Celebrating the textile heritage of Merton
www.riverandcloth.co.uk
Block Printing Workshop Pack
for Teachers and Volunteers
Block Printing Work shop Pa ck
Contents
Title
Page
Fact Sheet: Block and Calico Printing
1
Fact Sheet for pupils: Block Printing in Merton
6
Fact Sheet: Arthur Liberty & the Liberty Store
7
Fact Sheet: The Huguenots in the Wandle Valley
11
Fact Sheet for pupils: The Huguenots in Wandle Valley
14
Workshop Plan: Block Printing Techniques
15
Sheet of Paisley Designs
25
Further Resources and Information
26
List of Materials Required for Print Workshop
31
List of Stockists of Print Materials
35
Health & Safety Guidelines for Workshop
36
Risk Assessment
38
Accident Report Form
41
Photo Consent Form for pupils
43
Evaluation Form for pupils
44
Fact Sheet: Blo ck and Calico Prin ting
A Liberty Wooden Printing Block 1
The decoration of fabric can be traced back to early history. One of the earliest
techniques used to colour fabric was printing with a simple wooden block.
Block printing is an ancient technique that has been used to decorate fabric as far back
as 4th century BC. During this time, a print would have been made from a wooden block
that printed a coloured paste on to a plain piece of cloth. These prints would not have
been colourfast and were not suitable for clothing. Instead, they would have been used
for furnishing fabrics.
The Indian and Chinese have a long history of making beautiful fabrics and in the 15th
century, Portugal traded with India and brought back highly decorated calico cloth. These
designs were known as ‘Chintz’ and became very popular for home furnishings,
especially a design known as ‘the tree of life’, which was imported by the East India
Company.
1
Fact Sheet devised by Sandrine Case and Clare Moloney, February 2010
Tree of Life Print, created by Liberty 2
Fashionable ladies of the day insisted that printed designs like the Tree of Life should be
made wearable. The fabrics became so popular exporters could not keep up with
demand and in the 17th Century Europeans began to experiment with their own printing
techniques. Groups of Huguenot refugees who had settled in England (many of them in
the Wandle area) played a huge part in the development of printing techniques.3
Demand for printed calico was high but by the end of the 17th Century the market was in
danger of being saturated by both imported and home-made designs. Domestic silk and
wool workers were afraid that their goods would not withstand the competition from
overseas and they backed a bill to ban the printing of calico in England.
In 1701, importing foreign printed goods was banned but this gave way to English
printers setting up their own businesses. Unfortunately for the weavers and silk workers,
the ban backfired and meant that the market was flooded with English prints and illegally
smuggled Indian designs. Riots broke out and women wearing printed cottons had the
cloths torn from their backs by supporters of the Weave and Silk Trade. By 1720, it
became illegal to wear printed calico, however it was not illegal to export or to print on
linen and so the printing trade continued to grow.
In 1752 copper-plate printing was invented by Francis Nixon in Ireland. This change in
technique meant more delicate and larger repeat patterns could be created. By 1783
Thomas Bell invented a printing machine which revolutionised the way in which fabric
could be commercially and mass produced.
One of the most successful calico printers on the river Wandle was Peter Mauvillian, a
naturalized French Huguenot who in 1690 established a printing works at Ravensbury in
Mitcham, and a second works at Wandsworth. Mauvillian was a successful printer and his
was one of the largest calico firms of the period, employing up to 250 workers.
Block Printing Process
Creating lengths of fabric for industry was a complex and
laborious process. To become a skilled block printer at
Liberty it took 7 years of training in the form of an
apprenticeship. An apprentice would learn all the stages of
block printing under the supervision of the master block
printer. It was only after this lengthy training that an
apprentice would have been deemed to have enough
experience and skill to print for Liberty.
Above: Block Printer at Liberty
Print-works in Merton during the 1950s4
2
Fact Sheet devised by Sandrine Case and Clare Moloney, February 2010
The following extract by Harry Fairman, former Master Foreman at Liberty describes the
stages of block printing at the Liberty Print-works5:
#
#
#
#
#
#
Carving the block: The first process for block printing was to create a
carved wooden block to print from. Each colour used in the design would
require its own block, which could take a skilled block maker up to two
weeks to carve.
Preparing the table: The tables were washed down and spread with a
water gum. Chalk lines were then drawn to keep the cloth straight.
Preparing Fabric: Silk worms create a natural gum when spinning their
cocoon. Silk fabric needed to be boiled to remove the gum to allow the
printing colour to soak evenly onto the fibres. The fabric was then dyed,
rinsed and dried for printing.
Printing: The printer has to check the line where he wants to print and
marks out where he will print. The block is dipped into the colour in a felt
tray and then carefully placed on the cloth. The block is tapped on the back
with a heavy mallet which ensures the design of the block is transferred to
the cloth. The next block is then carefully lined up to the position of the pin
prick of ink left by the previous block. This is repeated until the first colour is
completed. The remaining colours are then printed in the same manner.
Once it is all printed, the fabric is stiff with ink and feels more like paper.
Steaming: The silk is then taken to be fixed as the dyes would wash out if
soaked in water. The fabric is cocooned in a backing cloth which prevents
the dyes from transferring themselves onto other layers of silk.
Rinsing: Once the colours were fixed the printing gums were washed out in
the River Wandle (the water had better qualities than tap water). The silk was
looped around a drum with the ends tied together to keep it continuously
turning. The cloth was submerged in water so that any surplus gum or
colour was washed away.
These days block printing is far too labour intensive and time consuming to be a
profitable way to print fabric. Many of the original blocks used in Morris’ and Liberty’s era
have been sold as ornaments or given to museums (such as Victoria & Albert Museum,
Wandle Industrial Museum and The William Morris Gallery) as well as former Liberty
3
Fact Sheet devised by Sandrine Case and Clare Moloney, February 2010
employees. Today, many of the Liberty images from the original blocks have been
transferred to screen so that they can be screen-printed or hand machine printed.
However, traditional wooden printing blocks are still widely used in areas of India such as
Gujarat and Rajasthan, and in parts of Africa there are villages where the art of block
printing is being revived for export. The materials used include mud pastes for resist
printing and natural vegetable dyes to colour the fabric.
Fabric design from Bagaru, Gujarat, India,
- which uses both resist and direct printing techniques 6
There are numerous methods for block printing and they include:
# Printing colour directly on to cloth.
# ‘Discharge’ printing. This involves printing a bleaching agent onto a
previously dyed cloth to remove colour. This process was first used in the
19th Century
# Printing various mordents thickened with gum so that when dipped into the
dye bath, a range of shades can be produced.
# Resist printing. This involves printing a paste that blocks the dye from
absorbing into the cloth.
The River and Cloth workshops in Block Printing will explore resist and direct colour
printing techniques.
4
Fact Sheet devised by Sandrine Case and Clare Moloney, February 2010
Notes to Text:
1 Image reproduced here with kind permission from Lapwing Printworks – please see
http://forwhatischatteris.blogspot.com
2 Silver Tree of Life Print, created by Liberty of London
3 See Fact Sheet on Huguenots and the Wandle Valley for further information
4 From Liberty & Co In The Fifties And Sixties – A Taste for Design, Anna Buruma, London, ACC
Editions, 2008,
5 See section entitled: ‘Reminiscences of Harry Fairman, Master Foreman and Block Printer in:
Trouble at Mill, a Brief History of the Former Liberty Works Including Textile Printing at Merton
Printers Ltd (Libertys) 1965-1982, David Luff, Merton Historical Society, London, 2002
6 Image created by The Craft And Artisans – http://www.craftandartisans.com/hand-blockprinting-of-bagru-rajasthan.html
5
Fact Sheet devised by Sandrine Case and Clare Moloney, February 2010
Fact Sheet for Pupils: Block Printing in Merton
Above: Sari wooden
printing block from a
collection at the Wandle
Industrial Museum
Block printing is an ancient technique that has been used to decorate fabric as
far back as 4th century BC. A print would have been made from a wooden
block that printed colour on to a plain piece of cloth. These prints would not
have been colourfast and so couldn’t be used for clothing. Instead, they would
have been used for furnishing fabrics.
What does colourfast means?
Hint: this was mentioned in the film about block printing, which you watched
during the visit to Wandle Industrial Museum.
India and China have a long history of making beautiful fabrics and in the 15th
century, Portugal traded with India and brought back highly decorated calico
cloth. These designs were known as ‘Chintz’. One of the most popular
designs of this time was the ‘tree of life’ design.
Can you think of a famous Victorian designer who was deeply inspired by this
pattern?
Hint: You may have viewed a number of his works during the visit to Victoria &
Albert Museum.
Liberty silk scarf with the
Tree of Life design
Arthur Liberty
Vintage Liberty Scarf
In the late 19th century, a man called Arthur Liberty began producing beautiful
printed silk and calico cloth at Merton Abbey Mills for his famous London shop
Liberty, on Regent Street. Although he was more of a businessman than an
artist, Arthur loved beautiful objects, particularly those from far away places like
India, China and Japan. He was very good at predicting future trends and
fashions – he became interested in Japanese art and design when there was no
trade between Japan and Europe. He felt that the exquisite Japanese designs
and artefacts would soon become very popular in England and sold lots of
these goods in his shop and adapted the patterns for Liberty print designs.
William Morris set up his textile workshops downstream from Arthur Liberty, at
Merton Abbey Works. Liberty used to joke that he sent his dirty water down to
Morris. After the colour had been block printed on to the silk, it was washed in
the River Wandle, discharging lots of colour that would have flowed
downstream to Merton Abbey Works!
Why was silk washed in fast flowing rivers like the Wandle rather than in baths or
sinks?
Hint: If you watched the film about block printing closely, you should know the
answer!
Like Morris, Liberty used traditional block printing techniques to create beautiful designs. Blocks were
carved out of wood and it would take a master block carver two weeks to make just one. A total of 27
printing blocks were used to create a typical Liberty paisley silk scarf like the one above. Apprentices
had to train with Liberty for seven years before they could become professional block printers.
Fact Sheet compiled by Sandrine Case and Clare Moloney
6
Fact Sheet on Arthu r Lib erty & th e Liberty Store
Arthur Liberty 1
Arthur Lasenby Liberty was born in Chesham, Buckinghamshire in 1843. He was a great
business man who also had an eye for beautifully crafted exotic objects and artistic
talent. It was this outlook that made the Liberty store such a pioneer in fashion and home
décor.
Liberty began his career at the age of 16, working in the warehouse of a relative who was
a lace manufacturer. By the age of 18 he began working for Farmer & Rogers ‘Great
Shawl Emporium’, and during that year he visited London’s second Great International
Exhibition held at South Kensington (on the site now occupied by the Victoria & Albert
Museum). The exhibition contained many exquisite art and luxurious objects from all over
the world, but Liberty was drawn to the section devoted to Japanese art, particularly the
porcelain with its beautiful intricate patterns. Viewing Japanese art would have been
quite rare at that time – although art from China, Iran and Turkey had been imported to
England for several centuries, Japan did not open up to Western trade until 1868. These
Japanese art objects, textures and patterns, were to have a profound and positive
influence upon Liberty’s aesthetic taste and subsequently, his success.
Farmers & Rogers Great Shawl Emporium became a meeting hub for artists and Liberty
was respected for his interest and expertise in the arts. When his employers opened
another store specializing in oriental goods, Liberty was made Junior Manager. Before
long, he was managing the whole store and continued to do so for a further 10 years.
Liberty’s interest in Japanese art happened at just the right time – a few years earlier it
would have been unobtainable and a few years later it would have become too common
and Westernized2. By following his instincts and passions, Liberty was able to predict
important trends and make some very astute business decisions.
Fact Sheet Devised by Sandrine Case and Clare Moloney, February 2010
7
Soon his artist friends encouraged him to start his own shop as they felt he was not being
given the recognition he deserved. They also promised him their custom and loyalty and
this gave him the confidence to strike out alone and start his own business.
With a £2000 loan from his father-in-law, Liberty opened his first shop which he named
East India House at 218A Regent St. This sum was a huge amount at the time, but Liberty
knew Regent Street would become the prime retail location we know today. It was the
first street in London to be built specifically for shopping, selling luxurious goods and was
designed by the famous architect John Nash.
Liberty had a genuine belief and passion for the goods he sold. He was part of a large
movement for improving public taste and strongly supported genuine craftsmanship. He
continued to be influenced by other cultures, importing exotic fabrics from the East and
travelled to countries such as India, China, and Iran seeking inspiration for his
merchandise and designs.
East India House was such a success that within the first year Liberty was able to repay
back the money he owed with the profits he made from selling luxury goods. His shop
received many famous customers including artists Rossetti, Millais, Watts and Whistler.
William Morris was a frequent caller and bought many goods for his own use. As the
business grew, neighbouring properties were bought and added. Eventually, Liberty had a
vision to build his own Tudor style store with the help of designer/architect Edwin T Hall.
The Liberty Store today on Regent Street3
Liberty’s aim was to create a shop that encouraged the customer to feel like they were
wandering around their own home. The store you see on Regent Street today was built in
1924 using timber from two ships - the HMS Hindustan (which is the length of the shop’s
frontage) and HMS Impregnable.
In the late 1800s, Liberty was instrumental in the development of various artistic
movements including The Aesthetic Movement, and both the Arts & Crafts and Art
Nouveau movements. The formations of these groups were a response to the ostentation
of Victorian style and contained simple, elegant forms, which were hand crafted and
similar to the aesthetics in craft and dress found in the Far East and the Middle East. Art
Nouveau is still referred to as ‘Stile Liberty’ in Italy.
Today, Liberty the store continues to be at the forefront of contemporary fashion and is
still world famous for its prints, fashions and design classics. One of Kate Moss’ recent
collections for Top Shop was influenced by print designs from the Liberty archive.
Fact Sheet Devised by Sandrine Case and Clare Moloney, February 2010
8
Liberty and Merton Abbey Mills
Liberty is renowned for its beautiful fabric, a lot of which was created at Merton Abbey
Mills. In the early part of the 19th century, an Irish man called Edmund Littler took over
the printing works at Merton Abbey Mills for the production of fine silks and fabrics.
Littler began producing designs and fabrics for the Liberty store around 1875. In 1904
Arthur Liberty bought Littler’s premises and Liberty produced goods there right up until
1972.
William Morris was a neighbour, as he had set up his studio and workshops down stream
in Merton Abbey Works, the site now occupied by the Savacentre. Arthur Liberty used to
rejoice in the fact that “We sent our dirty water down to Morris!”4 Like Morris, Liberty used
traditional block printing techniques to create beautiful and intricate designs.
Block printing is an ancient technique that has been used to decorate fabrics as far back
as 4th Century BC. The Fact Sheet on Block and Calico Printing contains more information
on the history of these techniques, but we should mention here that it would take up to 27
printing blocks to create a typical Liberty shawl! The printer would have worked over a
day to make a shawl like the one below:
Vintage Liberty Scarf
56
As Liberty fabrics became hugely popular, block printing was no longer a viable technique
to use. A skilled block printer can only produce 27 metres of fabric a day compared to
164.5 metres printed by a screen printer and 274.32 metres by a machine. Blocks were
made out of wood and it would take a master block carver two weeks to make one.
Creating a block out of wood
7
Fact Sheet Devised by Sandrine Case and Clare Moloney, February 2010
9
Notes to Text:
1 See Liberty’s: A Biography of a Shop, p.20, by Alison Adburgham, Allen & Unwin, 1975
Photograph printed by Sir Joseph Causton and Sons Ltd
2 See The Liberty Store, pp.8-9, James Laver, Liberty & Co Ltd, 1959
3 Photograph taken by LuisVilla. See http://www.flickr.com/photos/maguisso/124771105/
4 See Liberty’s: A Biography of a Shop, p.40
5 Photograph taken by Fabulous Vintage Fashion. See flickr.com/photos/fairytrixy/3738510140
6 Photograph taken by FairyTrixy. See http://www.flickr.com/photos/fairytrixy/3738510140
7 Photograph from An Historical Guide to Merton Abbey Mills, p10, Kevin Leyden, Wandle
Industrial Museum, 2000
Fact Sheet Devised by Sandrine Case and Clare Moloney, February 2010
10
Fa ct She et: The Hugu enots in Wa ndle Va lley
Painting of Mill in the Wandle Valley in 17th/18th century
‘Huguenot’ was the name given in the 16th century to the Protestants in France, who were
reformists and followers of John Calvin.1 In 1685, King Louis XIV of France revoked a
previous edict giving Protestants equal rights with Catholics and declared Protestantism
illegal. This led to wide spread religious persecution and between 1685 and 1700, some
200,000 Huguenots fled their homes in France. Getting out of the country was an extremely
risky business. Men who were caught were either executed or made to work as galley slaves
in the French fleet on the Mediterranean. Women were imprisoned and their children sent to
convents to be converted to Catholicism.2
Many did manage to escape and a substantial number settled in the UK - some in the
Merton and Wandsworth area. Mary Hart, a traditional Block Printer based at Wandle
Industrial Museum, is descended from Huguenots and has been told that one of her female
ancestors was smuggled into the UK inside a rolled up carpet!
As the Huguenots were taking refuge here, they were called 'refugees' and this is how the
word refugee was introduced into the English language. Like many people migrating to this
country today, the Huguenots were often viewed with suspicion by some of the indigenous
population of the UK. There were concerns that their presence would threaten jobs,
standards of housing, public order, morality and hygiene. There were even complaints
about the strange food they ate, which seems ironic given that today French cuisine is
considered to be among the finest in the world.3
Fact Sheet Complied by Clare Moloney March 2010
11
The Huguenots worked very hard to assimilate and carve out a prosperous existence. The
fact that they were educated, inventive and skilled artisans made them very successful at
their chosen professions. Their skills in silk weaving, bleaching and dyeing cloth, felt-making
and hat making, played an integral role in the development of England's textile industry. This
did lead to some tensions with their English counterparts – many English craftspeople felt
that Huguenot workmanship was unfairly preferred to their own.
A number of Huguenots established themselves in the calico printing trade and some set up
printing works in the Wandle Valley area. One of the most successful was Peter Mauvillain.
Calico being laid out for bleaching
4
Mauvillain was very well respected in the calico printing trade. In 1696 he was one of 39
signatories on a petition submitted to the House of Lords in protest against a proposed bill
to ban the wearing of printed and dyed calico in the UK. Although demand for calico was
high, by the end of the 17th Century the market was being saturated by both imported and
home-made printed designs. Domestic silk and wool workers were afraid that their goods
would not withstand the competition from overseas and the bill was an attempt to secure
legislation to protect the interests of workers whose trade was suffering due to the
popularity of calico.5
Mauvillain set up printing works in Mitcham, at the site now occupied by Ravensbury Mill
and in Wandsworth. It is thought that by 1719 Mauvillain employed over 200 local people at
his Mitcham and Wandsworth works. The size of Mauvillain's working premises, his
workforce and the diversity of their skills - which included tierers (responsible for ensuring
the right amount of colour/dye goes on to the printing block), grounders, printers, drawers
and cutters, demonstrates that Mauvillain was pioneering aspects of the industrial revolution
usually associated with the later part of the 18th century. It is believed that he rented 34
acres of land (which is now part of the Morden Hall Estate) and organised the digging of
trenches, ditches, and drains, to divert some of the River Wandle to come through the
estate to aid the dyeing, washing and printing of calico.6
Peter Mauvillain is buried in St Lawrence's Churchyard in Morden, along with his brother
Stephen and his son Peter.
Fact Sheet Complied by Clare Moloney March 2010
12
Notes on Text
1 John Calvin was an influential French theologian and pastor during the Protestant Reformation.
He was a principal figure in the development of the system of Christian theology later called
Calvinism.
2 The Huguenot Society's website (http://www.huguenotsociety.org.uk/history.html) has a very
informative website which explains the origins of the conflict between Protestants and Catholics
in France in more detail.
3 See http://www.huguenotsociety.org.uk/history.html as above
4 See p.6 in Historical Guide to Merton Abbey Mills, Kevin Leyden, 2000
5 See Fact Sheet on Block & Calico Printing. See p24 in Textile Bleaching and Printing in Mitcham
and Merton, E N Montague, 1992.
6 See 'The Ravensbury Print Works, pp.63-65 in Ravensbury Mitcham Histories 10, E N Montague,
2008
Fact Sheet Complied by Clare Moloney March 2010
13
Fact Shee t fo r Pupils: The Hugue nots in the Wandle
Valley
Some of earliest calico printers in Merton were French Protestants known
as ‘Huguenots.’ In the late 17th century many Huguenots had to flee their
homes because of religious persecution in Catholic ruled France. Men
caught trying to escape were either executed or made ‘galley’ slaves –
meaning they were forced to be oarsmen and row ships in the French
fleet. Women were imprisoned and their children sent to convents to be
converted to Catholicism. Mary Hart, a traditional Block Printer based at
Wandle Industrial Museum, is descended from Huguenots and one of her
female ancestors was smuggled into the UK from France rolled up inside
a carpet!
Above: A Huguenot couple
embrace before they part to
flee France. This is a painting
by John Millais - a famous 19th
century artist who was a friend
of William Morris.
Many of the Huguenots who did manage to leave France safely, settled in
England - a number of these in the Wandle Valley area. Huguenots were
refugees. In fact it was the Huguenots who introduced the word ‘ refugee’
into the English language.
Do you know what a refugee is?
Hint: There is a clue in the word ‘refuge.’
Like many refugees migrating to the UK today, the Huguenots often bore the brunt of other people’s
prejudices. Some English people worried that the Huguenots presence would threaten their jobs and
housing. However, the Huguenots worked very hard to fit in and build a happy and prosperous life
here. Many of them were extremely skilled in the arts and crafts and made an important contribution to
England’s textile industry. A few set up calico printing works along the River Wandle.
One of the most successful calico printers in Merton was a Huguenot man called Peter Mauvillain.
In the early 1800s Peter Mauvillain employed over 200 local people at his Print Works in Mitcham and in
Wandsworth. He also rented 34 acres of land on what is now known as the Morden Hall Estate (in
Morden Hall Park) and diverted parts of the River Wandle on to this land to ease the printing and dyeing
process. Running a large business was unusual at that time, when most crafts-people worked from
their own homes or in tiny workshops with a small number of workers. It seems that Peter was
something of an entrepreneur way before anyone really knew what an entrepreneur was.
Do you know what an entrepreneur is or what they do?
Hint: Arthur Liberty was considered one. So is Alan Sugar!
Given that many English people, particularly craftspeople, were worried that the Huguenots would
threaten their jobs, Peter Mauvillain came along and created many jobs for local people and gave a
boost to Merton’s economy.
If you take a walk to St Lawrence's Churchyard, just off the London Road, not far from Morden South
Railway Station, you will find the grave of Peter Mauvillain who is buried there along with his brother
Stephen and his son Peter.
Fact Sheet Compiled by Clare Moloney
14
Celebrating the Textile Heritage of Merton
Work shop Plan for B lock P rinting Techniques
Image of Tree of Life design created by Liberty’s 1
Key Inspirations: A collection of Liberty prints and the ‘tree of life’ motif
The print phase of River and Cloth explores the traditional printing techniques employed
by Liberty’s when their factories were based at Merton Abbey Mills. During this stage of
the project, we shall also explore contributions made by groups of Huguenot refugees
who settled in and around the Merton area during between the 17th and 18th century, as
well as exploring many of the calico prints and designs created in India and China. This
will include the iconic tree of life design, which became very popular in England during
the 17th and 18th centuries. The tree of life represents the idea that all life on earth is
related and this idea is used in science, religion, philosophy and mythology. If you were
able to join us on the visit to the Victoria & Albert Museum, you might remember seeing a
number of textiles and designs which incorporated the tree of life design.
The aim of this workshop is to create and print a paisley design. The paisley is a kidney
bean shape also known as boteh. The word boteh is the anglicised version of the Hindi
word buta, which means flower.2
Please combine the practical steps in this workshop plan with the following Fact Sheets:
History of Block Printing and Calico Printing, Arthur Liberty & Liberty Store and The
Huguenots in the Wandle Valley.
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
15
Participants will learn how to create a print by block printing on to fabric squares. They
will have the opportunity to design their own block and experience two different print
techniques: resist printing and direct colour printing. By the end of each workshop, work
produced by each participant will form part of a large collaborative tree of life textile wall
hanging. They will also be able to take their squares home or the pieces can be sewn
together to make a large class patchwork.
Health & Safety
Some of the activities will require the use of a warm iron and rinsing fabrics through cold
water. Volunteers, teachers and teaching assistants will be required to carry out these
task on behalf of children aged 12 and under. Children aged 12 and over, should be
closely supervised when carrying out these activities.
Dyes used in this workshop are non-toxic, however they will stain clothes. Please advise
participants to wear aprons and old clothes. If the dye gets on to skin, wash off as soon
as possible.
In this workshop, we will use Manutex, a seaweed-based paste that is used in the food
industry and is harmless. However, it is not advisable for participants to ingest!
Resources and materials
Prior to the workshop, each teacher will receive a box of materials including:
Foam boards
Poly Silk fabric
Calico fabric
A4 paper
Cardboard
Manutex
Please note: each teacher will need to provide lots of newspaper.
Additional materials and equipment will be shared around the schools and will be
provided by the artist on the day of the workshop. For a full list of materials and
equipment used in this workshop, please refer to the Materials List for Print Workshops.
Preparation for Workshop
Prior to the workshop please look at repeat patterns such as paisley designs from India,
China and Liberty’s collection. Please refer to the page entitled Paisley Designs in your
workshop pack. Additional images of paisley designs can also be found on the web by
searching in google images using the term ‘paisley design’. The artist will also bring a
variety of images and templates to the workshop for inspiration.
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
16
Please ensure the following tasks are completed before the workshop:
#
#
#
#
Cut each the fabric into squares measuring 28cm x 28cm, enough for each
participant to have one square of calico and one of poly-silk.
Cut the A4 foam sheets into quarters - each participant will need 2 quarters
each. For this you will need to use a scalpel, cutting board and ruler.
I suggest cutting a couple of sheets at a time.
Ask the participants to collect one large clean empty glass/jam jar
each and bring into school before the workshop.
The day before the workshop, mix 30g of manutex powder with 300ml tepid
water - you will need ten parts water to one part powder. Mix thoroughly
until all the granules have dissolved. Leave for one hour then mix again.
Put the mixture in a large jam jar or air-tight container and store in the fridge.
It will keep for a few days.
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
17
Activity 1: Creating the Block
Participants will create a paisley shaped relief block by mark making and cutting into a
foam sheet which will then be glued on to a piece of thick cardboard.
Drawing your paisley design:
Choose one of the paisley shapes and draw around the
template on to a sheet of A4 paper.
Making the Blocks:
Using the paisley images provided by the artist and in
your workshop plan for inspiration, create your own
design.
You will need to make 2 different blocks - one large and
one small. Make sure that one of your designs points to
the left and one to the right.
Note to Teachers/Volunteers: Please ensure that the
templates are drawn around with the gold side facing up
so that there are a variety of designs pointing to the left
and to the right.
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
18
Activity 1: Creating the Block continued…
Draw around the paisley shape again, this
time on to a piece of foam board. Cut out
the shape carefully, making sure the edges
are neat. Use the off cuts to create petal
shapes around the outside.
Glue the foam on to a piece of thick card and cut off
any excess card. Volunteers and teachers may be
required to assist participants and use a scalpel.
Copy the design you have already made on paper on
to the foam design.
On a scrap piece of foam, you can experiment making
different marks and indentations with your pencil or
biro, such as dots, slashes, circles etc. Alternate the
density of the lines by making some of them thick and
some of them thin. Try indenting interesting textures, or
using the other end of your biro or pencil
Turn the block around and make a tab
handle with two short pieces of masking
tape so that after printing you can pick up
the block with ease.
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
19
Activity 2: Resist Printing on silk using Manutex Paste
Take a square of poly silk
Write your initials in biro on the right hand corner
Tape down the square of silk on to some
newspaper
Take the brayer roller and roll it into the manutex
paste and then on to the plate.
Once the manutex is evenly spread, roll it on to
the large foam block making sure it is a thin layer
and not lumpy
Print your paisley design on to the poly silk
square. Carefully place your design foam side
down on to the fabric and press firmly with the
palm of your hand, ensuring that you apply even
pressure all over the block. You will see faint
lines from your print gradually appear. Repeat
this process, making sure you don’t put too
much paste on to the foam block or it will
splodge.
Leave to dry for between 5 and 15 minutes – it will depend on the room temperature. You
can also use a hairdryer to speed up the process!
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
20
Activity 2: Resist Printing on silk using Manutex Paste continued…
Once the paste has dried, use the roller with the
fabric ink and cover the fabric with a thin layer of
ink.
Leave to dry for approximately 10 minutes. Again
you can use a hair dryer to speed up the
process.
Once the ink is dry, iron for approximately one
minute to fix on to the fabric. Volunteers and
teachers should do this task on behalf of children
12 and under.
Wash out the fabric in cold running water, gently
rubbing the print side to itself to help wash away
the manutex. You may need to scrub for a while!
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
21
Activity 3: Printing with Direct Colour on to Calico
Lay the calico square onto a piece of newspaper.
Write your initials on the back in the right hand
corner. Make sure there are no creases
underneath.
Ink up the brayer and apply a thin layer of ink
onto the small textured foam block.
Carefully place the block on to the calico fabric
and press firmly. Make sure you apply even
pressure all over. You can pick up the block
using the masking tape tab.
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
22
Activity 3: Printing with Direct Colour on to Calico continued…
Repeat by rolling ink on to block before printing
again. Repeat until the whole piece of calico is
printed.
When the ink is dry (it should take about 10
minutes for it to dry as long as the ink has not
been applied too thickly), use the iron to fix the
colour. Volunteers and teachers can do this task
on behalf of children 12 and under.
Throughout the workshop, participants will be called up in small groups to print a direct
colour image on to a collaborative ‘tree of life’ wall hanging that will be completed by the
end of the workshop and exhibited in the River and Cloth Exhibition, September 2010:
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
23
Notes on Text
1
2
See: http://www.liberty.co.uk/fcp/categorylist/dept/liberty-of-london_scarves?resetFilters=true
See: www.quiltersmuse.com/paisley
Workshop Plan for Block Printing Techniques
Devised by Sandrine Case January 2010
24
Additional Reading, Resources and Information on Block Printing
Further Information on Liberty:
#
Liberty’s: A Biography of a Shop, Alison Adburgham
Hardback: 160 pages
Publisher: Sir Causton and Sons Ltd, 1975
ISBN: 0 04 380021 1
Biography of Arthur Lazenby Liberty and the creation of Liberty’s the store.
#
Liberty and Co. in the Fifties and Sixties: A Taste for Design, Anna Buruma
Hardback: 144 pages
Publisher: ACC Editions, 2009
ISBN: 978-1-85149-572-6
Story of Liberty’s transition from traditional shop to a modern store situated near the epicentre
of the fashion world - Carnaby Street in the sixties.
#
Liberty Style: The Classic Years, 1898-1910, Mervyn Levy
Hardback: 160 pages
Publisher: Weidenfield and Nicolson, 1986
ISBN: 0 297 7882 8
Book exploring Arthur Liberty’s aesthetic and his affiliation with the modern movement.
#
Liberty Print Works: War Time Remembrance, WJ Rudd
Paper: 15 pages
Publisher: Merton Historical Society, 1994
A first person account from a former block printer, who worked at Liberty’s print-works in
Merton.
#
Liberty’s 1875-1975
Victoria and Albert Exhibition Guide, 1975
ISBN: 0 901486 90 6
This book was published to accompany Liberty’s centenary exhibition at the V&A in 1975.
Further Reading List compiled by Sandrine Case, February 2010
26
#
Trouble at Mill, a Brief History of the Former Liberty Works Including Textile
Printing at Merton Printers Ltd (Liberty’s) 1965-1982, David Luff
Paperback
Publisher: Merton Historical Society, London, 2002
Tracing the early industrial history of the Liberty Printworks in Merton, containing many
detailed accounts of production processes from the people who worked there.
Further Information on the Huguenots who settled in England:
#
The Huguenots in England: Immigration and Settlement c.1550-1700,
Bernard Cottret
Hardback: 317 pages
Published: Cambridge University Press, 1985
ISBN: 0 521 33388 1 hardback
A detailed study of one of the great migrations of early modern Europe, exploring different
Huguenot communities who settled in England, and their origins, skills, aspirations, which
enabled them to become so successful.
#
Huguenots in Britain and Their French Background 1550-1800,
Irene Scouloudi
Hardback: 340 pages
Published: The Macmillan Press Ltd, 1987
ISBN:0-333-39669-3
A collection of articles and papers which first appeared as contributions at the Historical
Conference of the Huguenot Society in London, September 1995.
#
Huguenot Heritage: The History And Contribution Of The Huguenots In Britain,
Robin Gwynn
Paperback: 261 pages
Published: Sussex Academic Press, 2nd edition 2001
ISBN: 1-902210-34-4
A full-length study of the Huguenots in Britain.
Further Reading List compiled by Sandrine Case, February 2010
27
Information on Block Printing and Calico Printing:
#
World Textiles: A Visual Guide to Traditional Techniques,
John Gillow & Brian Sentence
Paperback: 240 pages
Publisher: Thames & Hudson, 2001
ISBN-10: 0500282471
An exploration of how textiles articulate the cultures that make them. Includes over 800
colour photographs and drawings and covers a range of handmade textiles from around the
world.
#
Exploring Fabric Printing, Stuart & Patricia Robinson
Hardcover: 160 pages
Publisher: Mills & Boon Ltd, 1970
ISBN-13: 978-0263513912
#
Colour on Cloth, Ruth Issett
Paperback: 128 pages
Publisher: Batsford - reprint edition, 2009
ISBN-13: 1906388342
A book full of colouring and dyeing recipes from one of the leading colourists in the
world of textile art.
#
Colour and the Calico Printer: An Exhibition of Printed and Dyed Textiles, 1750 - 1850
Deryn O’Connor & Hero Granger-Taylor
Paperback: 68 pages
Publisher: West Surrey College of Art & Design, 1982
ASIN: 8001P4JR2M
#
Hand Block Printing and Resist Dying, Susan Bosence
Hardcover: 144 pages
Publisher: David & Charles, 1985
ISBN: 0-7153-85240
A book which looks at printed textiles and contains guidelines for hand block printing and
resist dyeing.
#
Ideas for Fabric Printing and Dyeing, Peter Gooch
Paperback: 96 pages
Published: Batsford, 1974
ISBN-10: 0713428309
Illustrated book describing 59 different techniques for printing and dyeing fabric.
Further Reading List compiled by Sandrine Case, February 2010
28
#
Patterns of Culture- Techniques of Decoration and Colouration, M.A Hann
Paperback: 40 pages
Publisher: University of Leeds Textiles Archive, 2005
ISBN: 0-9549640-0-4
Images of Paisley Designs:
#
Paisley Designs CD Rom & Book, K Prakash
Paperback: 48 pages
Publisher: Dover Publications, 2008
ISBN-13: 978-0-486-99882-4
This book and CD Rom reproduces over 200 vibrant examples of traditional paisley motifs,
inspired by trees, leaves, flowers and birds.
#
Paisley Designs, Gregroy Mirow
Paperback: 48 pages
Publisher: Dover Publications Inc, 1990
ISBN-10: 0486259870
Book containing 44 large original plates of paisley designs.
#
Paisley Designs Colouring Book, Marty Noble
Paperback: 32 pages
Publisher: Dover Publications Inc. 2008
ISBN-13: 978-0-486-45642-3
A collection of paisley designs inspired by nature’s elements.
#
250 Stencil Designs from India, K Prakash
Paperback: 48 pages
Publisher: Dover Publications, 1996
ISBN-10: 0486290263
Containing many designs taken from authentic Indian art and artefacts, including animal and
floral motifs and paisley designs.
Further Reading List compiled by Sandrine Case, February 2010
29
Websites and Organisations to Visit:
#
Liberty the store has many examples of their prints on their website. Go to:
http://www.liberty.co.uk
#
Merton Abbey Mills
Merton Abbey Mills contains many buildings of historic interest, in relation to Merton’s
textile industry. These include the Colour House Theatre – where Liberty’s used to
mix their dyes and the Wheelhouse (the only one of its kind in full restored working
order) dating from 1885 and used to wash the gum of printed silk.
http://www.mertonabbeymills.org.uk
#
19 Princelet Street
This is a remarkable, unrestored Huguenot master silk weaver’s home in Spitalfields,
which conceals a rare surviving synagogue inside the garden. If you would like to
visit, be aware that it opens rarely due to the building’s fragility (the Trust behind it is
desperately raising funds for urgent repairs). Check the website
for further information and opening times: http://www.19princeletstreet.org.uk
#
Victoria & Albert Museum
The V&A has many Liberty prints and designs in their collection and their website
also contains many relevant learning resources for teachers and activities pupils.
http://www.vam.ac.uk/collections/textiles/index.html
#
Wandle Industrial Museum
The Museum was established in 1983 to promote the history of the Wandle Valley
for the use and benefit of the local community. Its collections include the textile
industries along the River Wandle.
http://www.wandle.org
Further Reading List compiled by Sandrine Case, February 2010
30
Materials Required for Workshops in Print Techniques
ITEM
Pigment binder
(Magnaprint Binder FF)
QUANTITY
600ml per workshop
USE
PROVIDED
IN
WORKSHOP
PACK?
Prior to the workshop, the artist will
mix the binder with the pigments to
create inks for printing on to the fabric.
PROVIDED
BY
ARTIST?
PROVIDED BY
TEACHER/
PARTICIPANTS?
Yes
*Please note that each teacher and/or
volunteer will also have the
opportunity to mix their own colours in
the workshop
A selection of pigments in
Blue 3G, Turquoise, Red
and Yellow 3G
A selection per workshop
Prior to the workshop, the artist will
mix the pigment with the binder to
create the inks.
Yes
*Please note that each teacher and/or
volunteer will also have the
opportunity to mix their some colours
in the workshop
Manutex Paste
30 grams per workshop of
30 participants
To be used by the teacher/volunteer
on the day before the workshop to mix
into a paste. The manutex will be
used in the resist printing exercise
Yes
Electric weighing scales
1 per workshop
To measure pigments etc.
Tepid Water
300 ml per workshop
To be mixed with the manutex to
create the paste
Yes
Measuring Jug
1 per workshop
For mixing manutex etc
Yes
Yes
31
ITEM
QUANTITY
USE
PROVIDED
IN
WORKSHOP
PACK?
PROVIDED
BY
ARTIST?
Plastic mixing bowls
3 per workshop
For mixing up fabric paints etc.
Yes
Spatula
3 per workshop
For applying and mixing colours etc.
Yes
Table spoons
6 per workshop
For applying and mixing colours etc.
Yes
Large glass jars
4 per workshop
To contain the manutex after it has
been mixed into a paste and brought
out of the fridge
Airtight containers
4 per workshop
To contain the mixed inks etc.
A4 Paper
100 sheets per workshop
To draw design for paisley block
Yes
Foam Printing Plates
20 A4 sheets per workshop
of 30 participants
Foam which will be made into printing
blocks. Prior to the workshop, the
teacher or volunteer will cut these
sheets into 4 quarters – 2 for each
participant
Yes
Copydex
1 small pot per workshop
PROVIDED BY
TEACHER/
PARTICIPANTS?
Yes
Yes
To be used in the workshop to make
the printing blocks
Yes
2 pieces per participant:
2 ply Cardboard
1 x piece measuring 15cm
by 10cm
To be glued to the foam, to make
underside of the printing blocks
Yes
1 x piece measuring 5cm by
10 cm
32
ITEM
QUANTITY
USE
PROVIDED
IN
WORKSHOP
PACK?
Scissors
A selection per workshop
To be used to cut paper, foam and
cardboard etc.
Cutting Board
1 per workshop
To support cutting foam board prior to
the workshop
2 rolls per workshop
To make the tab handle which will be
stuck to the back of the printing block
Yes
3 metres per workshop of 30
participants
This fabric will be used in the resist
printing exercise. Prior to the
workshop each teacher or volunteer
will cut the fabric into squares
measuring 30cm by 30cm – one for
each participant
Yes
1 metre per workshop of 30
participants
This fabric will be pre-printed with the
tree of life design prior to the
workshop. During the workshop,
participants will add their own paisley
prints to the design
3 metres per workshop of 30
participants
This fabric will be used in the direct
printing exercise. Prior to the
workshop each teacher or volunteer
will cut the fabric into squares
measuring 30cm by 30cm – one for
each participant
Masking tape
Poly Silk fabric
Pre-printed Poly Silk fabric
Calico fabric
PROVIDED
BY
ARTIST?
PROVIDED BY
TEACHER/
PARTICIPANTS?
Yes
Yes
Yes
Yes
33
ITEM
Foam Rollers
Biros & Sharp Pencils
Scalpels
Newspaper
QUANTITY
USE
PROVIDED
IN
WORKSHOP
PACK?
PROVIDED
BY
ARTIST?
45 per workshop of 30
participants
To be used to roll into the inks and the
manutex paste
30 of each per workshop of
30 participants
To be used to draw and design
printing block print
Approximately 6 per
workshop
To be used to cut the foam board prior
to the workshop and into blocks
during the workshop
Approximately 15 sheets per
participant
To be used to create a soft surface to
print on
Approximately 50 per
workshop
To contain manutex and inks and for
rolling foam rollers in
30 per workshop of 30
participants
To be worn by each participant during
the workshop
Yes
30 per workshop of 30
participants
To be worn by each participant when
handling inks and manutex
Yes
1 sheet per workshop
To protect the floor during the
workshop
Yes
2 per workshop
To fix the colour on to the fabric
Yes
2 per workshop
To help dry the ink on to the fabric
Yes
PROVIDED BY
TEACHER/
PARTICIPANTS?
Yes
Yes
Yes x 1
Yes additional 5
provided by
artist in the
workshop
Yes
Plastic trays and dishes
Yes
Plastic Aprons
Rubber Gloves
Plastic Sheeting
Iron
Hairdryer
34
LIST OF STOCKISTS FOR PRINT MATERIALS
# SUPPLIERS OF FABRICS
Please note that some of the suppliers
listed here take orders through their
websites and catalogues:
For Poly Silk:
BL Joshi UK Ltd
212-214 Ealing Road
Wembley
Middlesex
HA0 4QG
T: 020 8903 0653/5155
W: http://www.joshitex.co.uk
For Calico and Silk Organza:
Whaleys (Bradford) Ltd
Harris Court
Great Horton
Bradford
West Yorkshire
BD7 4EQ
T: 01274 576 718
E: [email protected]
W: www.whaleys-bradford.ltd.uk
For Manutex:
Kemtex Educational Supplies Ltd
Chorley Business and Technology Centre
Euxton Lane
Chorley
Lancashire
PR7 6TE
T: 01257 230 220
W: www.kemtex.co.uk
For Foam Printing Plates:
Specialist Crafts Ltd
PO BOX 247
Leicester
LE1 9QS
T: 0116 2697711
E: [email protected]
W: www.specialistcrafts.co.uk
For Foam Rollers:
Kent County Supplies
T: 0845 270 8811
W: www.kentwebshop.co.uk
For Copydex:
# SUPPLIERS OF FABRIC PAINTS &
OTHER DYE STUFFS:
For Binder and Pigments:
Quality Colours (London) Ltd
Unit 13 Gemini Project
Landmann Way
London
SE14 5RL
T: 020 7394 8775
E: [email protected]
Eurostationers.com Ltd
Talbot House
204-226 Imperial Drive
Rayners Lane
Harrow
HA 7HH
T: 0845 202 0051
E: [email protected]
W: www.eurostationers.com
# ITEMS FOR PARTICIPANTS AND
WORKSHOP LEADERS TO COLLECT:
Old newspapers and large empty jam jars
35
Health & Safety Guidelines
Introduction
The Print phase of River & Cloth will explore traditional paisley patterns from China, India and
the Middle East and its key inspiration will be the iconic tree of life design. The aim of the
workshop is to create a fun, modern and innovative interpretation of the tree of life design,
using techniques inspired by traditional block printing processes. This sheet provides
guidance on general health and safety when working with equipment such as inks, glues,
scalpels, irons, and scissors.
Risk Assessment
See the Risk Assessment sheet for advice on how to prepare for the workshop.
Health & Safety Rules
A general health and safety talk should be given to participants at the start of each workshop
and the following points should be adhered to:
#
Ensure all work areas are tidy to protect yourself and others during the workshop.
#
Participants must wear aprons throughout the workshop
Health & Safety Guidelines compiled by Sandrine Case and Clare Moloney
February 2020
36
#
Request that participants wear comfortable clothing, and their shoes
are not open toed. i.e. flip flops and sandals.
#
Each participant should wear rubber gloves when using the manutex and inks
#
Ensure participants do not ingest fabric ink, glue or manutex
#
Ensure participants do not eat or drink while handling inks and manutex
#
Mop up any spillages from the floor/plastic covering to prevent slippage
#
Ensure participants wash their hands after the workshop is finished
#
Do not use any pots, jars or trays that have been used to mix ink or glue for food
preparation
#
If a participant feels tired at any point during the session, suggest they
take a short break.
#
Participants aged 11 and under should ask the workshop
leader/teacher/volunteer to use the iron on their behalf; participants aged
12-16 can use the iron under supervision
#
Make sure that the iron and ironing board is placed in a quiet and nonbusy area. Ensure that the lead is tuck away to avoid anyone tripping
over
#
Participants aged 11 and under should be supervised when using large
sharp scissors and scalpels
#
Ensure that there is a first aid box in the work-space with materials and
dressings for dealing with burns and cuts
#
Record all accidents/incidents on the River & Cloth accident report form and ensure
a hard copy is returned to the Project Manager
#
All electrical equipment used in the workshop must have an up to date PAT
(portable appliance testing) test.
Health & Safety Guidelines compiled by Sandrine Case & Clare Moloney
February 2010
37
Health & Safety Risk Assessment for Print Workshops
Hazard Identified
Who
Risk
Control Measure
Cuts from scissors
and scalpels
All
Low
At the beginning of the workshop,
the lead artist/teacher/volunteer will
instruct participants not to walk
through the workshop space carrying
sharp objects.
Participants aged 11 and under will
be assisted by lead
artist/teacher/volunteer when using
sharp implements.
Participants aged 12 and over will be
supervised by
artist/teacher/volunteer when using
sharp implements
Ingestion of dyes and
printing substances
All
Low
All dyes and inks used will be nontoxic
Only the required amounts of dyes
and substances will be prepared and
kept in jars/containers clearly
labelled.
At the end of the workshop, any
unused substances will be bottled up
and removed from the workshop
space.
Risk Assessment compiled by Sandrine Case and Clare Moloney
February 2010
38
Hazard Identified
Ingestion of dyes and
printing substances
cont.
Who
All
Risk
Low
Control Measure
Participants will be instructed to
wear rubber gloves when working
with glue, manutex and dyes
No food or drink will be permitted
inside the workshop space
Participants will be instructed to
wash their hands after printing and at
the end of the workshop
Allergic reaction to
Copydex
Spillage and slipping
All
All
Low
Medium
Lead artist/teacher/volunteer will find
out if any of the participants are latex
intolerant at the start of the
workshop. Those with allergies will
not handle the Copydex directly but
will be assisted by a teacher or
volunteer.
Participants will be requested to
wear old comfortable clothing and
will wear an apron throughout the
whole workshop to protect clothes
and skin.
Towels will be placed at each table
to mop up spillages.
Plastic covering will protect the floor
– therefore making it less slippery.
Staining of clothing
All
Medium
Any spillage that gets on to the floor
or plastic covering will be mopped
up immediately.
Prior to the workshop, participants
will be advised to wear comfortable
old clothing. During the workshop all
participants will wear aprons.
They will also be advised at the
beginning of the workshop that the
substances used can stain clothes
and that aprons must be worn
throughout the session and gloves
worn when participants handle dyes
and other substances.
Risk Assessment compiled by Sandrine Case and Clare Moloney
February 2010
39
Hazard Identified
Risk of scalding and
burns from use of
iron
Who
All
Risk
Low
Control Measure
Participants over the age of 12 will
use the iron under adult supervision.
The artist/teachers/volunteers will
use the iron on behalf of participants
aged 11 and under.
Disposal of
substances
All
Low
Hygiene
All
Low
The iron will be located in a safe
place away from the main workshop
activity.
Only the required amounts of inks,
glues and manutex will be brought to
the session. Any left over will be
bottled up and used in a future
session.
Participants will be asked to wash
their hands after the activity. A first
aid box will be on hand to address
any minor cuts and scalds.
Risk Assessment compiled by Sandrine Case and Clare Moloney
February 2010
40
Accid e nt/I ncid e n t R e port Fo rm
An accident is an unplanned event that results in an injury or could have resulted in an injury
or results in damage to equipment or property. Anyone can complete an accident report
form. Once completed the form should be sent to Clare Moloney - River & Cloth Project
Manager: [email protected]
Confidentiality - This form will be held securely by London Borough of Merton for the
purpose of monitoring health and safety and will only be disclosed to persons or
organisations able to demonstrate a legal right to the data contained.
Details of person completing this report
Full name...........................................
Staff/Participant/Visitor
Name of School/Community Group.........................................
Address & postcode ...........................................................
................................................................................................
Telephone contact number...............................................................
Signature...........................................Date...................................
Details of accident/incident
What happened? Give cause (how and why) if known
....................................................................................................
....................................................................................................
.....................................................................................................
.....................................................................................................
Date of accident/incident.................................
Time.........................................................
Where it happened........................................
41
Details of any persons injured
Full name...........................................
Staff/Participant/Visitor
........................................
Address & postcode ...........................................................................
....................................................................................................
Telephone contact number................................
Name of School/Community Group
Nature of injury
....................................................................................................
....................................................................................................
....................................................................................................
Treatment given
....................................................................................................
Treatment given by
....................................................................................................
Taken to hospital - Yes/No
If yes, which hospital and how taken
..........................................................................
Off work as a result – please delete as appropriate:
Yes/No.....
If yes - for how many days?...........
Continue report on extra sheet if necessary
42
Celebrating the textile heritage of Merton
www.riverandcloth.co.uk
Image Consent Form
Please fill in the form below and send back to your class teacher giving your consent for the following:
If you do not wish to give consent please tick here
Format: Photographic and video documentation of River & Cloth workshops and events
Usage: River & Cloth and Partners’ websites and promotional materials
Childs Name:
School:
Class:
Name of signatory:
Signature:
------------------------------------------------------------------------------------------------------------
Celebrating the textile heritage of Merton
www.riverandcloth.co.uk
Image Consent Form
Please fill in the form below and send back to your class teacher giving your consent for the following:
If you do not wish to give consent please tick here
Format: Photographic and video documentation of River & Cloth workshops and events
Usage: River & Cloth and Partners’ websites and promotional material
Childs Name:
School:
Class:
Name of Signatory:
Signature:
43
Celebrating the textile heritage of Merton
Feedback on Workshop Activity
Please draw a circle around one of the faces below to show how you felt about
the workshop:
Please draw a circle around one of the faces below to show how you felt about
designing and making the block:
Please draw a circle around one of the faces below to show how you felt about
working with the dyes and rollers:
Please draw a circle one of the faces below to show how you felt about your own
print design when it was finished:
Please write down below what you have learned today that you didn’t know
before:
44