First time recording the process behind translating a design from the hand printed and dyed collection into artwork for digital print. The format of this recording is a bit of a brain dump, but gives a quick look at:
workspace and layer set up in photoshop
thinking behind repeat type and size
applying inky. watercolour texture
initial colour work
potentials and advantages of working in this way vs hand printing and vice versa
Browsing through Fullers Bookshop a few weeks back through the natural plant dye section, I found ‘Make Ink’ by Jason Logan.Â
Flicking through bits at a time, I discovered that ink making is not too dissimilar to creating natural textile dyes.
Logan explains the process of ink making in fairly loose, rambling terms, talking about the huge amounts of variation possible in colour depending on season, dryness of plant or if it has been burnt, alkaline of water used, any additives used, temperature and so on.
This perspective of the book really opens up the potential for capturing colour spontaneously, representing at a moment in time or a place, rather than following a prescriptive recipe to try and replicate an expected result.
Since I’m going on so many pram walks at the moment, and it’s spring, it’s prime time to start collecting and experimenting using people’s overhanging gardens and trees.
Grape leaves and small vines from Luke from the vineyard he cares for in the Channel. I am drying these outside in the sun in this small pot and want to try burning some too.Â
Eucalyptus leaves from West Hobart. Would be interesting to see if it's possible to get pink inks from these similar to a natural dye for fabrics.
