Design from ethnic source - Chapter 4 cont.

Following on from this post where I was drawing inspiration from indigenous Australian sources I've been developing some more paper designs.
Using the 'kangaroo / boomerang' motif and variations of it, I prepared, on recycled black paper, some monoprinted backgrounds which were a little more interesting and could be progressed into stitched works.
Sian had advised me to think of the 'characteristics' of the inspirational designs that attracted me and use those in developing my own designs.  So I've employed simple colour scheme, tonal contrasts, outlining, repetition but with torn, uneven sizing.

4.15

4.16

4.17

Added motifs developed them into the following:

4.18

4.19

4.20

4.21

On a recent trip to London particularly to the British Musuem I found some interesting painted barkcloth and fibrous weaving from the Pacific islands and Torres Strait islands north of Australia.  A couple of these were inspiration for the recycled paper samples.

4.22: Painted barkcloth (left) stitched sample (right)

4.23: painted barkcloth (left) and stitched sample (right) using momi'd paper, dyed cleaning rags, dyed cloth and tea bags

"Slip" design - chapter 3

From the 15th to 17th centuries, isolated canvaswork motifs ("slips") in English embroidery were often cut out and appliqued separately on to a woven background such as velvet or damask.  Embroidery stitches and techniques traditional to the time period (sampled in chapter 2) were used but today's modern fabrics and technology allow for very different "slips" to be possible.  This chapter begins to look at design and sampling of contemporary embroidery slips.

As I had been researching Japanese embroidery before, I chose a flower originally from this area of the world - magnolias.
When I started this work it was spring in Australia but sadly we are now well into summer and the magnolia flowers in the garden are well gone.  But luckily I had a plethora of my own photos from which to study and draw.



3.1

3.2

 I am by no means experienced in 'playing with photos' on photoshop and indeed only have a very simple free version with which to experiment so I apologise for the following rather obvious enhancements I have made to these photos.  I did have some fun with this and liked a few of the changes:


3.3 'mosaic' effect





3.4 "extrusion" effect

3.5 "solarising" effect

3.6 "twirl" effect

3.7 fractured "tiles" effect

 The mosaic or pixilated effect in photo 3.3 could easily be translated into simple tent or cross stitches, while the extruded effect reminds me of long and short stitches.
The magnolia petals always seem 'too large' for the flower to support and I love the way the twirl effect in 3.6 exaggerates them.
The fractured version in 3.7 is a little like a distressed photo which I think with some more 'enhancement' has potential.

With my thoughts on the petals and their movement I went back to study them more closely in sketches. Firstly some drawings in graphite, coloured pencil and pen & ink on sketchbook pages previously given a colour wash.

3.8

 

3.9

3.10

3.11

Then some using chalk pastels with and without ink

3.12

3.13

3.14

3.15

Then sketches on black paper using pastels (3.16) and using acrylic paints (3.17)

3.16

3/17

 In 3.17 I wanted to try to get a feeling of the magenta in the magnolia bleeding or staining into the white so I pulled the paint thickly into the white using a kebab stick.

The same effect was used with a stick brush in bleach on a Brusho washed paper (3.18) below.

3.18

Close up the petals can appear quite texturally dimpled, almost like subtle orange peel, so I used this impression when preparing some decorated papers for later design work.
The A4 papers (sample shown in 3.19)  have predominantly pink / purple / white colouration like the flowers but yellow has been added in some as a complement and because the colour appears in some kinds of magnolia flower.

3.19

The papers are not very clear in 3.19 so I have cropped A6 areas from some and displayed in 3.20-3.23.
To create a softer textural pattern in the background I monoprinted a couple of times in different colours from a gelatin plate I prepared, then overprinted from an acetate sheet as this produces a slightly different look.
The gelatin plate was made using 3 tbsp (approx 45g) powdered gelatin in 1 litre water, poured into a lamington tray (approx A4 size) and left in fridge overnight to harden.
It lasted the day's use but 30+ degrees C in my studio area eventually took its toll on the old gelatin and it fell apart!

3.20

3.21

I tried to include the flowing and curving lines of the flower.

3.22

3.23

I had quite a few candidates for a slip motif from this work eg  -

3.24 (shape in purple shown relative to page in A5 sketchbook)

or this silhouette (3.25) from the flower in 3.1 at the beginning, and sketched many times in this post

 

this shape is about 10 x 8cm and I think is my favourite as it typifies the movement as well as the shape - a bit of an asymmetric fleur de lys!

 

Sketchbook - monoprinting in perspective!

Initial sketches of my sewing chair and reels, ink bottles-

Then went over the lines on the right page above, over a printing ink plate under the page to give the following couple of images:

The second one used the remains of the ink left on the plate after the first was printed, and I think gives a clearer image of the cylinder shapes.  I used fabric printing ink as it was at hand and the right consistency.

 I printed a couple the same in turquoise and in green with scraps of handmade paper as resists, then swopped over the paper scraps in the prints.  The one above shows the turq monoprint (ink a bit thick) with the green printed scrap in place.

Here the bottle was printed in green then the glasses were overprinted in yellow and red.  The imprint is shown on the right. 

This got quite addictive - must try some on other paper textures after seeing Sian's prints on Tissutex.

Printmaking

A few weeks ago I had the opportunity to try my hand at print making with a real print roller.  My daughter has been having a course of printmaking lessons at weekends to help her HSC studies from Andy Totman of the National Art School, at the Newington Armoury studios, Sydney Olympic Park.  She couldn't attend one of the days so I went in her place.

We were introduced to photo polymer (solar) plates which I'd never used before.  The plates have a surface which is activated by sunlight and so by placing an black and white acetate image on top and leaving in the sun, an etching is produced from which prints can be made.  It's a bit like cyanotyping where the treated fabric exposed to the sun turns blue but not where the fabric is covered.

I chose a photographic image of a neighbour's tree I frequently use in my sketchbook.  Once exposed for 2-3 minutes the plate is immersed in water and gently the excess polymer coating is rubbed away to reveal the image.
The plate was inked up with oil based printing ink and a print produced under the roller press.

I was amazed by the detail produced particularly when so little ink is used. I printed a couple more - one over a newsprint and one with a second inking in red on top.

By overlapping the acetate images on the plate then exposing to the sun, you can get multiple images on the one print.  I mixed some Shakespeare with Stonehenge.

We also did some monoprinting, using some torn muslin and threads as resist.

I personally prefer the second print from the plate which is a little more subtle and shows more textural detail.

Some monoprinting fun

I brought out my piece from summer school this week (while I was looking for something else of course) and thought that I would make something of or at least with it.  Two minutes later I decided it would stay as it was "for later consideration", just couldn't cut it up etc.  However I was inspired enough to get the fabric paints out again and print some more.

I found some A4 ish pieces of fabric that I'd dyed a terrible puce yellow for some reason and thought they'd be ideal for a makeover.
I got quite into it and was fairly pleased with the prints so I turned them into smallish bags that I thought would sell at my next sale.

I did some free embroidery on each design to echo the print designs, backed on to interfacing then wadding.
The bags are closed with flexiframes - you used to only get these in 3.5inch widths but I've now discovered 4.5inch ones that you can at least get your hand through, wonderful - the things that excite me!!

The cording means they can be hung, or put a lobster clasp through the loops at the side and you can attach it to your belt, handbag.