Work done for City and Guilds Level 3 Certificate in Embroidery with Distant Stitch.

Thursday, 2 February 2012

Module 2 Chapter 6 Part 2

Monoprints on Fabric

I started with white paint on black fabric.  I mixed the acrylic paint with fabric medium and rolled it onto a piece of glass.  I used various things to make marks on the paint surface, based on my drawings of animal markings, and then laid a piece of fabric on the glass and rolled it with a clean roller.  I also tried using threads and cut paper shapes as a resist.  This worked quite well, but I found it was better to press the fabric down with my fingers rather than a roller, to get into all the crevices.

The next samples were done with black paint on white fabric.  Mostly I used the same technique as with the white on black samples.  In Images 2.6.9 to 2.6.10, 2.6.14 and 2.6.15, I rolled an even layer of black acrylic paint mixed with fabric medium onto the glass.  I then carefully and lightly laid a piece of white fabric on top and used the end of a paintbrush to draw patterns onto the fabric.  The paint came through the weave of the fabric as I did so, so that I could see what I had drawn.  I particularly liked the effect of this technique.  It produced an interesting quality of line, making an organic design with high contrast.

 Image 2.6.13 was a happy accident.  I decided to stop when I had used up all the paint I had mixed and it was beginning to dry on the glass in the warm room.  I dipped a paintbrush in water and started to clean up the glass when I noticed it made an interesting design.  I laid a piece of fabric on it and rolled with a clean roller.  Image 2.6.16 was another happy accident, when I rolled the inky roller onto a piece of fabric to start cleaning the roller up.  Loose threads from the edges of the fabric pieces had gathered on the roller, making a very interesting design.

Shibori Revisited

I had another try with some shibori techniques, trying to get a darker colour on them, and giving me a chance to try to develop deliberately some effects I had achieved accidentally. I used the same Dylon Velvet Black dye and mixed it in the same concentration and the same way that I had used before. However, this time, it turned out more of an indigo blue than black.  I think, maybe, the water I used to mix the dye powder was a bit cooler than last time, but I don't know if that was a factor.  I like it, but am not sure if this will be permissible, since we are meant to use only black and white.  I really love some of the effects you can get with this technique.  Before I did any dyeing I thought it was too labour intensive to be worth it, but, having seen the results, all the hours spent stitching and knotting is well worth it.

Shibori 1
Shibori 2

Shibori 3

Shibori 4

Shibori 5

Shibori 6

Shibori 7

Shibori 8

Shibori 9

Shibori 10

Shibori 11

Shibori 12

Shibori 13

Shibori 14

Shibori 15

Shibori 16

Shibori 17

I feel happy now that, between the shibori and the monoprints, I have a large range of patterned fabrics ready for the piecing of the next chapter.  It has been nice to be back in harness after a break of a few months and I have really enjoyed this chapter.


  1. Hi Catherine. Just love these shibori pieces. It's obvious how much you enjoyed this chapter. Looking forward to seeing the results of the next few chapters. Sheila

  2. You have had so much patience with the shibori. Its beautiful! Love the monoprints too, especially the white on black. You'll find these really useful in the next chapter.

  3. You've produced an amazing number of samples.The shibori are fabulous ,I wouldn't worry about their being paler.I especially like your prints 9 through to 13 they have a wonderful clarity of line.Well done!

  4. Cathrine, your shibori works are super. And the color fits to the patterns. I admire your patience with the tie up of the fabric.the patterns are really marvellous.
    LG Maren