Print Workshop 17th-28th Jan 2011

My first workshop of the term was screen printing. Throughout this workshop we used photographic stencil techniques to produce positives of images and designs from our drawing books previously made over the winter break. Pigment printing was the first type printing that i looked at in this workshop using pigment inks. They are commercially known as Bricoprint, Polyprint and Helizarine prints.

I printed onto various types of fabrics to see what effects they gave visually; organza, cotton, silks, linen, fancy upholstery and netting materials. I really like my print on brown trouser material that I bought from a scrap store back home. The old fabric fits well with the aged objects that I have chosen for this project and have become some of my much-loved samples to date.


Puff binder paste was a technique I loved using, the printed image rose up as if it was magic. I really liked this technique as it made my prints come alive but felt that the puff wasn’t consistent; some part would be more raised than others and found it hard to be regulate throughout my designs.  

We were also introduced to Mylarfoil technique. This technique allowed a high shine metallic foil to be permanently adhered to the fabric. My samples produced using this technique worked very well and I’m very pleased with them but on some prints the foil is beginning to wear away and would need to be cared for delicately.

Flocking is a technique similar to Mylarfoil as it used a glue paste to print through the screen and was something I’ve always been fascinated by this especially when applied to wallpapers, cards and textiles. My results worked well but to get great results a clean piece of flocking sheet is needed otherwise uneven parts would appear. I love the outcome s of flocking on netting materials mostly.


I really enjoyed experimenting with the Divoré technique as it made me think of layers which was something I picked up from drawing my pocket watch; having different mechanisms on different layers and only seeing part of those layers from the face of the watch. My results were lovely as the image was shown on the fabric very elegant and faintly, unlike the other prints I’ve made.

Discharge screen printing was a method introduced to us during our workshop lectures. This process enables white or coloured images to be printed onto a dark coloured fabric. This technique isn’t one of my most loved but I do like that the print doesn’t give a surface texture.








 During the course of my two week workshop I took it upon my self to do that little but extra. As I worked my way through the tasks given I was inspired and encouraged by me self and others around me to take my designs and experimentation a little bit further than expected; challenging myself to create prints that had more than one colour and combining techniques together. I experimented with two and three colour printed, editing my drawings on the computer ready to be but onto separate screens.

I love the fabric that my two colour image is printing onto; it worked especially well as the sepia tones go well with my choice of old objects. To liven up this print I printed the lenses of the binoculars a vibrant purple, so that the print wasn’t something you’d expect; old binoculars printed onto old vintage fabric perhaps? Instead I printed old binoculars onto vintage fabric with a twist of intense energetic colour.

My three layer print are something I wanted to experiment with and if I had the resources and time I would have taken more precautions and should have chosen my pigments more carefully as the colours in the print are not pleasing to the eye. However, my print turned out well and is something I’m very proud of.

After I had been shown the majority of the printing techniques I wanted to mix things up a bit and combine them together, or at least try to. I had an idea to produce a print that had a translucent section, this idea emerged from my experimentation with printing and also from looking at the layers of my objects I have documented in my drawing book. I think my samples turned out wonderful and I would like to develop this or add to it with a printed background of cogs and gears or even landscapes; as if the camera or binoculars are looking at those images.


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