Inspired by a colour choice in Assignment 2 when joining with staples,
a painted, concertina book of Sophie Munns:
collages of Leslie Avon Miller:
and a Developing Sketchbooks day at a local Sixth Form College, ideas around colour, layers and collage were explored. Papers were marked with wax resist, pencils, crayons, biros, washed with colour, painted with emulsion, scraped into, torn, punched with a cutter, arranged and re-arranged, layered and glued.
More excitement, a visual feast, brush marks, texture, torn edges, text, a stormy palette, the contrast of white and the darker blues and greys, the subtler combination of turquoise, burnt sienna and the soft blues and rusts of separating black Quink ink, so exhilarating! I tingle with anticipation as the watery inks mingle and pool on the page, revealing the uneven edges of the candle wax resist, or as specks of ink settle into the tiny spaces left between the wax of the crayon, some added mark-making with graphite, charcoal or pencil contrast with sweeping brush marks.
In the following sample, on the left, decorated papers were torn, sandwiched and ironed between thin layers of polyester wadding and hand stitched. The character of the stitch lines, darker on the surface, with the reverse visible through the gauzy wadding, emulating the curves of the decorated paper on the right. It was useful to learn the added versatility of ironed wadding, with its translucency here and ability to take printing ink a little further down the page.
Referring back to the ‘windows’ which framed the collage of rubbed papers in the previous post, a sketchbook page was cut and decorated. On the right, snippets of thread and cut circles were trapped between sellotape, sliced up and reassembled creating a semi-transparent window
which was laid over the previous samples. The framing really enhances the stitched piece and the gaps in the sellotape trappings create a layer over the the underlying painted paper.
Some of my tissue and brown paper stitch prints were torn and added building the composition by balancing the shapes, colour, texture and pattern until I was happy with the outcome. It was a liberating and rewarding experience, a textural treat in a some of my favourite colours.
Last weekend, an introduction to screen printing using pre-exposed screens helped me to develop my chosen palette further.
Below left, I have printed with three different screens using torn strips of newsprint paper as masks. The grounds included indigo dipped khadi paper, canvas, calico, silk, linen washed with water soluble inks and quink. The hand drawn circles and lines echoing my earlier theme and the regular straight lines printed like stitch, complementing some of my stitched prints.
Various coloured fabrics and inks were chosen, some of my bright orange space dyed cotton for its strong contrast to the black cotton. Hues were mixed from selectasine inks orange for the circles and grey for the cotton to connect the grey linen.
Some of the finer fabrics and newsprint paper were positioned in a considered way under the cloth whilst painting and printing, to take full advantage of the ink and print residue. the newsprint absorbs the ink in such a painterly way, with the printed marks adding a contrasting layer.
Simple straight stitch on card printed onto 9g lens tissue, 21g abaca tissue and newsprint, placed on screen-printed black cotton, the grey hand drawn print on the cloth echoing the hand stitch on the paper prints.
Below, gauze washed with black Quink ink and dilute turquoise Dylon, screen printed with grey hand drawn lines and an orange hand drawn circles paper, offsets the charcoal grey collagraph print with its delicate dotty lines, framed by ink-washed tissue with a torn hole:
A favourite combination below of ink washed newsprint paper, painted canvas, its coarse surface intensifying the brush marks, with a thin layer of ironed polyester wadding overlaid, all printed with the straight line screen at different angles with greys and white:
I am absolutely delighted with the results of focused, discerning colour experimentation but rather overwhelmed with the quantity of interesting samples to take forward, when combined with the fine paper prints and slightly baffled as to how to sort the most promising and realise their potential.
Some more considered and detached reflection required…..