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Henry Moore Helmet Heads 1

This photo is of the preparation stage for the series of pieces inspired by the Henry Moore heads.  I decided on three things:

  1. That I would make some small collages to get me into the flow of the appliques.
  2. I would make monoprints using my gelli plate to use in the fabric pieces.
  3. I would use the Sanderson prints that I had got from Bristol Children’s Scrapstore as the backgrounds

I had a lot of fun doing the prints:

I made a lot on paper and then on fabric, which was also from a variety of furnishing fabric samplebooks I have collected over the years.  The time has come to use them.

Because we are in lockdown it is hard to get things quickly.  I really could have done with some textile medium to keep the fabric soft as I was using acrylic paint which is nasty to hand stitch through.  As it was, I decided that I would just have to put a jeans needle in the sewing machine and do a lot of machine embroidery.  I thought I had some textile medium somewhere, but it seems to have gone to ground.  I love gelli printing and have piles of the prints.  It is good finally to be using them.

I decided to use the Sanderson prints because they epitomise the English country house, gentleman’s home is his castle look to me.  They are traditional.  They never date.  They have gorgeous botanical prints on them, and they are very high quality fabric.  These pieces have been through the washing machine at least three times to soften them up a bit, and they have not faded a bit.  They haven’t really softened much either, but I did get a lot of the paper backing off the,m as they had been mounted on mood board pages in the swanky sample book.

I wanted something that said home, tradition, stability, safety and protection and the Sanderson brand has all these associations for me.  That’s why I decided on them as the substrate.  I mounted them with spray glue onto some eco-friendly recycled wadding.  I think I should possibly have tried this out first given the size of the project – getting on for 25 pieces, but patience has never been my strong point.  The wadding is okay to work with, by the way.  The Sanderson fabric stitches like what it is: high quality furnishing fabric rather than quilting weight or dress weight cotton.  This means that the hand sewing on it is necessarily pretty basic:

There is a lot of simple stitching like this, mainly straight stitches but a bit of stem stitch which you can see on the left.  I might go mad with some colonial knots on some of them and possibly some bullion stitches.

I used some of the more textured fabric to print from by inking the gelli plate, pressing the fabric into iy and then lifting that off, and putting a lighter smoother fabric onto the gelli to pick up the paint left on the plate.  I got some nice prints, which I will point ou,t using this technique.  I know that gelli plates are expensive and that you can make your own, but I have found that the proprietary ones are surprisingly robust and highly reliable.

One interesting thing was that in lockdown I used some acrylic paint which I would not normally use.  I usually use Golden Fluid Acrylic, which is the best in my book, but I had found a lot of paint in my stash as I had been clearing stuff out.  There have been a lot of cupboards cleared out during our isolation period, I think.  I found some really cheap stuff in big tubes that an ex-Brownie leader gave me, and some that we have had in our house for at least twenty years.  This paint is all thin and as luck would have it, acted much like ink so the prints worked well.  I stuck to black, white, red, a pinky red, yellow, dark green, ultramarine, dark grey, peach and burnt umber.  Mainly I used the black and grey.  Unusually for me there were no metallics to jazz it up a bit.

The next blog will be about the process of putting the pieces together so far.

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