Example 1: Torn paper resist coloured with Markal paintsticks 45
A: on paper
B: on Muslin
C: on Polycotton with silk paints
D: with resists removed
E: Kitchen roll which was under the polycotton
This could come in handy.
Example 2: Sticky-back plastic and self adhesive paper resists
A: on paper with dripped Brusho after removal of resists
B: on Polycotton with dripped Brusho and self-adhesive plastic
C: on Muslin with dripped Brusho and resists removed
D: Polycotton with dripped Brusho and resists removed
This was most unsatisfactory as the Brusho ran under the resists. This might have been because the paint was too runny.
E: Paper with self-adhesive paper resists and silk paint
F: Polycotton with self-adhesive paper resists and silk paint
This worked better, although there was still a certain amount of seepage
Example 3: Stencil resists, using a spray bottle.
A: Found stencil resists: paper doyley, lace bits and trimmings, net curtains, mesh lurex fabric and dressing-table mats
B: Paper doyley, lace scraps sprayed with an anonymous French paint onto paper
C: B with the resists removed
D: Paper sprayed through a dressing-table mat
This was better as the paper soaked up the paint more.
E: Paper sprayed through net curtain.
F: Paper after the net curtain was moved several times
G: Paper sprayed with walnut ink (with a little left-over red paint – I couldn’t get the spray bottle completely clean) using torn paper resists.
H. Resists removed
I liked the result of the walnut ink. I painted Example 1A (Markal) and 3H (Walnut) with acrylic wax, the Markal was fine, but the leftover red paint ran. The result is all right though.
Example 4: Wax resist and green drawing ink.
A: Scribble with a candle end, and drawing ink painted over it
B: Grid drawn with a candle end. Drips and flicked wax blobs.
Rather an old candle, so the wick must have been dirty!
Example 5: Creating a background using a resist.
After all these experiments, and notwithstanding a previous lack of success with the medium (I think putting the Markal crayons near the radiator first may have helped!) I thought Example 1 worked best.
A: Markal using Tattoo feather design for paper resist
B: Design on polycotton
C: with added stitching using Superior Rainbow variegated no. 835, Madeira 40 nos. 1055 & 1246, and Madeira Frosted 7834
D: Close-up 1
E: Close-up 2
F: Close-up 3
Blue Peter moment
- Gelli plate with acrylic paint, some removed with a wooden print block
2. Gelli plate as above, plus paper resists
3. Polycotton and silk paint using Shibori technique (string and a bit of plastic drainpipe).
Example 6: Colour Discharge
A: Coloured paper
The orange, red, and the green bottom right are all painted with Procion.
B: After painting with bleach
The black tissue paper and the procion painted papers all reacted with the bleach, also the black sugar paper slightly, but the painted tissue and the yellow envelope did not.
C. Different fabrics
Top row L to R: Printed polycotton; silk paint air-brushed scrim; stretch velvet
Middle row: Red furnishing velour; glazed polycotton; black needlecord
Bottom row: Red heavyweight polycotton twill; blue polycotton; orange procion dyed muslin
D. After painting with bleach
The three lighter polycotton fabrics reacted the most, followed by the orange muslin and the red polycotton. There was a little reaction on the scrim and the needlecord, while the velour and the velvet seemed unaffected.
E. Bleach printing
Kalka wooden block
I wasn’t going to put this close-up in, but I thought the bubbles looked interesting, although I wonder if it’s repeatable as they were not visible after ironing.
I have not tried this method: the deColourant was £10.00 and I have not been able to find any Dygone locally. I have used that before, with indifferent results. I think it unlikely that I would want to work with either Bleach or deColourant/Dygone as it is hard to control the results. I hope this will be all right.