The MA in Academic Practice prompts questions about the sustainability of screen printing onto both fabric and paper. As an experiment in mapping provenance and natural dye sources I designed and printed a booklet. Actually two; nitty-natty folding travel-happy ways of showing the colours.
Shapes inspired by the dye gardens, market stalls, and community spaces that plants were collected from; a stylised plan of dye provenance. Indigo from Wales, chalky-seams of madder from Hitchin, mulberries from Shepherds Bush, and bio-waste pomegranate skin from Peru, (thanks Brixton market).
Screen-printed cut-paper stencil designs made from recycled newsprint.
The distillation of colour is starch-thick with cornflour. Overlapping, casually haphazard, but oh so carefully manipulated print designs. Softest weld-yellow, creeping towards soda ash modifier, creating a blasting of gold. Several days of printing in the sunlit Ceres studio.
On cotton Khadi paper, textured watercolour Bockingford, and favourite Somerset satin.
Booklet 1. Sixteen segmented plant studies, folded into a finger-twirling library of colour acquaintances.
With an accompanying interlocking interpretation of the dyes drawn onto the trace paper.
Booklet 2. Pages of delight to be folded with attention to position and juxtaposition, and interspersed with dye notes on trace-paper.