This chapter concentrates on knots and braids that represent traditional strapwork. These were then used to make stamp blocks.
I chose to work with celtic knots, mainly because I liked the flowing rhythmic shapes they made.
This first image shows the blocks I used includeing 2 stitch blocks. I was surprised to find that the stitch blocks were more difficult to print with than the knots. The density of the plaited braid stitch actually made it difficult to get the right coverage of paint.
I experimented with 5 different paint media, 2 acrylic and 3 fabric paints.
I found the interference gold acrylic the most successful as this had the best coverage on all fabrics and even showed up well on the crushed velvet.
This was my first attempt on a hand dyed piece of very fine cotton. I was just feeling my way with the stamps and the different media.
In this sample I was beginning to look at pattern ideas with the celtic square and then the plaited chain stitch block. The orange sample was an experiment to see how the interference gold would mix with quinacridone violet, the strongest colour in my collection.
I was also interested to see what would happen if I free printed the design over itself, and not worrying if I caught the edge of the block. I quite like the distressed effect in some parts of the print.
I was very pleased with the results of this print on the crushed velvet, again I liked the distressed effect.
This is the last of my fabric samples, printed onto hand dyed viscose velvet. It's my favourite sample, I think the stamp detail works well with the fabric and the colour. I'd like to trace some of the print with fine silver thread and small running stitch just to accentuate the design a little.
Lastly to use up the left over paint and to give me something to work with in future exercises I printed off a series of randome designs on hand made paper.
This last image has a sample of 4 way plaited braid in the right hand corner.
I've very much enjoyed this exercise, despite nearly having a nervous breakdown trying to work out how to do the knots, I have terrible trouble understanding and translating daigrams, but it did get easier as I progressed. It was lovely to get back to some printing and realise that I could do it in my kitchen as opposed to a studio, the trick being, keep everything miniature.