Design Play: Circuit Project – More grids

Loved the grid experiments in my last post so continued down this path this week with some great results.

Sequin waste was cut to shape and placed over an inked acetate sheet.  This was run through the press and the sequin waste removed.  A ghost print was taken from the acetate plate.

The initial image above shows the resist from the sequin waste on the first pass.  The second image is from the acetate after the material has been removed.  Below these is a close-up of the texture on the print.

Plastic fly-screen had sections removed before being used as a resist, using the same method as above.  A print was then taken of the inked fly-screen itself.

As the fly-screen is so dense no ink was transferred between the mesh grid when using it as a resist.

A print was taken from the acetate plate (below left).  The right print below shows the addition of the inked sequin waste from the first experiment added as another layer.

Again, a close-up of the texture is shown above.  By using a dark olive green for the fly-screen print and black on the sequin waste the overlaid components become visible without one dominating the other.

Excellent results.  Ready to start on my book page prints now.

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Design Play: Circuit Project – More backgrounds

More background experimentation – yep, I’m not done yet

Whilst making book samples recently I’ve been mulling over my Circuit project.  I’ve tried quite a few different ideas as background bases for my connections and circuitry to sit upon but, as my mind is still turning this over, I’m not 100% convinced by what I’ve recently produced.

So I went back to my post of 18th April and analysed what attracted me to revisit some of the old work I featured in that post, and I considered where my interest now lies.

  • I like structure, order and no clutter and these images mostly convey that
  • I am drawn to specific shapes and repetition of these
  • I’m becoming more interested in reduced colour palettes
  • Splodges, random markings and non-specific spattering and daubs just aren’t in my make-up – although I admire it in others.
  • My leaning is strongly towards stylisation and simplification of pattern

With these points in mind I printed, in various ways, some grid and lines samples using the following as source material.

Left to right below: The fairly rigid sinamay (a millinery fabric) created an excellent resist for my first print but didn’t pick up much ink so didn’t print well as a stand-alone image.  However, the resulting ghost print from the acetate strata created an excellent effect.

Below: The robust cotton builders scrim (from the UK, not available here in Australia) gave pretty good results over all three techniques.  Quite hard to see as I was working with a mid to light-grey ink, but in real life (not through a camera lens) these pieces are quite good for what I want.

Left to right below: The plastic grid, which I think may be embroidery plastic canvas for learning to stitch, was quite unexpected.

No ink was able to penetrate the gaps when using it as a resist – essentially it resisted too well but I got some great embossing.  However, much to my amazement, the printing ink adhered very well to the smooth plastic grid surface, producing a sharp linear outcome.

You can’t see the ghost print from the acetate plate very well but the uneven framework image that has resulted is something I like a lot.

Left to right below: The strip of polyester fabric has created a very sharp negative image and the fabric retained enough of the ink to give a decent, if faint, image.  But, again, I find myself liking the ghost print (on the right) from the acetate plate.

So the result is that, from each of the materials, I choose the ghost print (on the right of each selection) to develop further.

Finally, some imagery and techniques I’m happy to take forward.

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Flexible Book Structures course: Progression

These two parts of the course introduce us to hinged spines and fastenings as well as layering and cutting back.

I first created a reversible 4 panel hinged concertina book.

Then I moved to a 2 signature pamphlet stitched notebook with a hinged closure.  Same type of hinging but a different purpose.

This was a slightly more involved project as it was lined and had single beads inserted along the spine to help hold its shape.  I added embellishments to front inner and back pages.

Two interesting samples and I’ve learned this new way of hinging.  These paper hinges, formed from the main paper in each project, aren’t the most robust I’ve ever seen so it’s worth considering how they can be reinforced in future.

On the second book, above, perhaps a larger version could have the cover doubled, creating an automatic lining, with bookbinding tape (or tarlatan) placed within the hinged sections; so adding strength.

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2019 05 06 Image of the week

A trip to the Powerhouse Museum last week was a fascinating experience in many ways.  One of the exhibitions, Akira Isogawa, showcased his costume designs over his career.  Videos played interviews with both the artist himself and others who either influenced him or actively aided in his career development and promotion.

The exhibition entrance was advertised using a huge screen with the artist signing his name – much more interesting that a simple stencilled wall.

Although I enjoyed his costumes, most of which looked very dated, it was his collaged dolls that drew my attention and that I’ve chosen for my feature image this week.

The attached statement reads:

Paper doll collages
Printemps-Été collection,
Spring/Summer 2005
Akira Isogawa/Christiane Lehmann

paper, ink, beads, braid, fabric petals and leaves, embroidered fragments

Together with Lehmann, Isogawa embellished a series of 20 paper dolls.  Found by Lehmann at a Sydney antique market, the dolls were dressed in materials sourced by the pair.  They inspired Isogawa’s Printemps-Été fashion collection, which was shown in Paris Fashion Week in October 2004.

********************

And a close-up of a few of them as the photo doesn’t do the display justice.

Powerhouse Museum, Sydney,  15 December 2018 – 30 June 2019
Click here for further details

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Drawing: A bit more nature

Simple plant shapes from a variety of visual resources, before adding some to my alcohol inked background.

I have one more coloured background but it wasn’t usable as the background was too heavily coloured to see much imagery.  So I stopped here and constructed a sample criss-cross accordion book with what I have so far.

This construction is part of an on-line course I’m doing, which is introducing me to new ways of bookmaking and joining paper together into structures.  Whilst I’ve only produced a simple shape here I see there is scope to take this much further, which I’ll probably do down the track.  Meantime I need to keep up with the ongoing lessons.

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Drawing: A bit of nature

Having used alcohol inks to colour some thick textural hand-made paper I decided to use them to make a criss-cross accordion book which I’m doing for my on-line flexible book structures course.  But, as I’m keen to practice my drawing, a bit of decoration was needed first.

OK not great but I wasn’t using any resource material as a visual guide which was a mistake.  I should get used to always having photos or books to work from.  So I got out some books and took ideas from there (as well as previous prints of mine).

Well, that’s an improvement.  What a difference referring to other drawings, photos and stitching guides makes.

I moved to my coloured sheets.

Very heavy-handed.  My first pen didn’t work well on the extremely textural surface so I had to go over it a second time, making it a bit hard-edged.

Much better.  Simple forms and a good outcome.

The best one so far.  These pieces will be folded in four and attached as an accordion, flattening to a rectangular book.

Only 2 more to go before construction.

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2019 04 29 Image of the week

Leo Posillico, A View From The East, oil on canvas

Resources:
http://www.leoposillico.com/portfolio/nggallery/galleries/Originals

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