The following images relate to work that is either additional to chapters in this module, or relevant to the development of my theme.
Images 337 and 338 are from a Paper Lamination workshop with Buffy Fieldhouse, a member of our Guild. Though the background appears white, it is actually ultra-sheer polyester organza.
Image 337 is laminated newsprint with cut out gull shapes. The screen through which the golden matt medium was forced was masked with masking tape in these shapes so that the medium did not adhere the newsprint where the gulls appear (thanks to the Saturday Telegraph travel section).
Image 338 is one of Buffy's photographs laser printed onto photographic paper before being laminated in the same way.
In Chapter 6 - Colouring of Materials I chose the procion dye option. I recently attended a Transfer Dye/Printing Workshop with Mary Gamester, again with our Guild and include some of the work here as it was based on my theme.
Image 339, transfer paint sponged onto photocopy paper and then masked with gull shape before ironing.
Image 340 - ironed onto voile - you can just about see the image and the wonderful interference patterns appearing on the surface of the material. This could perhaps be overlaid onto a transfer printed image before stitching to 'soften' the image. It would be interesting to try the same on voile maché as this would give a surface that was less shiny.
Image 341 - ironed onto polycotton (65/35). Note how, on ironing, the paints have seeped through the mask.
Image 342 - ironed onto satin crepe.
Image 343 - ironed onto American muslin and stitched with kantha and seeding. It was interesting to note there was very little difference in the ironed image on the muslin and the polycotton, so in future I wouldn't bother sourcing the latter.
Though, not my theme, Image 345 shows two prepared papers that have been woven. The red was just painted and the yellow was overprinted with a paisley stamp.
Image 346 - ironed. Note how the paisley print is showing as a ghost print through the red, as if in shadow...this is why it is included here.
A section of Image 292 was used in the design for Image 347, which is painted on dry paper
In Image 349 things get more interesting as the image was painted wet on wet,
and ironed onto polycotton (65/35)
and American muslin. Again there wasn't much difference between the results on the polycotton and the muslin.
Remember my glue gun stencil? - Image 17 - that seems like a very long time ago!. Here it was used to relief print Image 352,
and iron onto American muslin (Image 353),
and the back (Image 354).
Having just started a new format sketchbook 17cmx11.5cm, Image 355 is thin bleach on sugar paper applied with a nearly dry brush and a polystyrene block
and though a stencil with a sponge, light pressure and harder pressure.
Image 367 - similarly, onto black tissue paper - front.
Image 359 - black linen - based on Image 87 - batik with discharge dyeing - front
Image 361 - gull pattern - batik with discharge dyeing - front
Image 364 - random gull pattern - batik with discharge dyeing - back
And now, Tah Dah!
Image 365 - gull and feather patterns - batik with discharge dyeing on black tissue paper - front. This is where I got very excited as I'm enjoying working with paper so much.
Image 367 - detail
Image 368 - detail - perhaps this one is a bit busy...
I'm just loving these marks and will experiment further - perhaps to incoporate this with my boro work.
And to finish, from an ecoprinting workshop with Caroline Bell - with every parcel we unwrapped it was like Christmas - 'onionskinsfourways'.
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