(Ive been speed-working, trying to keep up with more than I should try to do at one time, and just realized that I posted a repeat blog post when I should have posted this one! Sorry friends!)
This week I’ve focused on getting some greens and golds as my ideas for the eventual piece of textile art are coming into view in my mind’s eye and in some sketches. I’m thinking landscape so I need some more earthy tones, particularly greens and yellows and everything in between…so, the journey continues to take me on some new paths that I’ve never traveled before. Using copper and titanium oxalate as a mordant has held a lot of surprises!
First layer: copper mordanted raw silk blanket
First leaves soaked in calcium carbonate.
Added leaves soaked in vinegar and others in ferrous sulfate.
Laid silk charmeuse mordanted in titanium oxalate on top
Rolled on copper pipe without a barrier.
Unrolling: peeling back the center layer.
Close-up: removing leaves from the first layer.
Center,top. Blanket,bottom. Not washed yet.
Washed and Completed: A light, seafoam green with shades of gold/copper leaves.
Yesterday,I spent most of the day indigo dyeing – some for bluer blues, and some to overdye various yellows for some greener greens than I could get using a copper mordant. I do love the seafoam green that copper produces but I’m aiming for a more natural green. Fresh out of the pot, it’s oxidized in the air.
It’ll take another overdye of yellow. I used turmeric, weld and orange osage and all are varied strengths, so it’s hard to tell what you’re getting with the indigo because it ‘s green until it oxidizes and then shifts to blue and it’s darker when it’s wet. So, you have to dye indigo incrementally in order to not overdye it.
Well, it’s a potpourri of blues at this point and I’ve run out of time as well as silk -these are mostly cotton – so I’m sure that on another day at another time will my efforts will prove to be more consistent and perhaps yield the colors I’m after.
After a late afternoon shift at The Gallery I’ll do more packing for 5 days in Gloucester at a workshop with Jane Davies – a shift from textiles to monoprinting on paper will be a nice break. At some point in the future, I’m sure that what I learn will find its way into the realm of textiles.
A. Previously printed silk charmeuse from last season. Newly mordanted in AA; sprayed with soda ash water
B. Close up.
C. Added various leaves on top of half the cloth.
D. Close up of oaks, horse chestnut and some weld chips.
E. Center layer is a scarf dyed with weld and previously used as a blanket which picked up some prints and and some discharged transfer.
F. Close up.
G. Eucalyptus and various leaves along with seaweed were then laid out onto the scarf.
H. Close up.
I . A parchment barrier was placed on top of this layer and more leaves were placed vein-up before the other half of the charmeuse was folded over it.
It was then rolled onto a copper pipe and tied with boomerang tubing and steamed for 2 hours.
The results: Well, not very dramatic. There is a shift to green, but for all the work, it didn’t do much. So I cut it in half and dipped that half in a solution of tumeric and weld and achieved a clearer green, although it doesn’t quite show up as it really is because I’m still having huge computer problems.
Quite a big difference here – a more unified, cohesive print, although It’s too bad some of the drama wasn’t retained.