More Techniques from “Backgrounds and Textures”

Just yesterday I discovered a few videos in my Jane Dunnewold class that I had never watched, so of course I ignored a few chores to watch them. I learned about making prints with a ballpoint pen, rubbing a laser photocopy with CitraSolv to make a fabric transfer, and treating heavy paper with hair conditioner to impart a soft crinkled texture.

I had little luck with the ballpoint pen technique to emboss paper, though I hope to try it again now that my gel plate is cleaner. Mark Yeates has videos that show how he uses it. His results are better than mine, but I can see that everyone gets grungy results so it’s not just me.

Pen tracing of drawing transferred to gel plate, printed with acrylic paint

I need to make laser copies so I can try the CitraSolv technique, and I will go through my stash of hotel toiletries to find hair conditioner. I have managed to get decent prints from inkjet image transfers using glossy business paper. This involves an inkjet printing of a black and white image on a heavy glossy paper sold for brochures, time on the gel plate for the image to transfer, and then a pull with acrylic paint.

Print from Graphics Fairy website image on silk organza

Personal photo of footbridge printed on cold press watercolor paper

According to Jane, this technique doesn’t yield dark blacks so these are considered to be good results. She teaches it as a more reliable method than getting prints from magazine transfers. I tried more of that technique with no better luck. I think it’s partly that I don’t have the right kinds of magazines – glossy fashion ones. I’ve tried mail catalogs and have been warned that National Geographic is a total bust. At least I think I now understand the right amount of paint to use.

Here are other class results. While some students are already composing larger work with the techniques, I am still exploring how to get them to work.

Tracing cloth multi layer print using a mask

Plastic netting ironed to drop cloth

Stamps made with wipe off tool (not carved), then stamped off on paper

Finally, I want to note that Jane includes videos that show how she brings all the techniques together into finished and in process work. I have begun to compose on my design wall with bits I’ve made combined with stash, so I will just have to see where it goes.

I’m linking to Off The Wall Fridays.

More on Dendritic Printing

Since some of you seemed interested in this method of fabric (and paper) printing I’ll take a deeper dive. I had never heard of it before the Backgrounds and Textures class, but the technique has been around for at least a decade on YouTube, and who knows how much further back in pre-online video days.

This was my first print. You get two impressions from each press.

Here I used glass plates and printed on old monoprints and newspaper.

Textile paint circles on linen, printed separately.

I found that several factors can affect the thickness of the branches and the patterns:

The material of the plates used. Glass panes (I used old picture frames) seemed to create thicker branches than loose leaf binder plastic divider sheets. In one of the videos below the demonstrator uses acrylic blocks used for stamping.

The thickness of the paint and its application. I used Liquitex acrylic paint (the first image above,) Jacquard textile paint (the third image on linen,) and Blick fluid acrylic paint (the middle image in blue.) Obviously, the thinner the paint the more it spreads on the plate.

The amount of pressure used when pulling a print. A light touch is vital, otherwise the patterns get pushed down. Really, one gentle stroke seems to do the trick.

I hope to experiment more with fabrics and ways to change the patterns, maybe go for multi-color effects. This technique is fast, and offers almost instant gratification. After waiting overnight for some of my prints on fabric to dry so I could pull them, I am so ready for fast.

More videos:

Atomic Shrimp https://www.youtube.com/watch?v=eerBW37SLxM

Catherine Rains

Joggles

I’m linking to Off The Wall Friday.

Changes

This past week I decided I had had it with the arrangement of my studio, so I changed it. Since I last did this I am doing more mixed media work, and am using my table more than my sewing machine.

My studio seen from the door.

My resource center, aka messy bookcase. Yes, my music player is very old school (no touch screen,) but I can still play my cassette tapes.

Design wall with my new motto, Fear Less.

So far the new arrangement is working much better, partly because I am now using the space between the design wall and table. My fabric is still stored in the closet and a small chest, which aren’t shown in the above photos. My only regret is that I didn’t do this sooner.

I have begun quilting the piece on the design wall, and have lots of thread colors yet to add.

And then there’s work for the Jane Dunnewold class on backgrounds and textures I’m taking, but the output so far is pretty boring, so I’ll spare you. If you haven’t check it out yet, I suggest taking a peek at dendritic printing.

Summer’s Empire Is Falling Down

Sometimes revisiting my scrap hoard sparks an idea for a new quilt. While shuffling through fabric I had Spoonflower print from a photo I came across large leaves that I hadn’t used in an earlier quilt. Here’s that quilt.

“Sycamore”

For my new quilt I pulled all sorts of autumnal colored scraps – cottons, silks, synthetics – and grouped them around the leaf panels I had left. I spent some time moving parts around and began construction in chunks.

I had another reason for making this quilt, a regional SAQA exhibit (Indiana, Michigan, Ohio) that’s to feature a bit of the color known as poison green or Scheel’s green. Here’s how the prospectus describes it:

In 1775 the color, Scheel’s Green, was discovered and later in 1814, the much
improved Paris Green was developed. Both pigments were created by chemists and
produced a remarkable shade of emerald green by combining chemicals that produced
arsenic poison. This vibrant green was extremely popular among the privileged because
it symbolized royalty and wealth. Despite the deadly drawbacks, fashions, wallpaper,
soaps, paints, and toys were produced in abundance. Factory workers who produced
these commodities as well as consumers suffered severe side effects including death.
By the end of the 19th century the deadly greens were replaced with less toxic pigments
and dyes.
The art quilts produced for “A Drop of Emerald Green” will have just a touch of today’s
safe emerald green as a reminder of the tragic history of the color green.

So, there’s a drop of emerald green on my quilt in a spot where there might well be a bit of vivid green left on a leaf.

“Summer’s Empire Is Falling Down” top

The entry deadline is November, so I have plenty of time for fine tuning and quilting. I am considering doing wavy edges as they aren’t straight now, and I have deliberately avoided straight seam lines. And I do have a title, the heading of this entry, which comes from a Joni Mitchell song.

I am linking to Off The Wall Fridays.

Closing The Circle

In the early days of the pandemic I spent a lot of mental energy on a project to make circles and ovals out of silk fabrics I had painted, dyed, and printed. I ended up separating the shapes into groups of cool and warm colors, and hand sewing them together into lattices. The warm color piece was finished in 2021, while the cool colors chilled out in my black trunk. A few months ago I was struck by an urge to clear out unfinished projects, so the cool color circles came out of storage.

“Roundabout” 2021

I decided not to use wire again as sewing that to the fabric was a pain, but I still wanted some bling. I tried small log cabin shapes made of silk, but my product testers nixed that idea. Then I remembered embroidered sheer scraps from the costume shop that I had painted. They added lots of bling. Finally, I dug out thin glittery ribbon I obtained from a quilter who was giving away all her stuff. It was flexible enough to curve around all the connected shapes, and could be machine sewn.

No name yet. 2023

I plan to hang it to stand slightly away from a wall, using a 1 inch deep piece of wood. The wood will have D rings to hang on nails, while the quilt will be attached to the wood with cup holders or some other type of hook. I think I can sew plastic rings to the back of the piece that will hang on the hooks. Then I will need some sort of modesty skirt to hide the bit of wood that might show. Please let me know if you have other ways to work this. I am not a carpenter. I have painted and sanded the wood, but have gotten no further.

I also have made no progress on naming this piece. I think it’s shaped like a map of South America, but don’t want any reference to that continent. Maybe something related to a pond might work. Any ideas?

I’m linking to Off The Wall Fridays.

Is It Vibrant or Loud?

A look through my quilt galleries will reveal that I have a fondness for bright colors. Occasionally I work in subtle colors, but then I usually feel muffled as I create. My brain keeps telling my feelings to dial it down. Why do I try? Because I view such restraint as part of artistic training. Sometimes bright colors are set off by subtle ones, and I need reminders that subtlety is possible.

However, my latest silk piece makes no pretense of subtlety. My fabrics collection has many pieces of bright, even vivid, silks; so if I want to use what I have the results will likely be bold.

Here’s what I thought was the finished piece, minus edge finishing. Please put on your sunglasses before viewing.

As I looked at this photo I began to wonder if I needed to add something on the purple/cranberry block of fabric. I sewed up a few block possibilities and tried them out.

I tried multiple log cabin blocks, but that was too fussy.

Of course at this point I am thoroughly confused as to what looks best. Any opinions are welcome. I am putting it in time out before my brain implodes.

Instead, I can work on a long abandoned circles and ovals project that needs more…something. I had hoped to used little wonky log cabin squares to liven up the surface, but my testing group thought they weren’t the optimal choice. Now I remember why I had abandoned it.

Along My Silk Road

I’ve returned to regularly scheduled programming, which means I’m back to my drawer of silk fabrics. Over the years I’ve bought all sorts of silk, augmented with 1960s/70s era dresses discarded by a theater’s costume shop and men’s ties. Because the silks range from tissue thin to heavy, I’ve fused backing onto many of them so they are easier to use.

So far this year I created my fantasy village from silks.

A few years ago I developed pieces made of silk ovals sewn together, then layered with wire and cording. Most of the fabric I used was printed or painted.

“Roundabout”

I began, but never completed, a larger companion to “Roundabout.” Finally I have an idea for completing it. Originally I planned to quilt it, then thought about hand embroidery. Now, I’m adding little off kilter log cabin blocks to create a path through the piece. It may still need additional stitching, or perhaps a tail?

And I have just finished a small (14″ square) piece based, very loosely, on one of my 100 day project collages. I’ve glued it to a pre-stretched used canvas that I failed to turn into a work of art. It’s mostly silk with a bit of hand dyed cotton thrown in.

The working title is “Turbulence Ahead”

My current design wall project continues the silk log cabin block theme. I may make the edges irregular just to have some fun.

Of course I haven’t yet delved into my silk organza so the current wall project could change – a lot.

I’m linking to Off The Wall Fridays.

Jumping Off Points

While we art quilters, or at least this one, would like to think all our work springs fresh from our creative minds, sometimes already made sources give us a head start. Like cheater cloth, fabric that mimics the look of patchwork but only needs quilting, I have used a tea towel and motifs from a bedsheet to do the heavy lifting for two of my current projects.

Because I follow Clare Youngs, a talented collagist and print maker, on Instagram, I learned she had designed a tea towel for Werkshoppe, a company that prints original artwork on products like puzzles and tea towels. Even though I find the company’s name painfully precious, I ordered a few towels and set about to translate one of Youngs’ motifs into a border.

This should finish at about 25″ wide by 30″ high

Youngs uses a flying geese type pattern a lot in her work, so I thought a wonky version would make a good border. To keep the long pieces straight I created a freezer paper piecing pattern and used my tutorial for construction. It’s a good thing I could refer to it as I had forgotten a few steps. I scrapped my original plan for a double border when it became apparent I didn’t have enough fabric bits. I always underestimate the amount of fabric triangular paper piecing takes.

For the back I dug out an old unfinished top that was partially disassembled and will add solid strips of orange fabric that’s been in my drawer for too long to bring it up to size. I am thinking of a traditional binding in black as I may use this on a table.

I never added the flying geese and have taken off the top and bottom rows.

My other assisted start project came about as an effort to use my fused fabric scraps. That’s right, yet another scrap collection. A friend had given me pieces of a sheet that was printed with stylized birds. I had attached fusible but never used them. I picked out any fused scraps that could represent leaves or flowers, found a blue piece of a tablecloth I used under painted fabric, and started composing with my scissors.

This should finish at 23″ wide by 19″ high, including the black border

Next, I got creative with Fabrico fabric markers (I have had them at least 9 years) to touch up stems, leaves, and petals. I plan to quilt it to the piece of black felt shown in the photo above and call it done. My working title is “Three Little Birds,” a tribute to the Bob Marley song. I mean, you can’t get more upbeat than that.

However, all quilting will have to wait for my injured left hand index finger to heal (I am a southpaw.) You should see me trying to type – slow and inaccurate.

I am linking to Off The Wall Fridays.

Halfway There!

As of yesterday I have made 50 4 by 4 inch collages in my effort to complete the 100 day project. I wrote about the beginning of my effort here, and am pretty darn proud to have made it halfway.

Here are the collages I’ve made since the first 16. They’ve continued in an abstract landscape vein; and mostly contain some stamping, stenciling, or printing.

You logical types will have noticed there are actually 36 collages shown. One is for today, and the other is because I numbered two collages as 38. Since I don’t much like one of them I can always toss it or rework it on another day.

The scraps in my working pile are getting smaller, so I see some creative challenges ahead. I hope to draw only from the scrap pile, but since that’s my rule I can be flexible. I have plenty of other paper scraps.

I’m linking to Off The Wall Fridays.

What’s On My Design Wall

As of the beginning of the week, my design wall was a bit crowded.

I have two quilting projects ongoing, plus work from my Textural Style class, as well as photos to inspire new projects. Starting from the top right, there’s my two single color studies from class.

The blue one is done except for an edge treatment. The red one has become a two color study and has lots of big stitch embroidery. I have a section I want to embroider, but it’s mostly done. I have to figure out an edge treatment, but it won’t be bound. I may do a buttonhole stitch and then paint over that to seal the wonky edges.

Back of fantasy village that will be covered over

On the bottom right is my fantasy village that now has lots of machine quilting, though it doesn’t show up well in the photo. I found that black thread works best. White is anemic and even red thread doesn’t show up well. That will have a pillowcase finish as batting is already fused to the silk pieces.

Use your scraps projects in process

In the lower left are two pieces from the final day of my class. They began as one, but I couldn’t get the left and right sides to work together, so out came the rotary cutter. They are built on a dye mop up cloth and include rotted linen, silk organza scraps, handkerchief scraps, painted cheesecloth, and leftover fabric feathers. The scraps are roughly machine sewn down and I have begun hand embroidery. I’m thinking of mounting them on larger quilted pieces to give them more presence as they are less than 12 inches square.

Finally, there’s my problem child, the piece in the upper left. It’s not the piece itself, though I spent lots of time creating the sky. Rather, I am unable to get a response from the photographer on whose photo I based the piece. A friend sent me the photo which he found on Tumblr. I wanted to do the right thing and get the photographer’s permission. After I identified the photographer through an image reverse search, I found his website and wrote to the email address given there for permission to base my work on his. No reply. Then, I found his Instagram account and DMed him. Still nothing. So, I decided to go ahead and finish the piece, but I don’t think I can exhibit or sell it. Of course I will credit his photograph. At any rate, I will quilt it before I add the last bits of black bias tape.

Off my wall I have my 100 day project little collages, which total 38 as of today. They’ve proved to be great little arty snacks I can knock off each day. Limitations (4 by 4 inches, only paper scraps) really help clarify the mind and speed up a project. Another off my wall project is a sketchy inventory I did of my studio’s contents for insurance purposes. I am appalled to realize how much money I have spent on thread alone.

If I want to start more projects I better get the wall cleared off. I’m keeping a list of possibilities.