Sunday, 30 May 2010

workshop weekend with Ineke Berlyn

There are almost four weeks ago, I attended the course in screen printing and Embellishment with Ineke Berlyn. Ineke had brought a large selection ofscreens , she had made with a thermofax machine. We were able to draw on unlimited resources. For me this course had brought a lot of confidence in dealing to the screen printing technique.Several  months ago I had let make some screens of my own motives, but it was short of the professional guidance and  Ineke was very dedicated., We should produce two objects . First, a book cover. For this purpose we made a composition of brought scraps , which were ironed on fusible fleece. We had a background for our screen printing . Then  the embellishment took place with machine stitches, hand embroidery and appliquéd motifs. The second object was a bag made of recycled old jeans.My bag will be an examination gift for my daughter Julia.. I lined the bag with a batik fabric that is from a pair of trousers from Julia that I had made for her years ago and she had taken up almost shone through the bottom. I had brought the cloth from behind  out of the garbage bin.My book cover will be a picture. My husband convinced me that the finished piece is too good for a book cover 

 the recycled bag for Julia


my finished picture

Wednesday, 12 May 2010

Module two ch6

Chapter 6
The tasks for the next chapter require the dyeing of fabric samples in different reservation techniques with cold reactive colors. For this I used EMO the Finnish textile colors. You have They has the advantage to Procion MX that they are offered in liquid form The colors are fixed by a fixing salt and normal saline.
My mixing ratio: 3TL pigment/100ml fixierliquid.The pigments dyed the cotton material "Bomull" from Ikea perfectly black. Somehow I remembered that some quilting friends were complaining getting not a pure black with the dyeing of their fabric. This experience I didn‘t have done with the Finnish colors. On the contrary, when I repeat the reservation technique again, I will apply the black color with a specific brush to get more bright surface. At best worked , the wrinkle, twist and then node.Christa Rolf says in her book of Twisten.I was also pleased with the staining result of the Indonesian schiboritechnik Tritik. The fabric is folded into an accordion and then sewed with the machine across to the folds.The fabric are pressed together in the seam area. For my monoprints I used the Finnish Sunprintfarben that are mixed with a printing emulsion The result of one day with dying fabrics:: beautiful batik patterns and black fingers despite the use of disposable gloves

                                                                      picture 1
The result of my first trial with a bleach pen on black coloured fabric

                                                                  picture 2
Various result of shibori: Tritk,Tie and Dye

                                                                  picture 3
The monoprints with sun printing colours on fabric

Module two ch 5

Chapter five
The tasks in this chapter include the make of patterned papers by translating the animal specimen into abstract designs. Four techniques were used including marks with acryl colour, pattern with a bleach pen, monoprinting on plastic sheets with acryl colour, some prints with a linocut stamp and rubbing. Some of these patterns were shown in the last module . Therefore I shall concentrate my remarks on the technique. Marks with watering down acryl colour Black acryl colour was used to create the black marks on white paper . I painted white paper with black acryl colour as background for the white colours.
My used tools:
my indexfinger
the back of my finger
The edge of a creditcard
Sponges
a cork of a wine bottle
                                                                         picture 1
   This collage inter alia shows pattern designed with Photoshop with some of my drawings as starting point, a monoprint with a linocut stamp pressing the back of the painted plastic sheet and a stencelling.For that I layed a tired paper shape over my drawing paper and applied oil paint stick at its tired edge and dragging the colour with a tooth brush into the drawing paper

     Bleach marks
I got a bleach pen from a friend, which she had brought from the United
States. Something like that are not to buy in Germany and the bleach, which I
had bought didn‘t work at all and I became sick by the strong smell of chlorine
even though I had worked outdoors.
The bleach pen leaving only a pattern on black construction paper . Acrylic
paints didn‘t had been bleached . The EMO textile colour could be
bleached well.

    
                                              
                                                                   picture 2 and 3

                                                                            picture 4

In this collage I show my monoprints with white acrylic paint on black colored paper. I used to model also frayed a bank card, a sponge as a stamp and my fingers for the
patterns

costs: minimal the same as the last chapter
Working time: about 18 hours

Tuesday, 11 May 2010

Module two ch4

Chapter four
Drawing patterns from animal markings
The focus of this chapter was to identify patterns in animal markings and created linear sketches to use as a starting point for patterns creations using paper and fabric. For this I selected several pictures of animals and copied them in black and white to focus on the pattern. In addition to the developed patterns I
listed words with the descriptions of the animals behaviour and movements. For the overlay display I posted the animal pictures, some of my sketches, the patterned papers and fabrics created in chapter 5 and chapter6 to show the development of the design from the picture and the words.The suggestions way of working on using animal markings to translate design:
-study the animal in large format
-scan the picture into the computer and enlarge so that you only view a
section abstractly
-Use graphic filter to look at the photo in black and white pencil, look at the
“edges” only
-Sketch or trace exactly or look at the overall pattern to develop a stylized version I tried this both using freehand and tracing on the computer
- View the picture in “negative” to help see the impact of the white pattern
- Grey tones can be represented in your sketches by using pen and ink to vary tone Good pens make a difference in sketching.
I used a pencil, chalc-pastel pencils in different grey tones and a felt pen. Some patterns I developed
with the graphic program PSP9. By that I achieved results that I would like to implement once in blackwork embroidery technique.



                                                                  picture 1
Chameleon – changing ( , they adapt by changing their colour appearanceto their surroundings) , climbing,.
The collage shows shibori dying, drawing with a chalk-pencil, monoprinting on paper and fabric
and machine sewings

                                                                  picture 2
Gecko a lizard like reptil, a very goog climber, he even manages to run along walls I created the collage with shibori technique, a drawing with felt-tip pen, monoprinting on fabric, and paper printing. I also used the imprint of my bent finger for the pattern

                                                                    picture 3
Peacock: proud, magnificent, impressive, swaggering gait.For the collage, I used a Shiboriprint, a drawing with the drawing tools of Photoshop CS3 and a cable stitch with my sewing machine

                                                              picture 4
Butterfly: Fluttering light, colorful, vulnerable The collage again contains a shiboridruck, two drawings in pencil and chalk, a pattern developed with Photoshop, utility stitches with my sewing machine and a paper
for the printing, I used the corner of my check card as a drawing tool

                                                            picture 5
Tiger:sneak, jump far silently,, strips The images show a drawing with chalk pencils, a Schiboriprint, utility stitches with my sewing machine, and a color print of my index finger.

                                                                     picture 6
Zebra: fast, striped,herd animal The background of the collage is a pattern that I developed with Photoshop from a selection of the rear part of a Zebra. The collage also shows another monoprint on fabric, a paper printing and a drawing with a felt pen

                                                                       picture 7  

Goose :cumbersome,waddle, fairy tale character,they remain a life-long faithful to their partners
for the collage, I used monoprint on fabric, printed paper with acrylic paint, stencelling with oillsticks on
paper, and a drawing with a chalk-pencil

                                                                            picture 8
   Giraffe, fast, very long, herd animals, The background of the collage is a patterned fabric, painted with a
bleach pencil, the images show a paper printed with a linocut, and a monoprint on fabric   
costs for this chapter are minimal.I had the most of the material in my stuff.
Working time ca 20 hours                                       

Saturday, 8 May 2010

Module two ch 3

Chapter 3
In the third chapter, now we have to occupyied ouerself with the possibilitys of the tonal effect of machine embroidery and use both utility stitches and decorative stitches.

                                                     Picture 1
 First row
above: zickzackstitch using the stitch length control to grade each row from dark to light
Down: honeycomb stitch with the same technic as before but has also used the distance between each row as a way of making the stitchery became lighter
Second row
Above: the same technik as in the first row
Middle: is stitched with zickzackstitches overlapping the stitches in the left corner to get a darker area
Down: satin stitches playing with the stitch length, width and distance between rows
Third row
Above:cable stitch with zickzack, using perl cotton in the bobbin
Down: this picture shows a straight stitch worked in rows that are not parallel to each other. Every row finishes near the edge of the fabric and with the needle in the fabric swivelled to face another direction working back and fore to get a dark corner at one side.
Fourth row:
Above . My first trial with cable stitch
Down: a wavy like embroidery stitch also with overlapping stitches in one corner to create a denser area

                                                                        picture 2
For the first two rows satin whipstich I had used the black cotton yarn in the bobbin and in the needle there was a thin Rayon embroidery thread..With the reduced tension of the bobbin yarn and the increased tension of the needle thread the thicker drawn up bobbin thread completely covered the thinner white embroidery thread .It is therefor necessary to use, the same size of the yarns for the needle thread and bobbin. The most beautiful like zebra effect I got with normal needle thread tension and slightly reduced bobbin thread.
With the straight stitch, I received the typical whipstitch effect only when repeated forward and reverse stitching.
                                                                               picture3

                                    picture 4  Machine stitched bands to create pattern animal like   
  From left to right:
-Irregulary honeycomb stitch for the chameleon
-The satinstitch should imitate the tiger fell Diagonal straight stitch for the framework of the peacock feather and garnet stitch for the dots
-This pattern should imitate a pattern of the butterfly wings
-The combination of the two embroidery stitches should show the pattern of a gecko
-The wavy pattern should show the wings of a grey goose 

The costs of material:
2m Bomull from Ikea  6 Euro
Working time 8 hours
                  

module two ch2

Chapter two
The purpose of this chapter, includes the shades of embroidery using white
and black embroidery thread. For my excamples I used  the fabric named Aida. I started with white
embroidery thread and embroidered cross-stitch over four holes in a staggered rhythm. This emerged a beautifully structured picture on the surface But I did the mistake to embroider the area in horizontal rows, and this also remains very close, so I could not receive a smooth transition with the shading of black embroidery thread. It looked like fly droppings. I started all over again, but this time with vertical rows.At the beginning of shading, I used the black embroidery thread in the bottom layer and overstitched with white thread

                                                       Picture 1 My Failed cross stitch
 Picture 2 the tonal cross stitched column with black and white pearl yarn stitched on Aida

The next task involved the study of Blackwork technology. I had never worked in this technique and ordered me the book: The beginners guide to Blackwork by Lesley Wilkin and then started after reading the book to
create my first pattern. .
I used Aida as background for my stitchery.

                                                  picture 3 the sketch for the develloped pattern

                                                     picture 4 and the stitched pattern

                          picture 5 The second assignement was to vary the space between stitches


                                         picture 6 The last one was a variation of the thread thicknes

                                                    picture 7 all together
 I learned  the technique Blackwork as a very relaxing form of embroidery. In spite of these very old embroidery technique they can act in dependence of the pattern very contemporary and modern.The material of this works for chapter 2 :The book: 16 €50cm Aida: 5 €3floss black pearl cotton: 9 €Working hours: reading, drawing and embroidery 30 hours