Here is the finished solvent transfer and silk work, titledSea Shroud. It is set up on a low plinth. I was thinking of putting it on the floor but decided…
After cutting silk up, printing on it, discarding some pieces and adding some pieces of a different type of silk, I sewed it together with single stitches of pure silk…
An Instagram-posted photo of sea, solvent transferred onto silk habotai. I like the tuft of frayed silk at the edge of the piece of sea.
Peeling the silk-sea off the photocopy-sea.
Here’s my messy workspace, set up next to the press I was printing solvent transfers with. I like the scattered birds on the table. The birds are Short-Tailed Shearwaters, or…
The silk I used for most of the solvent transfers is silk chiffon. It is so light and airy and after cutting it up into pieces to print on, it…
I got a lot out of this process of transferring photocopy onto silk. Laying the delicate silk chiffon over the birds was like laying a shroud over them. It softened…
A couple of Instagram-posted shots.
A blank concertina book construction made from rag paper.
For an assessment, I had to choose some prints to display. I chose to present the nine prints above, pinned in a close grid to the wall. I used dressmaking…
Arranging and rearranging finished prints to decide on the order in which they should be hung:
This is a photograph of three plates prepared for watercolour transfers, stacked together and held up to the light.
Some details of watercolour transfers (without any other process applied). The bottom photo is three plates ghost-printed onto the same piece of paper.
Two lots of solvent transfer, with white lithographic ink mono-printed in between. Photocopy ready to be transferred. Photocopy post-transfer.
Black and white laser-printed photocopies of fish diseases were cut out into small circles. These circles were then placed face-down on a previously printed piece of paper. The paper used…
Here is a piece of acetate, prepared with dish-washing detergent. Watercolour marks were applied to the plate, manipulated by moving the plate and then left to dry. Here are three…
Beginning with a piece of paper printed with uncut wood-plate in black, I scratched away with a blade to remove the printed surface. Here are some close-up progress shots:
Using tea-tree oil as the releasing agent, I attempted to apply a solvent transfer to a selection of silk fabric samples using the same method used when transferring onto paper.…
An acetate plate, inked up with white lithography ink on a roller and scratched lightly with a pencil. Unfortunately, the moths I drew into the ink disappeared when printed.
Pigment ink tests for the watercolour transfer process. All of the orange marks were made with pigment ink, all other coloured marks are made with watercolour. These top two photographs…
Print Process: An Online Printmaking Process Log 