As members arrived they were greeted with a table of glorious Japanese fabrics and kits. More opportunities to enhance that essential sewing stash! The day just got better and better....
Our guide to all things lino printing was Katie Chaplin. Katie visits Japan on a regular basis to maintain her stocks of fabrics and papers which she uses, and sells, at her workshops. She has studied Japanese techniques, which she teaches in the UK.
To begin, Katie outlined the history of woodblock prints in Japan. These prints are known as Ukiyo-e or "Pictures of the Floating World". They often depict scenes such as geisha and samurai. These prints can be seen as a form of fashion magazine, featuring courtesans who could afford the costly kimono essential for their careers.
To begin, Katie outlined the history of woodblock prints in Japan. These prints are known as Ukiyo-e or "Pictures of the Floating World". They often depict scenes such as geisha and samurai. These prints can be seen as a form of fashion magazine, featuring courtesans who could afford the costly kimono essential for their careers.
| After her introduction, Katie invited us to find a source of inspiration, possibly from the wonderful books on Japanese art and textiles, which she so generously shared with us. If anyone was not confident about drawing their own design, there were printed images to trace. | |
Katie had brought everything needed for those attending the workshop: lino blocks and carving tools, as well as specialist papers and fabric. Having settled on suitable sources, these were copied onto tracing paper using pencil. The image was then reversed onto a lino block and, using an embossing tool, the pencil lines transferred to the block by drawing back over the lines.
The fun then began – cutting away at the lino using a v-shaped tool. Thought must be given to which areas to remove and which to leave – lino left behind picks up ink, whilst the cut away sections allow the supporting paper or fabric to show through. Safety message here – always cut away from yourself!
| Next the inking - this was done quickly using ink pads pressed firmly onto the block to ensure good coverage. Paper is then placed onto the inked block and the image transfer achieved by pressing firmly on the paper using a Japanese circular baren. Katie also showed us how to use a metal hand printing press, which requires users to apply about 10-15 seconds of pressure. The resulting effect is more subtle than that produced by the Sizzix machine. Ink can be cleaned off using baby wipes – making sure the block is dry before re-inking. | Another way of transferring the image was to use the Sizzix Big Shot machine, which Katie had brought along. This machine is easy to use and produces very even ink coverage. |
It was a delight to hear the gasps of pleasure at the prints we had created. The technique was a real revelation about what can be achieved using this technique.
The workshop was in two halves, with the Guild’s AGM held during the lunch break. The Treasurer’s and Joint Chairs’ Reports were well received. Considerable discussion ensued on how to allocate places on workshops with restricted numbers which are over-subscribed. A ballot was used for November’s Lichen and Encrustation Workshop. It was agreed that the new Committee will discuss the process again at their next meeting.
It was a pleasure to see the Gertrude Goodenough Trophy awarded to Pamela Whittaker for her pair of vintage sewing figures. Second place went to Rosie Kirkham for her circular picture.
It was a pleasure to see the Gertrude Goodenough Trophy awarded to Pamela Whittaker for her pair of vintage sewing figures. Second place went to Rosie Kirkham for her circular picture.
| As usual the back room was as busy as ever. Thanks to Helen Forshaw for this month’s blog. | |
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