Project 1.4 Keep Moving- New Work-New Directions
Connect and Communicate
Mini-Project Screen Printing-Sampling Processes
Assignment 1 Learning Log in conjunction with my online blog www.weaveprint.com
Gillian Morris Student No 511388
In producing more artwork for the next screen-printing sampling processes much deliberation was required concerning the way forward. I had to reflect upon the imagery which would best suit the increased scale that I would be working on although the series of A3 samples would only reflect aspects of the imagery. Despite this the sampling processes would inform and define the new larger scale work. In using heavy weight upholstery linen for the first time I wanted to capitalise upon the natural qualities of the cloth, of the textural elements with its heightened ability to drape well. That said I eventually choose one acrylic and watercolour painted sketch and one line drawing with pen to offer layering contrasts and sufficiently dynamic imagery with movement and a sense of action. As depicted below these images evolved from nature and natural layering.
Overlaying the imagery helped me to imagine the artwork in print and through the layering processes I could see emerging options. I was attracted to the dynamic painterly marks, textural gestures and contrasts. I felt that such imagery would work well with the use of line from the scallop shell.
Once the scale of the selected imagery was increased and the tonal variations were adjusted accordingly through Photoshop the screens were prepared and the acetate sheets featuring the images were exposed onto two large screens.
Three metres of the linen was used for the sampling processes. The colour palette was led by preference and trying out a range which would offer increased opportunities to investigate the application of colour. One metre of the linen was dyed in each of the colours… olive green, smoke grey and deep plum and all were dyed by hand. The dyed linen was then cut up into a series of A3 sizes to enable sampling across a range of colours to produce a selection of examples. Each series comprised six A3 samples with a mixed colour range.
During the screen-printed process different techniques were trialled to produce variable outcomes. I felt that it was a dynamic process as it was immediate and intuitive, I was fully engaged within the screen-printing process, of comparing and contrasting different groups. I worked on for hours to help build up more of a personal relationship with the application of colour and how such colours are seen against different textural backgrounds, colours, line, shape, discharge, stencilling and mark-making, of how the colours, shapes and line interacts…so many inter-relationships were explored. I was drawn into the melding and fading of colours alongside the variations of texture and marks used.
Through reflection I was able to create more of a narrative or written account of these connected events within this sampling process. I felt that I was more in-process so I could increasingly relate to my experiencing, to be more in-tune with what was going on and why. I was able to see beyond each sample as a visual image and developed more of an emotional response to each one…which enabled me to create ways of relating to and with my textile work. Words like bold, distinct, dynamic…doing, moving, rushing sprang to mind alongside swirling, twisting and curling. I felt my work was driven by movement like nature and action for change, of having a sense of not standing still.
On reviewing my sample range, I felt that I had achieved a number of positive outcomes which evidenced that such imagery could be used successfully on a much larger scale on upholstery linen. Similar colour applications could be used to produce enough light and shade, shadow and brightness, overlapping and layering to create complex and unique printed textiles.
WeavePrint 