Due to the fact I had already screen print before- just using the Devore technique, I already had a prepared screen that I was able to use.
I had already purchased my 100% cotton muslin fabric that I was going to print on, however like the velvet I had used for my previous printing sample, it would not stick to the pre-gummed tables as it was too sheer. This meant I had to iron on cotton sheeting to the desks, starting from the centre outwards to discard and eliminate any creases in the sheeting, this meant that once my muslin was pinned to the sheeting, it wouldn’t move around or create any unwanted bumps- the flat smooth surface ensures a cleaner print.
As stated previously I wanted the majority of prints to be different shades pink, this is because I feel it is a running colour through my project now that initially started off with my artist Karla Black as she tends to use these colours within her work too. I did also want to include a darker colour such as a blue-grey and a metallic colour to tie in with the top half of the outfit, and due to the fact oils spills in the actual sea and other water pollution tend to be metallic and dark colours- and due to the fact this is where I generated the patterns from with that idea in mind and polluting water with petrol myself, I feel it would tie in the whole look and ideas together, along with creating more depth, contrast and texture to the prints.
With the help of Danielle my textiles pathway tutor, I picked out three pink colours of pink ‘Scarlett’ ‘Red’ and ‘Fushia’ then I mixed ‘Blue’ and ‘Grey’ together with white, to create a light blue-grey colour. I mix a tiny amount of these pigments in with two scoops of print paste (binder) as a base. This dries clear. I also decided on a metallic rose gold colour to use in a few prints, this, however, doesn’t need to be mixed with anything and goes on its own.
Due to the fact, I am being conscious of my placement of the prints, and there are 4 different prints on my screen- I need to use newspaper and masking tape to mask off the patterns I don’t want to use, and only have one showing, meaning only one of the 4 patterns prints at a time.
The composition I am going for as discussed earlier in my Skirt Design Evaluation is lots of pattern and depth at the bottom with the darker colours concentrated there, and fading on the way up. Thus this is what I did, my aim was to do this, yet still, ensure the fade looked natural. As I want depth in the skirt, I also was advised to on some prints pull the pigment through 3 times, to gain a thicker more bold pattern, and some just once to achieve a thinner more delicate pattern.
Once I had done my first lot of patterns in the first colour, I had to wash the pigment off, and mask this pattern off whilst revealing a different one. This whole process of washing, masking and painting took me a full college day. I left the skirt overnight to dry and picked it up the following morning.
I decided to add the belt to the skirt at home, as I was more familiar with my machine and knew I could get it done straight away without messing it up. Finishing up the skirt was really simple, as I wanted to keep all the edges raw and have the back opening all I had to do was pin the top of the outside of the skirt to the inner about 2 inches down and stitch, then thread my tubing through and secure with a knot!
I am so happy with how this garment has turned out and I personally feel the patterns look really effective.
I will take clearer images in my photo shoot.