Katazome – Round Tuit 9

After 2 years of looking at this:

propped up against the hearth in my family room, I finally got around to painting it.  That piece was screen printed in a Katazome workshop I took with Karen Miller years ago.  Instead of painting the second print in class – like everybody else who attended the workshop, I decided to bring this second piece home to paint it with thickened dye concentrates.  You know that saying about best intentions don’t you?  That fits me to a tee.

It’s time finally arrived, and here is a picture of the first paint step:

I put this on plastic on my front lawn, spritzed a soda ash mixture on it, covered it with more plastic and let it batch for 4 hours in the hot sun.  I was a bit worried about the soda ash mixture dissolving the soy resist, but it didn’t at all:

See all those nice clean cream lines?  That’s where the gold resist was.  Procion MX dye concentrates were used – the left over colors from my ice dyeing, and there was hardly any color run off on this silk fabric.

Day two, I painted the green vines overlaying the color blocks, and added a mixture of the green and boysenberry to get a very deep eggplant color for the centers.  Next came the soda ash spritzing.  I was a little bit over zealous, and got a small amount of color migration on the yellow blocks after the final batching and rinsing:

It’s not real noticeable, and I’m happy with how it turned out.

Am I finished?  I’m not sure.  I wish we could have used a dyed fabric background before we did the screen printing process.  I think it makes the print more interesting, and adds a lot of depth   The cream background seems stark to me.  Karen paints most of her background fabric before she screen prints, but that was not an option for this workshop.  We worked with the fabric provided by Karen, and had no time to dye or paint the fabric before we applied the screen designs.

If anybody has any suggestions on how to get some color on just the cream background areas, please let me know.  I don’t want to alter the dye painting at all, or I’d use a sheer over the entire piece.  Even a light color wash would change the dye painting – especially the yellow blocks.   And the reason I added a lot of  green around the print, is in case I decide to stretch this over a frame.

It feels very good to have finally tackled this project, but you know what?  You still can’t see the fireplace hearth in my family room.  It’s scary to see the pile of supplies and half finished projects laying against that hearth, and no, I’m not sharing a picture of that.  LOL  I’m going to leave you all with the illusion I’m organized, have no UFOs, and have a perfectly picked up home, sewing and knitting studio.



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