One of my favourite plants at Winterbourne is the Ginkgo biloba tree. It’s a lovely green through to yellow and then when the leaves fall they dry nicely and are sturdy enough to last a few rounds with an artist.

I wanted to create a fabric that reflected the fall of leaves by printing one colour upon another. Not to spoil the punchline but in choosing to do this through heat-press printing I think I stacked the odds against myself. But I did choose that method and here’s why it was the ‘wrong’ method for the outcome. Heat reactive dyes don’t paint out in the colour they will print to be – you have to mix it up using 25% knowledge and 75% hope. You can see above that I wrote out colour recipes and did little test samples but even that didn’t act as a reliable repeat receipe.

Heat reactive dyes transfer their colour from paper to fabric in a heat press (or under an iron if its hot and heavy enough) I made several papers from the colours I’d mixed up and painted the dye on using brush techniques witch would emulate the fan shape of ridges on the Ginkgo leaf.

 

The tricky part in my project was thinking and working from the base layer up – I knew what I wanted to do; which was to print pale tones of the leaves at the bottom and then do several more layers of colours becoming stronger each time. What happened was that the dyes were either mixed to be too strong in tone or variations in the temperature or time in the heat press caused some of the base layers to come out shouting ‘look at me!’

I did persevere and got some nice areas of overlaying colour. The rhythm of the leaves as they fell on the ground got lost a little because of working in reverse and the tricky job of laying all the pieces out and getting them into the heat press without moving them at all. I had painted some ridges in using what I thought to be a pale tawny brown but was in fact almost black – to counter balance that I used fabric foiling to knock them back; doesn’t a bit of glitter away distract the eye!

 

In the end I stopped once this sample piece was completed and called it a cushion cover. I didn’t want to persue it enough to make an actual fabric length of it. It has an aesthetic all of it’s own and not one I recognise as being mine! But in the round, process and reflection are great learning markers and when the day comes to try and capture those leaves again I will employ screen printing techniques which will make the process easier and more controllable and the outcome perhaps closer to what I’d intended. Until then here is a finished sample which is also a work in progress.

Historically an C18th Toile du Jouy is a pattern depicting some kind of a complex country/farming scene, usually a single colour (pink, coral, black, blue) printed onto cream or white linen.

I wanted to capture something of the life of Winterbourne House & Gardens- it’s workers and visitors and so I opted to translate some photos and sketches into a modern-day Toile du Jouy.

I appropriated the icons of the house and gardens such as the chinese-style bridge, the four-bed walled garden, one of the many greenhouse, the house itself of course and people I witnessed reading, working and enjoying the grounds, to link all the little islands of places in the fabric design.

Summer Border was one of those easy designs that came about when I least expected (or planned) for it.

When I remember back, I was feeling the need to just sit and paint quietly and re-balance my equilibrium. So I did just that, looking at reference photos I had taken I simply let the flowers fill the page.

There was just something that hit the spot about the flow of shapes and colours and after a minimal amount of cleaning and duplication of elements, I had it in technical repeat. You can see the repeat below.

It’s always fun to then play around with the background colour but I came full circle back to the original white as all the colours work on it and it keeps it fresh.

With the best will in the world there’s no way I could print this by hand using a screen – I shall use a digital printer to reproduce this when  it’s time to exhibit a length.

 

 

This print gets its name and colour from one of the flowers featured in it; the Dianthus or Pink. It’s one of my favourite flowers both to paint and draw and to grow at home.

I used a screen printing technique called screen filler; a thick blue gel which is painted onto the screen to keep the mesh free and printable once the whole process is completed. Once this gel is dry another red solution is squeegeed over (as seen above) and once that’s dry you can wash the gel out leaving the pattern you painted in as step 1. It’s a great way to create prints that capture a real hand-painted feel.

I made things a little more complicated for myself by painting the screen imagery design in repeat and then registering each screen (and there were many as it was such a diddy sized screen) on my table top in my home studio. There’s a fun little time-lapse video of the process here. Many print pulls and a lot of drying time later, it did need a few hand-painted elements filled into gaps that has appeared through inaccurate alignments but you’d never notice so I won’t say anymore 😉

Screen printing is one of my reasons for living. There is something delicious to me about flattening imagery into printable shapes. Add-in some effects which bring texture and then layer up colours over one another and it all becomes a joyful alchemy!

I’ve drawn many images while being Artist-in-Residence at Winterbourne Gardens theses past 18 months – too many to actually use to complete all the designs in my head- but Foxgloves came to full fruition.

On a very hot July day I sat in the cool shade drawing these humble but beautiful flowers (I also came home inspired to sow Foxglove seeds which are now planted up and days away from flowering here at home)

It occurred to me that a print technique I use which utilises talcum powder as a print resist, would make the perfect replication of the spattering pattern found in the interior of a Foxglove flower.

I cut several stencils to overlay each other so that I could build the plant images in 3 colours through 3 screen pulls of colour. Then at the last minute inspiration struck and I opted to mix the colours directly through the action of flooding the screen with ink, resulting in a swirl of colour.

I will often print and pile-up but this pandemic has afforded me the time to stop and assess work already done rather than continuing on the treadmill of making more. And so the Foxgloves have found a final resting place; a resting place my head will enjoy too.

 

This print Alyssum, is one I’ve developed as part of my Artist in Residence work at Winterbourne House & Gardens, University of Birmingham, Edgbaston.

It began with a painted sketch done on site which was then cleaned up on the computer and digitally altered into a repeating pattern. I also played around with colour options settling for white on a colour background as I felt it best represented the flower itself. Using a sublimation printer, I then printed a piece of heat-transfer paper and printed some fabric using the heat-press.

Then I ran up a cushion and added some bobble trim et le voici!

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My residency period at Winterbourne House & Gardens is coming to a close at the end of this month so I thought I’d catch this space up with some of the work I’ve completed.Screen Shot 2020-05-13 at 14.35.22

There has been a wealth of inspiration – too much to do full justice to. I have had to pace myself and just do what presented itself in the moment.

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Sometimes that was scenery and sometimes individual plants.

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And it’s fed into the production of all sorts of outcomes which I’ll share here – textiles, printed and embroidered, paintings, pattern designs and two sketchbooks bursting with reference material. Videos of these are best seen on my Instagram pages-  one here on my Residency page http://www.instagram.com/artist_winterbournehg and one on my personal Instagram page instagram.com/claire_leggett –  both up at the top in the Hilights reel.

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You know what they say about making Cyanotype prints while the sun shines?! Yesterday was a fun Cyanotype printing day but I’ve been prepping for this project for some time. Here’s a little of how I went about it for those interested.

Back in early Spring when plants were just putting out their teeny tiny leaves, I braved the frost to cut and press some of them because I knew the size would be perfect for some illustrative cyanotype prints. The down size was trying to pick them up in a dimly lit room but more on that later.

I used the Jacquard Cyanotype set and coated the fabrics one night once it had got dark. It wasn’t all that easy – all I’ll say is get everything laid out right side up and have plenty of room and plastic to lay them out to dry but expect to be doing it fairly blind. I then put them in a lightfast box before going to bed so that the morning sun didn’t begin processing them before I was ready.

I was also really prepared with what I wanted to create and laid all the elements out on trays in an organised fashion. I began in one of our shadier rooms but as the sun came round the fabric began exposing while I was setting it up so I ended up in our outhouse which has no windows – this did mean that a lot of what I was doing was from memory and not because I could particularly see well.  A lot of the lovelier small or fragile items didn’t get used because I simply couldn’t see to pick them up!

These two photos show the treated fabric changing from green to blue as the sun begins to process the chemicals and the resulting print – this one was a really deep indigo which I put down to it being a 100% cotton fabric.

I tried coating a variety of fabrics – polyester, nylon/cotton mixes, textures, old cotton and linens. My favourite results were the high cotton content fabrics but the nylons do have some winning results such as the shine and the ghostly quality. I intend sewing into mine so I’m happy at this stage if the print isn’t 100% perfect.

I also prepped some acetates of my own hand-drawn elements taken from pattern designs I’ve made. They don’t print as cleanly as paper or solid objects and the acetate edge can catch the light if the sun is at a low angle; but it’s a great way to incorporate your own design personality into your prints.

This is a gold polyester print – a lot of the coating washed out of the fabric so it’s a very pale print. I wouldn’t waste the product on non-cottons again but I’m glad to have experienced the difference.

This is a selection of my favourite illustrative prints. Where there are white empty spaces I intend to fill in with stitches and fabric foiling.

I had a lot of success with vintage doilies and lace and through trial and error realised that the item closest to the fabric prints the strongest which made layering up items interesting (in other words the opposite to the picture below – bird/rabbit underneath doily to print).

This one is going to get framed just as it is as there something perfect about it to me.

The acetate allows some light through (it isn’t as good at masking as black card is) but it does create a blue print rather than a solid white space( see rabbit below)  so that adds an extra layer of interest.

Some of the fabrics with an unidentified mix of cotton/polyester gave up prints on a different scale of blue -these  will have also have their uses as contrasts once I start cutting and sewing. Its a much softer result.

Some even came out a lovely Colbalt blue.

Each print took 30 mins in the UK sun (on a hot sunny day for us) so it was a time consuming activity and I’d coated a lot of fabric so it was a long days work. I believe (from inference) that you can store coated fabrics for sometime in the dark but we don’t often have reliably sunny days so I went for it while I could which was the right call as it’s cloudy today.

 I think I’ve made enough stock to keep me busy for sometime anyway!

So here’s my top-tips for cyanotype sun-printing if you think you’re going to give it a go:

You need to weigh the items down on the fabric to print with some glass or acetate – so measure your fabric prior to coating so that it’s not bigger than your glass. Otherwise you print the edge of the glass.

Once you’ve coated your materials and put them in a dark place try and create a system so that you know which is coated-side up. I got into a muddle and wasn’t always sure I’d printed on the side I’d painted the chemicals onto.

Know your materials before you go into the ‘darkroom’ to place them on the fabric. Maybe even lay them out ready. And I found having things on a lightly coloured tray helped me to see what the shape was in the dark!

If you want indigo prints then stick to high cotton content fabrics.

I’m glad to say I still have another half a bottle of each of the chemicals so can mull over repeating this activity again.

© ClaireLeggett_finished

Here we are at the end of week 3 COVID-19 quarantine and here’s a Stay Home project to share with you. Sometimes my Textile students can’t always see how to get to the next step of using fabrics they’ve made so I thought I’d do a little tutorial showing the stages of creating a fabric and thread picture for anyone who wants to have a go. You won’t find me making a video so it’s old-school text and photos!

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First find your inspiration – mine was my lovely Mothers Day gifts this year; a cute vintage Booths jug and some joyus tulips and I knew straight away that I wanted to make an applique and stitch picture of them as they had so many elements that lend themselves nicely to that way of working.

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1. First up was a good sort out and categorise of the pile of dyed and printed fabrics made during class. I sifted through and found these pieces of dipped-dyed nylon and wet printed screen-printing with talc relief – both the perfect colours and textures to represent the tulip petals.

2. Using a 24-hour-fade fabric marking pen, I sketched the tulip petals imagining the whole petal so that I could layer them over one another to build a Tulip flower later on.

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3. The nylon fabric needed stabiliser ironed onto the back to strengthen it enough to sew it using the sewing machine. The other fleece fabric didn’t need any extra weigh adding.

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4. You don’t have to have a sewing machine that can do free-motion machine embroidery, you could just use your forward and reverse functions to layer up lines of stitch to mimic the markings on a Tulip petal. I changed colours a couple of times too.

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5. Then I spent a few hours hand stitching large running stitches of colour to capture the hi-lights and contrast colours in the petals. I even added a little shiny luxe thread to catch the light and add visual interest.

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6. For the jug I ironed a lovely old piece of cotton onto some stabiliser and then sketched the outline of the image from the jug.

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7. Then using the free-motion machine embroidery function of my sewing machine I ‘drew’ over the sketch using indigo thread.

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8. I won’t lie – the 24hr pen did not fade overnight (never happened before) and so I had to gently wash it out.

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9. Next up was a root through my bag of fabric again – I found this piece of mono-printed screen-print which was perfect for the tulip leaves.

 To make getting the shape nice and easy, I cut one off the now-nearly-dead tulips.

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10. All they needed was a few free flowing lines to give the texture of Tulip leaves and I used a variegated green-yellow thread on the sewing machine.

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11. I played around laying out pieces of fabric that I loved or felt would add a nice contrast as the background until I found the perfect combo – the reverse of a piece of stencilled indigo fabric and a jaunty yellow piece of Shibori pattern.

12. After that it was a question of pinning it all into place and working out which pieces needed stitching onto the backing first and then working up a layer as I sewed. The leaves I did on the sewing machine and the Tulip petals I hand stitched on.

© ClaireLeggett_Tulips

I’m pretty happy with how this has turned out – it’s brightening up my studio and adding some colour to my Easter quarantine.

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I like the overall colour palette and think the yellow Shibori patterned fabric picks up the yellow of the Tulip petals nicely.

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If I’ve one gripe its that the jug is a bit large and contributes to making the whole piece tall and thin which might be a problem if you want to frame your work easily and cheaply. I’m using a magnetic poster holder to hang mine and it’s working well.

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I hope that’s given you some confidence to cut into your own stash of fabrics and have a go. Any questions – do email, I’d be happy to help if I can. Do let me know if you make something and I’d love to see what.

studio shelves

Today marks the beginning of week 2 of COVID quarantine. Not only has a lot happened since I last blogged 6 months ago but an enormous, life-shifting change has taken place in the last 7/10 days due to the virus we are suffering from worldwide.

Government enforced home-stay and the cancellation and postponement of all my freelance work sent me spinning at first and my Artist in Residence exhibition (planned for the end of May) is now up in the air date-wise.

I threw myself into the cathartic activity of sorting and cleaning my studio (which is at home) and that activity has helped me to calm myself and prepare to embrace a new chapter instead. It’s been a major week-long purge of Stuff, organising projects half started which still want to be finished and ridding my workspace of what no longer serves or inspires. The space can breathe again and so can I.

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There is a collective feeling that the enforced slowing down is beneficial and I can feel that personally. It’s causing all-sorts of reflection – the first being to breathe life back into this neglected space.

Copyright notice 2020

All images, text, and content on this site are the sole property of Claire Leggett and may not be used, copied or transmitted without the express consent of Claire Leggett.

If you wish to link to this site or to a post from this site, please ask first before doing so and then give appropriate credit for content.

Any other inquiries please email me at hello@claireleggett.co.uk

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