Monday, October 3, 2016

Thermofax Screen Printing - Repeat Printing Part 1

Hi everyone! I’m Terri Stegmiller and for the month of October I am going to share how I repeat print with Thermofax screens. In today’s post I will share how I prepare my screens and work surface.

When I first thought about printing in repeat to create some fabric yardage, I researched, searching the Internet, and found very little information on the process. There are definitely people who are doing this, but as far as tutorials go, not much to be found. What I did find, I soaked up and filled in the blanks with my own idea of how it was done. The process I started with is definitely not the exact process I use today, but with most techniques we tend to tweak them as needed to perfect them for our needs and surroundings.

The process I’m going to share in my October posts is one I use with both Thermofax screens and larger silk screens. While these two types of screens are used in the same manner they are created differently. My focus here will be on Thermofax screens. There are online sources where you can get your images made into custom Thermofax screens. One source is Etsy.com. You will find some Etsy sellers that offer this service.

My Thermofax machine

To create a Thermofax screen, I start with a doodle or drawing that I have scanned into my computer. Using Photoshop, I edit the image by creating a high contrast black and white image, size it to the dimensions I desire, and create a repeating pattern. I typically create what I call a straight repeating pattern or an offset repeating pattern and you can see examples of each of those below.



When you have your Thermofax screen made, it typically comes with a taped edge to aid in the use of the screen. You can use it like this with repeat printing, but I prefer to adhere it to a wood frame. I find that the wood frame provides a more stability for setting up and maintaining the repeat across the fabric.

Be sure to use a frame that is about the same size or larger than the taped screen. I like to use temporary tape, such as painter’s tape, to adhere the screen to the frame so that I can remove the screen and use the frame with other screens.


When taping the Thermofax screen to the wood frame, try to align it so that the edges of the design are perfectly parallel with the wood frame edge. This will help you achieve a more successful repeat. I like to use the grid lines on my cutting mat to aid in this alignment.



When taping the screen to the frame, be sure to tape around all edges on the bottom side so that no printing ink/paint can seep through and mark your fabric.




After you have taped your screen to the frame, you will need to prepare your work surface. I like to use a table that is 6 feet or longer. The tables I’m using are ones that fold in half for storage so they don’t take up so much space when not in use. A smaller table can work too, or you can push two smaller tables together to create a longer table. In my demonstration photos, I am working in my studio space inside my house and I have two tables pushed together where I am working.

On top of my table, I use a printing pad created from a sheet of foam insulation that I bought at my local home improvement store. These sheets typically are around 6 ft. by 8 ft. in size but you can easily cut them to the size you need with a box cutting blade or craft knife. I like the foam sheets that are thick, about 1” or more, because I pin into them and I don’t like when the pin goes all the way through the sheet and hits the table. I need the pins to be flush with the printing pad surface.



After cutting the foam sheet to size, I cover it with batting and then a layer of fabric. I usually use a layer of cotton duck cloth because it is very durable, but you can use inexpensive muslin if you prefer. I adhere the batting and fabric layers to the foam sheet by wrapping them around to the back of the board and taping with duck tape.

The next thing I do to prepare my printing surface is to add tape lines, using painter's tape. You can see in the photo below how these are placed on the printing pad. I use a long metal ruler to help align the tape so it is as straight as possible.



The tape line across the end (near the bottom of the photo above) can be placed on the right end or the left end of the printing pad. It just depends on the direction you prefer to work. I like my fabric to feed from the left, so I place the tape on the right end. This is an alignment aid which will make more sense when explained in a later post.

Coming up in Part 2 of Repeat Printing with Thermofax Screens - fabric preparation


Saturday, October 1, 2016

And the Winner is. . . .

Thanks to everyone for your great comments!

There were 110 comments on the four posts and I used a random number generator to chose the winner

Surprisingly, it chose the last commenter!
SO, the winner of the FOUR Sun Printed Fat Quarters, 
TWO yards of Mistyfuse, and ONE Mini Goddess Sheet is:

Vicki

I sent an email to you Vicki.
Please email me with your mailing address and I will get these prizes out to you right away!

October's Queen Bee is Terri Stegmiller

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?!? 
Improvise!

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 Network, Slow 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.