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POTASSIUM PERMANGANATE SAMPLES .
SIZE OF EACH INDIVIDUAL SAMPLE ABOUT A5.
SAMPLES LABELLED A-I
A . handmade paper with embedded hydrangea flowers.
B . calico over orange slices , treated with discharge paste
C . calico over pegs and kitchen tongs and then painted with lemon juice
D . silk dupion with lemon juice
E . calico over a leaf
F . stitched muslin in layers with machine stitched inserts painted with acrylic and then discharged with lemon juice.
G . Kitchen cloth folded over kitchen scissors
H .Silk with fringed ribbon edgings discharged with lemon juice.
I . Calico over a leaf stencil and a cut passion fruit.
IMAGE 3 (SIZE A4)Egg Tempera with Procion dyes scraped back with serrated plastic knife.
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IMAGE 5 (SIZE A4)
IMAGE 4 (SIZE A4)Calico wrapped over section of garden wire , soaked in white vinegar and kept in airing cupboard in plastic bag.
Larger spots of rust occurred at the intersection of the metal struts while the small spots gave an outline of the grid.
IMAGE 5 (SIZE A4)Composted calico
IMAGE 6 ( SIZE A4)
IMAGE 7 (SIZE A5)
IMAGE 8 (SIZE APPROX A4)
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IMAGE 6 ( SIZE A4)SHIBORI.
Muslin wrapped around wooden knitting needle and gathered by green garden twine. After steaming, but before uwrapping, the sample was dipped in procion dye. After unwrapping the green stain of the twine remained along the top edge of the sample.
IMAGE 7 (SIZE A5)Shibori with deep pleated curtain tape, treated with blue dye.
IMAGE 8 (SIZE APPROX A4)SHIBORI.
Calico wound around kebab sticks and cinnamon sticks together with cotton twine.
Parcel uwrapped after steaming and the threads used to stitch the kebab and cinnamon sticks to the background fabric.
IMAGE 9 (SIZE A5) Pelmet vilene crumpled and smoothed out , sponged with markel paint sticks to give suede effect.
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IMAGE 11 (SIZE A3)
IMAGE 12 (SIZE A4)
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IMAGE 10 (SIZE A3)'Animal Prints'
Bottom right sample was a sheet of 'anaglypta' wallpaper coated with metallic acrylics. Top right this was used to make a monoprint on muslin.
On the left hand side of the sample the wallpaper print was then re- inked and used on wet silk.
IMAGE 11 (SIZE A3)
In the sample on the left a layer of muslin was dipped in a dilute PVA solution. This was then layered up with multiple sheets of tissue paper and grooves were pushed into the surface and left to dry to a stiff ridged finish.
When dry it was painted with acrylic paints and drawing ink and used as a monoprint for the right hand sample on damp silk.
After the monoprinting more paint was applied and the ridged sample was left to dry again. It was then coated with acrylic wax and polished like deeply grained leather.
IMAGE 12 (SIZE A4)Wax resist on drawn thread muslin with textile paints (top)
Wax resist on heavy paper (bottom)
IMAGE 13 (SIZE A3)Right hand side. Further monoprint from first stage painting of the muslin tissue in image 11 on heavy furnishing fabric.
Left hand side .Full sheet of wax resist paper.
Middle. A sheet of adhesive labels was pressed on the left hand sample before it was dry and then the labels and their connecting strips were cut, peeled off and re-applied to plain paper.
IMAGE 14 (SIZE A4)Mashed potato as a resist with drawing inks as colour.
The wet potato caused the backing fabric to shrink and once dry it could be stretched out to reveal a 'crazed' pattern
IMAGE 15 (SIZE A4)Sample in image 14 with sections of potato removed.
IMAGE 16 (SIZE A4)
CHAPTER 4
IMAGE 19 (SIZE A4)
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IMAGE 16 (SIZE A4)This sample used the same technique with mashed potato as a resist but it was placed on a thin sheet of polystyrene foam backing material so that it did not adhere to the surface. Before it was completely dry the surface was rolled over by a lattice pastry cutter and it could then be broken up into small tesserai when completely dry. These were placed on a fresh sheet of backing material and were coloured with gold acrylic metalic paint. The background material was additionally sprayed with copper and gold paint
IMAGE 17 (SIZE A4)
IMAGE 17 (SIZE A4)SEEDS
A section was cut from the card which had been used as a screen for the spray painting of the sample at image 16. This was then covered with glue and small seeds scattered thickly on the surface. The seeds were then spray painted with the same metallic colours in different intensities across the surface.
CHAPTER 4 DESIGN PATTERN FROM AN ETHNIC SOURCE
IMAGE 18 (SIZE A3)
A selction of shapes from Maori culture, many based on curled and uncurled ferns.
IMAGE 19 (SIZE A4)A selection of coloured images from the previous example of shapes and previously gathered samples of Maori textiles, weaving and cane work.
Colouring mediums include watercolour pencil, drawing inks, markal paint sticks and oil pastels.
Some patterns were coloured over a ridged surface of cocktail sticks to replicate woven patterns
IMAGE 20 (SIZE A4)Maori Dragon's Tooth and Spider's web patterns in coloured papers and ink
IMAGE 21(SIZE A4)Maori fish scale design in coloured papers
IMAGE 22 (SIZE A4 )Maori Fishnet Mesh design in coloured papers
IMAGE 23 (SIZE A4)Maori weaving pattern for Keti (basket)
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IMAGE 24 ( SIZE A4)Further Maori weaving patterns.
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Time taken 27 hours
IMAGE 25 (SIZE A4)Maori fern design worked with garden fern and spray paint on paper.
IMAGE 26 (SIZE A3)
IMAGE 27 (SIZE A4)
IMAGE 26 (SIZE A3)Pressed broad leaf fern used as background.
Sample of paper made from garden leaves with waxed paper rolled ito strips and threaded through.
IMAGE 27 (SIZE A4)STITCHED SAMPLES
Top. Maori Wall panel worked over kebab sticks with coloured garden twine in cross stitch.
Bottom stitched samples derived from Maori taniko borders.
Time taken 27 hoursExhibitions etc attended
Eastern Region AGM for Embroiderers Guild
Alexandra Palace Knitting and Stitching Show.
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