I started this chapter by looking at the patterns that I had found in Opus Anglicanum. I then drew them and used these designs as the basis for my relief papers.
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| Page 30 |
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| Page 31 |
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| Page 32 |
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| Page 33 |
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| Page 34 |
Starch paste, gold and purple paint. This relief design derives from the the patterns on page 33, the undulating lines on the cross. The background is purple and marked with swirls using a glue spatula, over-painted with gold metallic acrylic, again marked with a glue spatula. I like the way the purple and gold complement each other, showing the two colours, a blend of colours and small areas of white uncoloured paper. This print has a richness and warmth to it. It would be complicated to produce in stitch, but not impossible!
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| Page 35 |
Starch paste, purple and turquoise paint, gold foil, zigzag roller. Not a particularly pleasing result on paper but could be effective in stitch, using layers of interlacing cords and highlighted with foils.
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Page 36
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Starch paste, purple paint, silver and gold metallic rub-on. This print is similar but less interesting than the one on page 35. The rows might be interesting as a border.
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| Page 37 |
Starch paste, blue and purple circles. Circular stitch patterns appear a great deal in Opus Anglicanum and it is probably my favourite shape. This design reminds of the Glasgow Rose design of Charles Rennie Mackintosh. It would work very well in stitch.
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| Page 38 |
Starch paste, green paint with Prisme Fantasy Greengold paint. A bit of an experiment here. I used the swirling design in green paint and drizzled fantasy paint over it to see what would happen. The right-hand side of the print might convert into stitch, as I like the effect the paint creates when it dries.
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| Page 39 |
Gel paste, coloured with Brusho ink, circles cut jaggedly with glue spatula, painted with glitter glue. I love this print! The circles have practically disappeared and blended to create a series of slightly curving marks. The gel in dull but the glitter glue brings it to life.
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| Page 40 |
Gel paste, coloured green with Brusho ink, combed and highlighted with gold metallic rub-on. The metallic rub-on has highlighted the ridges of the pattern beautifully. It works well on paper but might be a bit dull and repetitive in stitch.
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| Page 41 |
Gel paste, coloured with Brusho ink, marked with a comb, highlighted with black metallic paint. Similar to page 40, a good experiment but I don't think it needs to be taken further.
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| Page 42 |
Gel paste, coloured with Brusho ink, marked with glue spatula, highlighted with gold metallic rub-on. Based on a brick stitch pattern, I like this design because of how the blue and gold work well together. The gold rub-on inside the brick shows a patchy and natural distribution of the colour.
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| Page 43 |
PVA glue, coloured with Brusho, dabbed with metallic paints and Prisme Fantasy paint, combed in crosshatch pattern. Glue too runny and did not hold marks, but still pleasing.
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| Page 44 |
PVA glue, coloured with Brusho inks. Marked in circles. PVA runny and glue pooled, creating dark areas. Dabbed with Prisme Fantasy paint which dispersed beautifully. I love the contrast between the feathery light areas and the dark solid areas. I think it has potential for stitch.
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| Page 45 |
PVA glue, coloured with Brusho, marked in zigzag pattern. Glue very runny so very little used, to try and keep the definition of the marks. Unsuccessful and not very pleasing.
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| Page 46 |
PVA glue, coloured with partially mixed Brusho ink, marked in upward and downward strokes. Colours interesting but difficult to get any clear pattern.
I found the starch paste and the gel the easiest and most effective medium for making relief surfaces. The PVA glue was a disaster! The colours worked well throughout and I think I have some pleasing designs to convert into stitch.
