This was such an enjoyable time, investigating methods of printing and stencilling, painting and manipulating the colours of the fabrics. I found I did not want to do much on the heavy fabrics. Likewise I tried not to spend most time on the simple cottons, as I knew the effects mainly already. I chose to experiment on those that might not work. Why do I do that?  I guess I want to challenge preconceptions.

Anyway, I tried some printing on black crepe.  The fabric pastel pens did not have a strong effect, as the instructions had suggested (but I wanted to see for myself!). The colours faded. The metallic fabric paints have a texture flow on the fabric which is not solid. I think metallic as highlight would be better on this dark, heavy fabric. The block print however with acrylic fabric paint has a beautiful impact however, strong and vibrant. I liked it, for future reference.



I tried the geometric shape as a sequences on cotton, linen and voile (cotton/polyester mix). I LOVE the linen, with acrylic paints brushed on to the block. I love the way the brush strokes show on the fabric, and I also love the design, and how it hangs on the linen. I could imagine this being developed much further, or even just continued as it is. The colour combination of violet paint on the pale blue linen is also sensitive. The blocks on the cotton/voile are interesting to see the strength of impact,


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I tried painting on the patterned silk, making jellyfish extensions onto the islamic shape. This was not too successful as the painted items (red) are blocked by the strong colours in the material, and are not vivid enough.  Interesting to see this.



I tried using Mod Podge as a resist, to see if I could layer colours. I used simple cotton for this experiment. I oulined the block shape with the Mod Podge, and painted two colours on the fabric merged with the water. The Mod Podge worked. I can use this idea again in the future. Would use on plain silks and cottons.  But growing tired of this block image…..



I did a lot of investigations on wet and dry fabrics, The fine cotton diffused the colours very greatly, when left to dry slowly. Hairdryer drying slowed the diffusion. I used heavy silk, and the diffusion was less on wet, and the dry painting kept to shape/dimension.



Finally I moved to playing with the raw silk, and I found I loved it. I really like the way it holds the paint when applied to dry material, and at the same time allows the natural texture of the fabric to break through onto the surface. I found it gave an ageless, almost antique effect to the block print (blue).  When wetted, the water forms bubbles on the surface and the colours take time to pop into the balls. Some diffusion, some retention of shape, see the blues pieces with paintbrush dots of colour.  When water added to lines, it diffuses attractively. Finally, I backpainted the fabric and tried two block prints and one stencil painting. I don’t like the painted stencilling, and the block printing has a rather attractive effect of faded grandeur…. but I found my backpainting itself too integrated into one shade of blue. Too much water in the paint.