Friday, September 8, 2017

What Can You Get For You and Support Art?

     My piece is up for auction starting September 22. It's called "Across TIme". It all began as white fabric.

 Go to SAQA to see how the auction works.
I wish I could write more on this post, but I need to spend time getting ready for Hurricane Irma. I've cleaned up my studio and video taped its contents for the insurance company in case of bad things. And I'm rolling up all my art quilts and putting them inside the clothes dryer until the storm is over. My dye notebook is going in there, too. I can't imagine losing years worth of work and information. I may be without power for a week or more so you might not hear from me for a bit.  Hope everyone will be ok and suffer no or minimal damage. Good luck to all involved. I'm linking this to Off The Wall Friday where you can find other art quilt blogs. Please make comments on their posts to let them know you stopped by and thanks for visiting.

Sunday, September 3, 2017

What Is Your Favorite Technique For Surface Design?

     Do you have a technique for surface design that you find you use the most or do you use all sorts? I've been experimenting with techniques for years, but I've found that I find creating and using thermofax screens and stencils to be most fun. For both of them, I use my own photos as a starting point. I try to find the element I want to photograph and isolate it by putting white paper behind it.

Then I use the software Art Studio on my iPad to alter it and turn it into a black and white image with high contrast. For thermofax screens, I've gotten lucky and found a local shop, Fabrications, that makes them so that I don't have to pay for shipping. I just take them a copy of the image and they make the screens for me for a very reasonable charge.
     For stencils, I trace the image onto stiff cardstock and cut it out with an X-Acto knife. If it is a stencil I plan to use a few times, I coat it with semi-gloss medium first so that it is a little water proof.
This last time, the image I wanted to use was the root you see above. I needed an image that was too large for a thermofax screen and knew that making a stencil of it would be daunting. But it was the only way I could think of transfering that image in the color and value I wanted. So I decided to get on with it and do it. I had a transparency made of the black and white image, projected it onto freezer paper, traced it, cut it, and ironed it onto the fabric.
Cutting the stencil
I figured it took me about 5 hours of cutting time. I couldn't do it all at once because it would strain my wrist so I did it in portions over three days while I involved myself in other tasks in between.
freezer paper ironed on
There were inserts of freezer paper I ironed on into some of the larger open spaces, too.

my design wall now with the root stencil done
So now I'm designing a square version of the green one and hoping I can reuse that freezer paper stencil for that. I may have to cut another one in a different size. I'll have a thermofax made of it for the small collages and other uses. Even though it took time and effort, it was a very satisfying experience and I plan to do more of it. Regarding surface design, I think I've found a place where I can happily stay awhile. I'm linking this to Off The Wall Friday where you can find other art quilt blogs. Please make comments on their posts so that they know you stopped by. Thanks for visiting.

Sunday, August 6, 2017

Do You Multi-Task?

     When you create artwork do you do several at once, several types of things at once, or work on one piece from start to finish before starting another? I used to do the latter. I didn't feel comfortable enough to start a second (or third) piece until the present one was completely done. I didn't like my mind to wander onto other projects and lose my focus. But now that I'm in the Art Cloth Mastery program, I find the need to have several things and processes going on at the same time. There are a lot of things I want to accomplish before my next session in October and I find that one process helps another.
     For example; while I'm waiting for a cloth to batch in the dye bucket, I can hand-stitch another piece or do some color studies with paint. If I'm not sure how I want to hand-stitch a larger piece, I audition stitching on a smaller collage with the same imagery. While I'm trying to choose imagery for an artwork I have in mind, I assemble the background fabrics and have them hang on the design wall to stare at for inspiration. Here is my design wall today. On it is an almost finished piece in gray on the left, the middle one in blue is done printing and layering but needs to have hand-stitching added and be put onto a felt backing, and the green one on the right is waiting for inspiration for imagery to add to it.
The small pieces on top are collages I made with leftover prints and dyed fabrics from the larger ones. They are waiting to be mounted onto a yet undecided surface. 

waiting for stitch and backing
small stitched collage in progress
another small stitched collage
     So I've changed how I work on art and I think I like this new way of having several things going on. It's more relaxing for me to spend part of day hand-stitching and another part of the same day dyeing fabric, and another part of the day in designing mode. It felt more intense to spend the whole day in the studio working on the same process. Live and learn. 
     I'm linking this with Off The Wall Friday where you can find other art quilt blogs. Please make comments on the artists' posts so that they know you visited. Thanks for stopping by.

Sunday, July 23, 2017

Do You Have Access To A Good Museum?

     People who live in large cities have access to many quality museums, but what about those of us who live in small towns? Our local museum, The Museum of Art DeLand, gets fantastic exhibits. I don't know how they do it, but we regularly get to see top quality shows. The latest one downtown (the museum has galleries in two separate locations), presently has a show called "Painted Bodies" by photographer Roberto Edwards from Chile. The exhibit is on loan from  The Holden Luntz Gallery.
     The project had very well know artists from all over the world go to Chile to paint onto the bodies of models.  Here are some of the images:
Artist-Linda Mason, England

Artist- Jaime Zapata, Ecuador

Artist Pedro Ruiz, Colombia

Artist- Verónica Rubio, Spain

Artist- Sebastiàn Leyton, Chile

Artist- Verónica Rubio, Spain
Note: the red strings on two of the models aren't actually strings. They are painted onto the models with red paint and the shadows of the "Strings" are also done in paint.
     If you are anywhere close by, do try to see this exhibit in person. It's amazing.  Here's a YouTube video about the project.
     In between museum visits, I'm adding stitching to my series.

Also, here's a link to Off The Wall Friday where you can find other art quilt blogs. Please make comments on the posts so that the artists know you stopped by. Thanks for visiting.

Sunday, July 9, 2017

What Do You Do With Art Experiments?

     When you create a piece of cloth from an experiment do you put it in a notebook, put it away somewhere, or try to create something out of it? I usually try to create something. I hate for things to be put away and not used. Such was the case with an experiment on silk from my most recent Art Cloth class with Jane Dunnewold. We learned how to print on fabric using thickened dyes and used screens we had created in class to print through. Here is one of my results:
experimental screen print
     It was over a yard square in size. I cut it up into strips and machine-pieced them together. Then I overlapped two of the resulting long strips and sewed them together with a seam. I topstitched around the edges and then my scarf was finished. 

     I have two more cloths from that same procedure, but they don't seem as promising as this one was. But since I don't like cloth to just sit there, I may try to overdye them and turn them into cloth napkins. That's all for now because I'm very busy dyeing and printing to continue with my art series. I'm linking this to Off The Wall Friday where you can find other art quilt blogs. Please make comments on the artists' posts so that they know you stopped by. Thanks for visiting.

Friday, June 23, 2017

The Quest for Spring Green.

There are so many green hues in nature. But which ones really dominate in Spring? The answer probably depends on the plants in your view. But in creating a dye background for my Spring pieces, I want to capture the yellow-green I see in the new growth popping out of stems and branches. I also need that hue to coordinate with the gray pieces I've already made for Autumn so it can't be an intense hue. So to find my desired green, I ran several experiments mixing colors to produce my yellow-green. I tried various blue dyes mixed with Prochem's Sun Yellow. I tried Neutral Gray mixed with that yellow, too. And then I mixed compliments to get a duller green because the brightly colored ones didn't play well with the gray pieces. I mixed grape with yellow, grape with curry, bronze with tangerine. All produced some very interesting greens. I think, for my purposes with this series, I've settled on the bronze/tangerine mixture.
     One thing I found was that the color will change dramatically if the fabric is completely immersed in the dye bath compared to if it is just wet with the dye bath. Here's an example:
green produced by completely immersing
fabric in yellow/grape mixture

interesting but ugly sample using the same dye bath
shown above, but only wetting the fabric with it
instead of immersing the fabric in it
I think I've learned that only wetting the fabric with dye mixtures causes the colors to split. (Which may be a good thing sometimes, but not for what I want here.)
Completely immersed in a bronze/tangerine mixture
This one is very close to what I want. (The rectangle you see on the right is a shadow of my iPhone when I took the photo.) I tried overdyeing a piece of it in very dilute Marine blue to get a little more green and less yellow.
Overdyed sample
I love this piece of fabric, but it doesn't really go well with the gray pieces I have so I'll use it for something else. I wasn't expecting so much blue to come out pure. Something for me to remember about overdyeing... Some of the new color will show as its pure color. 
     So I might use the bronze/tangerine mixture and try getting the effect I want by printing on it with the right hues. I'm getting a little frustrated because I can get the exact color I want when mixing paints, but with dye, you can't see what you've got until after you've washed and dried the fabric after it has batched in the dye bath. Sometimes, while it is in the dye bath, it looks one color, but after batching, washing and drying it comes out different than what it seemed. I guess that is part of the learning curve. 
     While my samples, batch (24 hours), I work on smaller projects. I needed some coasters in my studio for putting on wet glasses with ice water or cups of hot coffee or tea and I wanted them to coordinate with the quilt my grandmother made for me. Instead of buying fabrics, I went to a bag I've been keeping of scraps of fabric leftover from dye experiments. I cut up pieces of those to make small collages and followed a tutorial I wrote here for my very first blog post on how to make coasters using old floppy disks. 
new coasters on studio table
All four coasters
      So that's what I've been up to. Trying to find the right green and smaller things. I think it is the scientist in me that makes me want to get just the right mixture. But I've decided that this week, I'll just choose one of the mixtures I've already tried and make it work in my series. I can change how it appears by the paint colors and values I choose for printing imagery on it. I'm linking this to Off The Wall Friday where you can find other art quilt blogs. Please make comments on their posts to let them know you stopped by. Thanks for visiting.

Friday, June 16, 2017

Catching up

     If you are a follower of my blog, then you may have noticed that I haven't posted in awhile. That's because I've been traveling. Besides enjoying seeing works of art on canvas, I also love to see very ancient works. So with that in mind, first, I went on a trip to Jordan. I've wanted to see the ruins of Petra for a long time and we finally decided it was time to go there. We found the sites of Jordan to be amazing in both their antiquity and variety. The desert in Wadi Rum (where the film "The Martian" was filmed) was spectacular in all the colors, rock formations, and natural history. Also, we got to have lots of fun floating in the Dead Sea. But the highlight of the trip was to visit Petra, a city that was carved out of live rock in about 315 BC. The remaining structures are huge and scattered over a large area. On our second day there, I walked over 8 miles up more than 700 stairs and over a track that passed by amazing tombs.
Me, looking at the Treasury in Petra
     After Jordan, since we were on that side of the world already, we flew to Spain instead of coming directly home. We rented a car in Barcelona and drove around Northern Spain for 2 weeks. We spent the time exploring villages, castles, and cathedrals. What a great experience it was.
     Shortly after returning home, we went away again, but this time much more locally. We went to the west coast of Florida to Dunedin to participate in the opening reception at The Dunedin Fine Arts Center where I had my work, "Rise" on display in the SAQA show "Growth". What a fantastic display at a beautiful gallery they had with live music, good food, and quite a crowd. 
Karol Kusmaul giving a talk about her work in front of the exhibit
New Quilts from an Old Favorite
works from "Growth"

more works from "Growth"

my piece  "Rise" at the lower right in "Growth"
     So now I am home for several months and am busy dyeing fabrics and putting them together for printing and other surface designing.  Hopefully, next week, I can share with you some of the work I'm doing now, but I wanted to catch up and let you know I'm still here. I'm linking up to Off The Wall Friday where you can find other art quilt blogs. Please make comments on the artists' posts to let them know you stopped by. Thanks for stopping by.

Friday, May 5, 2017

Do You Work Large or Do You Work Small?

     Do you have a favorite size range in creating art? I usually make pieces that are about 30 x 24 inches. I like the portrait format most. But the pieces I'm creating for my Art Cloth Mastery class are not like that. They are much larger and either more narrow in width compared to the height than I used to do and some are close to being square. None are the usual size or shape I've worked with in the past.
     And while I'm waiting for dye baths to batch or circulating ideas in my head, I've been working on a daily practice of making small fabric collages. Each is about 6 x 4 inches and felt backed. I'm using up pieces of cloth on which I had leftover from the larger artworks. Doing this has given me a better handle on composing better and faster. Also, they've given me the opportunity to audition what stitching I might want to include on the larger ones. Here are six of them. Some have stitching and some don't yet. I'm considering all of them works in progress.
Collage 1
Collage 2
Collage 3

Collage 4
Collage 5

Collage 6

     And while I was doing this, I decided to do the same thing for my auction piece for SAQA. It's 12x12 inches. This one is faced and is Ecofelt-backed with an aluminum slat with holes for hanging.
Across Time

     The leaf in each one is metaphor for change of all types. I dyed all the fabrics and printed on them with thermofax screens and stamps using fabric paints. The pieces are fused with Misty Fuse and then I hand-stitched. This auction piece will be available for purchase in the SAQA online auction  which begins September 15. The money earned goes to SAQA.
     So now, I find myself working large and small. Large to create the major works and small for practice and more immediate satisfaction. I'm finding both to be fulfilling in different ways. I'm linking this to Off The Wall Friday where you can find other art quilt blogs. Please make comments on the artists' posts so that they know you stopped by. Thanks for visiting.

Sunday, April 16, 2017

Can Color Challenge You?

     Have you ever mixed colors and gotten a surprise? I've been doing some color studies to learn more and to get the hues I want for my series. One of the hues I want to get with Procion MX dyes is a mustard hue. I know that they sell a dye color called mustard and it looks close to the hue I want to achieve, but I'm trying to make my colors by using the colors I already have. I'm in the mode of using what I have before I buy more. And theoretically, I should be able to get a nice mustard by mixing the right proportions of purple and yellow. I proved this with a paint study I did. I made a color wheel on watercolor paper and then started with pure yellow at the top and added purple paint little by little and painted a space at the bottom of the wheel with as neutral a color I could get with yellow and purple mixed. On another wheel, I painted purple at the top and went towards the same neutral color at the bottom. Here are the two wheels of reducing color saturation or intensity.
intensity wheels
     I used Profab opaque textile paint for these.  As you can see, I got some nice mustard colors in the top wheel. So I thought if I took Procion Sun Yellow dye (which is the same hue as the yellow paint) and Procion Grape dye (which is the same hue as the purple paint) and mixed them, I would get close to the same hues on the fabric that I got on the paper.
     As you can guess, that's not how it came out. Here are the results on cotton broadcloth.

Yellow with Grape added

The yellows turned more green as I added grape.
Grape with yellow added
The purples aren't too far off the paint samples, just lighter. Isn't it interesting how the paint samples compare to the dye samples? It's all about chemistry. How the dyes react with each other and with the fabric. On silk, it would look even different. Bottom line, I'm still working on mixing mustard. I came close with bronze dye and tangerine, but the tangerine splits out a little too much and gives orange streaks. 
     So while I'm working on that, I've started one of the pieces in the series, because I did successfully come up with the blue-gray that I wanted.  And this week brought good news. I sold my piece Inner Balance 2 to a doctor. He asked me what I did for a living and I told him I was a fiber artist and gave him my elevator speech about art quilts and what I do. He was interested so on my second visit, I took two of my works to show him in person what an art quilt looks like. He bought one of them. What a nice surprise. 
Inner Balance 2
     The other good news is that my piece Rise was juried into SAQA's exhibit Growth. It will be in Dunedin Fine Art Center from June 9 - August 18 in Dunedin, Florida.
So I'm continuing with my color studies and creating a wealth of a dye notebook and working on paint studies, too. There is so much to learn about color and I'm finding it fascinating. I'm linking this with Off The Wall Friday where you can find other art quilt blogs. Please make comments on their posts so that they know you stopped by. Thanks for visiting.

Sunday, March 26, 2017

How Do You Study Color?

     When you need a special hue for your work, do you make an educated guess on how to get it? Or do you take some time to do a detailed study to get it very close to what you have in mind? I want to create a color palette to go with a piece I've already created. The background is a bluish gray and I want to create three more pieces that will coordinate with it. I'm using the gray one to represent Autumn and want to create one each for Spring, Summer, and Winter.
The gray one

     I'd like a bluish background for the Winter one but need it to be a dullish blue. I have several blue dyes from Prochemical and Dye Company. I know that if I mix a blue with an orange, I can dull it down. Rather than just guess how much of each dye to mix to get it right, I decided to do a color study and keep a notebook with all the details so that it will be useful for future works, too.
     So I chose several blues that I have and an orange dye named Strongest Orange to do this study. I may continue it later on trying an orange called Terra Cotta, also. I cut up 22 pieces of cotton broadcloth for each test and calculated the amounts of dye to use for my stock solutions of blue and stock solution of orange. Then I dyed the samples, starting with pure blue, various mixes of blue/orange, and pure orange. Also, for each, I dyed a sample diluted 1:10 so that I could see what the pale color of that hue looks like.
     Here are the results showing the gradual change from pure blue to pure orange:
Mixing Blue/Strongest Orange
Mixing Blue/Strongest Orange
Teal Blue/Strongest Orange
Teal Blue/Strongest Orange

Marine Blue/Strongest Orange
Marine Blue/Strongest Orange
Written underneath each swatch of fabric is the recipe I used so that I can reproduce the results. As you can see, I got some lovely browns that I'm sure I'll use sometime in the future. Also, if you look closely, you'll see that the swatches are not a solid color. I purposely didn't smoosh the fabric too much in the dye to get a solid. I wanted to see how it looked if I let the colors split a little, because that is most likely what will happen on the larger cloths I use to make backgrounds.
     From these samples, I think I can choose a blue that will work for a nice winter-themed background. My next study is to find a yellow/orange that will coordinate with the series for a Summer background hue. I'm starting that study with a color called "Curry" and mixing it with "Grape" in the same 11-step gradation I used for the blues. I have my first study with that already soaking in their baggies and the colors are looking very interesting.
     While I'm doing the color study, I'm also spending daily time stitching small collages with leftover pieces of fabrics from my first Autumn series. 
collage 1
collage 2
For now, I'm keeping the collages on the simple side to work with basic composition and color combinations with just a little marking and stitching added. I may revisit them and work them more later.
     So although my color study may take a month or so to complete, for me, I think it will be time worth spending to improve my dye technique and to have a notebook full of hues and how to get them. I'm linking this up to Off The Wall Friday where you can find other art quilt blogs. Please make comments on the artists' posts so that they know you stopped by. Thanks for visiting.