Nina's Textile Trail

My OCA Textile Tales

TEXTILES: Preparing for Higher Education – Sketchbooks – Exercise 4.3 Collating a sketchbook – Stage 2 Textiles-inspired translation

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In this section we are asked to work with paper and materials and explore ways of customising these to resemble the qualities noted in our chosen artist’s work, considering ways to alter the appearance and be imaginative.

I was quite inspired by Dorothy Caldwell’s Collecting Cards and decided to used A7 and A6 Khadi paper for some of my experiments.  I liked the way the small papers could be held in the hand and leafed through, so continued with these sizes throughout the exercise.

I continued with the ‘Tea-time’ theme and based my initial explorations on ‘tea’

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A7 khadi rag paper coloured with fruit tea bags, tea and tea bags stitched onto the cards.

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tea stained paper (left), emptied, used tea bags bonded onto vilene (middle),  kitchen roll paper coloured with regular and fruit tea bags bonded to vilene (right)

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Top: inside of recycled envelope crumpled, ironed to vilene, rubbed with black oil pastel and fixed, monoprinted recycled curtain lining appliqued and silk boucle couched in tea cup shape. (18). Particularly like the effect of the grey patterned paper and oil pastel and love the couching method to create simple outlines.

Bottom left: Black recycled envelope crumpled and ironed to vilene, rubbed with white oil pastel, stitched bowl shape. (19)

Bottom right: Black Quink onto dampened khadi 150gsm discharged with thin bleach applied with No 1 paintbrush. Used teabag paper stitched on.  (17)  Like the pale blue/greys produced with the black quick wash and the rusty colour it discharged to with thin bleach, and the variegated grey thread stitching on the tea bag,  It made me think of stormy weather.

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Top: Shibori attempt indigo dyed cotton, used, emptied fruit tea bag bonded to surface, hemp couched. (20)

Bottom:  Used tea bag papers ironed to black vilene, teapot still life couched free hand. (21) Had to extend the fabric to fit the tea pot spout!   Like the effect of the couched hemp thread onto tea bag background.

From this point on, my explorations are based on the qualities of Dorothy Caldwell’s work but not relating to the Tea theme – wondering if I should have been drawing/collaging onto these papers?  Either way, it has been a really useful exercise with mostly positive results and a good resource for future reference.

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Cotton rag paper coloured with tea bags, black acrylic applied with roller, walnut ink applied with stick and brush, fineliner pen and stitch, fibre and rag paper pierced from both sides.  Like the visual texture and colours of top left (22) and the combination of drawn line and stitch bottom left (24).

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White wax crayon resist, walnut ink stained rag paper and gesso, directory paper crumpled, ironed to vilene and dripped with black quink ink, same paper with white acrylic applied with roller and credit card and yellow ochre acrylic. Really like bottom right (29)

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White packing paper crumpled, shaded with black aquarelle pencil and brushed with damp brush, brown paper crumpled and rubbed with brown oil pastel, cartridge paper crumpled. lightly sanded, brushed with light wash of blue quick ink, and used regular tea bags,  not very effective so stamped and rollered with black & white acrylic. (35) Much improved.  Bottom right, directory paper crumpled, gesso and acrylic added.

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Evolon coloured with disperse dyes/transfer paints.  Top, layout paper painted with transfer paint, sprinkled with salt, allowed to dry, ironed onto Evolon. (36)(37)  Very pleased with this effect.  Bottom: Transfer paints painted over wax resist onto layout paper, ironed onto Evolon, bit vibrant, so white acrylic monoprint off gelli plate added.

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Top left, Black cotton borsolini and two layers of muslin stitched, then white acrylic applied with roller and monoprint off gelli-plate added. Ironed onto vilene (39).  Like the effect of painting after stitching and the monoprint.

Callico, muslin and felt coloured with walnut ink.

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Top left: Evolon coloured with transfer paint, not very effective so brown, yellow ochre, black and white acrylic paint added with roller.

Top right: Black and white collon jersey ironed to vilene, monoprinted white acrylic off gelli plate. (44) pleased with this effect and monoprint.

Bottom, calico and old black denim printed with plastic grid, roller, black & white acrylic. (47) (48) Both effective.

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Top: Black denim printed with credit card, grid and white acrylic paint. (49) & (50). Effective.

Bottom Left black felt monoprinted from gelli-plate, white acrylic drawn into with kebab stick. (51) pleased with print.

Bottom Right. painted bondaweb ironed to vilene, black & white acrylic applied with roller. (52) Good visual texture.

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Indigo dyed cotton with gesso, wax resist with monoprint, grid and acrylic, lines painted with No 1 brush and fine bleach to resist. (52,53,56,57) good visual texture.

As the pieces were so easy to handle and look through, I wanted to present them in an accessible format where the textural nature of the bundled pages could also be appreciated.  Linking back to the ‘tea’ theme, I chose to recycle a tea bag box, with a small extension for the A7 samples.

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I like the tactile nature of this sketchbook, it was good to work with small pieces, to allow things to dry and then go back to them.  The textural look and feel of holding a bundle of pages is pleasing to me.  I appreciate actual and visual texture, found Dorothy Caldwell’s work inspirational and thoroughly enjoyed working through this exercise.

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One thought on “TEXTILES: Preparing for Higher Education – Sketchbooks – Exercise 4.3 Collating a sketchbook – Stage 2 Textiles-inspired translation

  1. Absolutely wonderful. Very intuitive and I love the end result.

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