Deconstructing and disintegration.
In this workshop we are looking at altering and eroding the surface of various materials. I did some experimentation with various items before progressing to a finished sample.
All items were heated with a heat-gun.
Very, very lightweight crinkle style Vilene (this could be called Crash but I’ve been through the Freudenburg website searching for the product name and am a little confused by their categories and naming conventions. I can’t work out which product is which). Surface distressed well but it seems a shame to heat-treat it because the very nature of the crinkly texture is lost in the disintegration.
Applying colour: I wasn’t sure which media would give the best colour results on the synthetic fibre so I started with alcohol inks. They looks totally amazing whilst wet but after drying I was left with a slightly grubby looking white Lutradur where the colour had simply vanished into the newspaper underneath. The moulding paste dragonflies retained quite a bit of the pinkish hue though. I moved to my Brusho paints and got exactly the same result. So I tried acrylics next, only on the background areas. They worked quite well but ‘grabbed’ the Lutradur where they initially touched, giving harsh colour changes. So I sprayed the whole thing with loads of water and turned it around and around letting the paints run and flow together. A big improvement.
Once dried, the colours had lightened a bit and it was quite effective. I then pinned the piece down and used the heat gun on the Lutradur whilst protecting the moulding paste motifs. Next I applied some coloured metallic waxes to enhance some of the burnt textural areas, the raised stitching and the dragonfly wings. Finally I coated the piece with two layers of gloss Mod Podge. The gloss hasn’t got much of a sheen on the Lutradur but it is protecting the surface and sealing the waxes. The dragonflies have ended up with more of a satin sheen.
A thoroughly fascinating workshop. Lots of experimentation in my sketchbook for reference and a final outcome I’m pleased with. The technique is something that I can see being used within my work in the future. This piece could be layered with different colours behind, attached to another base, further enhanced with hand stitching and beading and has scope to be developed into a book cover, box lid or decorative wall hanging.
The idea for this came to me as a result of the workshop I attended with Isobel Hall earlier in the year where I was first introduced to working with moulding paste as a surface embellishment.