Transcripts
1. Intro: Hi, I am putting the wheel. I'm a coverage printer maker and service veteran designer, and I live in Utrecht in the Netherlands and welcome to my studio. We are at the beck of our garden, where I overlook the trees and the plants and the birds, and they gave me a lot of inspiration for my work. This is why I do all my printing, making my products. I think I start to temperate printing about five years ago, and after a while I had acquired so many for breaks that I started making some products with him. Tress tree simple things like cushions and broaches. And then I started selling them in my online shop. It's classes for anybody who would like to learn to parental fabric. It's from beginners as well as people who have strident before and went to expand their skills. You don't need to be able to draw well or MP very artistic. This is basically a skill that anybody can learn with a few very simple tricks. I'll be teaching in this class after the Scots, she will have your own beautiful grease off printed fabric, and you could do anything with that that you like. You can maybe stick it on your role. You can make something beautiful out of its for yourself or for friends. I don't top of sensual, have acquired to skill for life. You can make a beautiful prentice fabric whenever you need one on. I hope you will be making some beautiful things and enjoying the class. Let's get started.
2. Class project: the project for this class is to make your own beautiful piece off printed fabric with the nature inspired theme. You'll be making your own design for that. We're going to look at nature for inspiration. We're going to make a couple of sketches, and we're going to cut a stencil. We're going to look at different kinds of printing techniques with a brush and a stencil and the different ways of making a pattern. And then you'll be fully equipped to make your own beautiful piece of fabric, and I hope you're going to share some pictures off that in the project gallery of this class.
3. Materials you will need: let me tell you something about the materials that we are going to use for central printing . The really nice thing about stencil printing is that it is a really basic technique. You don't need a lot of equipments, and the things that you will be using might already be in your home, especially if you are a craft. Her first, you need a plain piece of paper pencil on, maybe to raise her for sketching your motive. And when you're happy with your motive, you are going to trace it onto the material that you're going to make the stencil from. I use a material that's called Mylar. It's basically kind of polyester film that is very strong, doesn't tear easily, can be washed in very hot water, and I like working with that a lot. It's used often for making stencils, but if you can't find that you could use something that you maybe have lying around in your home like this, that's what I started out with, something that I had lying around like a binder or an office full or something like that. It needs to be strong plastic, and you will be able to cut it justice where I work with it as a stencil. Maybe you won't be able to wash it in hot reporter, but for starting out. This is fine. And you are going to use something to trace your motive onto the Mylar or onto your plastic . And I used a permanent marker with a very sharp point. It is much easier to trace her details to cut out your stencil. Then you're going to need in life to cut your stencil with. This is an Exacto knife. I would recommend using an Exacto knife and not a surgical knife or cut off knife. And certainly no the standing. I've, um This is the best thing that I found cuts through the Mylar quite easily. I would recommend using a fresh blade. Every time that you start a new project, you will need cutting that, like this one can be a small one. Doesn't need to be very large. One to start printing with your stencil, you will First of all, needs something to put underneath your fabric to protect your table like this kind of plastic underlay, but could be something else as well. Andi, for printing, you will need some kind of think I use the screen printing ink that this meant specially for fabric. It's a Dutch brand call tinta, and it's made off pastas and pigments, and you mix them yourself. I think it's a beautiful brand, but it's not easily available internationally. So if you contact, get this, uh, go for screen printing brand that is available to you on it should be transparent, kind, off screen printing ink. They usually come in two varieties, transparent and more opaque, and we're going to print on a light colored fabric, and all my examples will be with a transparent ink. So I would recommend that you choose that. If it any point you are going to print with a dark colored fem break, you'd go for the opaque ones that sets. I have used very small containers that I bought at the craft shop when I was just first started out printing, and those works perfectly for me as well. So if you can't get in screen printing ink, go to the craft store and buy some scream by some fabric inks in little containers, they should not be liquid particular use toes as well. I have a perspex plate that I put my ink on before. When I start printing, it gets dirty like this. When you when you've been printing for a while, Um, and I use specialists like these or these to put my ink on the plate. Um, them brushes. There are so many varieties of brushes, and mostly they work well enough. I have been using mostly brush between the sizes eight and 12. What is most important for me? It's the stiffness off the hairs off the brush. Um, it's big hair that they using these kind of brushes, and I guess that pigs very from one pic to the next they are different kinds of hair. And for me, a brush that has really stiff Harris is the best to work with. You can get the best structure when you are working in with them, link tipping them out. But also after a while, your brush will gets completely saturated with ink. The ink will penetrate into the Harris off the brush and after Well, it becomes really hard to print with, um, and when you have a stiff brush, it takes longer for its to get saturated than when you have really soft brush. Um, so I would get a least four brushes for a reasonably sized project, um, so that you can continue working when they get saturated, because when you washed him that you will need to wait at least overnight until they are completely dry to start printing again. Occasionally, I use a paintbrush paintbrush like this when I have a very small stance or some fine details that I want to accentuate. The last thing that we need for printing is, of course, fabric in this clowns. I'm going to show you examples off printing on a light colored fabric, and you can use anything for natural from a cotton or linen. Personally, I prefer linen because quality off the print. It's so beautiful on an unusually, Um, the thing that you need to remember is said before you start printing any toe wash your fabric, and that is because your fabric might shrink and also because sometimes they are treaties with the kind of product that makes it hard for the ink to penetrate into the fiber, and that makes your printing a little bit blotchy sometimes. So warship's on iron it well before you start printing
4. About stencil printing: before we are going to start printing and cutting our stencil. I thought, I tell you a little bit about stencil printing and why I like it so much. I actually started since we're printing by accident. I was doing a screen printing course and you tricked screen printing on fabric on. I loved it. I thought it was so brilliant when you lift up your screen and you get your crisp new print on the fabric, it was brilliant. But then the screen printing studio closed down and I couldn't continue there, and I was eso nuit screen printing. I couldn't figure out how to do that at home, so I started stencil printing because I remember. Don't be doing that a long time ago. Onda uh, I found out so many things, somebody that I didn't know and that I loved so much that after all these years, I'm still stencil printing. Besides screen printing, which I also do from home now, and I think that there are many things to love about it and I'll show you why One of the things that I really love about stencil printing is that you can get so much variation with just one stencil with this little stencil here, life mates fabrics with a completely difference. Looking for you like these two year on Ah, part of it is because it has a different kind of patron shape. This has just pattern, and we will be working with toast patterns and this, of course, this has a regular repeats, and, of course, one of the fabric says two colors, and the other one has just one. But it's also the printing technique that makes such a lot of difference. I will show you in this course how you can use your brush in various ways to get lighter prints were darker prints or prince with more or less structuring them, and we will play around with those on. You will see that you can get some really beautiful results with very little experience and just a little bit of technique when I also love about stencil printing, is that you could be various spontaneous about it. When you got some inspiration, you found something you want to sketch and make a sensible out of. You can do that straight away. You make your sketch your capture sensible and you start printing, and that is something that I really appreciate when you are inspired to you on to print. You don't want any lengthy procedures before you can actually start doing that. Now that we have looked at the things you can do with a sense, it's also good to consider things that you contrary do with the stencil. And the main thing is says, You can't really get really fine details like here in this flower on in this print here, all these little insights details that is not saying something that you can achieve with a stencil. These are screen prints, and they are going to remain exactly the same Whenever I print with, um, I can print them next time in another color, but otherwise stare going to remain exactly the same. And when I'm sprinting with stencils, I could make something new with the same stencil every time. And that is something that I really like about it, and I hope you will, too,
5. Finding inspiration: this lesson is about finding inspiration. But before I go into that, let me say that I have used two examples in this class and one of the examples. It's a really simple leave shape, and you wouldn't need to go out anywhere to find inspiration for that because it is so simple. And I do use really simple shapes a lot off the time I love simplicity. I love Scandinavium, Prince and Japanese prints, and they are really known for their simplicity. Ah, but also, if you are a central printing, it demands a certain level simplicity. But that said, I use nature inspiration all the time. I love to go out into the garden or out for a walk in nature or bike ride, and I am always on the lookout for special shapes like leave shapes or flower shapes were seeds, but also for patrons. A nice patrons that I found didn't find in nature. I sometimes take pictures just with my eyes, and then when I'm home, I take the memory and I sketch it out on. Sometimes I drive them on. Sometimes I just put them in a vase, and I refer to them when Im sketching when this your first time printing the stencils, I would highly recommend to goes for something really simple, maybe just a leaf with a nice controI like Oakley for maple leaf or olive leaf. But you might be looking for some more challenge. And for if you have a little more experience and I've included another example off stem with leaving a flower if you want to Prince, you are looking for inspiration, but it's pouring with rain, or there is another reason why you can't go out or you don't want to go out. Then there are also love online Sources that I use for inspiration been dressed. It's one of my favorites. I've included a link to a Pinterest board that I've made specially for this course, and I've included that in the class. Resource is, but you could also use your own search terms, like maybe insects or flowers or seeds for whatever mushrooms on Put together your own board. Another favorites of my sister Graham Nash tax on Instagram, especially. There are a couple that I refer to not like lovely, lovely dead crap. It's beautiful one. There is also an account that's called lovely dead crab. And then there are hash tax like clowns of instagram and birds of instagram or flounce make people happy. I'll include a little list in the course notes as well. I hope that you will find some lovely inspiration and I'll see you in the next lesson.
6. Sketching a motif : in this lesson, we are going to start sketching our motives. And as I told you, I am going to show you two different examples one very easy and simple example and one more difficult. The 1st 1 is Ah, very simple leaf. So I promised I am sketching it here, and I'm using some leaves us a reference. But really, you could sketch this kind of leave from memory, and I'm kind of filling up the paper with difference shapes of leaves. And I'm doing this because, after which, I'll have some possibility to choose the best one. What I'm looking for is a leaf with a kind of curve shape to it in a bit of a rightness. This will make it a lot easier later on to make a toast pattern out of it. And I'll tell you all about tossed bettering in later class before I'm going to show you the next example. Let me first tell you a little bit about stencil cutting. Let's mention that this were to be essential that I would like to cut out the black parts being the parts that I'm going to cut out. There will be two different problems that I would run into first. There are two areas here and here that are completely surrounded by the black leaves and stems that I'm going to cut out and they will completely disappear. And secondly, there are some really deep Indians here, here, here and here. Uh, and also here, that's, um are going to hinder me when I'm printing. If I'm just going to cut out one whole stencil and I'll show you this with an old sensible of mine if I were to print with this stencil which I've done, um is very easy to shift thesis parts around, especially this one, Um, you can print with it, but it's not so practical, and I wouldn't recommend it. It's much easier to cut several stencils for a complicated shaped like that. And so, um, where we are going to sketch our motive. It's really good to already think about these things and not make your sketch too complicated. So now I'm going to start sketching the second example. And as I've said before, sketching natural shape like this demands a certain level, which simplification? I just can't sketch the whole thing on make a print out of it. So what I'll do up? They just take few elements. Probably just take a few leaves, the stem and this little flower that consists off quite a number of little bets. So I'm going to sky just catch with a marker, because that's easier for you to see. But I normally would take a pencil. No stem. Ah, the size that I'm sketching. They said that it's the size that your print will be the rial size. I'm going to make leaf in another leaf, Andi. Then let's have a look at these little butts. I am just going to sketch the little stem that they're touched him. But not all the little stems inside the flower. That will be much too complicated. Andi, there are. When you're looking at the site, this seems to be a whole lot off bud. So you see them in kind of layers and we'll see if we can do something with that one we're printing for No, I'm just going to sketch the births a little bit bigger, and they really are maybe like that, Andi. Then I'm going to add one of the leaf on this side. Yeah, that's good. do it in the next lesson. We are going to cut the stencils for this and we're going to make several, probably elite stencil for the leaves and one for the stem and then one or two for the little flowers, so I'll see you in the next lesson.
7. Cutting a stencil : so no, we are ready to start making a stencil for the leaf. I have chosen this little leave here ID like it, and it has a right size as well. It's always good to think about size before you start this. Uh, this little leave is about seven centimeters or three inches. Now, that is a good size. Also, when you're going to make a smaller project, lack of bowed shore, anything that this small that needs a pattern that's not too overwhelming. So I am going to trace this leaf onto my Mylar. I'm going to take care that I have a little space around this toe run to cut house tensile . Um, because I want to handle it. I want my hands not to get dirty while I'm printing so and I'm using my permanent marker with a fine point because it makes cutting out much easier later on. And I am going to add an extra stencil for this middle thing off the leaf. Um, going to put it Besides, because we're my to be printing with that as well. Going to weekly include the stone like that and they were ready to cut it out Andi, I think I will first cut out the shapes and then the controllers off the stencil on. Let me start with the thing. I am not sure if you can see this well, but I do need to apply a little bit of pressure to get through the minor. That's the 1st 1 are going to do the whole leaf that she will see. Now that I'm going to make, um, now that I'm going to cut the contour of the leaf, I am turning the Mylar around and I'm trying to keep my knife in the same spot. Shouldn't be too hard to cut. She got a good, sharp knife. It will go through the Mylar. Not with too much difficulty like that's that I'm going to cut out the whole stencils. I always try to be economical with the amount of minor that I'm using and at the same time not cutting them too small if you will get your fingers dirty when you do. And um, maybe it's good to tell that, um, for stencils that are more complicated than these, or when you want to align them well, you can use the space around the stencil, um, to make marks for your alignment. And maybe you could maybe trace the leaf onto this stencil. But it's so easy that you probably won't have to. Okay, we are ready to start cutting the stencil for this little flower and leave. Um, and I think I'm going to cut tree stencils from this. That is a stencil for the stem, including little stem. Uh, that goes to the flower. One sensible for the leaves and one stencil for all the buds. And that's always I try to be economical that using my large without getting too close to the edge is because I need to be able to handle the stencil later on. Let's start with the leaves. My hand is, in a way, country. So what I'm doing, that's I'm trying to get my hair out of the way so that you can see what I'm doing. Okay, that's the first stencil. Then we need the stencil for Justin, and we need to stencil for the buds. Um, let's do the stem first. I could have made an extra stencil for this part, but I think this will work perfectly. Try the 2nd 1 and then we have a certain one for all the little buds going to put sent here on, and I don't need to be very precise, but I do need to need to be able to cut out all the buds individually. That makes printing a lot easier, because if they if I were to cut through a bridge like let's becomes a little flip that hinders you when you're printing. I don't need to be very precise about this. Just get the feeling off this whole flower like that, I think maybe another here. Okay, so let's start cutting and I will first, I think cut out the motives and then cut out the individual stencils. Let's start with reliefs. These are pretty easy to cut out. You can move the sheet of Mylar around to get the roundness in the shape of the leaf without having to move my knife. And I am taking care that the Leafs are not touching that they are three individual shapes because if they are touching, you would get this large in Dende and this would be a loose piece and that is not pleasant to print with no leave on the third leaf That was the surge one. Then move on to the stem, not following it completely. Exactly. That's not a problem. - It's a little bit here. Something that I haven't got hit. See what it is? Sometimes that is a little bit hard to see. Usually it's just one little bit. Okay? And then we have all these little butts turn around the whole sheet every time I cut out a little, but and I won't bore you with watching the whole process. You get the idea how you need to do this?
8. Setting up workspace: before we are going to start printing. I thought I'd show you quickly how I set up my workspace. I learned this the hard way in the beginning because I didn't really think about organizing it. And then I would get my hands dirty when I needed something that's was not on my desk, etcetera. So first thing is my plastic underlay that I used to keep my desk clean obviously could use whatever is handed to you, your fabric on top of that in your stencil. Then I have my container of ink on my perspex plate. I keep this at the right hand side off my underlay because I'm right handed, and that might be different for you if you let left handed. I amuse a spatula, this one or this one to take the ink out of the container and put it on. My first explains on. I only use a little bit of time and then close to container again because it will dry out a little bit. I have my brushes that I'm going to use selected enough brushes to get me through the projects, Onda. Then I can changed in when one of them gets saturated. I can put it in this container, and this is what I have found to use for saturated brushes. But you can use something else as well as long less you have thought about it. I used to put them on my first ex plates, and that makes printing a bit complicated. You don't want that because it will get in the way and you'll get your hand hands dirty. And then last fall, you always need to have an old class or a tissue handy because you want to act your hands when they get 30. And also, if you will want to wipe your stencil when it gets dirty in places where it shouldn't well , that's it's so think about how you're going to do this on your desk with your tools and equipment, and I'll see you in the next lesson to start printing
9. Printing techniques: making a library of printed motifs: This is a lesson about the technique of stencil printing. With a brush, I am going to show you difference techniques off using your brush and how you can make the whole library of different prints from just one single sensible. And this library will be something that you can use later on when you're going to make your better. Let me first show you how I use my brush to Prince. I always have my ink on this perspex plate a little bit. I don't lead very much at the time. Andi. I never puts the ink directly for my brush into the fabric when I was so is tepid at first under the plates for social or whatever you use, and only then will start printing like that because I got a more even distribution off the ink. Oh, my brush. And what you will see me do very often is used. The remaining Inc that is still my brush, but it's not enough to make a dark shape like this, but I can make a lighter shape with it or even like her. Something like that. I play around with that a lot. I am ready to start sharing you how many different variations you can print with just one simple stencil and that a substantial that we cut before off the leaf, printing it in a dark color blue first. And I'm showing you these examples in a dark color. Not just because I like blue, but also because it's much easier to get many variations from just one prince, uh, with a darker color, they're much more visible. I'm not going to print a lighter version of belief using the remaining Inc. That is still my brush, topping it out onto the perspex plate first and then lightly onto the fabric, and then you can see that I get I'm getting a lighter color to Prince. I'm showing you these examples most of all, as an inspiration, because I'm sure that you will be able to create many more examples just giving you some ideas here. I'm going to print out just a controversial belief. I'm going to take my flat paintbrush just going to go lively around the edges to get a really subtle contour, and after this I'm going to do the same. But using a much bigger brushes stencil brush to create more structure. It's what I'm going to do now. And these variations that you can make our variations between lighter color to prince and darker colored prints, more or less structure, filling up a shape or just printing the contour, accentuating one part off the stencil and not the other. Um, there are many things that you can do, and you can make many combinations like here. I'm going to prince a light colored shape only first, that I'm going to make a combination with a contour. We are going to print with two colors after this, but I would really invite you to play around with this first, because it's really nice to get a feeling of what you can do with your brush before you move on. I'm taking my paintbrush again, and I'm painting around the edges off the central to get a darker contour. And then I'm going to accentuate part off the stencil going toe print a light colored lee first, and then I'm going to Prince. One of the parts off the stencil darker is if there is some shade of that site and the sun is shining on the other side. Doing this getting all these variations will give you an idea how to create a lot of interest from just one simple stencil. I make a really interesting pattern that way. Now I'm going to do the same, accentuating another part of the leaf. You will be sure to find some favorites when you have a whole collection off thes library of Princess. I said before on that it's a good way to start working with your pattern, taking a few on making a patron with those. The last thing I'm going to do is I'm going Teoh print with the extra stencil that we've made. Remember, we made a sensible off the middle vein of the leave, so I am printing and light colored the first, and I'm taking the second stencil, and it's easy to align because I've cuts the stem along with the middle thing. I'm taking my flat paintbrush and I am painting. It's a little bit darker, so please continue, uh, experimenting with making different shapes with one stencil before I'll show you the way you can print with two colors in a leaf print. I would like to tell you a little bit about working with two colors and especially about the effect you get when you have two overlapping shapes. And that is maybe best illustrated with some fabrics that I have here. This is a gingko prince with a dark colored gingko leaf in a larger one. I have actually in this case printed the darker one. First on the lighter, one on top and you can really see the overlapping space and it has another color. It has third color, so you can play with three colors in one print. But it does matter what color you print 1st 2nd show you in this print. In this case, I have printed lighter ginko first on the large dark, one on top. It's the same prince, but it has a completely different effect. Is she? Faisal, don't do some more tests to show you this effect better. And I've done Ah a couple of rows of different dots. In this case, I have printed the yellow dots first and other colors on top of that. Here I've printed Teoh red ones first on the blue ones, first on in this little road, the two cornered ones first. What you can see is that the overlapping effect is in some cuts, cases very strong, like here I found here, but in some cases, not so visible, like here on the difference between ah, printing one Connor first on the other, later is in this case visible 60 teal colored one first and the red contract one later. And this is the reverse. It's a little bit of a difference, but, um, as we have seen in the first examples, it can also be a large difference. So, really, take some figuring out and experimenting and seeing if you look like the two colors that you're going to use together, what kind of effect you will get in the overlap. If you like that on, um, it gives you a lot more opportunities. I will show you what we can do. Working with two colors and the leaf print have chosen a dark color, too. On ah, variation off that mixed with a lot of white. Andi. I've printed already one layer because she need to dry your first layer. Well, first, Corey can print on top of it on. Um, I'm now going to print with a two color on top off the lighter color see if it's completely dry on. Um, I'm going to print another print with an overlap, as we've seen before, with a gingko print tapping the dark color into the fabric, and we'll see what we can if we can see the overlap between the two leaves. Not so much, maybe a bit more when it's completely dry. And in this print I am going to accentuate one side off the prince by making shake a little bit of shading printing with the dark ink and that is clearly very visible. That's a nice effect, and I am going to Prince the middle vein off the leave with the extra stencil printing. It's in the darker color to to and this way, doing it with a to counter. She could make another library off Prince making a lot of experiments. Now I'm moving on to the lighter colored ink I wiped my stencil clean. It's usually not necessary to, uh, I really wish it in between different colors, and I'm going to do the overlap, taking a fresh stencil brush and I am topping it in, and I can already see that we have quite a visible overlap effect like we had in the gingko leaves. I think when there is a lot of wides mixed into the ink, the effect is clearly visible. Yes, it's nice effect. And then I'm going to do some shading like I did in the middle one, the, um, row below. But with a larger color, you can see the effect, but it's not as visible as with the dark on lights. And then I'm going to do the middle thing on this time. I'm re toughing it in to get as much off the lighter in clearness possible. Andi, let's see wickets! Yeah, we get a visible print. So do play around with this as well. The last thing I'm going to show you is printing the flower with the three stencils. Let me start with this time you can step like I like showing you before or in the case of these very narrow stencils, I often just I use my brush as a paintbrush. It's more practical. That's then I'll take the leaves, and I think that's, um when you're printing these more complicated shapes. There are disadvantages, obviously, because it takes longer time. But it's also on advantage that you can use these different parts in different ways. Like I could move this thing up or down or even turn it around so you can get a lot of variation with these three different stencils. When I'm printing, I like to accentuate the tops and the beginnings off the leaf. I think it gives a nice effects. The fabric that I'm working on is really smooth fabric on. In this case, this kind of, uh, painting technique works really well. And when the structure off the fabric it's a little more course, you might want to use another technique. It's really take some figuring out what works best for you and then the little butts here. I can do them like that on, Of course, like the other motive, the leaf motive. I can also make a lighter shape, put them really close together so they overlap a little bit. But that would happen also. Maybe in your patrons s. It's nice to see what happens like that. Another thing that you can do going back to the first shape is give it another layer, these little butts. If there is another layer just behind the dark ones like that I quite like that effect because it gives more fullness to the whole flower. And of course, there are many more things that you could do with this. But you've got the idea when I was printing relief. So I'll let you to it now that we have this library of printed motives and the next lesson , we're going to look at those patterns and how you can use motives like these in a toast pattern, and I'll see you there.
10. About tossed patterns: in this class. We're going to make a toast veteran with the nature inspired scene, and I would like to tell a little bit about toast patterns. Been looking at the waist that people describe some, and there are some huge differences. But for me, Toast Patron is what really goes with the nature inspired team because nature itself is a maker of toast veterans. When you look around and you look at nature wherever in a forest or in your garden or on water or even in the sky, you see these really natural patrons appearing that have some kind of spontaneity and a great irregularity. And that is something that I really like to use in my patrons. There are some different ways to make. It is toast patron on Let's look at those its first. Have a look at what the toast pattern is not when you have a regular distribution off your motives across the canvas like here that is not a toast veteran. When you have a very spontaneous distribution, as if the motives are toast, then you have a toast pattern. You can have a lot of different kinds of toast. Patrons, for example, with more or less use of open space like year lot of deliberate use of open space. But you can have also patron like this one, hardly any open space. It'll you could have a directional petrin, where you have a clear sense of what is happening with this Earth, like in this case with the Twix that are growing up towards the sky or in this case with the birds, are looking down in the same direction. But you can also have, ah, non directional pattern, like with these birds, where you have no idea what is happening. Buddhist Earth and there are flying around in all kinds of directions. You can have a bedroom that has just one layer where all the motives are separate and you can have a bedroom where you have several layers on top of each other. So you see, there are quite a few different ways to make a toast pattern, and I've shown you a few ways that I really like. But maybe your preferences high difference, and it's a good time to think about what you would like your patron to look like before we are actually going to start printing our pattern. In the next lesson, I'll see you there
11. Printing a pattern: this lesson is about different kinds of patrons and how you can build them. I will first show you a couple of examples with the leave stencil and with just one color. We looked at the kinds of different effects that you can achieve with working with just one color and this tensile. And now we're going to translate those different kinds of Prince into patterns. And the first patron that I am going to show you has two layers, one dark layer and one lighter colored layer. I'm going to prince the dark layer first, and then I'll have to wait until we test right before printing the light one. And it will Lucas if the light colored layer is behind the darker colored layer. This is a non directional pattern believes are facing in all kinds of directions. That's if they're falling down. And as I've said before, this is both the easiest way of making it better. And the hardest Onda, as she will be able to see now, is that it is not easy to get a good distribution off your prints. You don't want any unintentional gaps in your Petron. You don't want places with leaves or facing in the same direction, and at the same time, you need to be careful not to smudge your ink. When you have been printing dark colored leaves, the fabric will stay wet for a while, especially with a fabric that I'm working with. Now. I've chosen to work with a lightweight fabric and with a lightweight fabric, the it's Stace wits for longer periods. And then it's really I really need to be careful not to smudge. And that's why you see me move my stencil around a lot to stay away from the with areas. I have said before that, when I made the sketch of the leaf that I was looking for some Miranda's and some curve Yes , you can see now. It gives me a lot of movement in the pattern, as if I am looking at leaves falling down from a tree. We will be exploring some more patrons, different kinds of patrons with these leaf eso. Let me speed this up now and show you the very end of this pattern in order, etc. Bore you, and to be able to show you a few more. So here you see me a print the second layer much beated up about seven times. I wish I could print this fast. They could see that it actually looks like the second layer is behind the 1st 1 and it's quite a full pattern, a lot going on here, and I quite like it this way. But you could also print it with much larger spaces in between the leaves. Of course, I am not going to show you the individual printing processes for each of thes patrons because I've already shown you the printing techniques that I use. But I would like to show you the end results. This is a pattern that I've made bait with just the printed contours of the leaf. This is a completely different one in this one that is almost abstracted. Intentionally, I have placed leaves so close together that you can almost not recognize them. They could even be closer together. But I already like this results. This one and this one are a bit alike in this one. I have printed just the side of the leaves a bit darker, and in this one, the tops and the bottoms off the leaves. This is one where I placed the leaves intentionally, further apart, and I have made mawr different kinds of prints with the stems that with a middle veins of the Leafs printed and the contours and I love more structure about going on here. And then there is this print that I found a little bit boring, also with the leaves quite far apart. But when I saw them together with the whole rest of thumb, I thought you could maybe make a whole nice project with the different kinds off Prince together like a quilt or something like that. And then this, maybe a little bit boring. Prince would be really good way to fit into the rest for the two colors pattern. I am not going to show you the Hope printing process, either. And that is partly because, ah, the leaves when they were still wit. It's really hard to see what the effect waas, but now everything is dry and you can see clearly the effect off the overlapping leaves. 1/3 example that I'm going to show you is the print a veteran with the print with the flower one with the three stencils on, and I am not considering where to start. Usually for complex print like that, it's best also for other prints. It's best to start in the middle of the fabric and then move outwards from there. And I'm going to make another print, another pattern with two layers first layer being rather dark and second there larger. And I am looking how to position my leaves in relation to the system. And, as I've shown, I have different options to do that looking, which one looks best for me, and I can also completely, uh, turn it around and use the other side's soon. As long as both sides are clean, that's not a problem. And it looks us there if they're not cleaning here. But they are like weapon clean. There is sometimes a little rested you off ink on the stencil, but that doesn't smudge, and I know printing the tops and the bottoms off the leaves. Dark Chris I've done before, and then I'm kind of painting in the contours. I am working on a lightweight fabric, rather smooth fabric. Andi. Then sometimes the painting movement with your brush can be better than a a tapping movement. It's a thing that you need to experiment when you start with a new kind of fabric. Then I used the, uh, but on printing the buds. And I'm doing those, uh, with my brush all at once, and I'm printing the rather dark. And then I am going to consider where to place my second motive. And I do apologize because I have not filmed it. Quite, uh, well visible. What I'm trying to consider is, uh, where to go on what I've ended up. Deciding on is to use the leaves as a guide for my patron because it leaves for the dart, the largest part of the Petron. And it's easiest to use leaves as a way off positioning the rest of the print. And I am speeding up this better and a little bit again to be able to show you the rest of the process and figuring out again that you see me turn around the fabric when I am printing something that is a little bit more complicated. Like this, Uh, I usually find it's, um, more practical to move the canvas around as well, so I don't stick it down. But if you're not used to printing it might be. Bet Richard. Stick it down with a little bit of center tape. This is a non directional pattern again, stems and the leaves going in all kinds of directions. And already this could be a print that you could use. Just like that would be a nice prints, but I like making a multi layered printed this a little bit more filled up. It's really question off taste. I always try to consider the size of the fabricas well on. Then I'm printing a part of the battery in part of the prince. It is sometimes a little bit tricky. Doing a pattern like this with stem set are sticking in all kinds of directions on and, uh, having its gets a natural fuel. But I find that using the leaves and this time as my guide, it works rather well. I am not going too fast forwards and go and show you the part where I print in the second layer for the second layer of chosen to only print the leafs a lighter version off the leaves. That is one of the advantages off having a prince that's consists of three different stencils because you can use just part if it's to sprint second layer. I think when I would have printed the stems and the butts as well, it would be probably too busy. But now I like kind of like the lighter shapes that give They fill it up a little bit and they give some movement on. Um, that gives the idea that you're really in nature, where you always see different layers on kind of differences between light and shade. And I am trying to find the areas off my prince where there is, uh, quite a lot of empty space, uh, moving my sensible around in such a way that I can cover us much basis possible. But also, I'm over printing part off the Apprentice Prince. It I already have. I don't mind that so much has a natural feel for me. This is the last example that I was going to show you over Princip Petron on Now it's really up to you to choose a motive and sketch a motive and choose a printing technique and make a patron, and I would love it if he would share some off your process. Pictures in the Project Gallery and I think that would be also very interesting toe other people taking this class, we have almost reached the end of this class. In the next lesson, I will still show you how to heat sets the ink interior fabric so that you can wash it and I will see you there.
12. Final words: we have reached the end of this class, and I am now going to do what you will always be doing. Whatever you have printed on that is ironing your fabric. You need to do this because she need to heat set the ink into the fabric so they taken wash it. What I always do is put on old class since class in between my print on my iron and then I aren't every piece of my fabric for a couple of minutes. But you really needs to follow the instructions off the brand of ink that you're using to be sure that you get this right. Thank you so much for taking this class. I have really enjoyed telling you what I know about stencil printing on fabric, and I really hope that you are going to love it this much as I do. I'm looking forward to see what you are going to make, and I do hope that you're going to post your pictures in the comments in the predict gallery of this class. And if you want to ask anything, please drop a question in the comments section of this class cooking when I'll get back to release to you really soon. If you want to know anything about future classist, I hopefully will be giving here on skill share. You can follow me here on skill share. You can also follow me on Instagram. And if you want to receive my newsletter you can go to my website and apply for it there. And I do hope that we're going to see each other again here soon on skill share. Until then, I thank you so much and bye bye.
Pauline Greuell, Fabric designer, printer and maker
