Module 2 chapter 5 part 2

2/5/1

Working with the patterns I developed from my drawings at the textile exhibition I now went into various methods of coloring new designs.

As you can see from the image above I have used a variety of methods. Working from top to bottom I laid a BG of Ko-in-Nor dye and then printed a simple pattern using a string stamp the I’d made. I then laid down a thick layer of wax pastel.

Second design, left, I used the same media, but this time I used a scratch back method(scrafito) to reveal the colour underneath the wax layer. It also has a layer of metallic wax crayon over the top.


Third design (bottom left) this design has a BG of Brusho which was then printed with bleach using a simple lion print. These prints were then accented with green and red rub-ons and the Lino print was then printed over the top, using a stamp pad.

The last design on the right, was another Lino print that was printed onto the same Brusho BG as before, parts of the design were bleached away and the colour was reintroduced with wax crayons.

I like this design best as it’s quite distressed, but due to the shape I think it would have been better suited to the previous study of Opus Anglicanum.


2/5/2

The images above were worked as follows:

The top one was painted with Brusho and then covered in places with orange wax pastel. Then the whole was painted over with Quink ink. The shapes were then printed with bleach on a rope stamp, using varying strength. Finally areas of the inked surface were scratched away revealing the wax.

The second piece was worked in a similar way but the whole surface was covered with wax pastel and then painted with ink which has been held back by the wax pastels. Patterns were then formed by bleaching with a cotton bud.



2/5/3

The final exercise for this chapter was to dye some fabric with tea and then bleach in pattern lines that would act as a guide for working various stitches used in the Indian embroidery. I used a thick bleach for this as a thin one tended to flood the fabric and spoil the design, as you a can just see on the bird’s neck. But as it happens I quite liked this effect. The 2 lower circles were done with thin bleach on the left and thick on the right, worked sample. Again I quite I like the mottled effect on the left one.

The yellow patterns on the right are all taken from my sketched examples, as are the top left yellow/brown/orange samples. The rest of the designs come from Sheila Pain’s book, Embroidered Textiles.

The stitches I explored were :
Buttonhole
Chain stitch
Split stitch
Satin stitch
Running stitch
2 methods of Shisha stitch
Herringbone stitch
Threaded Herringbone stitch.

I think the most enjoyable part of this sample was trying to interpret the stitches used on the fabrics that I studied first hand.I loved doing the row of triangles with the crosses on the top and was very surprised to discover how difficult it is to produce an even pattern using satin stitch. This was especially hard in the diaper pattern, top left.

I also struggled with the Herringbone stitch underneath the diaper row and had another go above it, using the threaded method, but I think I maybe got it right first time, and just made the stitches too small.