Sketchbook; MA in Academic practice

Drawings, colour research, snippets of fabrics, dyed samples, screen-print offcuts; accumulated, straying, intermingling, forging unplanned partnerships. Free range, awaiting the organisation and ruthless culling of the sketchbook. Designs are married to colours and fabrics, tests are written up in best handwriting, and experiments form logical sequences.

Dyeing small samples in local dyes;

Pomegranate skin (Brixton market)

Woad (Flo’s garden)

Red onion skin (Twickenham farmers market)

Testing dyeing techniques and fabrics with local dyes:

Pomegranate skin (Brixton market)

Red onion skin (Twickenham farmers market)

Madder (Nature’s rainbow)

Avocado pits (Brixton market)

Dye research using overlapping stripes

Day out with Sarah Burns of Pattermakers. Learning resist printing with River Adur mud, and block printing techniques.

Drawing to design development. Using collage to show shapes and patterns emerge from the drawings, and become natural dye-print ideas.

Dyes of known provenance.

Cut-paper stencil design representing the origins of the dye colour.

Researching overprints and modifiers on cotton, wool, silk, and linen.

Paper stencils used for screen-printing the booklets of dye provenance.

A year of provenance

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.

Jazz with a view

A selection of work shown at the city lit staff show in May 2015

Painted intercut paper collage inspired by the sketches of Lucca and Barga.

Pattern and rhythm inspired by Lucca sketches; acid dye on silk

Painting dyes through the screen onto silk – one corner inspired by the work  of Augustine and Bridgland at Jealous gallery.

Sketch of Lucca