Red squiggley lines keeps telling me that “aposematic” isn’t a real word, but it absolutely is; I Googled it just to make sure.
- (of coloration or markings) Serving to warn or repel predators.
- (of an animal) Having such coloration or markings.
This is what I decided to name the collection of textile designs that I produced for the Society of Dyers and Colourists’s live project brief entitled “fashion for the future”. The brief was very open, but we had to work within two constraints: we had to work to a trend forecast from one of the big textile design journals, and we had to strongly consider sustainability or a sense of eco-friendliness in our designs.
The summer 2013 trend “alien paradise” in issue 96 of Textile View really jumped out at me (I’d originally chosen an Art Deco theme, but to be honest I really wasn’t finding it too interesting), saying “This chapter is inspired by the wonderful world of primeval forests and jungles, augmented and enchanted by new technologies. Leaf patterns and the shiny skins of rainforest frogs inspire fabrics and patterns.”
I originally visited Dundee’s botanic gardens to hang around in the hot house and photograph their tropical and carnivorous plants, but found that February isn’t really the ideal time of year for such things. I quickly moved on to looking at rainforest frogs, which I have absolutely fallen in love with. There are so many beautiful pattern and colour variations, and most of the frogs are absolutely tiny and adorable (and poisonous). This area of research obviously lends itself well to the sustainability factor of the brief, so I researched the Amazon rainforest and conservation charities.
I placed my designs into the context of interiors accessories (I do love a good cushion), more specifically kids’ bedroom accessories. I feel that the bright colours and graphic marks I have used would really sit well in a kid’s room, and the subject matter of the prints would help to get the young ‘uns interested in conservation, nature, animals, and travel. I also feel that the handmade element would really add value to my final pieces, and really creates an appreciation in the customer and a bond between them and the finished product, giving a very non-disposable feel to my work.
I hand-printed designs on habotai silk with acid dyes that I mixed myself. I ordered digitally printed silk with my own hand-drawn and Photoshop-coloured-in illustrations of frogs, and my grand plans were to hand print on top with my chosen colours and foil effects, but my prints took over a week to arrive and I received them about three hours before my printing workshop access was stopped, so that’s rather disappointing and I feel as though some of my prints are simply unfinished. However, I am pleased with what I produced in such a short time. I didn’t really know what context I was aiming for when I began printing and chose silk because I felt the delicate, airy, shiny feeling of the fabric was appropriate for my project, and silk really shows colour well; with my context now being kids’ interiors, I wish I had worked with a more durable cotton base fabric.
Here are a few pictures from my sketchbook; there are more (and larger versions) over on Flickr.
And here are my three final presentation boards (A2 in size):
You can’t really tell from the photo, but in between the frogs on the digitally printed fabric I’ve hand-printed lines of gold foil. Also the colours in the photos are a bit off (especially for the context board), but I think it gives a good idea of my project and final designs.
Here’s a wee sneaky peek at the prints I made during print week. They need a good press, and the raggedy edges need trimmed off, and I need to make header cards, and unfortunately a few of my prints went a bit splodgy, but if we forget all that I’m actually quite happy with them. To begin with, I was very tentative with my prints. I used a lot of similar colours/tones, and I was very delicate with my placement of the screen, or paper stencils, or whatever I was using. Eventually I got over that, and started to really embrace the idea of layering. That’s what this week was about – masking and layering – so I used a lot of paper stencils based on shapes from my sketchbook, and a lot of exciting colours, to hopefully produce some interesting overprints. On Thursday we had a little demonstration on using discharge paste, which lifts the dye back out of the fabric, and gives some really interesting effects because it reacts differently depending on the colour it covers. You can see some of the discharge paste’s effects in the blue sample, and the pinky-purpley one too. I enjoyed this week very much!