One of the highlights of last week was the introduction to the textile screen printing room.
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Yummy leftover colours! And here's the difference between using the transparent binder (the orange on the left) and the opaque -
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The process: a good amount of colour on the screen -
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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 -
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This contraption stretches the mesh (net curtaining) and it gets glued onto the screen -
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Making a screen - it needs black-and-white artwork. I used blown-up photocopies of some journey lines -
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The screen is coated with emulsion and exposing it transfers the image -
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When the screen is washed, the unexposed emulsion (black areas) washes out -
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Into the drying cabinet -
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The drying racks for the prints are in another room -
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My first print, using two different screens -
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Towards the end of the day I was using puffa paste and fabric samples that were on hand -
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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