Friday, March 11, 2016

Painting Fabric over Gutta Resist

Today, as I was looking through my studio drawers for tea lights, I ran across water soluble gutta resist, small, squeeze bottle applicators and needle pointed plastic syringes.  Instead of starting the laundry as I had planned, I whipped out a 14”x14” piece of white cotton fabric, laid it atop a plastic bag to protect the work surface and tried to draw gutta up into the syringe so that I might be able to make fine resist lines.  

 Unfortunately, the gutta was too thick to draw up into the syringe so I set about making markings onto the fabric with the squeeze bottle applicator.  What started out as fairly thin lines became fat lines as the gutta resist “bled” into the fabric.  Any plans I had for creating a design that made sense flew out the window and then came the scribbling.  I figured that I might as well fill the space with markings.  What could hurt?

I then hung the fabric to dry.  After about an hour the gutta was completely dry. I lightly spritzed the entire square with plain water.  Next I applied a 1:1 ratio of Setacolor fabric paints and water with a 2” brush.  The first color I used was yellow and then applied Oriental blue in diagonal stripes that ultimately bled into the yellow, as I had anticipated it would do.
Painted Fabric Over Gutta Resist Hanging to Dry

I was initially disappointed with the image, probably because it did not turn out as I had hoped it would.  However, as the piece dried, I began to increasingly appreciate the randomness of the image.  Now I wish that I could be able to replicate this, although I know that will be impossible.
Here is a picture of the fabric after the gutta resist was washed out, dried again and then ironed.
Final Fabric from Gutta Resist, with Yellow and Oriental Blue Wash of Setacolor Fabric Paints

Revisiting the use of gutta as a resist has spawned new questions.  I am now wondering if the gutta could be applied over a stencil with a wedged make-up sponge.  Unlike the lack of flow control when using a squeeze bottle applicator, I pondering that the amount of gutta applied might be better controlled by using a small, dense sponge.  I have a few more 14” x 14” squares of cotton fabric just waiting for further experimentation.  Hmmmm.  Possibilities! Gotta love ‘em.
Always remember, never fear to experiment.  
Sometimes wonderful things happen.
© Linda Friedman 2016.  All rights reserved


Thursday, March 10, 2016

Birds on a Tin Tile Print

Through a Garden Fence
After attending a fantastic plein aire class on tin tile printing given by Teresa Shippy, I came right home and used a tin tile to make four prints using Setacolor fabric paint.  At another time I will post the process for this printing.  I then sashed each printed square with hand dyed purple fabric, backed each of the four center squares with batting so that I could make them dimensional, and then applied batting to the back of the entire top.  On the center stashing pieces I machine appliqued free form leaf shapes and auditioned petals for a middle medallion shape.

Life and other quilting deadlines intervened and almost 3 years passed before I revisited this creation.
While straightening up my studio in anticipation of a friend who will be visiting to quilt with me for a week, I came upon the Through a Garden Fence that I had started a few years back.  I had always envisioned putting birds on this quilt, so I dug out some white cotton fabric and painted birds on it.  After the painting was complete I pulled out tear away stabilizer and embroidery hoop and set about free motion machine "painting" a few birds.  I'm not certain exactly where they will be placed yet, but I may place one at each of the points where the four leaf shapes converge upon the center of the quilt.  Here are the birds...



There are a few deadlines that I need to meet in the next few months so I don't know when I will have the time to return to this work to actually quilt the work and to applique the birds, but I'm hoping to have it completed this year.  
Always remember, never fear to experiment.  
Sometimes wonderful things happen.
© Linda Friedman 2016.  All rights reserved

Sunday, March 6, 2016

Make Stencils from Hot Laminated Film

McGyvering Laminated Film into Stencils
Example 
Yesterday I needed to make laminated tags for a sewing machine that was going in for repair.  Didn't want to take a chance that any part would fall into a black hole of other machines.  As a result I had several pieces of laminated film left over after I cut out the tags.

What, oh, what could be done with these?  I hate throwing away anything that may serve another purpose.  After a couple of hours, the thought hit me that since the left over pieces were very firm, impermeable to water and also transparent, they might be able to be used to make stencils.

Tools and Materials Used:
- White paper
- Laminated film
- Craft knife
- Freezer paper
- Water
- Paper towel
- Fabric
- Iron

My first attempt at cutting a stencil from the film was to freehand cut a vine form.  The picture below is of that stencil.  Because of the glass like transparency and light reflection, I placed the stencil(s) on a black background, so they appear quite dark but at least they are visible.
Vine Stencil
Since the vine cutting was successful, and because I had a couple of larger lamination scraps, I drew a picture of a sun shape on white paper, placed it under a laminated piece, taped it to the paper, and started cutting the stencil.
Laying Laminated Sheet Atop Paper Pattern
Cut Out of Stencil and Paper Pattern
Because the edges of the stencil are almost invisible upon fabric, placement became difficult.  To overcome this difficulty, I put painter's tape around all front and back outside edges of the stencil.
Painter's Tape Put on All Outside Edges
In order to be able to know where the cut out began and ended, I placed a couple of small pieces of tape onto the stencil.
Final Stencil Ready for Painting
The colors I chose to apply with stencil brushes were orange and red.
Palette Colors
I started stenciling directly onto the fabric; however, when the fabric became wet with paint, it tended to distort.  After the first sun shape print, I ironed freezer paper to the back of the fabric to provide stability to the fabric.
Freezer Paper Ironed to Back of Fabric
The width of the freezer paper was wider than the fabric and tended to make the whole unit roll up.  A simple solution was to cut away excess freezer paper.
Excess Freezer Paper  Cut Away from Fabric
In order to keep the sun shaped prints aligned, I placed a ruler onto the fabric as a printing guide.
Ruler as Guide
Aligned Printing
Clean-up was a breeze with laminated film cut stencils.  I merely sprayed plain water onto the stencil and then used a paper towel to wipe off the paint.
Stencil Cleaned with Water and Paper Towel
 Finished Stenciled Fabric with Stencils Used

The "experiment" proved to be so successful that I am sure that I will be cutting more stencils from laminated film in the future.  Their ease of use and clean-up and their permanency will surely be a go-to stenciling method for me in the future.  I'm so certain of this that I have edged 3 additional left over pieces of laminated film with painter's tape.  They are ready to go when the muse visits again.
Laminated Film Prepared for Stencil Cutting
Always remember, never fear to experiment.  
Sometimes wonderful things happen.
© Linda Friedman 2016.  All rights reserved

Thursday, March 3, 2016

The Venerable Dot as Life's Teacher

Surface Design and Treatment of White Fabric
 
This began as a red strip that I painted onto white fabric as I was creating a mini tutorial on how to make a straight edge guide for use with a free motion foot.  The swath of white fabric on either side of the red strip begged to be filled.  After a few days of adding to the fabric with stamped dots and words, this is what emerged.  How the white fabric will be further transformed is yet to be determined.
Lessons that a dot can teach
Individual Sections
(Starting at the top left, going down the left side, then over and down the right side)
Top Left Section
Middle Left Section
Bottom Left Section
Top Right Section
Middle Right Section
Bottom Right Section


Morse Code Message to My Children in Red Stripe

Always remember, never fear to experiment.  
Sometimes wonderful things happen.
© Linda Friedman 2016.  All rights reserved

A New Series is Born

While experimenting with the use of household items as printing tools, two panels emerged, one that used the lid of a spray can and the other that used kitchen hand utensils and folded cardboard. These were intended only as audition pieces; however, after they lay a couple of weeks on the work table, the concept of pulling the panels together with a figure emerged, and that was the beginning a new series with a signature silhouetted figure and circles. Now my sketchbook runneth over with new ideas.

Flying Free

Flying Free
A New Series Begins

Wonder

Wonder
And There Was Light

Recognition

Recognition
Eden - 15"x24" -
Machine appliquéd photo transfer figures of Adam and Even atop a field of multicolored strips with a raised and glossy epoxy serpent binding the figures. Net overlay with outline quilting around stamped boarder motif. (15”x24”)

Alluvial Shadows

Alluvial Shadows

Alluvial Shadows


Appliquéd freeforms suggest fluid, shadowy overlays. Heavily beaded and embellished with coiled wire connecting levels. Batik fringing with beads.
(21 ½”x25”)

Celestial Order

Celestial Order

Couched yarns and threads meld with a felt star lit night sky to sing to the wonder of the firmament. (9”x13” excluding fringe)

Cherry Jubilee

Cherry Jubilee

Cherry Jubilee

Traditional needle turned appliquéd cherry tree branch highlighted with embroidery and beads atop a free motion quilted and triple bordered background. (12”x13” excluding frame)

Seaside Idyll

Seaside Idyll

Seaside Idyll

(In Blum Private Collection)
Heavily quilted, original fabric painting atop hand dyed background depicts two elegant women meeting upon the shore with fanciful pets that are fashioned after classic carousel figures. The Westwind breathes life into the figures and sways the willowy seaside flora while parasols offer protection from both sun and sand. (46”x19½” hung from fabric casing on reverse)


Heart of Pepper

Heart of Pepper

Heart of Pepper

Original needle punched botanical design on background of dense free motion quilting. (12”x12” excluding frame)

Cozumel Musings

Cozumel Musings

Cozumel Musings

Mixed media original underwater design. Hand dyed background overlaid with card woven feature. Fused, appliquéd and thread painted fish. (21”x39” excluding fringe)

Mi Corazon

Mi Corazon

Mi Corazon

Patchwork heart dotted with French knots atop hand quilted tree of life design executed with paintsticks and a variety of thread embroidery and yarn embellishments. (13 ½”x13 ½” excluding hanger)

Garden Fantasy

Garden Fantasy

Garden Fantasy

Single needle felted botanicals on a back-ground of quilted patchwork and bordered by prarie points. (22”x18” excluding antique hanger)

Koi Reflections #2

Koi Reflections #2

Koi Reflections #2

Hand painted koi fish with dense echo quilting. (21”x28”)

Koi Reflections #3

Hand painted and thread “painted” koi fish set on hand painted background with dense echo quilting. (21”x28”)

Koi Reflections #3

Koi Reflections #3

Appleseed Mirror

Fused and echo quilted apple with lame leaves on a freemotion quilted field of reds. Reverse mirror of “Apple Seed Mirror #2” (12”x12” excluding frame)