Tag Archives: breakdown printing

Different but the same

It will come as no surprise when I say that 95%+ of the textiles I use in my work are created using breakdown printing.  Sometimes I include dyed pieces, sometimes I add a layer of print using thermofax but breakdown is my love.

For the last few years I have printed knowing that the majority of cloth is going to be cut into rectangles and used to build backgrounds for series like Ruins. Which means that I don’t think about composition when making the screens. I may choose square type shapes to embed or keep things aligned in one direction. When I print the screens I tend to place the prints side by side until I have filled the piece of fabric. Again I’m not thinking about composition. I occasionally cut out a particularly lovely section of cloth to use to cover book board but mostly the cloth gets cut down and pieced.

Handmade book cover

I love this process and expect to be using it for years but I’m also keen to find new ways to use breakdown – I love experimenting. I’ve played with printing with both thickened dye and discharge paste before batching my cloth. I’ve played with multiple layers of colour on a screen. Both gave interesting results but didn’t fit with what I was trying to achieve at the time.

And then I saw some images on Instagram by the lovely Leslie Morgan of Committed to Cloth / the Creative Studio and had a lightbulb moment. Leslie and her students were painting thickened dye on screens to give very defined shapes (often buildings) then experimenting with colour exchange when they printed off the dried screen. Wonderful stuff that got me thinking about positive and negative space and how I could use breakdown screens to create series of monoprints.

So I have been playing. And having so much fun. Watch this space ..

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Ups and downs

New work inspired by the coal mining around St Helens

After four really productive weeks of making small art I have had a disappointing week; struggling to get any level of momentum. I spent the week as I planned to – researching and creating cloth for the third string of work that I will exhibit next year. The inspiration comes from those industries, and those structures, that no longer exist – the coal mining industry around St Helens, Lancashire being a great example. I wasn’t working completely from scratch. I have learnt from a couple of failed attempts at printing cloth so I had a pretty clear idea of what I wanted to achieve and how. And I’d already found a great resource on line – the Sutton Beauty and Heritage site. But I didn’t know if it would all come together. I really needed to lock myself in the studio for a whole weekend to completely immerse myself in the process. Knowing that, at most, I could only work for 3 hours in an evening was enough of a limitation that it throw me. And then there was the start of major building work on our home – likely to be a massive distraction for the next couple of months. Here is what I achieved:

  • Day 21 – at home all day because of builders I actually spent about 6 hours in the studio but only 1 hour on small art. Not sure what happened to the other 5 hours!
  • Day 22 – 1.5 hours researching and making thermofax screens
  • Day 23 – 2 hours – took a break from the new work and instead stitched Kilns 4.
  • Day 24 – 2 hours printing and experimenting with discharge.
  • Day 25 – a scant 1 hour washing and ironing fabrics

Only 7.5 hours in total. I don’t have the luxury of time with two exhibitions in the first half of next year so cannot afford weeks like this! So this weekend I focussed on getting my act together / pulling my finger out / got down off the fence and finally made some decisions on this series! The results are rather pale and ethereal. I have finished a piece and put it into a picture frame I had in the studio. It didn’t photograph very well and the mountboard is the wrong shade of white but it actually looks rather lovely. Certainly lovely enough to make more. Which is what I will be doing in the 6th week of my 100 (week) day challenge.

As messy as it gets!

I recently posted that I can’t created in chaos. And that messy in my studio is when there are snippets of thread and fabric on the floor. Well I got really, really messy (for me) over the long weekend we have just enjoyed in the UK. I also got sore feet from standing for hours. And my rotary cutter needed a long lie down in a dark room afterwards. But look what I got in return – trays of cut ‘bricks’ and bondaweb backed ‘brickettes’ ready to build backgrounds in my Ruins and my View series.

I love printing and it is so tempting to just keep on printing, especially on sunny days when breakdown screens dry quickly. But it is only by cutting up the fabrics that I can see if I have the right balance of colour and pattern. I can see that I have enough fabric to start making backgrounds. I use the bricks to piece backgrounds for my large quilts and I use the brickettes to fuse backgrounds for smaller works. But I can also see that I will need more of the darker fabrics in both series to complete the work I am planning for the rest of this year. Which means more printing. Happy days!

It takes all sorts

It’s a wet morning here in Dunure so time to stitch sleeves onto quilts, time to drink coffee and read the newspaper, and time to think. To think about the work I need to create for my exhibitions next year. And time to think about how I work.

One of the reasons that I’ve chosen to partner with Helen Conway is that we share the same professional, ‘get it done’ attitude to making our art and exhibiting our art. We plan our time and know that we will fill the galleries. We share out the administrative stuff and trust each others decisions. We will compromise where we need to.

But we are very different in the way we actually create. Helen is like a sponge – she sees inspiration pretty much everywhere and is constantly spinning new ideas. Not just about the subject of her work but also about the materials she uses. I know that she uses journaling to provide some order to her thoughts but mostly she goes into her studio and just starts. She works in a mess of materials, tools and books. To me it looks like chaos but to Helen it is where she finds creativity.

I am the opposite. The world is full of inspiration but I knew that I would not develop as an artist if I continued to hop from one idea to the next. Or if I continued to take workshops on different techniques. So I have chosen to work in series and to limit the number of techniques / materials I use. And I am very disciplined about it. The old me would have been busy trying to create something based on the beautiful sunsets here in Dunure but the current me enjoys the sunset then continues to stitch sleeves on quilts. I do most of my ‘designing’ in my head. I don’t just go into the studio and start. I occasionally write ideas down but mostly I let them brew and filter as I work in the studio. Yes I will spend lots of time getting the exact colours and textures I want but the experimenting and sampling is really just fine tuning the decisions I have already made in my head. And I can’t work in chaos. ‘Messy’ in my studio is when there are snippets of thread and fabric on the floor. I wash up and tidy as I go. I typically plan my activities for the week and go into the studio knowing exactly what to do first (even if that is to sweep the floor). I’m not at all good at spontaneity.

But I recognise my strengths and weaknesses and have chosen, for now at least, to work with a media – breakdown printing – that cannot be 100% controlled, that introduces unintentional marks into my work. Marks that will hopefully resonate with Helen’s work when we exhibit together in 2018.

Inspiration

Inspiration is a very personal thing. My inspirations are nearly all urban. I love industrial landscapes although it is getting harder to distinguish between pale grey corrugated metal retail parks and pale grey corrugated metal factories. Some would say that both are factories.

But occasionally there is a flash of colour, a wonderful shape or an interesting interplay of lines breaking up the sky. The Pilkington Glass site on Canal Street, St Helens is fabulous. It has the usual grey boxes, pipes and conveyors running between buildings. It also has towers and shapes that are quite unique and, hopefully, still recognisable as I try to use them in an abstract form in the work I’m creating for my joint exhibition with Helen Conway in St Helens next year.