The requirement here is to experiment and create a dozen or so samples of printing and mark-making using our chosen designs.
Left: Rubber backed curtaining (this is the rubber side). Paint rolled over the background using a cylinder with elastic bands wrapped around. This was then rolled over with a brayer to soften and ‘splatter’ the blue lines. Purple dots applied with a cotton bud. Repeat stencil using screen printing inks.
Right: White closely woven cotton with yellow paint applied with steel brush in lines. Fun foam stencil in diagonal lines.
Left: Cream hessian background.A plastic netting was laid over the fabric and paint was dabbed through. Light and dark purple was mixed to give a variegated appearance. Different greens and reds were used on the sponge without washing in between. Amazing how well this has come out on a very textural surface.
Right: Polyester sateen base with green from the same sponge repeatedly stamped to give a soft linear appearance. I think this would look very good on coloured fabric.
Left: Pale yellow open weave cotton with monoprint in black. Black printing ink was rolled on to an acetate sheet, scratch marks were made onto the surface and this was then applied to the fabric. I used freehand swirls based on my carved rubber stamp design.
Right: The same process again but on white silk organza.
I did this several times on different backgrounds and using different colours of paint. Black came out the best.
Left: White cotton base with rotated and repeated stencil pattern applied with a stencil brush.
Right: Soft cream linen style fabric with a paint rollered base. Mirror image stencil with rearranged components using blended oil Shiva sticks. These were applied using a stencil brush to try to optimise blending.
Left: Off-white silk noil. A resist was applied using the design from the stencil. This was resized and more aspects of it were tried out – such as the pieces towards the top which are the negative space from within the main swirl. Three colours of paint were applied using a sea sponge, the piece was left to dry and then the resist was removed. The amazing thing about this is that the cream shapes seem to be in the foreground and the paint has receded.
Right: Very textural beige furnishing fabric has been stencilled in a linear manner, with the stencil having been rotated for the second line. The colours have been created using Pastel Dye Sticks in mid blue, deep yellow, lime green and blue/green.
Left: White polyester sateen base (shiny side) with repeated block print. Here I have used exactly the same colours as for the image above left – the silk noil with the resist – but the effect is very different. The printing ink was applied using a brayer and the block was placed in the same direction for each print. When I made this block unfortunately my cutting was slightly out so it is not quite a square, however I’ve positioned it as well as I can. Overall I’m very happy with the result.
Right: The base is a cotton fabric dyed by myself and has a greenish mottled look to it. Some areas are darker than others which gives an interesting look to the surface printing. A resist was applied in strips and then the stamp above was used with oil Shiva sticks. The repeat pattern has been aligned differently on each line, and in different directions, to give further interest. The colour used was a very deep red. The edges have then been ‘aged’ using a brush and a dark brown colour.
Conclusion: Some of the pieces I’m very happy with and would be able to use and develop further. Some others don’t grab me. I am starting to see what I like and what I don’t. Generally speaking, unless it is an all-over pattern, I’m not keen on printing on white. To me it looks like what it is – stamps. blocks and stencils dumped on a plain piece of cloth. I believe that surfaces need to be built up with layers to give a more unified final piece.
I see the next stage is asking us to take this further and do a larger piece. I hope to combine some aspects of what I have above and try out some layering.