One of the highlights of last week was the introduction to the textile screen printing room.
Yummy leftover colours! And here's the difference between using the transparent binder (the orange on the left) and the opaque -
The process: a good amount of colour on the screen -
squeegee it down and then up again. Don't let the paint dry in the screen (I found out later what happens - the lines start to clog up, not good). Pressure hose makes washing easy -
This contraption stretches the mesh (net curtaining) and it gets glued onto the screen -
Making a screen - it needs black-and-white artwork. I used blown-up photocopies of some journey lines -
The screen is coated with emulsion and exposing it transfers the image -
When the screen is washed, the unexposed emulsion (black areas) washes out -
Into the drying cabinet -
The drying racks for the prints are in another room -
My first print, using two different screens -
Towards the end of the day I was using puffa paste and fabric samples that were on hand -
Some of the small samples cry out to be made into little books -
Some of these marks remind me of genetic profiles...
ReplyDeleteguess travel must be in your family?!
Wish I could play with this sort of equipment - so much fun and satisfaction.
Hi, Margaret. I'm glad that you're back at school again. I so enjoy your reports. Thanks. I was wondering if you've thought about the relationship between your travel lines and shibori lines.
ReplyDeleteJoanne in Canada
Love these... and I was drooling over that printmaking room:)
ReplyDeleteYour travel lines work really well in print. How great to be able to use them! I presume that this is the same principal as making a Thermofax screen?
ReplyDeleteWe use to do that in Omega studio... But the prints was match less artistique, other in London studio, than in Lausanne's one : OMEGA, OMEGA, OMEGA, TISSOT, TISSOT, TISSOT... the pub is free !
ReplyDelete