Masking tape resist
Using black cartridge paper as a base with torn masking tape in shapes on the paper, Markel sticks were used on the tape and with different old toothbrushes for each colour, the oil stick colours were brushed off onto the cartridge paper and softened and blended. The oil stick colours were left to dry and then the page brushed with acrylic wax to seal the piece.
Page 40. Masking tape resist
Sticky plastic and self-adhesive paper resist
Self-adhesive resists were made from the peacock/dragon motifs. They didn't stick very well so I used fingers to hold them down as Brusho paints were sponged onto the calico base.
Page 41. Sticky plastic resist
Sticky shape resists
Several commercial shapes were stuck to a piece of calico; torn masking tape, reinforcement rings, circles, rectangles and letters were used and then painted over with fabric paint colours.
Page 41. Commercial sticky resists
Paper was painted with transfer paints and resists added; torn tape, stars, circles and reinforcement rings, were stuck to the calico fabric base. The image was ironed to the fabric, the resists removed and the transfer paint ironed again to produce layers.
Page 43. The transfer painted paper with one resist in place
Page 43. The resulting fabric
The transfer painted paper was used again onto watercolour paper with hears and star resists and embellished with some sticky backed lace. This was a little bit twee, but it works.
Stencil resists
A kitchen sink mat was used as a resist as a stencil over calico and spray bottles made up containing Brusho and Walnut ink. The mat was moved after each spraying and created a sort of tartan effect. After each spraying, the residue on the stencil was placed on paper and and different pattern made. Two different cloth and paper samples were made.
Page 44. 1st fabric sample
Page 44. 2nd fabric sample
Paper pattern from stencil
2nd paper sample with fly swat addition!
Paper doily as a resist
A gold coloured doily was used - the gold finish seemed to act a a good barrier to absorption of the paint. Brush paints was used from the small spray bottles onto calico.
Page 45. Paper doily resist
Torn paper resist
Torn paper was used as a resist on calico and black paint sprayed over. Fingers were used to stop the paper being blown around.
Page 45. Torn paper resist
Masking tape resist
Masking tape was torn and stuck at angles across a piece of calico. Walnut ink was sprayed over the piece and place on top of a radiator to dry before removing the tape. The edges of the radiator created the darker lines, which were accidental but look good.
Page 45. Masking tape resist
Wax resists
In my cupboards was a wax heat-pan which I had not used, so my first practice with it was to use the outline of the peacock/dragon to work out which size of xjanting to use. The big blobs were when I didn't know how to control the wax flow. I changed to the smallest holed xjanting and became more proficient, so wrote my name and made some squiggles. The piece was then sprayed with a metallic spray. The fabric (calico) was ironed on newspaper to remove the wax and then washed in very hot water and ironed again. The metallic spray whilst having been ironed on, was not fast, so some washed out.
Page 46. Wax resist - some of the newsprint has also transferred
Wax and card resist
For Christmas I had received a set of hand creams which were held in a heavy cardboard support in a box. Using the support as a stencil, the negative shapes were painted with fabric paint. Once dried, the background calico was squiggled and dotted with hot wax which was allowed to dry. Once solidified, orange Kemtex fabric paint was sprayed over the whole piece and again allowed to dry.
The piece was then ironed over newspaper and the wax dissolved, then the piece was washed and ironed again.
Page 46. Wax and card resists
Tie dye as a resist
A piece of calico was rolled into a tight cylinder and tied with tight string in four places. Red and green Brusho paints were used to colour the fabric which was dried and then folded and clamped. The edges were dipped into another green and the piece dried whilst clamped. Once dried it was unfolded and ironed flat.
Page 47. The tie-dye piece
The reverse
The stencilled sample
I made stencils large and small of egg shapes and using Indian rough paper as a base, sprayed Semtex paints through the shapes; they were overlaid to create different shapes and shades. Some colourist metallic paints were also used but they seem to have faded into the paper.
The layers were built up wet-in-wet to allow them to merge and soften into each other.
Before stitching
Page 48. Some stitching was applied to emphasise shapes
Bleached tissue
I didn't have any other discharge liquid than Milton nappy solution which is in fact bleach so decided to see how it would work on a range of papers.
Block prints from the course were used with the bleach on the first few samples. Some more successful than others.
Page 49. Duck's feet on blue tissue
Page 49. Oyster-catcher on mauve tissue
Page 49. Block from previous module on black cartridge paper
Page 49. Macintosh rose block from previous module on black tissue with sheen
Page 50. Peacock/dragon, rose and Christmas cracker decoration as blocks
Page 50. Lots of blocks on green tissue.
The green tissue seemed to take the blocks better than the former samples.
Sponged bleach on tissue.
Several piece of tissue were sponged with bleach -
Page 51. On lime green sparkly tissue
Page 52. On purple tissue
Page 51. On orange tissue
Page 51. On pink tissue
Page 52. On dark blue tissue
This chapter is now completed
