改編傳統版畫流程和紡織品

紡織品藝術家和版畫家切麗波特布萊克韋爾

這是一個終身的過程，開始的時候我學會了縫作爲一個孩子，我想看看商業採購面料和想象，我想改變外觀這麼多的方法。 Know thatfeeling? Once I became a printmaker, my natural instinctwas to go from paper to fabric and back again.知道那種感覺？一旦我成爲了一名畫家，我的本能是從紙張到布料，然後再返回。Getting thererequired a great deal of experimentation because other resourcesfor adapting printmaking processes to textiles were not readilyavailable to me. 到達那裏需要大量的實驗，因爲其他資源，適應版畫工藝紡織品，沒有現成的給我。

It is possible tocreate a nearly seamless transition between the two workenvironments so that I can expand my creative possibilitiesorganically. 它可以創建兩個工作環境之間幾乎無縫的過渡，這樣我可以有機地擴大我的創作可能性。Certain methods ofprintmaking can be applied directly to textiles and/or certainprint making tools can also be used to print on fabric with slightmodification – thus making double-duty of time-consuming,hand-fabricated items. 版畫的某些方法可以直接應用到紡織品和/或某些打印製作工具也可以用來打印在織物上，稍作改動-從而使耗時，手工製作項目的雙職責。

用於印刷到織物上的介質可以包括共同版畫介質如油基和水溶性版畫油墨，織物染料，紡織品油墨和紡織品塗料。Oil-based printinginks are best on non-wearable works on canvas, linen or other heavymaterial. Akua Intaglio Inks are soy-based, water-solubleprintmaking inks that can be applied to fabrics. Bothshould be post-processed by sufficient air curing for at least aweek or longer until the ink is completely dry.可應用於織物的油基印刷油墨是最好的上帆布，麻布或其他重型材料不耐磨的作品。阿庫阿凹版油墨是大豆爲基礎的，水溶性的版畫油墨，兩者應該是後處理，有足夠的空氣固化至少一週或更長的時間，直至墨水完全乾燥。The important thingto know is that heat will not make the printmaking inks water fast;only air curing will do that because the inkcontains oils that need to be exposed to air in order toharden. 要知道的重要一點是，熱量不會使版畫油墨水快， 只有空氣固化會做，因爲油墨包含需要以硬化暴露於空氣中的油。 I know that manytextile artists become impatient because they are used to simplyheat-setting textile inks and fabric paints in five minutes and endup with an unhappy result when oil-based media areused. 我知道很多紡織藝術家變得不耐煩，因爲它們是用來簡單地熱定型紡織油墨和織物塗料在5分鐘內結束了當使用石油爲基礎的媒體不愉快的結果。Again, let the inksair dry for as long as it takes to make a permanentbond. 再次，讓油墨乾燥的空氣，只要它採取做一個永久債券。

像印刷油墨和丙烯顏料，織物染料需要一個載體介質的版畫。For the MX class offiber-reactive dyes, there is only one chemically-compatiblemedium: a blend of sodium alginate and urea.爲MX類的纖維反應性染料，只有一個化學上相容的介質：用含藻酸鈉和尿素。This is commonlycalled the “print paste.” Like transparent extenders for paints andprinting inks, the print paste can be used to controltransparency ,viscosity , and acts as aresist – either colored resist orclear. (Note: Potato dextrin, corn dextrin, rice paste andwheat paste can also be used as a print resist but are not used asa carrier medium for dye paint. The commercially available productPresist can be used as both a clear and coloredresist and is thick enough to be applied with most traditionalprintmaking methods.) The resist canbe applied in patterns or in layers over the entire surface of thefabric for wash and etched effects. 這通常被稱爲“打印粘貼。”像透明填充​​料塗料和印刷油墨，印花漿可以用來控制透明度 ，粘度 ，並作爲抗蝕-無論是彩色的抵抗或清除 （注：馬鈴薯糊精，玉米糊精，米糊和小麥糊也可以用來作爲印刷抗蝕劑，但不作爲染料顏料的載體介質的可商購的產品Presist可以用作兩個清晰的彩色抗蝕劑，並且是厚到足以與應用最傳統的版畫的方法。）的抗蝕劑可以在圖案或以層被施加在織物洗滌和蝕刻作用的整個表面上。(see below: Johnson,p. 56 for an example of layering). （見下文：約翰遜，第56頁爲分層的一個例子）。

有跡象表明，影響版畫在織物上的結果3基本環境因素：

1. THICK TOTHIN: By controlling viscosity, various effects can beobtained. 1，厚到薄：通過控制粘度，可以得到不同的效果。 Variables includeprinting thick to wet, thick to dry, thin to wet, thin to dry, or acombination thereof. 變量包括印刷厚的溼，厚的幹，稀溼，薄幹，或它們的組合。

2. DRY TOWET: Printing to dry fabric allows for the creation ofcrisp, well-defined images. 2，幹到溼：印花乾布允許創建清脆，良好定義的圖像。 Printing to wetfabric allows for more painterly effects.打印到溼織物允許更多的繪畫效果。

3. DEGREE OFMOISTURE DURING CURING: The degree of moisture duringbatch processing also affects the image quality.3滋潤度在固化期間：滋潤度批處理過程中也影響了圖像質量。By allowing thefabric to evaporate before rolling up for batch curing and limitingprocessing time to 4 hours with Procion MX dyes, clear, crisperlines are maintained. 通過允許織物捲起批量固化和限制處理時間爲4小時，普施安MX染料之前蒸發，清晰，銳利的線條得以維持。Wetter fabric willallow the dye to migrate during batch processing and thus crisplines will disappear into wash effect. 溼潤的布將允許染料批次處理過程中遷移，從而明快的線條將消失洗淨效果。

推薦織物

A relatively smoothfabric with a tight weave provides the clearestresults. 一個相對平滑的布帶緊織提供最清晰的效果。 Recommended fabricsinclude cotton poplin or sateen, viscose satin and finelinen . 推薦面料包括棉府綢或緞，色丁粘 ​​膠和細麻布。 If printing withrubber stamps, try silk habotai for best results (although I haveobtained good results on linen and muslin).如果用橡皮圖章印花，絲綢嘗試爲電力紡最好的結果（雖然我已經在亞麻布和紗取得了良好的效果）。

編制織物的印花

Fine ArtPrint Method: For hand printing or printing on a press,the fabric must be scrubbed, ironed, and backed onto heavy papersuch as freezer paper. 美術印刷方法：對於手工印刷或打印的記者，織物必須擦洗，冰釋前嫌，並備份到重的紙張，如冷凍紙。The fabric can thenbe printed plate up. 該面料可以被印刷板塊上漲。 Care must be takento carefully and evenly adhere the backing paper to the fabricbefore rolling through the press. 必須小心仔細而均勻地附着在底紙在織物通過軋壓機之前。The heavier thepaper, the better the result. 紙張較重，更好的結果。 Try fusing twopieces of freezer paper and then applying the fabric to the toplayer. 嘗試融合兩幅冷凍紙，然後施加到織物的頂層。 When hand-printing,cover the plate with newsprint so that the baren slidessmoothly. 當手工印刷，覆蓋薄層板上，以新聞紙，這樣的巴倫滑動順暢。On the press, use apolycarbonate press bed and experiment with thepressure. 在印刷機上，使用聚碳酸酯壓制牀和試驗的壓力。

Textile DyeMethod: For textile methods, the fabric is scrubbed andthen soaked in Soda Ash Solution for 5 – 10 minutes.紡織染料方法：對於紡織方法，織物經洗滌後，再在純鹼溶液浸泡5 -10分鐘。 The fabric is thendried to slightly damp and stretched tightly over a padded printingboard. 織物，然後乾燥至微溼，伸展緊緊超過填充印刷電路板。The plate is inkedface up with a foam brush or foam roller rather than a traditionalprintmaking brayer. 該板着墨面朝上的泡沫刷或泡沫滾筒，而不是傳統的版畫布雷爾。The foam holds themedia to the plate better. 泡沫保持媒體的板比較好。 Take care to keepthe negative spaces free of medium. 注意保持負空間免費介質。 The fabric isprinted plate down with the print media thick enough so that itdoes not run off the plate. 織物印刷板塊下跌對印刷媒體足夠厚，以便它不會跑掉的板塊。The dye is batchcured for a minimum of 4 hours at room temperature. (Note : Silks should NOT be steamedwith these methods because the soda ash alkali will weaken thefibers. It is NOT necessary to steam set silks when using themethods described herein.) Alternatively, the time-saving method is to curethe dye in an oven pre-heated to 285 degrees for 10 minutes with apan of water in the bottom of the oven to providesteam. 染料是分批固化爲至少4小時，在室溫（注：帛不應與這些方法蒸，因爲純鹼鹼會削弱纖維這是沒有必要的蒸汽套絲使用本文描述的方法時。 。） 可選地，省時省力的方法是治癒染料在烘箱中預熱至285度進行10分鐘的水在烤箱以提供蒸汽的底的鍋。

版畫工具

Generally speaking,both blocks and plates are more effective if made from clearpolycarbonate or acrylic blocks so that the print image is visibledown through to the fabric layer. 一般來說，如果製成由透明聚碳酸酯或丙烯酸類的塊，使打印圖像是可見的向下通過向織物層兩個塊和板是更有效的。For this reason,when making photo-polymer plates for textile printing, ImagOn ispreferred to Solar Plate because ImageOn can be applied to anysurface whereas Solar Plate is only available on an opaque copperplate. 由於這個原因，使得光聚合板進行織物印花時，ImagOn優選太陽能板，因爲IMAGEON可應用於任何表面，而太陽能電池板僅適用於一個不透明的銅板。ImageOn is also morecost effective (compare $45 for a 12×16 Solar Plate to $38 for aroll 12″ by 15 feet of ImageOn). IMAGEON也更具成本效益（比較爲12×16太陽能盤$ 45至$38卷12“15英尺的Imageon的）。 One differencebetween prints on paper and prints on fabric is that, generallyspeaking, a deeper bite will yield better results onfabric. 在紙面上，並打印在織物上印花之間的一個區別在於，一般來說，更深的咬合將產生於織物更好的結果。Solar Plate has athick photo sensitive emulsion which is easily adapted to fabricprinting. 太陽能電池板有一個厚厚的照片感光乳劑這是很容易適應織物的印花。The same advantagecan be achieved with ImageOn by adhering multiple layers of theemulsion. 同樣的效果可以與IMAGEON通過粘附乳液的多個層來實現。

兼容的媒介：

The following tablesummarizes the materials and techniques applicable to printing tofabric: 下表總結了材料和技術，適用於印刷，面料：

* 3只適用於非可穿戴物品。 Trycanvas or linen.嘗試帆布或麻布。 Apply after using dyes and water-based inks andpaints.採用的染料和水基油墨和塗料後使用。 Oil-based inks take several days or even weeks to“cure.”油性油墨需要數天甚至數週來“治癒”。
*4 Usemultiple layers of Imagon applied to clear polycarbonate plates,linoleum or wood. * Imagon 4使用多層應用到透明的聚碳酸酯板，油氈或木材。Built uplayers until the ImagOn is deep enough for fabricprinting.建立圖層，直到ImagOn是織物印花足夠深。 Use the Relief/Intaglio type method ofexposure.使用曝光的救濟/凹版印刷類型的方法。
*5 Usefoam stamps specifically designed for fabric or apply adhesiveweather stripping to acrylic blocks, making handles by screwingsuction cups to door pulls. *5使用泡沫郵票專爲面料設計或使用粘合劑的天氣剝離丙烯酸塊，通過擰吸盤門把手使手柄。 A Velcro stamping system is available or can bemade from sheets of Velcro.魔術貼衝壓系統是可用的，或者可以從魔術貼的薄片製成。Useheat-moldable forms, sponges, and foam stampingmaterials.使用熱可塑形式，海綿和泡沫衝壓材料。 Print blocks can be made from Speedball SpeedyCut, adhesive flexible print plate, or white eraser material all ofwhich are classified as “rubber stamps” for purposes of thispaper.打印模塊可以從速度球快速剪切，粘合撓性印刷板，或白色橡皮擦材料所有這一切都爲本文的目的分類爲「橡皮圖章」進行。Specialcarvable printing blocks designed for use on printing presses allowthe textile artist to cross-platform moreeasily.設計用於在印刷機特別carvable打印模塊允許紡織品藝術家跨平臺更容易。

切麗波特布萊克韋爾是紡織品藝術家和版畫家在北加州目前正作爲一個藝術家駐在KALA版畫學會在伯克利，加利福尼亞州，在那裏她正在探索紡織品設計的融合與傳統的版畫。Hertextile company, Muse10 Ecovision , specializes inexploiting the creative possibilities of re-purposed and recycledtextiles for customcouture.她的紡織公司，Muse10生態願景，專注於開發重新定意和再生紡織品定製時裝的創作可能性。

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夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----

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