纺织品艺术家和版画家切丽波特布莱克韦尔
这是一个终身的过程，开始的时候我学会了缝作为一个孩子，我想看看商业采购面料和想象，我想改变外观这么多的方法。 Know thatfeeling? Once I became a printmaker, my natural instinctwas to go from paper to fabric and back again.知道那种感觉？一旦我成为了一名画家，我的本能是从纸张到布料，然后再返回。Getting thererequired a great deal of experimentation because other resourcesfor adapting printmaking processes to textiles were not readilyavailable to me. 到达那里需要大量的实验，因为其他资源，适应版画工艺纺织品，没有现成的给我。
It is possible tocreate a nearly seamless transition between the two workenvironments so that I can expand my creative possibilitiesorganically. 它可以创建两个工作环境之间几乎无缝的过渡，这样我可以有机地扩大我的创作可能性。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. 版画的某些方法可以直接应用到纺织品和/或某些打印制作工具也可以用来打印在织物上，稍作改动-从而使耗时，手工制作项目的双职责。
用于印刷到织物上的介质可以包括共同版画介质如油基和水溶性版画油墨，织物染料，纺织品油墨和纺织品涂料。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.可应用于织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。阿库阿凹版油墨是大豆为基础的，水溶性的版画油墨，两者应该是后处理，有足够的空气固化至少一周或更长的时间，直至墨水完全干燥。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. 要知道的重要一点是，热量不会使版画油墨水快， 只有空气固化会做，因为油墨包含需要以硬化暴露于空气中的油。 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. 我知道很多纺织艺术家变得不耐烦，因为它们是用来简单地热定型纺织油墨和织物涂料在5分钟内结束了当使用石油为基础的媒体不愉快的结果。Again, let the inksair dry for as long as it takes to make a permanentbond. 再次，让油墨干燥的空气，只要它采取做一个永久债券。
像印刷油墨和丙烯颜料，织物染料需要一个载体介质的版画。For the MX class offiber-reactive dyes, there is only one chemically-compatiblemedium: a blend of sodium alginate and urea.为MX类的纤维反应性染料，只有一个化学上相容的介质：用含藻酸钠和尿素。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. 这通常被称为“打印粘贴。”像透明填充料涂料和印刷油墨，印花浆可以用来控制透明度 ，粘度 ，并作为抗蚀-无论是彩色的抵抗或清除 （注：马铃薯糊精，玉米糊精，米糊和小麦糊也可以用来作为印刷抗蚀剂，但不作为染料颜料的载体介质的可商购的产品Presist可以用作两个清晰的彩色抗蚀剂，并且是厚到足以与应用最传统的版画的方法。）的抗蚀剂可以在图案或以层被施加在织物洗涤和蚀刻作用的整个表面上。(see below: Johnson,p. 56 for an example of layering). （见下文：约翰逊，第56页为分层的一个例子）。
有迹象表明，影响版画在织物上的结果3基本环境因素：
1. THICK TOTHIN: By controlling viscosity, various effects can beobtained. 1，厚到薄：通过控制粘度，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. 变量包括印刷厚的湿，厚的干，稀湿，薄干，或它们的组合。
2. DRY TOWET: Printing to dry fabric allows for the creation ofcrisp, well-defined images. 2，干到湿：印花干布允许创建清脆，良好定义的图像。 Printing to wetfabric allows for more painterly effects.打印到湿织物允许更多的绘画效果。
3. DEGREE OFMOISTURE DURING CURING: The degree of moisture duringbatch processing also affects the image quality.3滋润度在固化期间：滋润度批处理过程中也影响了图像质量。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. 通过允许织物卷起批量固化和限制处理时间为4小时，普施安MX染料之前蒸发，清晰，锐利的线条得以维持。Wetter fabric willallow the dye to migrate during batch processing and thus crisplines will disappear into wash effect. 湿润的布将允许染料批次处理过程中迁移，从而明快的线条将消失洗净效果。
推荐织物
A relatively smoothfabric with a tight weave provides the clearestresults. 一个相对平滑的布带紧织提供最清晰的效果。 Recommended fabricsinclude cotton poplin or sateen, viscose satin and finelinen . 推荐面料包括棉府绸或缎，色丁粘 胶和细麻布。 If printing withrubber stamps, try silk habotai for best results (although I haveobtained good results on linen and muslin).如果用橡皮图章印花，丝绸尝试为电力纺最好的结果（虽然我已经在亚麻布和纱取得了良好的效果）。
编制织物的印花
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. 美术印刷方法：对于手工印刷或打印的记者，织物必须擦洗，冰释前嫌，并备份到重的纸张，如冷冻纸。The fabric can thenbe printed plate up. 该面料可以被印刷板块上涨。 Care must be takento carefully and evenly adhere the backing paper to the fabricbefore rolling through the press. 必须小心仔细而均匀地附着在底纸在织物通过轧压机之前。The heavier thepaper, the better the result. 纸张较重，更好的结果。 Try fusing twopieces of freezer paper and then applying the fabric to the toplayer. 尝试融合两幅冷冻纸，然后施加到织物的顶层。 When hand-printing,cover the plate with newsprint so that the baren slidessmoothly. 当手工印刷，覆盖薄层板上，以新闻纸，这样的巴伦滑动顺畅。On the press, use apolycarbonate press bed and experiment with thepressure. 在印刷机上，使用聚碳酸酯压制床和试验的压力。
Textile DyeMethod: For textile methods, the fabric is scrubbed andthen soaked in Soda Ash Solution for 5 – 10 minutes.纺织染料方法：对于纺织方法，织物经洗涤后，再在纯碱溶液浸泡5 -10分钟。 The fabric is thendried to slightly damp and stretched tightly over a padded printingboard. 织物，然后干燥至微湿，伸展紧紧超过填充印刷电路板。The plate is inkedface up with a foam brush or foam roller rather than a traditionalprintmaking brayer. 该板着墨面朝上的泡沫刷或泡沫滚筒，而不是传统的版画布雷尔。The foam holds themedia to the plate better. 泡沫保持媒体的板比较好。 Take care to keepthe negative spaces free of medium. 注意保持负空间免费介质。 The fabric isprinted plate down with the print media thick enough so that itdoes not run off the plate. 织物印刷板块下跌对印刷媒体足够厚，以便它不会跑掉的板块。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. 染料是分批固化为至少4小时，在室温（注：帛不应与这些方法蒸，因为纯碱碱会削弱纤维这是没有必要的蒸汽套丝使用本文描述的方法时。 。） 可选地，省时省力的方法是治愈染料在烘箱中预热至285度进行10分钟的水在烤箱以提供蒸汽的底的锅。
版画工具
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. 一般来说，如果制成由透明聚碳酸酯或丙烯酸类的块，使打印图像是可见的向下通过向织物层两个块和板是更有效的。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. 由于这个原因，使得光聚合板进行织物印花时，ImagOn优选太阳能板，因为IMAGEON可应用于任何表面，而太阳能电池板仅适用于一个不透明的铜板。ImageOn is also morecost effective (compare $45 for a 12×16 Solar Plate to $38 for aroll 12″ by 15 feet of ImageOn). IMAGEON也更具成本效益（比较为12×16太阳能盘$ 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. 在纸面上，并打印在织物上印花之间的一个区别在于，一般来说，更深的咬合将产生于织物更好的结果。Solar Plate has athick photo sensitive emulsion which is easily adapted to fabricprinting. 太阳能电池板有一个厚厚的照片感光乳剂这是很容易适应织物的印花。The same advantagecan be achieved with ImageOn by adhering multiple layers of theemulsion. 同样的效果可以与IMAGEON通过粘附乳液的多个层来实现。
兼容的媒介：
The following tablesummarizes the materials and techniques applicable to printing tofabric: 下表总结了材料和技术，适用于印刷，面料：
* 3只适用于非可穿戴物品。 Trycanvas or linen.尝试帆布或麻布。 Apply after using dyes and water-based inks andpaints.采用的染料和水基油墨和涂料后使用。 Oil-based inks take several days or even weeks to“cure.”油性油墨需要数天甚至数周来“治愈”。
*4 Usemultiple layers of Imagon applied to clear polycarbonate plates,linoleum or wood. * Imagon 4使用多层应用到透明的聚碳酸酯板，油毡或木材。Built uplayers until the ImagOn is deep enough for fabricprinting.建立图层，直到ImagOn是织物印花足够深。 Use the Relief/Intaglio type method ofexposure.使用曝光的救济/凹版印刷类型的方法。
*5 Usefoam stamps specifically designed for fabric or apply adhesiveweather stripping to acrylic blocks, making handles by screwingsuction cups to door pulls. *5使用泡沫邮票专为面料设计或使用粘合剂的天气剥离丙烯酸块，通过拧吸盘门把手使手柄。 A Velcro stamping system is available or can bemade from sheets of Velcro.魔术贴冲压系统是可用的，或者可以从魔术贴的薄片制成。Useheat-moldable forms, sponges, and foam stampingmaterials.使用热可塑形式，海绵和泡沫冲压材料。 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.打印模块可以从速度球快速剪切，粘合挠性印刷板，或白色橡皮擦材料所有这一切都为本文的目的分类为「橡皮图章」进行。Specialcarvable printing blocks designed for use on printing presses allowthe textile artist to cross-platform moreeasily.设计用于在印刷机特别carvable打印模块允许纺织品艺术家跨平台更容易。
切丽波特布莱克韦尔是纺织品艺术家和版画家在北加州目前正作为一个艺术家驻在KALA版画学会在伯克利，加利福尼亚州，在那里她正在探索纺织品设计的融合与传统的版画。Hertextile company, Muse10 Ecovision , specializes inexploiting the creative possibilities of re-purposed and recycledtextiles for customcouture.她的纺织公司，Muse10生态愿景，专注于开发重新定意和再生纺织品定制时装的创作可能性。
梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----
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