The Textile Artist's Studio Handbook

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:106

104-121_28051.indd 106 3/6/12 8:50 PM

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

03-C66286 #175 DTP:225 Page:107

104-121_C66286.indd 107 3/27/12 8:57 AM

(Text)

THE T E X T ILE ART IST 'S STUDIO HANDBOOK

106

P RINT ING

Inks Stock an assortment of fabric inks for printing on

fabric and paper inks for printing on paper in the prima-

ry colors, plus black and white. You can use oil-based

or water-based ink, but water-based ink is far easier to

clean up. You can also save most water-based inks for

a very long time in plastic storage containers.

Glass Plate, Brayers, and Burnishing Tool A glass

plate without nicks or scratches is the ideal surface for

rolling out the ink. A brayer, available in many sizes, is

used to roll out the ink on the plate and on the carved

block. A burnishing tool is used to rub the back of your

paper or fabric to help press the ink consistently over

the textile surface.

Layers and Registration

If you are working with one color, registration is sim-

ple because you don’t have to worry about aligning

multiple layers. You simply apply paint on the block

and then apply the block onto the fabric.

When you are working with multiple color layers,

each color needs its own block, and each block needs

some type of clear registration marking to align the

blocks on top of each other to create the design as in-

tended. Apply the different color blocks, starting with

the lightest color and moving to the darkest. Though

there are many ways of registering images, including

fancy tools, you can simply mark the corner where the

block should align with a pencil, fabric marker, or tape.

If you are using the same exact size block for each

layer, you can use the same mark to align each block

so that the images are aligned.

If you don’t want to make a separate block for each

color, you can create what is called a reductive print.

Begin by carving the lightest color layer and use it to

print as many copies as desired (a full edition) or as

much yardage as desired. Then carve your next color

layer in the same block. In effect, you are reducing

the same block to your final layer. With this method,

you cannot go back to print more because each layer

is destroyed as you carve the next successive layer.

Carving your Block

Block printing, or any kind of relief printing, can be

used to print negative or positive images. A positive

image means that you are carving away the negative

space to print the image. Negative printing means that

you are carving out the image you want to create in

white by leaving the negative image to print. It is very

important in block and relief printing that you carve

your image in reverse.

Inking your Block

and Printing

Apply ink with the brayer onto a glass plate or directly

on the carved surface. If the ink is on the plate, press

the carved block into the ink to transfer it onto the

block.

You can print by either placing the block face down

onto the printing fabric (or other surface) or place the

printing fabric on top of the block. If you are placing the

block face down on the surface, apply even pressure

from above the block. If you are placing the block face

up, with the fabric or paper over it with the right side

down, use a burnishing tool to rub the entire surface in

a circular motion to ensure the transfer of the ink.

Watch Your Fingers

Be very careful to keep your hands out of the

tool’s path. A good way to do this is to hold

your arms and hands with your elbows out-

wards. Always keep the hand holding the carv-

ing block behind the tool, never in front in case

you slip forward. You can also use a carving

board, which helps keep your carving surface

in place so your arms don’t have to!

tip

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:106

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THE T E X T ILE ART IST 'S STUDIO HANDBOOK P RINT ING

107

PROJECT:

Tools for Printing

• Pencil

• Paper

• Blank rubber block for carving

• Brayer, at least as wide at the printing image

• Glass plate

• Carving tools of various sizes and shapes

Materials for Printing

• 1 yard (0.9 m) of 45" (114.3 cm)-wide plain

or colored cotton or muslin fabric

• Water-based fabric ink

Tools for Sewing

• Sewing machine

• Scissors

• Iron and ironing board

• Measuring tape

Materials for Sewing

• Thread

• 6" (15.2 cm) strip of 1" (2.5 cm)-wide Velcro

Block-Printed

Pillow Cover

Depending on your level of interest in block print-

ing, you can keep it very simple or increase your

precision and skill to get highly intricate designs

using fine tools. The very textured affect can be

a nice addition.

ABOVE Here is a finished pillow us-

ing the artwork of Alexandra Labriola.

It is hand printed and sewn! This is an

easy way to update your home décor

or make simple home goods for sale

or gifts.

BELOW Block printing does not

require too many materials and can

create endless fun with a design that

can be used over and over. All these

items are easy to find.

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:107

104-121_28051.indd 107 3/6/12 7:31 PM