end I was able to get quite fine marks that didn't go through all the layers.  I'll look forward to trying another project soon.

This work is taken from Fusing Fabric p 24 and is an exercise in scoring fine lines. At first is used a small item as a ruler and got indifferent results but when I tried a standard metal ruler things were better.  I found that yesterdays work helped and I didn''t go through the fabric much which is surprising because it's only layers of organza.

This one is from p22 and deals with making eyelets.  It is on felt and I found no trouble in burning right through!  I tried various shapes and was pleased with the result.  These are both quite pretty samples even though they were just a bit of practice.

I've also tried fusing plastic bags using my iron with varying results.  This is another job that needs a lot of experimentation to get it right.  For the first two examples there was no thought of design just the task of getting things to stick

Too hot but some interesting textures and colours

Less wrinkles and interesting marks in the middle which was two sorts of plastic meeting

On the last one I placed the pieces much more carefully and was rewarded with something that was worth stitching into.  I laid pink background then wavy lines of black and white.  Over the top I put a paler pink. Throughout this I had lots of problems with static; the pieces were attracted to my fingers and were really tricky to place.

I used the marks left by the fusing to stitch on or round

The last task I've set myself in this fusing project is to make some beads.  I used Gwen Hedley's Surfaces for Stitch for my instructions and it looked straightforward enough.  How wrong can you be?  I needed at least two pairs of hands and thread that didn't disintegrate when it got hot.  Nevertheless I made a few beads with various degrees of success but the frustration quotient was high.  I've ordered some more specialist thread that is supposed to stand distressing.  I'll be trying again when it arrives.

I've enjoyed this little diversion.  It gives me another way to use fabrics and the combination of fusing and stitch opens up a whole new range of possibilities.  Eventually I'll master the beads as well!

I did some research last night and found other ways to do the beads without metallic thread so this morning I had a try.  What a difference.

First I used the instructions from Carolyn Saxby.  There was no winding of thread and therefore it was much less frustrating.

I also followed a youtube video that feathered the edge of a single triangular piece of tyvek.

There was no discernible difference in the way they performed although I found the heat gun I have borrowed seemed to offer  a variable performance probably as a thermostat kicked in and out.

I put small beads on wire on two of the beads and wound silver metallic thread on the third after it was heated.  In spite of being easier I also think they are more effective than yesterdays work.  Maybe with better thread I'll change my mind.

PS  My 5 year old grand daughter loved making her beads.

Beal, M.    2005,  Fusing fabric.  Batsford, London
carolynsaxby.blogspot.com
Hedley, G. 2004, Surfaces for Stitch. Batsford, London
www.youtube.com/watch?v=Qi4OJU9o_sk

Daring Colour

Ann Abgott

I love colour but as far as the theory goes I know nothing at all and I visited my local library to see what I could find.  There was very little but I ordered some books and borrowed one called Daring Colour by Anne Abgott. 

The book describes Ann's way of working and her love of colour is very evident. Her chosen way of applying water colour is to mix it on the paper because it allows her to paint more quickly.

Ann calls her technique "mingling" because that it exactly what the paint does on the paper and it creates effects that I just love.

Pick a Pear
Ann Abgott
Watercolour

Ann strives for clean, vibrant colours and chooses her pigments with great care. She saysit is important to know your paints well and understand the difference between transparent and opaque, staining or non staining and granular or non granular as each will give a different effect. As with most things experience is the key.

All this is probably far too detailed for my needs but I was inspired to try just to see what would happen.  To say it is easier than it looks is an understatement.  The first example here is just two colours but the others are mixtures I used when I was experimenting with blending.  When I had finished I simply mingled what was left.

Blue and red

Primary colours with black

Complementary mixtures mingled 

Arbitrary mixtures mingled

I can see that with practice the effects can be quite stunning - they are attractive even in these first experiments.  The amount of water used is very important as it influences everything that happens.  I imagine the degree of control needs a lot of experience; a thought acknowledged by the artist.

Annelein Beukenkamp

Whilst I was looking at Ann's work I sensed some familiarity with the style of a print that hangs in my home.  The picture is called "Posing"  by Annelein Beukenkamp. I bought it at a gallery in Vermont four years ago.  The mingling that I have looking at seems to be something I have been loving for a long time.

Annelein Beukenkamp
Posing

 Annelein says

"My technique is very loose and fluid, letting pigments mix and mingle on the bright white paper to achieve a very spontaneous yet controlled outcome."

A painter friend gave me the names of other artists to look at and I found them fascinating and inspiring.  

Ann Blockley

Ann is a professional painter who during 30 years has developed the loose flowing style I find myself admiring.  She is inspired by the natural world around her and her style lends itself to the atmospheric moods I like.  All the words I have been introduced to in the course are evident in Ann's work particularly texture and marks.  Ann shares her techniques in a range of publications. (I was lucky enough to see Ann give a demo at Patchings Art Festival in summer 2013)

Poppy field
Ann Blockley
Watercolour

Shirley Trevena

Shirley came to painting after a career in local government and describes having "the most wonderful adventure in discovering what marks I want to put onto paper and how to make colours sing".

Shirley's website describes her style as "a wonderfully loose way of painting using a dynamic palette of colours."  Once again the word loose crops up as with the other artists I have looked at.  Some of Shirley's work seems more abstract than that of Ann Blockley but both are very beautiful.

Sarlat
Shirley Trevena
Watercolour and mixed media

Jean Haines

Jean has lived and travelled in many countries and they have all left their mark on her work. In Europe Jean developed a quiet use of watercolor, in China she concentrated on brush control and in India and Pakistan she developed the wonderful use of colour we see in this lovely picture of a child on the beach. I simply couldn't resist it.

On the Beach
Jean Haines
Watercolour

Jean's subject matter is varied.  She has sporting themes, landscape, and figures.  I find it quite amazing that so much dynamism can be portrayed with such a loose, flowing style that seems to leave quite a lot for the viewer to interpret.
.

Flying colours
Jean Haines
Watercolour

In the work of all of these artists I can see elements that are directly pertinent to working with textiles particularly of course the use of colour.  There is a freshness to the work I've looked at that seems to be colour dependent.  With my current knowledge of colour theory I feel unable to  analyse exactly why this should be so but hopefully with a bit of time and experience I might be able to return to this work and offer reasons. 

The idea of mingling is one that I feel sure will crop up in my work very soon.
  


Anne Abgott, 2007,  Daring Colour, North Light Books, Cincinnati, Ohio


Links
http://www.froghollow.org/artist/annelein-beukenkamp

http://www.jeanhaines.com

http://www.shirleytrevena.com/

http://www.annblockley.com/