My embroidery and creative stitching experiences.

       Using Acrylic Paints

The dying process was quite long compared to the process of using acrylic paints however I think I prefer the marks made by dying. There is still merit in using acrylics though. I am a fan of mono-printing and this is what I used most of the time on these samples.

I haven’t done a lot of these as I ran out of cut samples and even worse, acrylic paint. I will continue when I get more paint.

I took some painting and printing tools out to my shed so that I could work without worrying about any mess.

I mixed some acrylic with an extender (specific names and photo!) before rolling it out onto the work surface.

I then brushed in some quick marks zigzag fashion but I was not very happy with these.

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I wondered how I could alter them without wasting ink. That’s when I wondered what would happen if I altered the cloth instead. I rubbed over it with a clear oil bar I have and pressed it into the paint. The paint clung to the cloth, especially where the oil was. I later  ironed this off onto grease proof paper.

This sample is the ghost of the previous one with thin scored lines, using a bamboo ink pen, made into the existing ink.

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I was thinking about the various patterns I made on paper and the inspiration for them. I started making turtle rings into the paint using a stiff brush.  The ink was thinner round the edges giving a faded effect to the outer sides.

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Continuing with the above inspiration I took a different approach to this piece. I dabbed some spots on the paint surface, printed this onto the cloth then added the loops of paint using a thick brush. I think this might have been more effective if the spots had been more defined.

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Keeping the pattern and technique simple I made these marks with the edge of the bamboo pen which scraped the paint away quite well. I was thinking about feathers at this point.

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Rather than print I decided to paint onto this sample. I have a small fan-shaped brush which worked quite well when pressed onto the cloth.  Although the marks look repetitive the painterly marks change over the sample in tone and shape.

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This lead me to thinking about the shibori sample I did in ch.6.(Karamatsu Shibori). I folded the cloth and pressed the fan brush into the cloth so that the marks would show on the other side. This worked quite well at times and left paler areas at others. I had sprayed the cloth to make it damp so perhaps this had some influence on how the paint behaved.

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The last sample was also inspired by shibori. I dampened and folded the cloth and made random marks on the  cloth on the top and underside. These show as the darker areas on the left and right.  I could probably have achieved better results through mono-printing or leaving the sample for longer before unfolding it.

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I am moving on to chapter 7 now. It is great to feel like I am making some progress with this module and I am looking forward to doing some more sewing although I am having reservations about cutting up all these lovely samples.

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