Tag Archives: surface design

It’s All About The Surface

Over the years I’ve accumulated a pile of fabrics I’ve created with paints, stencils, dyes, and other surface design techniques. Since I didn’t feel up to deep thought projects but wanted to make something after my surgery, I sorted that pile and cut up much of it into 5 inch squares. Then, I arranged the squares that seemed to go together into more or less traditional designs.

The resulting tops are totally about texture and color. I meant no discernible message. Each is about 41 inches square and has a border (gasp.)

“All Decked Out” is a trip around the world design made with fabric I designed or dyed, with one exception. The center is a paintstik rubbing of a glass salad plate, accented with embroidery. The surrounding squares are either Marcia Derse fabric (the darker fabric) or sun printed with a crocheted doily. The blue and white squares are from a silk screening class, while the multicolored squares suffered through four processes – dyeing, fabric collage, cheesecloth overlay, and stenciling. The dark and light rose squares are hand dyed, while the blue and white border fabric is from a photo of my deck I manipulated and printed through Spoonflower.

“Sur La Table” is made mostly from tablecloths I painted and dyed.  (Finally a use for high school French.) The yellow is damask that’s been printed with leaves, while the orange is a drop cloth I enhanced. The green strips are from a gradation and the outer border is linen I dyed. The diagonal strips are bias tape I made and some cording. The squares on the end of the green units are made from fabric I painted and stenciled. The thin green strip inside the border is Grunge fabric, the only fabric I didn’t mess around with.

I thought I’d do quick and dirty quilting on these, but already that isn’t going to plan. A group I belong to had lots of complicated ideas for quilting “All Decked Out.” Of course the ideas are much better than what I had envisioned, but also more work.

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Filed under dyeing, Fabric Printing, In Process, Techniques

In The Weeds

Sometimes I quilt a piece I’m not so enamored of to avoid dealing with a piece I haven’t a clue about and don’t want to screw up. Yet again I’ve sidestepped a larger (around 45 by 50 inches) piece by tackling a smaller one that I’m not heavily invested in emotionally.

In keeping with my recent efforts to use fabrics I created, I combined tissue paper and stamped fabrics with orphan blocks to make “In The Weeds.”

I kept cutting off bits and then adding strips, and finished up with a thermofax print; so the piece is a hodgepodge of surface design techniques. I decided it looked like a patch of weeds so I called it “In The Weeds.” I recalled that term being used by restaurant workers so I looked it up and came across this post at The Word Detective.

I decided the following sums up my methodology:

. . . as Mark Liberman points out, the use of “into the weeds” to mean “delving deep into the details” doesn’t carry the same sense of painful confusion as the restaurant use, and such “weed wandering” is actually the sort of thing true policy wonks enjoy. As he says in his Language Log post, “The metaphor here seems to be that when you wander off the beaten path, you can explore arbitrary amounts of not-very-valuable intellectual foliage (“weeds”) without getting closer to your conceptual destination.”

In other words, I’m on a side spur just detouring around that larger, more serious piece. Because I didn’t really care whether or not the piece was ruined I ran roughshod over it with free motion quilting. That was fun but resulted in quilting that would elicit “strive to maintain consistency in stitch length” from a show judge. I also learned that tissue paper fabric needs a longer length stitch than I used.

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October 20, 2017 · 5:11 am

Tracing Cloth Play

A chance discovery of Pellon 830, called Easy Pattern, led me to experiment with ways to use it. Pellon calls it an interfacing-tracing cloth. I bought a bolt of it to make a sample pattern for my silk vest (Why a bolt? It was a 60% off sale and the usual price was $2.48/yard. You do the math.) That went well as 830 sews nicely, but then I began to wonder about other uses.

Out came the paints, the watercolor pencils, the crayons, the stamps, and the brushes. First, I soaked pieces of 830 in containers filled with diluted fabric paint, which resulted in soft pastels. Then I began to stencil and stamp it.

I fused some of the colored 830 to Wonder Under, cut it up and ironed it to fabric. Then I quilted it. I found that it doesn’t fray and even three layers are quite thin.

On other experimental fronts, I traced stencils with markers and found the result to be crisper than on fabric.

Then, I traced a flower from a quilt photo (the 830 is translucent), colored it with watercolor pencils, and outlined it with a fine tip black marker. I think traced designs could be cut out and fused to fabric.

About the time I began my tracing cloth play, I found out that Betty Busby uses this stuff in her quilts. A friend took a class with her where students used this and Evolon. Busby has her students use a Silhouette Cameo machine to cut out original designs from these materials. Here are pieces Busby made that incorporate nonwovens.

“Buffalo Gourd’s” leaves are made of nonwoven material, and sewn onto hand painted silk.

Busby developed “Toupee The Turtle” to teach students how to use nonwoven material. It looks like the background is hand painted fabric.

There are numerous advantages of this material. It cuts easily, is washable, doesn’t fray, is fusible, can be sewn on, takes paint and marking tools well, and is translucent enough to trace designs onto it. You don’t get the drag of fabric when you use pencils or markers on it. Oh, did I mention it’s cheap?

I encountered a few disadvantages. The fabric paints I used didn’t dry to exceptionally intense colors but were more pastel. However, I diluted my paint, so full strength paint may give more color. I haven’t tried acrylic paint or dyes so I can’t speak to how well they do. Also, unless you can get opaque coverage from paint, any fabric used underneath 830 will show through a bit.

Busby’s work shows me I have lots more experimenting to do with this material. Lucky for me I have most of a bolt left.

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Filed under Project Ideas, Techniques

Play With Surface Design

Well, it was actually play with paint, but surface design sounds fancier. One of my goals for 2017 was to build on fabric I had printed with thickened dyes at a workshop last fall. For no reason I can explain, the dyes faded a lot on some of my fabric when I washed it, especially ones made with a soy wax resist.

soy-wax-1I had three that looked a lot like this; the vibrant greens had mostly washed out.

A recent paint play date gave me a chance to improve them. Participants brought a wild assortment of objects to print with. Some were ad hoc such as springs, cat toys, chop sticks, bubble wrap, and rubber door stoppers; while others were purpose made, such as stencils and fancy foam brushes. I availed myself of many of these tools, plus empty toilet paper tubes, truly the Swiss army knife of printing.

silk-screen-with-paintThe results are definitely more colorful than what I started with. I may add more to them at the next painting session.

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Filed under Fabric Printing, In Process, Techniques

Silk Screening On A Budget

I never thought about silk screening  on fabric because it just seemed like too much special equipment and supplies.  Then I took a half day workshop on frameless silk screen printing.  Now I’ve made a printing pad, bought silk screen paint (Plaid), and cut some stencils.

Some friends, who also took the class, and I got together to try the technique on our own.  We used homemade stencils on synthetic organza as well as commercial stencils on screening.

The homemade ones use a paper backed adhesive vinyl available in rolls that you cut your design into using an Xacto knife.  Then you peel off the paper backing, stick the vinyl to synthetic organza, and iron the whole thing between layers of something nonstick like parchment paper.  Just don’t set the iron too high like I did. Vinyl meltdown will result.

The commercial stencils have much more fine detail (my knife wielding skills are rudimentary) as you can see from the dragons below.  Both types of stencils are reusable as long as you clean them after use in water and Dawn or Simple Green.

paintstik-paint stenciled dragonsilk screened dragon

My efforts were uneven as I either laid down too much or too little paint.  We did mix our paint with shaving cream and had good results with that. As you can see, we got into that metallic purple fabric paint.

silk screened vinesilk screened leavessilkscreened starburstsI plan to screen more on top of what I’ve done or experiment with Paintstiks and/or Inktense pencils.

 

 

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