I have already shown some of the work done based on my design project, and one larger sample. I used my Bauhaus-style rooftops sketch to paint in dye, but felt that the crispness and shading of the design was lost. My next stage was to rework the design in paintsticks, using masking tape to mask out lines and areas as I went. I didn’t stick rigidly to the original drawing, but used it as a guide whilst adding lines intuitively. I first used silver and iridescent purple, but felt it would look bolder and more dramatic in matt red on black. I enjoyed the angular marks in areas that I then repeated within the design.I feel I captured the mood that was intended, and made the most of the repeating shapes and stacked lines of the original view. I made a mistake in the fixing stage where I accidentally used a greaseproof sheet that had previously been used on an iridescent design. You learn by your mistakes, and I have since made sure to keep glittery things separate and marked as such. This was my sample where colour was less important than line and shape.
I tried painting the Portland Ha-ha’s in procion dyes on different fabrics, but I’m still not convinced enough by the design to take it any further, as I have had four other designs with more potential.
From here I have concentrated on my design work related to a sketch of a fruit bowl. I have already shown my stencilled piece from this, and tried isolating completely different aspects of the design in this painting in Procion on cottton.
This was a really nice design, that would work well in its own right as a repeating design, but I wanted to go in a slightly different direction. I liked some of my design work where the white was allowed to show through with the yellow, as is the case above, but liked the idea of building up layers of colour in the design. I cut a lino design based on the shapes in the design to be printed in yellow acrylic, with the red and green marks applied on top. The lino was cut in such a way as to create sweeping lines through the design that would move across the whole repeat. I then looked at how best to apply the top layers, and a colour scheme. Top left I have used fun foam printing blocks in red acrylic, with painted acrylic ink green lines. Top right is oil paintsticks stenciled and drawn in red and green. You can see where I have sampled a few greens to get the balance right. I felt the oil works best as the lino design showed through the oil in an interesting way. I worked the samples below in a narrower colour palette to see if that worked better. The resuts were not as vibrant or interesting, so I stuck with the original idea.
I then printed the lino repeat in a couple of ways to decide finally how the repeat would be arranged. By repeating the block in the same orientation each time, there was a fluidity of line from one frame to the next which was lost in other combinations.
The final print was 9×9 lino prints. I made slight adjustments to the green lines, adding one to improve the flow throughout the design, and removing another that I felt was too heavy with the extra added line.
Although I was pleased with the final design, I felt it was a shame that some of the shapes created by the tesselation of the lino cut were obscured by the design on top. I therefore decided to try a second larger sample using the same linocut in bronze powders on black cotton. I think this would have worked well, but I had trouble keeping the prints true and neat. I liked the juxtaposition of the quite rigid geometric centre and frilly edge printed with my crochet block.