You are currently browsing the category archive for the ‘Textiles’ category.

It’s hard to believe it today with all the rain being dumped from the sky but we have enjoyed some lovely sunny weather lately here in the UK and I have made the most of it with a spot of mud printing in our back garden.

Printing with a mud paste can get a little messy so it’s great to be able to do it outdoors. In addition it’s very helpful when it then rains and washes all that mess away – easy clean-up 🙂

However the sunshine means that the paste can get dried out fairly quickly so you can go on with the next step in the process.

You may have seen block printing done with mud (Dabu) in India and of course not only do they have the heritage and skills but also the climate. Dabu printing is a traditional mud-resist hand-block printing art usually done with a wooden block (the metal blocks are more often used for batik printing as the wax can be melted off)

My receipe for the mud paste was little hit and miss – water, clay and lime powder which I tried to avoid using because it can burn your skin badly, but hb helped me out and we mixed it carefully with masks on – another good reason to be outside if you try this.

Make Mud Prints while the sun shines is my new saying!

It’s possible to print with anything pretty much. I own quite a few wooden blocks some of which were excellent and some too fine to cope with the build up of mud after multiple layers had been applied. I also used foam shapes and cardboard rolls with good effect. And one of my favourites was simply a big brush applied in broad strokes.

The mud acts as a resist to the dye and sometimes cracks during the drying process which can cause veining, which in my opinion adds to the final effect.

Once the paste has dried, you can apply colour.

I used a Dylon hand dye so that it would be fixable and washable but I didn’t chance the dip-dye technique preferring to apply the dye with a brush and layer up the colour to make a good dark ‘indigo’ blue. It’s worth mentioning that a pre-wash really helps prime the fabric to receiving the dye.

Finally it’s dried again and then you can hand wash out the mud and admire the beautiful fabric. Where the mud was will have repelled the dye leaving a white (or in some of my cases a much paler blue) print. It will probably be years before I dare to cut into these 😉High on my wish list is a holiday in India with some authentic Dabu printing but until then the back yard will have to do.

Advertisements

How the time just flies by! There I was preparing a catch up blog post about my work as Artist-in-Residence at Winterbourne House and Gardens and then all of a sudden the weather has changed, the gardens developed and what I had to show you looks distinctly wintery!

This week has been glorious, unlike the preceeding two which rained on and off so much I couldn’t chance getting out to draw or paint without a small soaking. Consequently the gardens are thriving and growing. The Anthemis border looks absolutely stunning at the moment and is top of my list to work on given long enough to do so.

I spent a day drawing arounds the grounds on Monday (and looking at old maps in the archives) getting some visual reference for some print work I’m doing and also some embroidery.

Prior to that April brought a beautiful Flowering Japonica which grew all white and blossomy in a dark corner of the garden providing lots of contrast.

I’m spinning a lot of plates atm on a lot of projects and the only way I can move forward is to do a little on all fronts and wait for the bucket to fill! I’m working in bursts when time allows but importantly, enjoying all the variety. This week in preparation of teaching my MAC Birmingham students how to print in repeat, I drew on Mondays Foxglove studies and printed a nodding row of these lovely flowers.

And if you’re interested in stitching and embroidery, this lovely workshop at Winterbourne is on sale now and you can read about it here – it’d be lovely to meet you in real life 🙂

 

Our trip to Southern Asia earlier this year (here, here, here and here) was rich in visual and cultural inspiration.

I’ve honestly felt a little overwhelmed by how deep and far I could go into this vibrant feast of creative stimulus and output – whether to start with painting or stitch or print. And all the while I’m spinning the other plates of my self-employment as an artist: delivery/teaching and all the admin that it takes to run a small business. It can be distracting and actually difficult to get time to be creative some weeks.

So I just began. One day unceremoniously. Just where I was. No fanfare or special time set aside. I just started. I took off simply by doing a little each day – whatever I had time for.

As I teach screen-printing and mixed media textiles twice a week at MAC, I kicked off this intention by focusing my preparation for these classes on my Asia photos – and I have a lot to choose from as I took nearly 7000! inc duplicates for a better shot – you know? So to make that task less anxiety inducing, I split those into files: Malaysia, Vietnam, Cambodia and Laos. I currently haven’t got to the end of the 2.243 photos taken in Malaysia!

So if I was demonstrating cutting a screen-print stencil I based it on a motif from of a beautiful textile in the National Textile Museum in Kuala Lumpur or if I was making an example of free-machine embroidery for my Mixed Media Textiles class I referenced a drawing I’d done from a beautiful silk kimono.

Sometimes that was a basic quick line drawing, other times I had paints out to use. On some evenings I have doodled in front of the TV on my ipad pro – not that I’m especially proficient but it’s a great way to easily draw and digitalise your handwork.

It’s true what they say about ‘a little and often’ –  gradually my pile of Asia work is coming to life.

The Tutors Exhibition at macbirmingham is in it’s last week closing on

On Saturday 18th May 2019 The Tutors Exhibition  – at macbirmingham opens and in it will be one of my pattern design pieces and products – would you like to hear the story of how it came about?

I recently watched The Creative Brain on Netflix, which advocated the importance of open-ended play for creativity to blossom and this, is very much a story of that process too.

It all began with a painting I did one afternoon where I textured up a piece of watercolour paper with a lovely deckled edge and then overlaid white paint leaving the negative space to describe birds flying. And that was it – that piece of creativity sparked something else and off I went down that rabbit hole leaving this painting in the plan-chest drawer for a few months.

Then by a series of serendipitous events I found myself a member of the wonderful SteamhouseUK community where I get to play about with the most amazing array of machines and learn techniques and processes that have been invented since I was last in college.

Sublimation printing (or dye sublimation printing as it is sometimes also known) is the process of transferring images onto a fabric (or other substrate) using a heat-press to print the image. At macbirmingham we have a heat-press and we use disperse dyes to paint and print onto paper which can then be heat-pressed onto fabric (if you think that sounds fun come along to my Tues afternoon class and have a go!)

But I had never hoped to ever have access to using an actual Sublimation printer until now! In this case the disperse dyes are in the printer ink cartridges and the computer sends your image to print onto heat resistant paper in wide format.

At Steamhouse the heat-press can print onto fabric up to 175cm in width. The heat-press technique is also great for capturing textures in designs onto fabric. The Tutors show was coming up. All this got me thinking what could I make with the size of fabric that I could print to exhibit for the show?

One morning I woke up with the answer ringing clearly in my mind and it didn’t take long to make it a reality – I’m single-minded like that sometimes – use the Swifts painting to make a pattern and construct a kimono!

The pattern had to be cut down the back and re-seamed in order for all the pieces to fit one at a time into the heat-press for printing and the Swifts pattern was easy enough to put into technical repeat using Photoshop so that I could use the sublimation printer to print an all over repeating pattern.

After that it was a steady job to sew it all together nicely including a partial lining so it looked good hanging up for exhibition.

If you’re local and can make it to MAC to see the show ( – Tues – Sun, 11am – 5pm, First Floor Gallery) you’ll see that kimono hanging on the wall and who knows, after the exhibition is over I may even wear it 😉

Finally on our epic Asia trip was the very lovely Luang Prabang in Laos.

By this time we had clocked up something like 2 train trips, 1 boat trip, 7 flights, one car ride and 9 changes of hotel so staying in one small place for a few days was a very welcome end to such a busy trip.

Luang Prabang has a lot to offer being rich in Buddhist practice and temples – the most beautifully decorated arts and crafts – mosaics, paintings, handmade paper, the tin/paper stars hanging everywhere were my favourite – too large to being home sadly.The shops are full of locally made arts and crafts too as is the daily night market.

 My favourite discovery in Luang Prabang was the Ock Pop Tok textile center

 I went for a day to learn natural dying  – which I can do but not with such exotic plants and barks as these.

I made a scarf using a resist method and a lump of wood which when boiled produced this lovely red.

In the afternoon I learnt Hmong Batik with the local master craftswoman Grandma Mae. They add indigo dye to the wax so you can see where you’ve batiked – great idea.

 This is the finished piece sitting on the kitchen table reminding us of a fantastic trip.

Still catching up my blog – back in January I re-introduced myself on Instagram after realising that even my old friends weren’t really sure what I do day-to-day. So here it is for any of you who’d like to know too 😉

Hi friends, family and followers HNY! 🍾
I met an old friend who’d I’d lost touch with and it made me realise that these pictures here don’t fully describe my Work Life and so I’m starting a fresh year with one of those little Insta intro’s people do….
28 years ago I graduated in Textile Design specialising in Printed Textiles.
26 years ago I got my teaching qualification and began teaching Primary-aged kids with a specialism in kids with Additional Needs.
7 years ago I stepped out of the school classroom and into other places and spaces where I can teach people, work with kids and develop my own art practice.
👩🏻‍🎨 I’m an artist at heart and I love to paint. And print. And add colour to things. And meet people and share art and creativity and the good it brings.
📆I hardly have a typical week (which I love) but it might look like this:
🖼 I spend some of my time painting pictures to sell and until May 2020 I have the whole of Winterbourne House and Gardens @winterbournehg to inspire me as I am Artist in Residence there @artist_winterbournehg come and follow that account too if you like!
🌳🏢I work regularly @macbirmingham teaching Mixed Media Textiles on a Thurs night, Pattern-design/Screen-printing and Heat Transfer-printing on a Tues afternoon, running a Baby Creative class (messy/sensory play) and also the cutest Toddler Art Group. 👬👭
Then there’s work that comes in blocks such as delivering a whole range of multi-disciplinary workshops locally at places like @birmingham_mag and @winterbournehg for adults and children, working with local and national social enterprise groups developing skills with a group of refugees and offering paint-therapy for ShelterUK and I also take workshops and demonstrations on the road to art groups as far as my travelling time can take me.
🤫I design patterns commercially using any number of ways; print methods, stitch and all sorts of paint techniques and a local print agent takes them out to the textile fairs to sell them on my behalf. It’s secret work (copyright issues) and not often seen here.
📺 And of a night I still knit, weave, stitch and crochet in front of the telly because I love to.

Thank you for reading if you got this far x

A couple of weeks ago I was in Manchester and made the opportunity to go to The Whitworth Museum to see the Thread Bearing Witness exhibition and it was awesome!

 My first contact with it was through the Stitch a Tree Project where anyone could stitch a small piece of fabric with a tree to show their support for refugees. This project grew from work done in a Dunkirk refugee camp with children using the Tree of Life as a motif to think about strength and resilience.

 

Our stitched tress were collected and stitched together to make a forest as a symbol of support and togetherness for all displaced people around the world. It’s just a photo here but it has a big impact in real life. It makes a statement and in the under-stated way that only fabric, textiles can because it appears so domestic and unthreatening but then you consider the strength of it’s message.

Not a brilliant photo of me but unbelievably one of mine was at eye level so I could spot it! And it meant something to have taken part and put my voice to a chorus.

There were also 3 big panels Sky, Ground, Sea undertaken by Alice Kettle- huge machine embroidered works of art made with refugees contributions in the form of drawings mostly translated into stitch.

 

Big sweeps of stitch and fabric expressing the broad big spaces that refugees have to cross and inhabit to survive.

These can be view in purely aesthetic way as they are simply beautiful pieces layered with lustrous stitches, colours and pattern.

One can also feel good work has been done giving people creative inclusion and opportunity in the workshops that the project supported such as Pipka camp and elsewhere.

But I think the message broader and stronger and more urgent and seen most in Sea.

  This had the biggest impact on me;  this is not just art, occupation, awareness raising –  the floating bodies ethereal in gold thread spoke very clearly of life and death.

The brochure begins with this beautiful writing by Choman Hardi which says it all and says it very beautifully;

“I have come to learn your pain,
fill me up with your words, I have not been gassed, nor imprisoned, nor mothered children to watch them starve or wither away,
don’t know what widowhood feels like.
I have not lived in a shack, nor worked hard in fields to bring food back…

I want to document your suffering, make sure your voice is heard.
I cannot promise redress or direct help.
But I promise to listen with all that I have, stay true to your story, not distort or edit your grief”

***

When I was in London this week I also went to see the Anni Albers exhibition at Tate Modern.

Anni Albers (1899-1994) was one of the first to move weaving on from being for purely practical purposes to being seen as an art piece for itself.

I found all the technical diagrams as fascinating as the finished pieces.

And enjoyed seeing what can be made with only a few colours when they are manipulated in certain ways.

I loved the hand painted design sketches made in preparation before weaving – just as an artist would sketch a quick study.

And I am determined myself to master some of these twists and turns into actuality.

This piece is almost where weave and embroidery meet and so effective with just 2 colours.

Thoroughly inspired and if you follow me on Instagram you’ll know I just started my first big weave pattern so I am stacking up the possibilities now and can’t find weaving-time fast enough!

I made the most of the recent sunny weather to do some messy dye projects in the garden.

This is some Shibori fun- the Japanese method of clamping and twisting fabric prior to dying.

It is so simple but effective but in the past it hasn’t always delivered the results hoped for until this time when the sun rendered me more patient than usual!

I’m planning some projects of things to make and stitch with these beautiful fabrics if I can bear to cut into them.

Copyright notice 2015

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

Instagram

That sweet moment when you click ‘Pattern Fill’ 👩‍💻 💻 🤗😆 #photoshop #patterndesign #surfacepatterndesigner #pattern #print #surfacepatterns #computerdesign #mydesktoday #patterns #patterndesigns #artistoninstagram #patternplay #productiontime
The ironing’s done ✔️ time for a #slowsunday and this beautiful #marthearmitage book #inspiration #olderartistsinspire #artbook #printmaking
These ladies #markitproject have learnt soooo much on their printmaking journey (as have I) Today was our last screen-printing session before we concentrate on other production tasks 🧵➿✂️ 📦🏷We have 2 fairs booked - local peeps save the dates: December 1st and 8th 🌲 #screenprinting #skillup #withrefugees #refugeeswelcome #skillsforlife #empoweringwomen #craftcommerce #womeninbusiness #learningnewskills #craftcanchangetheworld #everyonedeservestobehappy
You are invited to @mac_birmingham Textile Club next Saturday 🧵 🖌 ✂️ Only £31 to spend an uninterrupted day working on your own textile project with all materials and studio access plus my support/advice/enthusiasm/corny jokes as wanted 🤣 Print, Stitch, Machine, Dye any which way you’d like. #textileworkshop #textileart #printmakingworkshop #printmaking #screenprintingworkshop #sewingworkshop #textileartists #birminghamtextileartist #birminghammakers #textileartworkshop #workshopsuk #macbirmingham #craftworkshops #thingstodoinbirmingham #keepoutoftherain 👏🏻👏🏻👏🏻 student work shown by Georgina, Elaine, Hannah and Anna

Link with love

LINKwithlove

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 294 other followers

Categories

Archives

Advertisements