Thinking through the three dyeing sessions so far, I am disappointed.  In spite of adding more dye mixture each time to the soda/salt solution the tone hardly varied.  It could be a number of things: quality of the dye, the fabric, human error.  I didn't think using the same recipe and instructions again would get me anywhere, so remembering a workshop called "Dyeing for the Terrified" with Yvonne Brown I dug out her notes and put them to the test.  I sent for Synthrapol (for the final wash) from Art Van Go and had a really helpful discussion with Janice, who advised finding a really good dye recipe and sticking to it.

First I made a set of tonal samples.  So far so good.

Then I tried applying the strongest mixture to more prepared stitched Shibori pieces, soaking them in the soda/salt solution and then applying the dye with a syringe.  They were, of course wet when the dye was applied, cold that explain the stronger colour -- not according to the module notes, instead the patterning should be softer.  The colour too?

Zigzag Machine Stitched.

Cross-hatched Machine Stitching.

Wavy Vertical Lines Machine Stitched.

These three samples have the tonal range, movement and markings I had hoped for.  I also feel, though I've yet to put it to the test, that I could recreate any tones within the sample range.  Such a relief!  Still more work to do, but this is better.  Maybe it's my greater experience which is evident.

As I leave each chapter there's always a feeling,together with how much I've learned, of how much more I could have done.  It's especially the case with the Shibori element of Chapter 6; perhaps its the amateurishness of my finished pieces or the fact that in retrospect I see how much more disciplined it's possible, and necessary, to be when exploring new techniques.

The two images above show my twelve monoprinted samples.  I used pens and various other implements  -- cork and polystyrene strips amongst them -- to overprint the fabric in either black or white,  The fabric paint was mixed with Fabric Medium and ironed for two minutes when dry to fix it.  Interestingly the black fabric paint was more runny than the white which had a souffle-like consistency.  Both worked effectively, but in the main black made a more obvious print even on more predominently black fabric.

For this image I have picked out four of the more successful prints, successful in that the printing seems to be an integral part of the design.  Other results appear less intended.

Chapter 5 : Patterned Papers

A range of patterned papers using drawings of fish markings,

A selection of decorated papers made with ink marks.  As you can tell papers 1-4 are made with white tissue and it's interesting to glimpse the next column of samples beneath.  The tissue makes for an attractive texture, like seersucker which is created by the water stretching the paper.  The other samples are made of white cartridge paper and printed on with a variety of homemade pens -- corrugated card, polystyrene, credit card etc. -- and different strengths of ink.  On sample 7 I used a stronger ink over a weaker one but the same tool to make curved scraping marks.  Throughout the range of tones is mid to light grey and on sample 6, where the ink is darkest and the lines finest the white paper appears whitest although it is no different to that used elsewhere.  Seen as a collection there is a sense of watery movement evocative of my fishy inspirations..

My absolute favourite of all the techniques.  Watching the designs develop seemed almost like alchemy, a positively magical experience.  I like the way the tissue becomes translucent and it would be nice to try and exploit that quality.These are only small samples (2" by 4") cut from the A4 sheet but I think they reflect the animal markings well. I used a range of tools to print (1 and 5), draw (2, 4 and 6) and scrape (3).

The image shows a selection of twelve monoprinted papers, again white cartridge paper.  I attempted to use white tissue having been so pleased with the ink and bleach effects, however this time the effects were disastrous.  Papers 1-5 were made with acrylic paint rollered onto a glass sheet (something I still need to work on before the paint surface is as I would like - it's getting the amount of paint right at the beginning and ensuring the surface is even) and then drawn on using card, rubber and an old pen. Papers  9 and 10 were made by placing the paper on a n acrylic layer and than drawing on the back with a pencil.  Papers 11 and 12 were scraped directly on to the acrylic layer with wide stiff card markers to try and imitate the prehistoric markings round the mackerel eye. The background painty texture increased the complexity of the surface in an interesting way.  Finally for papers 8 and 9 I returned to printing, using up left over paint and  bubble pack and torn polystyrene strips.

Monoprinting is an interesting  method of producing decorated papers, much more spontaneous than with ink and bleach where I felt I had a little more time to develop the designs, and as a result find them preferable.

Now I see the papers together I'm surprised by the tonal range.  Comparing it with the broccoli greyscale above, created in my photography class, many of the tones are there and it would be an interesting exercise to make a  greyscale with the whole range of papers I've produced.