I’ve read a lot of quilting books over the decades. I’ve looked at books on patterns, techniques, and design; plus picture books of quilt collections. I’m not a novice at extracting sense from such books.
However, my attempts to understand Wen Redmond‘s “Digital Fiber Art” have foundered. It’s as if I signed up for intermediate Spanish, thinking the six words I already knew would be adequate preparation. Instead, I’m catching the sense of about one sentence out of seven.
Redmond’s forte is printing digital imagery on fabric, paper, and other more unconventional surfaces. She assumes, rightly so, that her readers will know their way around Photoshop or other photo editing software. After all, the book’s title includes the word digital. I’m a novice there, though I have grand plans to take a course.
Where she loses me is there’s no overall step by step instructions or any supply list. I desperately need an introductory chapter that says here’s what I’ll cover, here’s what you need to get started, and here’s some fancy stuff to try. I now know something about the importance of pre-coats and post-coats but I have a hard time putting that information into context. I haven’t a clue about what kinds of fabric work best with this approach – she mentions organza, canvas, duck, cotton, but says nothing about the pros and cons of each. I’d also like to know how basic I can go with the raw materials and still have the potential for a decent outcome.
Even if I understood all aspects of the process, I gather printing my own digital fabrics would be costly. Redmond herself uses an Epson Stylus Photo printer. That will set you back at least $300. The various pre-coats and other supplies run $25 per bottle, if you want to prep your own fabric. Cotton pre-treated fabric starts at about $83 for a 17 by 35 inch piece. Then there’s the pigment ink, which costs about $20-25 per cartridge. You can see how the costs could mount up. Mind you, Redmond isn’t shopping at Joann’s or Michael’s, but is buying professional grade materials.
There are copious examples of her work and some of the steps that went into each piece. They are great illustrations of the fertility of her imagination but I got confused. I never figured out if some of the interesting base effects shown are meant to be photographed and digitally manipulated, or be a substrate to be printed on.
Redmond is obviously expert at these techniques and produces some amazing art. However, for me her book is like watching a slide show at warp speed with no context. I keep wanting to say, back up a minute. Until I get more digital editing expertise under my belt and am willing to invest $1000 or so, this book will be borrowed from a library and not purchased. I need to start at digital fiber art for dummies.
However, I do recommend this book if you just want to take in some lovely eye candy. I think you could dumb down some of the ideas for printing on a humble inkjet printer, but just don’t expect the results to look like Redmond’s.