Tuesday, September 27, 2016

Boro Sun Prints

Now that you have made (or are wanting to make) all these awesome Sun and SunLESS printed fabrics, you need something to make with them.  

My daughter had a great pair of ripped jeans that were just begging to be even greater.  
Not to mention the rips were getting a bit too big.

Out came the Sun Printed fabric, Mistyfuse, thread and needle, and a new pair of pants were born.
The thread pictured is a Sashiko thread I had on hand, but I also used a pearle cotton thread.

First I fused Mistyfuse to the back of each piece of Sun Printed fabric, and then carefully cut and arranged patches in an artful manner to cover the holes in the jeans.  Once the patches satisfied their owner, they were ironed and fused to the pants, allowing enough overlap to cover the holes completely.

The most important part of the project was the needle.  
Hand stitching through denim and fabric can be rough unless you have a good needle.

I started with an old needle I had on hand because it was handy, and it had a large eye.  This was a big mistake.  The needle was difficult to pull through and eventually I broke it.

Fortunately I remembered some Richard Hemming Embroidery Needles I purchased from ArtFabrik.  Once I gave this needle a go, it was all smooth sailing!  The eye was bigger and easier to thread than I thought it would be and it glided in and out of the fabric beautifully.

The large stitching was relaxing and very therapeutic.  
I found myself looking forward to the time I spent finishing these jeans.

My daughter loves them and I'm thinking I need another project like this!
One of my favorite Sun Printed fabric projects is this art quilt:

What will you use your Sun Printed Fabric for?

Leave a comment on this post for one last chance to win these FOUR Sun Printed Fat Quarters, TWO yards of Mistyfuse and ONE Mini Goddess Sheet.  The winner of the giveaway will be announced on September 30th.  Thanks for stopping by and reading!

Friday, September 23, 2016

Advanced Sun Printing

Have you used one of the methods in the previous two posts yet to create some Sun Printed or Sun Less Printed Fabrics?  I hope so!

Today's post will use take the Sun Printed fabric one step further.
The fabrics created with Sun Printed are beautiful in and of themselves but they can be so much more when you layer them.  
The paints used in Sun Printing are transparent and lend themselves well to layering.  (Note: Pebeo's Setacolor has been renamed "light" instead of "transparent" as pictured above.)  

It is amazing the depth which can be achieved with two and three layers of paint.  To create a layered effect, start by creating your first layer as described in this post. 

One of the biggest tricks to creating a beautiful second and third layer 
is to remember basic color theory:
  Blue + Red = Purple
Blue + Yellow = Green
Red + Yellow = Orange
And don't forget that
Purple + Yellow = Brown
Green + Red = Brown
Orange + Blue = Brown

Brown is a beautiful color!  
Especially when you can see layers of the colors it was created from.
Here are just a couple examples of the beauty you can create with layer Sun Prints:
First layer: Blue
Second Layer: Fuchsia
Don't be afraid to cover the entire piece with the Fuchsia!
The fabric has three colors despite only using two colors of paint.

And this piece was given an additional layer of blue.
The masks used on these pieces were cut from plastic transparency sheets as well as natural leaves from a tree.

The second example is a piece where Brown is especially beautiful.
First Layer: Blue
Second Layer: Orange
Third Layer: black

This is one of my favorite Sun Printed fabrics.

What colors will you combine?
What shapes will you create in your Sun Printed fabrics?
Leave a comment for another chance at winning these FOUR Sun Printed Fat Quarters, TWO yards of Mistyfuse and a Mini Goddess Sheet.  (I just started singing the 12 days of Christmas there, sorry about the ear worm!)

Next week's post on September 27th will show you a fun project to create with your Sun Printed fabrics.

Tuesday, September 20, 2016

SunLESS Printing

So one day I woke up wanting to sun print and this is what I saw outside . . .

. . . another day I've been busy with the family or work and missed the sun. . .

What is an artist to do?!? 

By creating a fake Sun or a Heated situation, I have found I can still produce great "Sun Prints."

1) Fake Sun

Following the instructions in this post, prepare the fabric and place the painted and masked fabric under a Fake Sun.  I like using shop lights. . .

. . . as well as my desk lamps.

Both create the same images I get outside in the bright sun.

The amount of time to create the Sunless print will depend upon the heat and humidity in your home or studio.

2)  Bottom Heat

By placing a heating pad underneath the painted fabric laid out on a cookie sheet, the same evaporation effect occurs and allows you to have a Sunless print!

3) Ironing

The fastest way to create a Sunless print is to use a very hot iron.  
I demonstrated this method on Quilting Arts TV Season 1700 and 1800.  

  • Simply place your painted fabric and heat-proof masks (I like to use shapes cut from overhead transparencies) on to a cookie sheet.  (Don't plan on using the cookie sheet for baking again!)
  • Cover the fabric with a Mistyfuse Goddess sheet.
  • With an iron set on the cotton setting, iron over the top of the fabric until dry.  This will take about 5 to 7 minutes of ironing.
  • Remove the Goddess sheet and masks to discover your fabulous designs!

Are you inspired to create some fabulous Sun Printed Fabrics of your own yet?  Go forth and create and then come back here on September 23rd to learn one more Sun Printed trick!

Leave a comment below to be entered for another chance at winning these four lovely Sun Printed Fat Quarters, Two yards of Mistyfuse and a Mini Goddess Sheet!

Saturday, September 17, 2016

Sun Print-paloza!

The seasons are a changing, and no matter the weather where you live, 
it's time to take advantage of sun printing!

Ideally the weather is hot, dry and windless for sun printing.

Pull out a table, or a large piece of board. . .

. . . grab some paint, fabric and masks (i.e. leaves, cut outs, stencils, hardware, etc) and get busy.

The basic instructions for Sun Printing are:
1) Wet your fabric with either a spray bottle or soak the fabric in water and squeeze out the excess water.  Lay the fabric on a table or board which can be placed in the sun.
2) Mix your paint of choice (see photo above) at about a two to one ratio - two parts water to one part paint - and, using a large foam or bristled paint brush, spread the paints across the fabric.  Use one or multiple colors.  It's all up to your creativity.
3) Place leaves, masks, keys, nuts and bolts, or whatever you like over the top of the painted fabric.
4) Leave fabric in the sun until the fabric has dried.  The sun heat sets the paint and so it is now wash fast, however, I am a creature of habit and always iron my fabrics before I wash them.

This process is much shorter, and more dramatic, in dry climates rather than in humid climates as the process is really working by evaporation.  As the water travels from under the masks, it draws the paint with it out from under the masks and creates an outline of the image.

But with the season's changing, maybe the sun isn't shining right now. . . 

. . . or it's the middle of the night and you want to create. . .
What's an artist to do???!!!
Well don't panic because. . .
Guess what?! 
There ARE ways to Sun Print WITHOUT the sun!

AND, I will tell you all about them in the next blog post. . .

In the meantime, leave a comment here about your experiences (if any) with sun printing for your opportunity to win FOUR Sun Printed Fat Quarters, TWO yards of Mistyfuse, and A Mini GODDESS SHEET!  The winner will be selected and announced on September 30th!

Don't forget to enter your email address over there on the right hand side so you will not miss the next post about how to Sun Print without the sun!  There will also be a post about layering Sun Prints, as well as a post with a fun project to make once you have created your sun prints (clue:  the project uses Mistyfuse!)

See you Next Week!

- Lisa Chin

Wednesday, August 31, 2016

And the Winner Is......

Congratulations Linda Prioleau!

It's just wonderful. I love Shibori...the process, the results...and have vowed to do more. Thanks for the inspiration.
Linda, I'll be in touch about getting your pillow to you.

I'd like to thank all of you for your comments, compliments and for sharing my blog posts on Facebook. I've enjoyed the opportunity to share some of my love of shibori with you. Now go pick up that needle and give it a try!

Tuesday, August 30, 2016

Exploring Hand Stitched Shibori: Japanese Larch

Candace Edgerley here with my last post on hand stitched shibori techniques. My final post will be the announcement tomorrow, August 31, 2016, from the random drawing of those who have left comments at the end of my blog posts. The lucky person will receive one of my silk shibori pillows.

The technique I'm introducing in this post is the Japanese Pine Larch - Karamatsu stitch. 
Japanese Larch - Karamatsu shibori, linen, MX Procion dye
Stitched on the fold, half concentric circles are marked on the fabric, stitched through the two layers of fabric with a running stitch and the threads are drawn up tightly. 
The distance between the marked circles and the size of the stitch will vary the results.

The concentric circles can be spaced evenly or randomly depending on the results you are looking for. A light pencil line or a disappearing marker can be used to mark the lines for stitching. Making half circle template pieces from a sturdy cardboard (maybe from a file folder) can come in handy when marking more than one circle across a width of fabric. Be sure you line up the center of each half circle as you lay it on the fold. Or, you might want to dig out your grade school protractor with a pencil attached. 

On the fold of the fabric above, I have marked the circles for stitching with a dotted line. I was recently asked to teach a short workshop where time was an issue and wanted to pre-mark the fabric for the students. Having just taken a class in using a laser cutter at our local Techshop, I was able to design my template in Adobe Illustrator and cut a Mylar stencil for marking a row of three concentric circles. I brushed the fugitive dye I purchased on a trip to Japan across the stencil to mark the napkins used for the class. 
Section of the laser cut Mylar stencil used to mark fabric. 
If more than one circle is stitched in a row, the threads can be carried across from one circle to the next. I recommend stitching the largest circle first which helps to stabilize the fabric for additional rows. The circles can be in staggered rows.

When the threads are drawn up, in the case of these three circles, they form a triangle shaped bundle. After pulling up the threads, inch across them with your finger nails to further tighten the rows. Spray with water to swell the fabric and threads which will make it easier to pull up the threads even tighter and tie off with knots.

Before dyeing the piece, soak in plain water for 30 to 60 minutes and follow the directions for dyeing the piece. After removing from the dye, rinse the excess dye from the fabric in cool water before putting it into the washing machine. All work should be washed in hot water following the dye bath. I recommend using synthrapol in the wash out.
The Japanese Larch - Karamatsu shibori, cotton napkin, MX Procion dye

I still find it amazing that the knots in each row of stitching create such a perfect resist. See the small dots in the right side of the right hand circle above.
Japanese Larch - Karamatsu shibori, cotton, MX Procion dye
I haven't mentioned the dye process in this blog hoping that, if you aren't already a dyer, you might be inspired to give it a try. Whether you are an experienced dyer or just starting, please do follow safety measures when handling the dye. Most companies that sell dye provide information about safety measures on their websites as well as downloadable copies of the MSDS (Material Safety Data Sheets) sheets. I use ProChemical & Dye's Studio Safety Guidelines as one of my class handouts.  

Before I leave the blog, I'd like to share with you some of my shibori resources. There are many very good shibori books available, but the most comprehensive book I own is co-authored by Yoshiko Wada, Shibori: The Inventive Art of Japanese Shaped Resist Dyeing. Other resources on Yoshiko's website include the World Shibori NetworkSlow Fiber Studios, and lots of books, etc in her Online Shop. You will find me in Oaxaca Mexico in November with Yoshiko attending the 10th World Shibori Network Symposium. I've attended previous Symposiums in Santiago, Chili; Paris, France; and Hangzhou, China. Yoshiko's Slow Fiber Studios educational textile tours have taken me to Japan and India.

Ana Lisa Hedstrom has a very good series of shibori technique DVD's. The series covers Stitch Resist Reconsidered, Arashi Shibori (pole wrapped), and Itajime Shibori (clamped). The series is well worth the investment. 
Detail, Archean Remains, silk organza, acid dye, pieced.
So, I hope you have gained an appreciation for shibori and will give it a try. The magic caught up between the folds always presents the most interesting results. And remember, it doesn't need to be just blue and white. Try some color as well!

One more chance to be in the drawing for one of my silk hand dyed shibori pillows which will take place tomorrow.  Just make a comment below to be included in the drawing.

Friday, August 26, 2016

Exploring Hand Stitched Shibori: Ori Nui

Candace Edgerley here with another shibori stitch resist dye technique as well as a few tips to share and some experiments with last post's mokume. Don't forget to make a comment at the bottom of this blog to be eligible for the random drawing next week for one of my hand dyed shibori pillows. See an example at the end of this post.

Ori-nui shibori is created on the fold of the fabric.Traditionally, ori-nui is stitched on an undulating line.  A simple running stitch is sewn close to the edge of the fold. Once all the lines have been stitched, all the threads are drawn up, the piece is lightly sprayed with water, an additional tug to tighten up the stitching, and the ends are either knotted with the ends of the two threads or knotted with the adjacent row. 

If stitching the undulating lines, you may want to mark the fabric lightly with a pencil line as a guide or use a vanishing fabric marker.

As you can see in the blue and white piece pictured, I've created random straight lines to stitch. You can either crease the lines with your thumbnail or take the fabric to the ironing board and crease lines with the iron.

Here I've creased the fabric and stitched close to the fold making sure I haven't stitched into the threads as I cross over previous stitched lines.

Silk dyed with navy ProChem washfast acid dye.

In this piece I've started with ori-nui stitched random lines and then stitched a second row stitches making a bolder line of stitching.
Cotton dyed with deep navy Procion MX  dye.

Above you can see the difference in color between the two sample pieces; silk dyed with navy ProChem washfast acid dye and cotton dyed with deep navy Procion MX dye.

Dye-Na-Flow on wet & dry cotton.
I did a little experimenting last week with some of my mokume stitched pieces and two types of fabric paint. The first was Jacquard's Dye-Na-Flow. Working with narrow strips of cotton 5" x 12", I folded the bottom up 4"  so that I could see the difference between stitching through two layers and just one layer of fabric as you can see at the top sections of the two pieces. 

The piece on the left was pre-soaked in water and the Dye-Na-Flow was painted on rather heavily. You can see how the paint did soak into the creases somewhat. Though I'm not exactly sure why, it could be that the pigments in this paint are smaller than the dye particles found in a true dye.

The piece on the right was painted on dry fabric. The results were rather blotchy. Not sure if I'd consider either method a success. 

Cotton painted with Speedball Fabric Screenprinting Ink

I liked the results of the Speedball Fabric Screenprinting Ink best. It was lightly painted on the top of the pleats, dry fabric.

Above you can see the difference between stitching through two layers of fabric (piece on the left) and stitching through one layer of fabric (piece on the right). Even though the rows of stitching are approximately the same distance apart on each piece of PFD cotton fabric, the resulting pattern varies. Stitching through two layers results in a bolder pattern as the two layers are bulkier to stitch through. The pattern created by stitching through one layer is finer, more delicate. They both have interesting qualities. I always find it amazing that just a tiny knot can produce such a defined resist.

Cotton dyed with deep navy MX Procion stitched through two layers, mokume.

The piece above was stitched through two layers. The dark areas that divide the piece were created by skipping across the fabric while stitching the rows. See image below. The half on the left was the top layer and the half on the right the "back" side. The rectangles on the right were caught up more in the gathers than those on the left side. I might have had better luck if I had marked my fabric before stitching. My lines of stitching the row of "rectangles" aren't very straight. Maybe that was my intention:)

Below is another piece where I've randomly skipped areas while stitching mokume resulting in scattered dark areas.

Tips and Reminders:
1. After stitching and drawing up all the threads, lightly spray the fabric with water to swell the fabric and thread making it easier to pull up the threads a bit more and tie the knots.

2. Soak the piece in warm water 30 minutes to an hour before dyeing to get a better resist.

3. I measure the amount of thread needed for a row and cut several pieces ahead of time. 

4. Some who hand stitch like to have a pin cushion with needles pre-threaded and ready for the next row. I prefer to use the same needle which I don't cut off until I have the next piece of thread in my hand. If I cut it off before I'm ready to thread it again, I can never remember where I've put it.

5. I keep a small "Go Bag" with my necessary supplies for stitching to take along when I know I'll be waiting in a doctor's office, a passenger in rush hour traffic, or catching up with a relative on a speaker phone call. Nothing wrong with multi-tasking in these situations. Right?

Japanese Larch stitched shibori.
So, one more post coming with one more shibori resist stitch technique. This one is called the Japanese Larch. Hope you will join me next week on the 30th. I'll be announcing the winner of one of my shibori pillows on August 31st. Just make a comment below to be included in the drawing.