Our online group, going through Fabric Art Workshop together, took a hiatus while life intervened for all of us. We have now reconvened and are continuing the book, though I am a little lost as to where we are actually supposed to be at the moment.
Below are the results of my most recent explorations in surface design. I am not aiming for beauty or perfection, just enjoying the experiences and possibly adding new techniques to future works.
After two weeks of diligent search, I finally found my Fabric Arts Workshop book nestled between a couple fat quarters in my stash. I admit I had been procrastinating a long time, even without my 5-week trip away from home (helping sister-in-law in Virginia recuperate from hip surgery). I had originally planned to make something meaningful out of each one of my experiments, and that plan was getting in the way of trying out the projects. I ran to the window,
flung open the sash, tossed out that grandiose idea, and now I can flow.
Top: Monoprinting, using Lumiere paint and a plastic sheet protector . You smoosh the paint inside the protector, than place in two layers of fabric, resulting in two prints. I liked the idea of using and abusing a sheet protector. My Lumiere paints have been around for awhile, a sampler pack in little squeeze bottles. One of them, in spite of being shaken to smithereens, didn't mix, and squirted out at least a Tablespoon of clear liquid before a pile of worm-like paint oozed out. Squishing inside the plastic protector did little to even out the worms, but once on the fabric, the problem isn't noticeable.
Top right: Lasagne dyeing on silk - This did not go at all as described in the book. All the layers ended up pretty much identical. Perhaps other silk weaves would spread a little more.
The bottom three are brayer painting exercises. Kinda fun, though frustrating because my brayer refused to load evenly on the slimy paint. It wouldn't roll until the paint became sticky.
My brayer comes from a set I purchased for my elementary school classroom a few years ago, and was not the best for the brayer experiments. For one thing, the brayer printed less in the middle than on the edges, and for another, it didn't roll easily in the slimy paint until the paint started drying a bit and became sticky, so it was hard to get it loaded evenly.
The results of the brayer plaid (center) show the concavity in the middle of the brayer. With several different sized rollers, one could cover a lot of fabric very fast and possibly interestingly, as a background for something.
Bottom left: Textures were placed under the fabric and brayered over with paint. I learned that not only is it a good idea to tape down the fabric, but also the texture plates. Their movement resulted in smudgy prints.
Bottom right: Brayer over polymer clay leaves. I had made impressions of leaves in polymer clay a few years ago, and not wanting to run outside in my bare feet in order to look for leaves, I used the cured clay leaves. I think real ones would be easier, but I still got an identifiable leaf print from them.