inspiration and design process by Zoe Burt Ceres artists in Residence at MoDa

This project is part of Ceres Artists in Residence at The Museum of Domestic Design &amp; Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<br>These documents highlight the inspiration and design process together with outcomes.<br><br><b>Circles and leaf print</b>The circle is a key motif in design. Here I using the archives to cross fertilise inspiration from the katagami autumn leaf K2.48 and “reciprocation” by Barbara Brown from 1962. Dropping the decayed leaf I had pressed and scanned into photoshop into a circle motif to create a repeat design. I printed citric acid circles and iron leaf screen print patterns first before dyeing the fabric with weld extract onto wool. I then overprinted with 2 blue colours: saxon blue and indigo mixed with chlorophyllin. After printing, the fabric was dried then steamed to fix the colour. Washed with cold to warm water. The wool was scoured and pre-mordanted with alum<br><b>Nature inspiration print</b>Inspiration for this design came from Wallpaper produced by Sanderson and Sons 1925, SW2258 (image top left) together with another image from the archives seen on a site visit: the image of the moon through the trees.The textile design I made inspired by these images uses a large moonlit circle as a central motif, with rose leaves pressed from my garden as a resist print. The hemp-silk fabric is dyed with saxon blue and printed with a saxon blue print paste. The colours evoke a sense of contemplative evening time.<br><b>Geometric inspiration </b>The inspiration for these prints came from a small Enid Marx watercolour geometric design sketch, a copy of which I pasted into my sketchbook, seen on a site visit and shown here. I tried different interpretations in my sketchbook. I carefully cut-out paper stencils from newsprint, to print design options onto hemp-silk fabric. This was pre-mordanted with alum and dyed with lac then printed with logwood, cutch and saxon blue. I added some handcrafted mark-making using edges of cardboard to add a more artistic flare akin to the style shown in the original.<br> <b>Zoe Burt – Ceres</b>This document gives an insight into the Ceres design collaboration and MoDA residency. It illustrates the initial collective starting points of inspiration highlighted through a lens of natural dyes, prints and sustainability and my own individual approach to researching the archives.<br> <b>Katagami inspiration</b>The inspiration for these textile prints come directly from the katagami archives at MoDA. The katagami stencils are exquisite items in themselves made from layers of mulberry paper, soaked in persimmon juice then smoked to a rich shade of brown. These toughened papers are then cut-out with incredible precision to form a resist repeat for printing with rice flour pastes to be dipped in indigo to make everyday blue and white cotton kimonos in Japan.Here I have taken the fluid rhythm of the katagami designs as a key element to follow and used multiple layers of carefully yet intuitively cut paper stencils to create dynamic repeats using natural dyes and print pastes on hemp silk and linen. Backgrounds dyed with madder and onion skins printed with brazilwood, logwood, saxon blue and iron. Photos show sketchbook pages and fabric samples drying in the wind at Designme print studios in Brixton.<br><br>

本项目隶属于家居设计与建筑博物馆（MoDA）的赛勒斯（Ceres）驻场艺术家计划。该驻场项目旨在以MoDA馆藏藏品为起点，探索自然印花与染色工艺，以期提升设计研究领域的可持续发展意识。这些文档展示了本次创作的灵感来源、设计流程及最终成果。

<b>圆形与叶片印花</b>
圆形是设计中的核心母题。本次创作借助馆藏资料，跨界汲取了型纸（katagami）秋季叶片K2.48与芭芭拉·布朗1962年作品《往复》的灵感。将我压制并扫描至Photoshop中的枯落叶重构为圆形母题，以此创作循环纹样。创作流程为先以柠檬酸印制圆形纹样、以铁盐制作叶片丝网印花，再使用黄木犀草浸提液对羊毛织物进行染色，随后以两种蓝色颜料——萨克森蓝（saxon blue）与混合叶绿酸的靛蓝——进行套印。印花完成后，将织物烘干并蒸固色，再以冷水至温水依次清洗。羊毛织物需先经精练，并以明矾（alum）进行预媒染。

<b>自然灵感印花</b>
本次设计的灵感源自桑德森父子公司1925年出品的SW2258款壁纸（左上角图像），以及实地考察时拍摄的另一张馆藏图像——林间月色。以此为灵感创作的纺织纹样以一轮大型月夜圆形为核心母题，并使用自家庭院采摘的玫瑰叶片制作防染印花。本次使用的大麻丝混纺织物以萨克森蓝染色，再以萨克森蓝印花浆进行印花，整体色调营造出静谧夜晚的氛围感。

<b>几何灵感印花</b>
本次印花的灵感源自一张伊妮德·马克思（Enid Marx）的水彩几何设计草图，我在实地考察时获取了该草图的复制品并粘贴至速写本中，本次展示的即为该草图。我在速写本中尝试了多种演绎方案，并用新闻纸精心裁切出纸型版，以此在大麻丝混纺织物上印制不同的设计方案。该织物先以明矾进行预媒染，再以虫胶染色，随后以洋苏木（logwood）、黑儿茶（cutch）与萨克森蓝进行印花。此外，我还借助纸板边缘手工制作肌理痕迹，以营造出与原作风格相近的艺术质感。

<b>佐伊·伯特（Zoe Burt）——赛勒斯项目</b>
本文档深入展现了赛勒斯设计合作项目与MoDA驻场计划的相关内容，以天然染料、印花工艺与可持续发展为视角，呈现了本次创作的集体灵感起源，以及我个人研究馆藏的独特路径。

<b>型纸（katagami）灵感印花</b>
本次纺织印花的灵感直接源自MoDA馆藏的型纸资料。型纸本身即为精致的工艺制品：以多层桑皮纸浸泡柿汁后，烟熏至深棕色调，再以极高精度裁切为防染循环纹样，用于配合米粉糊印制靛蓝蓝白纹样，制作日本日常棉质和服。本次创作汲取了型纸设计的流动韵律作为核心元素，使用多层精心且随性裁切的纸型版，以天然染料与印花浆在大麻丝混纺织物与亚麻织物上创作动态循环纹样。背景分别以茜草（madder）与洋葱皮染色，再以巴西木染料、洋苏木、萨克森蓝与铁盐进行印花。照片展示了速写本页面与在布里克斯顿Designme印花工作室风干的织物样品。