and here is the weaving:
Everyone else was playing around with our combined wood blocks and stamps, using Permaset printing inks. We used a variety of methods to put colour onto the blocks, and onto the fabric. One method of inking the blocks was to use a plain overhead transparency sheet (not the coated kind for ink jet printers) as the palette. You lay down some inks at the bottom and then roll them up the sheet a little at a time with the brayer to get a tacky surface, before rolling the brayer across the stamp. You get a good coating for the stamp this way, not too thick and blobby but not skimpy either. It's also quite economical on inks, and means that these fast-drying inks don't dry out too quickly. You can also use the brayer itself as a printing medium, once you've run it across the block surface, as a negative version of the block will be left in the remaining ink on the brayer.
Another method was to use polystyrene trays as palettes, and coat the stamps with a sponge brush. This works well for smaller stamps but leaves brush marks on the larger blocks. This can give interesting effects, but sometimes it's not what you want. Sponge brushes are also very thirsty for ink, and you can waste a lot. You also need to be more careful that the inks don't dry in the brushes before you can wash them clean.
The left print shows the results:
Not all our printing involved us putting paint onto an object and pressing the object onto fabric. We had a pile of texture plates as well, which we printed onto fabric by laying the textured element underneath the fabric and rolling a paint-covered brayer over the top, to pick up the bumps. You can also add the colour to the plate and then lay the fabric on top, and rub with a brayer or spoon.
On this print, Bev used a block with a strong motif and, once it had dried, used a roller over a texture plate to give the motif a textured background. She felt the motifs on their own looked very stark on the cream background, and she likes to create layers and more complexity.
Helen made this print as a monotype from her palette...We all had a piece of cream homespun as a paint rag, because often paint rags give the best patterns. Here's Helen's:
Nola was interested in stamping on fabric that already had marks on it. She had several pieces of fabric that had been drawn on with various media in a "graffiti" session. She stamped over the top of these marks using various stamps.
This piece was an earlier exercise in using resists when painting fabric. Nola cut 1 1/2in squares of freezer paper and ironed them to the cream fabric. Then she painted the fabric using different shades of blue and purple fabric paints, beginning with the lightest shade. As she painted, some of the squares lifted, and were removed, and the paint also bled underneath the squares, blurring most of the lines. As an exercise in resists, it was fairly ordinary, and the fabric ended up very dark and moody. It was also used to test a small area of foil transfer. In our stamping session, Nola stamped over it with window screen mesh and two small stamps, using Supercover White Permaset ink. The white Supercover is opaque, so it really lightened up the piece and gave it a lot more interest. Nola thinks it may be a journal cover one day soon.Maz brought along her finished Forest piece. She had kept the felted piece whole and used it to make the cover of a book. The pages are handmade paper.
Here's Bev's postcard:
Carol's postcard has tone on tone blue elements added and hand drawn spirals with a silver pen.