Read an Excerpt
CHAPTER 1
MAKE IT colorful
DYEING, PAINTING, PRINTING AND MORE
LAYERED MARBLING
A multicolored exploration in surface design.
jo fitsell
Marbling is an ancient technique of floating very thin paint on the surface of thickened water. The paint is then absorbed by placing fabric on the surface of the water, creating a design. Inspired by the way painters painstakingly layer each color on an oil painting, I experimented with increasing the layers of acrylic paint on my marbled fabrics to achieve a richer depth of color. By letting the fabric dry completely after each layer of paint was applied to the fabric, and floating stencils on the surface to capture colors, I was able to achieve great results.
MATERIALS
• Cotton fabric, cut to the size of your pan
• Fluid acrylic paint (such as Golden Artist Colors)
• Carageenan
• Alum
• Water
• Newspaper or newsprint
• Mild dish soap
• Gallon (3.8 L) container
• Blender
• Face mask
• Gloves
• Plastic tray (2" [5 cm] deep, transparent or white)
• Eyedroppers or squeeze bottles
• Fan
• Drying rack
SAFETY NOTE: Wear gloves and a face mask if you have a sensitivity to alum.
Alum Soak
Before marbling, you need to soak your fabric in a solution containing water and alum. (Alum helps the paint adhere to the fabric. Soak your fabric before you cut it.)
1. Fill a sink with 2 gallons (7.6 L) of lukewarm water and add 2 tablespoons (30 mL) of alum.
2. Stir the alum into the water, then add your fabric and allow it to soak for 10-15 minutes. You can soak up to 4 yards (3.7 m) of fabric in this solution.
3. Without rinsing, remove your fabric and hang it on a clothesline to dry.
| NOTE: You can soak fabric in the washing machine as long as you stop the rinse cycle. (It is important not to rinse the alum out.)
4. When the fabric is dry and wrinkle-free, cut it to the size of your pan. You can also iron the fabric at this stage to remove wrinkles.
Prepare the Carageenan
Carageenan is made from seaweed and serves as a thickening agent. When handling carageenan, follow the warning labels on the package and wear a face mask to avoid breathing it in.
| NOTE: The basic proportions are 2 tablespoons (30 mL) of carageenan to 1 gallon (3.8 L) of lukewarm water
1. Fill a gallon (3.8 L) container with lukewarm water and then use it to fill your blender halfway.
2. Add 1 tablespoon (15 mL) of carageenan to the blender and blend for approximately 1 minute, until the specks disappear.
3. Pour the carageenan mixture into your tray. Repeat this process with another tablespoon (15 mL) of carageenan, again filling the blender halfway. Pour the remaining water from your gallon (3.8 L) container into your tray.
4. Gently stir the mixture and let it sit until the bubbles are gone. The mixture should turn to a clear consistency. If bubbles persist, drag a strip of newspaper across the surface of the water to remove them..
| NOTE: If you do not have a blender, just prepare the mixture the night before and let it sit. (I prepare 2 gallons [7.6 L] for my 16" x 20" [40.5 cm x 51 cm] tray. One gallon [3.8 L] is enough for a dish tray.)
Marbling Technique
1. It is important to test your paint to see if it floats on the surface of the mixture. To prepare a test sample of paint, add a small amount of water to the paint using a ratio of 1 part water to 3 parts paint. Test the paint by dropping small amounts of it in the tray with an eyedropper or squeeze bottle (FIGURE 1). If your paint sinks to the bottom (FIGURE 2), continue diluting it with water until it spreads across the surface. Each paint will behave differently, so it is essential to take the time to test your paint until you find the correct water-to-paint ratio.
2. Using an eyedropper or squeeze bottle, drop your paint one drop at a time into the mixture. You will notice that the floating paint will begin to spread less as the surface is loaded and that it is possible to add colors on top of each other. Keep in mind that the first color you drop will spread the most (FIGURE 3).
3. When you have arranged paint on the surface in a design you like, hold your fabric in a "U" shape over the top of the pan (FIGURE 4). Lower the fabric from the center outwards, letting the fabric rest on the surface of the mixture. The paint will attach instantaneously. Lift your fabric up off the surface and place it on a sheet of newsprint.
4. Let your fabric dry for 24 hours. (A drying rack and fan work well.)
| TIP: As you repeat the marbling, spend a little time beforehand looking at the piece and planning what colors to place on the next layer.
5. When the fabric is dry, gently rinse it to remove the alum and carageenan. Do this in a sink filled with lukewarm water and a small amount of mild dish soap. Do not agitate the water or put the fabric under a running tap. Lay flat to dry. Press on the reverse side.
6. Repeat the marbling process for more layering effects. You do not need to add more alum to your fabrics on the second go around.
| OPTION: Prepare and float stencils (made from lightweight cardboard or paper) on the surface, and add small amounts of paint inside each area (FIGURE 5). Lay fabric down on top of the stencil. Gently pat the back of the fabric to make sure the paint is attaching. You will see the fabric change color as it becomes wet (FIGURE 6).
Finishing
You can reuse your carageenan mixture, though it will start to cloud. Carageenan may be saved for a few days in a cool space or placed in the refrigerator for months. To collect paint that has dropped to the bottom, pour off the carageenan mixture (I dispose of it in the toilet), and then place fabric on the bottom of the pan, as if you were monoprinting. The fabric will absorb the paint and you will have a fun, printed piece.
MOLDABLE FOAM STAMPS & STENCILS
Make your own surface design tools for printing fabric.
traci bunkers
I love to make my own stamps and stencils out of inexpensive, repurposed items. Stamps and stencils are a fun and easy way to print your own fabric. They can be used to create backgrounds and graphics for art cloth, or to liven up your quilting stash.
I often use printed fabrics--whether I'm working in my art journal, creating a mixed-media painting, or making art cloth--because I like to layer my work and printed fabrics give me a head start. (Be sure to wash your fabric before printing to remove any sizing. After drying, iron to remove wrinkles for a smooth printing surface.)
Before stamping or stenciling onto fabric it is also a good idea to cover your work surface with plastic or wax paper. This will protect your table from any paint or ink that might soak through the fabric. When you are finished printing or stenciling your fabric, follow the manufacturer's directions for the fabric paint or stamp pads before washing the fabric.
Hopefully, this gives you some ideas on easy ways to print your own fabrics. Have fun experimenting, and keep your eyes open for new items to repurpose into printing tools or stencils.
MATERIALS
• Cotton fabric (washed and ironed)
FOR MOLDABLE-FOAM STAMPS
• Foam flip-flops
• Fabric paint (I used Jacquard Textile Color, Lumiere, and Tulip soft fabric paint)
• Permanent stamp pads for fabric (I use VersaCraft, Staz-On, and ColorBox)
• Plastic drop cloth or wax paper
• Scissors
• Craft knife
• Cutting mat
• Steel ruler
• Heat-embossing tool
• Textured items for molding the stamps
• Brayer hand tool
• Paint palette
• Baby wipes
FOR STENCILING
• Fabric paint
• Fabric spray paint (I use Tulip fabric spray paint.)
• Items to use as stencils
• Paint palette, wax paper, or foam plate
• Paintbrush or stencil brush (Cheap, round brushes work fine.)
SAFETY NOTES:
• Don't hold the foam while heating It or you'll burn your fingers.
• When working with spray paint make sure to work in a well-ventilated area.
Moldable-Foam Stamps
Moldable foam is a type of foam that, when heated, takes on the texture of whatever it is pressed against, keeping an impression until it is reheated. You can use all kinds of foam objects to create moldable-foam stamps. The most surprising, cheapest, and easiest foam objects to use are flip-flops. One pair of flip-flops will yield many stamps.
Prepare the Flip-Flop
Before using the flip-flop as a stamp, it will need to be cut into smaller pieces. Big pieces of foam are hard to evenly heat and keep hot before molding. For best results, use pieces no larger than 4" (10 cm) square.
1. Using a pair of scissors and with the top surface of the flip-flop facing up, cut off the straps as close to the surface of the flip-flop as possible and push out the part that goes through the foam to the bottom.
2. Working with the flip-flop on top of a cutting mat, place a steel ruler where you want to cut. Hold the ruler down with one hand, and with the other hand, cut against it with a craft knife. Try to hold the knife perpendicular to the flip-flop so you aren't cutting at an angle.
Make the Stamp
You will have to work quickly once the foam is heated. An easy way to arrange the items (to save time) is to trace around the stamp on a piece of paper. Arrange your items on the paper using the outline as a template. You can use just about anything for the textured item to mold the foam.
1. Lay the foam down with the smooth (top) surface facing up.
2. Use a heat-embossing tool to heat the surface of the foam for 5-10 seconds. (The smaller the piece of foam, the less time it will take to heat.)
3. Quickly place the heated surface on top of your textured item(s), press down (applying pressure), and hold for 5 seconds.
4. Check the impression. If necessary, reheat the foam and try again.
| TIP: Sometimes it's easier to apply even pressure on the foam by pressing down on it with a piece of wood or a book.
Print with the Stamp
Your molded-foam stamp can be printed with paint or stamp pads. Paints will yield a grungier print while stamp pads will give a softer, more detailed print. To print with paint, apply it to the surface of the stamp with a brayer as follows.
1. Put a small amount of paint onto a paint palette. (Plexiglas, wax paper, or a plastic place mat may be used.)
2. Roll a brayer over the paint to evenly apply the paint to the roller.
3. Roll the charged brayer over the stamp, either while holding the stamp in your hand or while holding it on the paint palette.
4. Press the stamp onto the fabric, pressing down with your fingers over the whole stamp to be sure the entire surface prints. Reapply paint before stamping again.
| TIP: When using paint, moldable-foam stamps may get clogged during the printing session and need to be cleaned. Removing the paint with a baby wipe will do the trick.
Stenciling
Almost anything can be used as a stencil as long as it will hold up to paint, is not too thick, and has holes or areas cut out. A few items I've used include die-cut scrapbook paper, die-cut craft felt, and a bubble wand. You can stencil using paint and a paintbrush, or spray paint.
When stenciling an allover repeating pattern, stencil the whole area except the edges. Then move the stencil over as far as possible, match up the design, and continue stenciling. If the paint is too wet, let it dry before proceeding.
Stenciling with a Paintbrush and Paint
1. Put some paint onto a paint palette, wax paper, or a foam plate.
2. Dab the brush into the paint on the palette, then tap the tip onto the palette to remove any extra paint. (It's best to not have too much paint on the brush.)
3. Lay the stencil on the fabric where you want it.
4. Holding the edges of the stencil with one hand and the brush straight up with the other hand, tap the brush on top of the stencil to push the paint through the open areas.
5. Move the brush around, adding more paint if needed, until the desired area is stenciled.
6. Move the stencil to the next area and repeat.
Stenciling with Fabric Spray Paint
1. Place the stencil on the fabric where you want your design.
2. Hold the stencil edges flat with one hand while spraying the desired area with the other.
3. Move the stencil to the next area and repeat.
COLORING CLOTH
Create surface design with food coloring and glue gel resist.
margarita koriotk
In my small town, there are no art supply stores nearby. Since my artwork frequently starts with white fabric--because it gives me the freedom to create any design I want in any color I want--I have had to carefully plan my surface design projects, sometimes making do with what is around the house. This limitation inspired creativity, though, and led me to devise this coloring technique using items from my pantry and medicine cabinet.
My method is a twist on using school glue gel as a resist. When I first tried using a stencil to apply the glue to fabric, I couldn't see where the glue had been applied once it was dried. Mixing a few drops of liquid food coloring into the glue did the trick. I could see the resist on the fabric and yet the food coloring washed away with the glue gel--leaving no stain. My food-colored glue gel technique allows precise control, and can make shapes that are very distinct.
MATERIALS
• PFD (prepared for dyeing) cotton fabric, fat quarter (18" × 21") [45.5 cm × 53.5 cm])
• Liquid fabric paint (I used Dye-na-Flow from Jacquard.)
• Blue school glue gel
• Liquid food coloring
• Newspapers
• Batting, 20" × 30" (51 cm × 76 cm)
• Drop cloth or muslin, 1¼ yards (1 m)
• Painter's tape
• Prepared for dyeing (PFD) cotton fabric, fat quarter
• Small plastic containers and plastic spoons
• Eye dropper or pipette
• Small silk screen frame (I used a 10" x 12" [25.5 cm x 30.5 cm] frame.)
• Stencil (Use a stencil close in size to the silk screen frame.)
• Old credit card or squeegee
• Clear aloe vera gel or matte medium
OPTINAL
• Foam brush
Prepare the Printing Surface
1. Stack the newspapers on top of each other and top with the batting. Place the drop cloth or muslin on this stack, wrap the edges around to the back of the newspaper/ batting stack, and tape it in place with the painter's tape.
| NOTE: My surface is 20" x 30" (51 cm x 76 cm) but customize yours to fit your space.
2. Tape the printing surface to the worktable with painter's tape to keep it from shifting while printing.
Apply the Resist
3. Iron the PFD fabric. Pin or tape it to the printing surface.
4. Pour % cup (80 mL) of blue school glue gel into a small container. Use the eye dropper or pipette to add 2-3 drops of liquid food coloring. Mix well with a plastic spoon (FIGURE 1).
5. Tape the stencil to the underside of the silkscreen frame with painter's tape (FIGURE 2).
| TIP: Use a stencil with a fairly simple design and large openings. Fine details may not transfer well.
6. Pour some of the colored school glue gel into the well of the frame. Using an old credit card or a squeegee, drag the glue gel across the silk surface. This will push the resist through the stencil onto the fabric (FIGURE 3).
7. If you are finished applying resist to fabric, remove the silk screen and clean it and the stencil immediately. Set the fabric aside to air dry. This may take 24 hours.
8. When the fabric is thoroughly dry, heat set the glue by pressing with a dry iron (no steam) at medium heat from both sides. Do not skip this step--even though the glue is dry it needs to be heat set to obtain a clear resist.
TIPS FOR SUCCESS
• Use only liquid food coloring for this technique. The gel kind is almost impossible to remove from the fabric.
• If you want to use this technique on silk fabric, choose green, red, or yellow food coloring to mix with the glue gel. Blue food coloring tints the fabric and will not wash out.
Paint the Fabric
9. In another small container, mix 1 tablespoon (14.8 mL) clear aloe vera gel and A teaspoon (2.5 mL) of liquid fabric paint. Mix well with a plastic spoon (FIGURE 4).
| TIP: I like to use Dye-na-Flow because it is a highly pigmented liquid paint. You only need a small amount of paint to color cloth, which makes it ideal for this technique.
10. Pin the fabric with the glue gel facing up on the printing surface. Use the credit card, squeegee, or foam brush to move the paint across the cloth (FIGURE 5). Set it aside to dry. This usually takes 6-12 hours.
11. Once dry, heat set the fabric from both sides with a dry iron, following the manufacturer's instructions.
12. Soak the fabric in water for an hour and then wash it by hand or in a washing machine with a mild detergent. Air dry and press. Your fabric is ready for your next project!
PATTERN PLAY
Fabric design with itajime dyeing.
jeanne aird
I started working with tie-dyeing in the 1970s and began researching shibori techniques a few years ago. I was greatly inspired by the book Shibori: The Inventive Art of Japanese Shaped Resist Dyeing by Yoshiko Iwamoto Wada, Mary Kellogg Rice, and Jane Barton and have been experimenting ever since.
(Continues…)
Excerpted from "The Quilting Arts"
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