It’s funny what you don’t see – until I put these photos together I thought I had pretty much followed the plan (the black and white version created on the computer). I had a printout of it right beside me. Darn! The original is much more dynamic. While working I thought it was my sloppy positioning and some smears that made the difference.
On the positive side, I think it shows that computer-based work is useful – I think it gave a good indication of how the pattern would work, apart from the execution mistakes. It’s also a reference for the effect of background fabric. I used a light to medium weight white stonewash linen, blue and yellow cotton voile, and a mid weight cotton that I hand-dyed a mottled blue some time ago and overall like the white linen best.
Next up is some raw silk in a loose, uneven weave that I bought during the week. The stamps used were based on sketchbook work, culminating here. I used some ezy carve printing block I got from Lynne at Batik Oetoro – much easier to carve than the plastic erasers, and of course you can cut the size you need. Hopefully it’s obvious that the imagery is based on the Tutankhamen work I’ve been doing. So I don’t forget the method: I liked one side of a sketch variation and traced over it – first on one side of the tracing paper, then turned over to get a mirror image for the complete shape. I rubbed charcoal over the back, then put the paper on the ezy carve block and drew over the lines in biro to transfer the image. After cutting out the positive image I stamped it on another piece of ezy carve block and cut out just the stamped areas to create the matching negative image (not sure if an extra step would be needed for a non-symmetrical design). I particularly like the positive/negative counterchange area and I think the colours and texture of the base fabric work well.
Next was trying to combine different types of stamping to form a single image. All of the stamps used have been seen before. The base fabric is a mottled orange/brown/green cotton homespun I dyed some-when. I rather like this, especially the “feathers” of the bird – actually overlaid impressions with different ink levels of the plastic eraser leaf stamp.
I continued with the leaf stamp, looking at ways it could be put into combinations to create overall patterns. I didn’t bother doing lots of repeats, but clearly the cross and star arrangements could be repeated, rotated, combined etc to form trellis and other arrangements. This is a medium weight red cotton.
On the same red I tried combining the leaf and column stamps. It looks rather clumsy here, but this idea could work for the larger piece I’m thinking of for the next stage.
I also tried different colour combinations for the positive/negative column stamps. All use black for the positive image. Top row has blue paint for the background. It looks very dark on the red fabric but has potential – especially with the flashes of red coming through. Middle row is yellow for the negative image – on the left direct on the red, on the right with white stamped on first. In some lights you can just see the yellow on the left, but only just. I need to practice with registration when over-printing for the idea on the right to be used. Plus using the black last instead of first would help. The bottom row has variations of amount of white used.
All of which doesn’t seem a lot to show for a large chunk of yesterday. There was time spent creating a couple more sample pages (like the ones here) for the raw silk and also some stripped polyester/cotton shirting material. I’m very aware of time ticking away – at one stage I hoped to get Assignment 2 finished by the end of January, now it looks like I won’t manage end of March. This is largely due to non-OCA commitments, but I’m also trying to heed my tutor Pat’s advice to take the time to explore. There are a couple more techniques that I want to try – one in particular should help me be a bit less neat and regular, a bit free-er and spontaneous. That’s scheduled for next weekend (yes, I realise I’m scheduling being spontaneous). Of course the balance is that there’s always more to try. I’ve been reading “Fabric dyeing & printing” by Kate Wells, which has reminded me of a heap of things and introduced me to a heap more, most of which I won’t be able to touch this time round. Next time… 🙂
Wells, Kate (1997) Fabric dyeing & printing, London: Conran Octopus. – which will be added to my new list of reading done for the assignment – here.