Chapter 4 Fabrics and threads - colouring and bonding

Threads Gathering together threads that I had already dyed for previous projects reminded me of the value of different weights and thicknesses. Collecting and winding cream and white threads and yarns around six cases and also making random skeins to use next to other colours for a bit of colour mixing.
Fabrics Looking back at my colour notes from Module 2 I selected undyed fabrics  made from natural fibres and some pre dyed sheer fabrics.  The idea of doing shibori to experiment with dyes meant that I could also use my threads to tie the fabric and obtain more random colours to my threads.  

Ref 6.4.1

I also collect ready dyed fabrics together, some shop bought and other pieces I had dyed for previous projects in earlier modules.  It felt as though I had a fair number of fabrics to use 

Ref 6.4.2

but decided to proceed with dyeing a few fabrics and threads together to compliment my existing stash. Here goes... 

Ref  6.4.3

Ref 6.4.4

While rummaging through the fabrics and cross referencing any print with my pictures in chapter 2 looked for possible connections, missing links and items of contrast.  The fabric and patterns selected would be used in Chapter 5 so needed to keep in mind the potential for stitch but still keen to allow happy accidents! 
As I was not dyeing large quantities of fabric or thread decided to use brusho inks rather than dylon and was pleased with the colours, particularly the shibori in sample 3).
Using a plastic pipe to wrap the fabric and thread round I placed in fixing solution and then for the dyeing placed dye and pipe in a large plastic water bottle and allowed the dye to seep up the piece. I then deepened colour of dye and turned the pipe round so that an ombre effect was achieved. see sample 3

Ref  6.4.5

Decided not to iron some of my dyed fabrics as the shapes could inspire me and leaving the colours together when wet meant I got some cross dyeing.

Ref 6.4.6

Ref  6.4.7

I had a whole range of 'thrumbs' that were waiting to be captured in a fabric so bonded them to a yellow organza with bondaweb and then made a series of oil pastel 'stitches' to compliment the colours.  The sketches were then ironed onto 

Ref 6.4.8

Ref  6.4.9

bondaweb and the colour intensified, see sample 7 .  

I decided not to mount them onto other fabric at the moment as I felt they could be useful for Chapter  6 where layering was a key element. But got some interesting colours of organza and a lurex mesh together as potential candidates for future use!

Papermaking



Ref 4.4.1b

Ref 4.4.1a

During the preceding weeks I had collected mail and torn papers into colour heaps thereby hoping to reduce the need for too much dye.

Ref 4.4.2

Establishing myself in the garage - Mike was away singing - I had work tops and access to water and relegated a liquidiser, which we found cumbersome in the kitchen, to becoming part of my equipment store in the garage! Have added to the list of equipment needed for papermaking -  wellington boots...never had so much spashing about since I was a kid!!! Got better with time and found an improving technique by using the deckle the right way round!The splashes reduced.

Ref 4.4.3a

After first efforts on the yellow heap realised that the quantity of how much paper one could produced was more than I had imagined so decided that as I had soaked all paper at the same time I would pulp it freeze it in blocks for use in the future.  It felt better to make a few pieces of paper early on while I was experimenting with each colour.  This allowed time to contemplate results and then decide on what to progress further .  I would also conside which pulp would be enhanced by dyes.  

Ref 4.4.3a

Ref 4.4.3b

Ref 4.4.3c

Thickness was an issue with first sample, see bottom left ref 4.4.3a but as attempts continued it improved although size became an issue!! Sample Ref 4.4.3b, a blow up of item on right of 3a includes inserts of threads.
Ref 4.4.3c you can see designed holes' and geum petals

Ref 4.4.4a

The second trial was using various types of white tissue paper, some with white logos on, and adding a piece o pink tissue paper as a colourant.  Interested in whether the weight of the paper would be an issue the samples shown did not prove to be the best for taking an imprint. Possibly a lack of abilty to layer it thickly enough on the screen rather than a fault of the paper.  The paper was a nice texture but it failed to take an imprint that is discernable in thes e photos.  I would, however, try to use tissue again.  Delighted to find this old fan shape in my box of bygone momentoes, Ref 4.4.b as made me reconsider the idea of grids and possible book covers!

Ref 4.4.4c

Ref 4.4.4b

The plastic foam letters were possibly too soft to make discernable imprint although they could be seen on closer scrutiny!

Ref 4.4.4d

Ref 4.4.4e

Next efforts to encase and fringe threads proved ineffective as well! Threads too large paper too thin

Ref 4.4.5a

Ref 4.4.5b

Next, the blue group as seen in Ref 4.4.1b.  Decided  to use this to trial watermarks, see ref 4.4.5b. 

Oh dear! more ineffective results but tried to  recover the position and played; laminating  and layering with white pulp and flowers Ref 4.4.5c. Also tried to shape the damp paper over knitted sample mould Ref 4.4.5d

Ref 4.4.5c

Ref 4.4.5d

And a last attempt to laminate a patterned piece of tissue paper Ref 4.4.5e, oops not visible I try again later on a different colour - see later!

Ref 4.4.5e

Ref 4.4.6a

Ref 4.4.6b

Now for the grey pulp made from white /grey envelopes and items where black writing was also visible.  This time used wire as an embossing template, Ref 4.4.6b.

Nothing fancy here just worked on trying to achieve consistency and thickness of paper, results Ref 4.4.6c

Ref 4.4.6c

Ref 4.4.7a

The next attempt was white paper and as mentioned in ref 4.4.5d this was used to laminate some blue paper.  then played with flower petals embedding and startched results so paper could be written on.

Ref 4.4.7b

Ref 4.4.8

Realising that I needed to trial some dye samples emphased pink papers with some scarlet Brusho powder and added indigo to the blue pulp.  Made strips of each of these with the white pulp in a horizontal pattern then overlayed with vertical paterrn. The bleeding was predictable and perhaps a new attempt would be to allow each strip of colours to dry before adding next colour.

Ref 4.4.9a

I was coming to the end of the session and decided to mix the three pulps together and add violet Brusho for my next pulp experiments. Ref 4.4.5e is Ref 4.4.9 revisited  with more success!
 With these papers the view in Ref 4.4.9c shows the embossed item show on right in 4.4.9b

Ref 4.4.9b

Ref 4.4.9c

And for my last pieces shaping appears to be becoming more effective! The shell in Ref 4.4.9d was tucked away in a cupboard - loved the detail from the ridges but also the straight edge- could this be book cover material?  Ref 4.4.9e was damp paper placed over wooden meat skewers!

Ref 4.4.9d

Ref 4.4.9e

So an exhausting, frustrating but ultimately satisfying chapter in which I learnt alot and have two new concepts to add to my inspiration board , the fan and the shell - in paper.