Gwen Hedley

Line, drawing, and mark-making in textile art

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. a wide range of interesting lines and textural marks are achievable. A single print is produced from a smooth plate of glass. . acetate. so multiple identical prints are not possible. or similar material that has been colored or inked.

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. pressing firmly. • ry working with two or three different colors on the glass plate. and the print was made. building up a rhythmic series of marks. fabrics. in circular rubbing movements. using blue ink and marks made with a cotton bud and fingers. you will effectively remove the paint from the glass. and roller meThod 1 pply a small amount of color to your printing plate and spread it evenly and A thinly over its surface with your hard roller. as preferred Papers for printing Newspaper upon which to rest your paints. The bottom print was made using the same process. P FAR LEFT: Marks were made on the glass into tan printing ink. LEFT: The top print was made using fingers to create swirling lines in pale green ink. draw quickly and sponU taneously into the color. take another print on top of it. brush. with the whole L of your hand. • rint from various weights of papers. Alternatively. Try making various movements. In the places where you draw. If you are using a brush. you may roll over it with a second clean roller. as these will transfer to the paper to give interesting effects. • rint onto ready-colored or patterned papers. a second print was made on top. 2 sing your chosen drawing tool. make sure that the paint is distributed thinly and evenly. An overprint was made with dark green ink. 4 Gently peel off the paper and leave the print to dry. to get T interesting color blends on your prints. straight lines were drawn with a stick. using a W different color. 3 ay your paper on top of the drawing and press down gently. but this time. and. When it was dry. using a stick and a cotton bud. and altered grounds to see P different effects. DRAWN TO STITcH 3 . You may like to leave some of the brush marks. suggesTions • hen your print is dry.

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.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. such as old credit cards or supermarket loyalty cards. Alternatively. and no specialist materials are required. 4 DRAWN TO STITcH . It is quick and easy to gather a selection of pieces of card in different weights and lengths. The print process is the same.

acrylic color. giving it a slight rocking movement before you lift it up. prinTing The line FAR LEFT: In this sample. When you use a printing pad. blend two or three F colors onto the print pad. • ork a small amount of paint. AbOvE: A repeat print made using a block made from coarse string glued in a curved line on a piece of thick card. it is easy to replace the paint as it is used. Repeat. and so the print block can be slightly rocked without moving it out of position. TOP: In this image. lengthening and building the lines as you proceed. which will gave a more even print. DRAWN TO STITcH 5 . glass. 2 Holding the card end vertically. 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. or changing the amount of pressure you apply. The prinTing bed Always place the paper or fabric to be printed on a bed of newspapers. or other liquid color into the felt with W a brush. ink. just well saturated. and attractive color blends can be achieved by adding other colors randomly onto the pad. press it firmly down onto the print pad to collect color. and the thin lines were created with a print block made from short lengths of fine string glued to a piece of thick card. and the finer lines with card ends–all onto ready-colored papers. The felt should not be submerged in liquid. then squeezed to remove the excess water. 3 Press the edge of the card onto the background. until the color is absorbed thoroughly. plus linear blocks to U achieve variety. it is a good idea to use a print pad. rather than straight onto a hard surface. • or interesting two- or three-tone lines. or ceramic tray and line it with a T piece of felt that has been thoroughly wetted.maTerials A piece of thick card or a small plastic card coloring materials such as fabric paint. suggesTions • ary the density of the print: try taking a second print without V re-inking the card. 1 Lay your paper or fabric onto the printing bed. The sheets of paper can easily be folded and disposed of as necessary. polystyrene. • se cards of varying weights and lengths. which you can make very simply. The bed has some give in it. the thick lines were printed with a block made from cutfoam strips. the thick lines were made using a foam block. To make a prinTing pad • ake a small plastic.

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you will find blocks of color on the top paper. suggesTions LEFT AND AbOvE: To create this design. and then peeling it off. • ou might like to work further into the drawing with colored pencils. This can soften the vibrancy of the top drawing. but not too thick. 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. such as cartridge paper or brown envelopes. Likewise. This was then covered with brightly colored patches of wax crayon. The pastel that acts as a resist can often be transferred with the wax color. You will find that the lines you have drawn have lifted L the color from the base paper. maTerials A strong base paper with a smooth surface. the fine colored lines on the top paper will be matched by fine white lines on the base paper. you C may like to mix or layer the colors. cartridge paper was covered with a cream-colored pastel. Label them and store W in your workbook as reference. DRAWN TO STITcH 7 . and the corresponding negative white shapes on the base paper. Vary the weights of your lines and marks and use dense color in some areas. Softer papers are not as effective when used as the base paper. • ork some sample sheets to explore possibilities. 4 ift off the paper. but make sure that the whole paper is well covered. pressing very firmly. fineY liners. process 1 over the base paper thoroughly with the chalks or pastels—you might like C to use just a single color. Where you have colored in areas with your ballpoint pen. Blow away any dust left by the chalks or pastels. or you can scratch F off areas with a craft knife or stylus—be careful not to pierce the paper. or other drawing implements. 3 ay the other sheet of paper on top of the waxed one and draw your lines L and marks with your ballpoint pen. You now have a pair of positive and negative drawings. • urther lines and marks can be drawn into the base layer. giving a slightly muted and chalky surface to lines and areas of color. 2 over this chalked base paper with a heavy layer of wax crayon. Again. with areas of both simple line and dense coverage. so that you get a good sample of what is possible. 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. or a mix of several pale colors. A top layer of cartridge paper was placed on top and heavily drawn onto.LIFTING cOLOR This drawing process works on a similar principle to that used when you are fine-line drawing from an inked plate. Make sure that you have covered the paper thoroughly.

She is the author of the bestselling title Surfaces for Stitch. With Drawn to Stitch by your side. 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. Gwen explores stitch. and embroiderer whose work is exhibited widely. She lives in Chalfont St. teacher. form. 144 PAGES ISbN 978-1-59668-233-7. movement. Drawn to Stitch is illustrated with stunning examples of stitched-textile work from leading artists. line and mark-making convey texture. Drawn to Stitch also covers line and mark-making tools. Buckinghamshire. Full of inspiring ideas. materials. tone. $29. including printing and mixed-media techniques. She is a member of The Society of Designer-Craftsmen and The Practical Study Group. learn creative uses of line in embroidery and textile art. using line GWen HeDLey is an author. materials. and processes.cONTENTS INTRODucTION chapTer 1 Working with this book chapTer 2 backgrounds.95 AvAILAbLE SEPTEMbER 2010 . and mood. PAPERbAck 8½ × 10½. explaining how to interpret different line qualities from crisp and sharp to soft and diffused and from raised and overlaid to recessed and inlaid. Peter. When used effectively. Artist and teacher Gwen Hedley shares a series of exercises designed to explore line’s potential as well as develop your creativity.

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