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.














4 comments:

  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

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  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.

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  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!

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  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

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