OK, my worktable was a disaster. I needed to sew a bit on the tent, so I had to clean everything off. The tent project ended up to be a life lesson – don’t try to sew through adhesive Velcro! Once I got the gummy balls out of the machine it worked fine again, and I hemmed 4 scarf blanks. Even if I could find white polyester scarves to dye, the Pennsylvania Guild of Craftsmen won’t accept them for jurying. Then I used some of my big roll of white paper to cover the dye-stained surface, and topped that with clear vinyl. It does look better.
When I processed the turquoise dye rag, I also processed another shibori pleated piece of georgette. I’m working on an elephant quilt and really want the shibori texture for his trunk. These pieces were also an outgrowth of the black sampling I showed earlier this week. The deadline for the elephant quilt is November 15, so if we don’t lose power (the hurricane is just making landfall as I write this) I’d better get some sewing done! And by the end of November, I need a lot of product for the holiday craft festival at the Elaina Fine Art Gallery. Scarves for sure, and the camo piece quilted for a start, plus some Kanzashi flower pins. More on that later!
This is a value sample made simply with drops of dye mixed with gradually increasing amounts of water. Click on the image to see a larger version.
The second photo shows some DSP prints that I made while in class. When home, I pulled out my plastic faux wood grain tool and spread thickened yellow ink on clear vinyl, then took a monoprint from the vinyl. A detail is below.
Finally, I have another monoprint made using colors from the screened sample pages. I made a DSP screen using leaves from the park out back. While that was set aside to dry, I rearranged the wet leaves and made a monoprint from them. When that was done, I used some thickened dye and a wallpaper brush to color the background all over with tan. Looks somewhat like camouflage, but pretty camo! Thanks for looking!
When I got home, after unloading everything out of the van that we’d taken for the show, camping and class, I had a series of black to pales grey fabrics to dye for a customer. This is the result. After that, the next project was processing the color samples from class.
This first picture is a color sample made with thickened disperse dyes painted onto paper. The different values of yellow were printed onto fabric as full sheets; the various values of red and blue were cut from paper and arranged onto paper by color and value. The the result was heat pressed onto each value of yellow.
The last photo is a truncated series of color samples that were mixed the same way as above, but the thickened dyes were printed directly onto the fabric. The colors are delightfully rich. The yellow was screened onto the fabric first, then it was heat pressed and washed out. Once dry, the process was repeated with red, then blue. The next experiment will be to put some clear print paste onto fabric, then screen colors on top. That should show if the print paste resists dye the way it does with MX. It might not be the case because of the dyes subliming. The gaseous dye might just migrate right through the print paste. If there’s no difference, I’ll be able to screen all the colors on as soon as the last has dried, and only heat press once.
Here are some pictures of the work that came out of my week with Carol Soderlund at the Nancy Crow Barn, and what I’ve been working on since.
This fabric happens to be a ‘dye rag’ that I used when working in class. I like this picture because it shows the difference that happens when a piece has been heat pressed. The next thing I did with this piece was to run it through the smocking pleater with widely spaced needles. Once that was done, I soaked it with a different blue color and let it dry. Then I processed it in the autoclave to set the color and texture at the same time. The second photo shows the finished piece.
The last photo shows one end that has been spread out and taped down. You can see that the original turquoise remains and the dark blue migrated to the high points of the fabric.