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Line, drawing, and mark-making in textile art
so multiple identical prints are not possible. or similar material that has been colored or inked. a wide range of interesting lines and textural marks are achievable. . A single print is produced from a smooth plate of glass. acetate. Depending upon the thickness of the ink and the methods of applying it to the printing plate.MONOPRINTING Monoprinting is an easy way of transferring marks and designs to both fabrics and papers.
• Try working with two or three different colors on the glass plate. as these will transfer to the paper to give interesting effects. FAR LEFT: Marks were made on the glass into tan printing ink. • Print from various weights of papers. 4 Gently peel off the paper and leave the print to dry. Try making various movements. pressing firmly. to get interesting color blends on your prints. you will effectively remove the paint from the glass. • Print onto ready-colored or patterned papers. If you are using a brush. An overprint was made with dark green ink. as preferred Papers for printing Newspaper upon which to rest your paints. using a stick and a cotton bud. straight lines were drawn with a stick. 3 Lay your paper on top of the drawing and press down gently. The bottom print was made using the same process. In the places where you draw. and the print was made. in circular rubbing movements. Drawn to Stitch 3 . you may roll over it with a second clean roller. and. LEFT: The top print was made using fingers to create swirling lines in pale green ink. and roller Method 1 Apply a small amount of color to your printing plate and spread it evenly and thinly over its surface with your hard roller. fabrics. draw quickly and spontaneously into the color. a second print was made on top. take another print on top of it. You may like to leave some of the brush marks. building up a rhythmic series of marks. Alternatively. make sure that the paint is distributed thinly and evenly. with the whole of your hand. When it was dry. and altered grounds to see different effects. using blue ink and marks made with a cotton bud and fingers. Suggestions • W hen your print is dry. using a different color. 2 Using your chosen drawing tool.Taking a basic print Tools and materials Printing plate: you can use a smooth piece of glass or a sheet of acetate or Perspex Drawing and mark-making tools Printing ink or paint Hard roller or brush. brush. but this time.
card and block printing This is a simple method of printing in which lines of varying qualities can be printed using the ends of pieces of thick card as printing tools. Suggestion Pieces of card can be substituted or supplemented by other materials that could be used to print line. The print process is the same. Alternatively. such as old credit cards or supermarket loyalty cards. It is quick and easy to gather a selection of pieces of card in different weights and lengths. other materials such as string or strips of cork could be stuck onto card with double-sided sticky tape in order to make a linear print block. 4 Drawn to Stitch . and no specialist materials are required.
glass. then squeezed to remove the excess water. it is a good idea to use a print pad. giving it a slight rocking movement before you lift it up. and the thin lines were created with a print block made from short lengths of fine string glued to a piece of thick card. • Work a small amount of paint. 2 Holding the card end vertically. which will gave a more even print. The felt should not be submerged in liquid. or changing the amount of pressure you apply. 3 Press the edge of the card onto the background. plus linear blocks to achieve variety. When you use a printing pad. • For interesting two. The printing bed Always place the paper or fabric to be printed on a bed of newspapers. The sheets of paper can easily be folded and disposed of as necessary. or other liquid color into the felt with a brush. Repeat. Suggestions • V ary the density of the print: try taking a second print without re-inking the card. lengthening and building the lines as you proceed. until the color is absorbed thoroughly. blend two or three colors onto the print pad. polystyrene. 1 Lay your paper or fabric onto the printing bed. and the finer lines with card ends–all onto ready-colored papers. press it firmly down onto the print pad to collect color. it is easy to replace the paint as it is used. above: A repeat print made using a block made from coarse string glued in a curved line on a piece of thick card. • Use cards of varying weights and lengths. To make a printing pad • T ake a small plastic. The bed has some give in it. the thick lines were printed with a block made from cutfoam strips. or ceramic tray and line it with a piece of felt that has been thoroughly wetted. just well saturated. printing inks Printing pad (see below for instructions on how to make one) Fabric and/or papers to be printed Thick bed of newspaper sheets Paintbrush and water jar For effective and efficient application of paint to the card. top: In this image. Printing the line Far left: In this sample. the thick lines were made using a foam block.Materials A piece of thick card or a small plastic card Coloring materials such as fabric paint. acrylic color. and attractive color blends can be achieved by adding other colors randomly onto the pad. ink. and so the print block can be slightly rocked without moving it out of position. which you can make very simply.or three-tone lines. rather than straight onto a hard surface. Drawn to Stitch 5 .
Softer papers are not as effective when used as the base paper. and the corresponding negative white shapes on the base paper. • You might like to work further into the drawing with colored pencils. Where you have colored in areas with your ballpoint pen. 4 Lift off the paper.Vary the weights of your lines and marks and use dense color in some areas. fineliners. Process 1 C over the base paper thoroughly with the chalks or pastels—you might like to use just a single color. cartridge paper was covered with a cream-colored pastel. or a mix of several pale colors. in that you are lifting color from a base plate—in this case a colored paper—by drawing firmly upon a piece of paper placed on top of it. Pale-colored or white pastels (not oil pastels) or chalks Colored wax crayons A ballpoint pen or other drawing tool Top papers—these should also be fairly strong. pressing very firmly. Suggestions left and above: To create this design.You will find that the lines you have drawn have lifted the color from the base paper. The pastel that acts as a resist can often be transferred with the wax color.Lifting color This drawing process works on a similar principle to that used when you are fine-line drawing from an inked plate. and then peeling it off. Drawn to Stitch 7 . but make sure that the whole paper is well covered. or other drawing implements. 3 Lay the other sheet of paper on top of the waxed one and draw your lines and marks with your ballpoint pen. with areas of both simple line and dense coverage. • W ork some sample sheets to explore possibilities. Blow away any dust left by the chalks or pastels. This was then covered with brightly colored patches of wax crayon. the fine colored lines on the top paper will be matched by fine white lines on the base paper. Likewise. A top layer of cartridge paper was placed on top and heavily drawn onto. so that you get a good sample of what is possible. 2 Cover this chalked base paper with a heavy layer of wax crayon. giving a slightly muted and chalky surface to lines and areas of color. Label them and store in your workbook as reference. or you can scratch off areas with a craft knife or stylus—be careful not to pierce the paper. • Further lines and marks can be drawn into the base layer. you will find blocks of color on the top paper. Again. but not too thick. Make sure that you have covered the paper thoroughly. such as cartridge paper or brown envelopes. you may like to mix or layer the colors. This can soften the vibrancy of the top drawing. You now have a pair of positive and negative drawings. Materials A strong base paper with a smooth surface.
144 pages ISBN 978-1-59668-233-7. and mood.95 Available September 2010 . Buckinghamshire. and embroiderer whose work is exhibited widely. When used effectively. Drawn to Stitch also covers line and mark-making tools. tone. She lives in Chalfont St. Using line Gwen Hedley is an author. She is the author of the bestselling title Surfaces for Stitch. Full of inspiring ideas. materials. form. line and mark-making convey texture. teacher. explaining how to interpret different line qualities from crisp and sharp to soft and diffused and from raised and overlaid to recessed and inlaid. movement. Paperback 8½ × 10½. and tools Chapter 3 Line-drawing and mark-making processes Chapter 4 Textile Process Chapter 5 Interpreting line quality: drawing and stitching Chapter 6 Explore the design possibilities of line Line is an essential component of all textile and surface art. Drawn to Stitch is illustrated with stunning examples of stitched-textile work from leading artists. and processes. Peter. $29. With Drawn to Stitch by your side. She is a member of The Society of Designer-Craftsmen and The Practical Study Group. materials. including printing and mixed-media techniques. Gwen explores stitch. Artist and teacher Gwen Hedley shares a series of exercises designed to explore line’s potential as well as develop your creativity. learn creative uses of line in embroidery and textile art.CONTENTS Introduction Chapter 1 Working with this book Chapter 2 Backgrounds.
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