Yesterday we took part in workshops on advanced printing techniques using our sample silk screens, we covered new techniques including pearl & metallic binders and devore.
So I'll start by explaining some health and safety first before we enter the dye lab, must ensure that dust mask is worn at all times to avoid inhalation of dyes and chemical dust as well as gloves to avoid irritation and staining of the skin. Always mix dyes using a fume cabinet to extract chemical dust from the air.
Pearl & metallic binders
Metallic binders are used at a ratio of 50/50, 1/2 standard binder and 1/2 metallic binder. Mix the metallic binder at a ratio of 5-10% powder to binder. Pigments colours can be added, only a small amount of colour is needed.
Once screen printed onto fabric and leave to dry, to fix the pigment use a hot iron on the back of the fabric but keep this moving to avoid burning for approximately 5 minutes alternatively it can be placed in a baking cabinet for 15 minutes at 180 degrees.
Pearl binders can be used on any colour background, pearl binder is used by itself (neat) and is mixed at a ratio of 5-10% powder to binder. Pigment colours can be added and only a small amount of colour is needed.
The same fixing technique is used for metallic and pearl.
Metallic and pearl print pastes dry very quickly and screens must be washed immediately to avoid blockages of the mesh.
Types of Thickeners and their uses:
Reactive dye printing
Acid dye printing
Measure out 900ml of cold water in to an electric blender
Add 180g of Aluminium Sulphate
Blend to dissolve
Add 60g of Indalca PA3R powder to water
Blend to a thick consistency 1 minute (be careful not to over mix as this will burn out the blender motor)
Leave to fully thicken for 30 minutes
After 30 minutes rinse thoroughly using cold water first, once running clearly run under hot tap and continue alternating until water is running clear.
Devorè Printing method:
Screen print the paste on to the fabric, making sure it penetrates thoroughly
When printing silk-viscose velvet you can achieve a better result if you print on the silk back rather than the viscose pile
Allow the fabric to dry.
Use an iron on a medium setting and iron the print until it turns a golden brown colour, be careful not to burn your fabric
-Alternatively once completely dry, bake the fabric at 150°C for 15 minutes until the print is a golden brown colour
Perform a scratch test in several areas to check that the pile is coming away Wash and finish as normal.
Take care when scratch testing not to rub to hard as the fabric will be brittle and may tear
Your fabric must be washed if any paste remains it will rot your fabric.
Devore paste can cause skin to burn and is a irritant, make sure gloves are worn when mixing, printing and washing fabric.
Two Tone Devorè
This is achieved by combining acid and reactive dyes to the recipe.
The combination we used was Kenanthrol acid dyes and Procion MX dyes in two different colours so when it is rubbed away you can see the contrast, like the example.
Keep in mind that the acid takes to the front of the fabric and reactive sticks to back. So in this example the blue is the reactive and brown is the acid on the velvet devore.
First mix up acid dye bath:
Fill a bucket of cold water, enough to cover fabric
Measure out 1/2 teaspoons of dye, can increase the shade according to the depth of colour shade in 20ml warm water dye bath
Add 2 tablespoons of Amonium Sulphate, stir to dissolve
Add dye solution to bucket of water, stir to disperse colour
Now mix up procion dye:
Add 1 teaspoon of Procion dye in 20ml warm water dye bath
Add 2 tablespoons of Sodium Chloride, stir to dissolve
Add dye solution into same bucket of water as acid dye, stir.
Wet fabric first and immerse fabric into bucket, leave for 20-40 minutes stirring occasionally. Remove fabric and rinse under alternate cold and warm water until running clear.
Use the same Devore printing technique instructions for two tone Devore.
Two tone Devore on Prada catwalk
Coming soon: Illuminating discharge printing/ pigment discharge printing, flocking and how to fix and finish prints at home using a vegetable steamer and saucepan.
So since the previous post I have began to place and sew together the feather pieces which I am planning on creating into a neckpiece which I hope will be used for a fashion photoshoot in the near future.
Just deciding wether to have one shoulder or a full neck/ chest piece....
I have found some other feathered pieces on google images from designer to high street, Topshop and ASOS. A independent designer I have found on etsy is the work of Kathy Coleman who makes AMAZING feathered collars and neckpieces.
Aishwarya Rai Bachchan on the cover of Vogue India February 2011 cover in Roksanda Ilincic.
Anna Dello Russo rocking the oversized feathered shoulder jacket, above shown on the catwalk of the Roskanda Ilincic Spring 2010 show.
So even though this feather trend may have been around for a year or 2 it still is very glamourous and chic which I hope my cheap, hand made, D.I.Y version can look just as glamourous with some great styling, modelling and photography.
I have decided to create a feather piece using bought feathered headbands from Primark, these were only 50p each and after buying 14 of them starting pinning them onto a mannequin to create either a shoulder piece or neck piece.
I've detached the band and pulled the peacock feather off as it stands out when they are layered over each other, I have been inspired by Lady gaga's outfit at the 2009 MTV VMA awards where she wore a Jean Paul Gaultier dress with the neckpiece designed and made by Keko Hainswheeler.
I am very inspired by Keko Hainswheelers work, using recycled materials and describes his work as“ecclectic, embellished and crafted” Hainswheeler has been known to create a corset made out of nails and likes using industrial materials like metals and plastics because people don't see the potential in the items.
Read the full Dazed Digital interview with Keko Hainswheeler here.
I will continue to update my progress in this little project I have set myself, so watch this space. =]
This project was inspired by a film called The Science of Sleep, a film where a man is thrown between his wacky dreams and real life as he tries to escape from his real life worries in this imaginary life. A weird and wonderful film that captures the imagination.
I have began initial drawings from certain stills of the film one of which I have focused my designs on is trees. I was then inspired by a side of the film where he seems to be inventing, working in a lab which is where a began further drawings into all things scientific and mathematic.
Equations and graph paper came as a base and once scanning these into photoshop I began layering up images, reflecting and repeating until I came up with a repeat that reflects my take on the film. This was digitally printed onto silk as the style of the dress was gathered under the bust, making it short, sweet and floaty. I created a scattering of different shape beads which also reflect the thoughts and dreams in the film of being random.
This was my final project of Year 1 FdA and I will therefore be updating more recent projects from 2nd year, watch this space.
Some other past work from 2-3 years ago. A charity project from my National Diploma where I chose to make bib necklaces without spending any money on fabrics or beads. I used lightweight fabrics which were easy to roll into rose/ flower shapes stitching down and adding pearls for detailing. Other details were adding buttons and stitches, I then attached ribbon so they can be tied at a desired length.
These were all sold for £12, along with others that did not get photographed and helped contribute to the money raised for the charity.
My original inspiration was from research, I found very sophisticated ones on etsy.com. The bib necklaces are very delicate works of art by this designer who uses crystals and rhinestones to add glam.
This is my first blog post so I thought I’d show some past work from my first year of my foundation degree at Newcastle college. A favourite project of mine was ‘Futuristic’ where I chose to look at tattoo artwork of bio-mechanics, cogs, nuts and bolts as well as body structure of ribcages.
Starting off with the initial drawings of these, taking own photographs to draw from analytically which I prefer to do as I can add in the detail and then progressing to different media, inks etc.
I have created repeats of these, layering them on top and mixing the two opposites, the contrast in bone and metal. Using photoshop to change scale, create a pattern repeat by reflecting and inverting to change it from its white background with white lines to black background and white lines which gave greater impact for the print showing fine lines in detail. This was digitally printed onto cotton fabric.
I chose to stick with the bio-mechanic theme of metal colours when selecting my beads, using different size and shapes which I have randomly embellished onto a panel which is again inspired by a futuristic bug like wing effect.
The embellishment took hours and hours, I need to find a faster way to do this!