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.

Posted by:turtlemoonimpressions

The natural world is phenomenal and so much of the man-made world - our architecture, our cities - are stunning accomplishments. They exist hand in hand in both beautiful expressions and sometimes disastrous manifestations. Our entire existence with the natural and the invented is intertwined – each dependent on the other, even as my art evolves, each breathing in the wake of the other. Surface design is one aspect of the process that I love. I thoroughly enjoy the play with color, value and construct, particularly the improvisation which starts with one thing, an idea, a glimpse of a vision, perhaps something that captures my eye for a moment in time and it grows organically. I become focused on whatever piece I'm working on and follow my muse to find my way.

2 replies on “The Seaweed Saga 2, Shifting Colors.

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