Book Giveaway

My new book is hot off the press and C&T Publishing is giving away a copy at the end of the month.  You can read a review of the book and find out how to enter on the C&T blog . Good luck to those of you who enter!

Simple Pleasures

A cool breeze on a hot summer day. A sunflower in full bloom. Watching kittens at play. These are a few of the things that have given me pleasure in the past week. I've been trying to reconnect with the  little things that bring joy into my life. It's easy to let them slip by unnoticed. I often become too wrapped up with what's going on in my head.  Thinking about all the "stuff" that's going on in my life. Getting out of that trap and noticing the world around me helps relieve my stress and brings me a sense of peace. 

What are your simple pleasures?

A Father's Legacy

My father is joyful, optimistic and loves to talk to strangers. He really loves to talk to strangers. Waiters, grocery checkers, business patrons and random strangers in the street are all regaled with his tales.  As a kid it drove me crazy. Now I just figure, if it makes him happy, great!

We did not have a close relationship when I was young.  He was a driven entrepreneur, working long hours with frequent travel. And when he was home we were most likely yelling at each other. ("Stop yelling at me, Dad!"  "I'm not yelling! I'm just trying to make my point." It's rather comical, thinking back on it.) For years, I lived too far away to see him on a regular basis.  When I moved back to Texas eight years ago, he was within driving distance, so now I am able to see him more often. We have been able to develop a relationship that wouldn't have been possible when I was young.

A few years ago I understood that he had more of an impact on who I am than I had realized. There are the similarities born of genetics  - positive outlook, goal oriented, quick-tempered.  But I think his biggest legacy to me was believing in the power of one's thoughts. He had this philosophy long before it became popular. I had a strong role model in the impact of visualization, positive self-talk and believing in oneself. He didn't explicitly teach me those beliefs, but I absorbed them nonetheless. I believe that a lot of what I have accomplished over the years is a result of that foundation I received when young.

So, thanks, Dad!  For that and everything else you've brought into my life over the years.

What legacy has your father left you?

Slowly Breaking Through

A month ago, I dedicated a week to an art retreat at home.  My husband was out of town, so it was just me and the kitties. I feel as if I haven't been very productive over the past six months.  Technically that is not true - I have created a number of pieces.  But I have gotten so used to working in a series, I feel that single, stand-alone pieces don't count. 

The retreat provided me with much needed time for walks in nature, meditation, reflection, playing with kittens . . . oh yes, and studio time.  I had a flash of insight about a series I want to work on, but the work has progressed slowly.  Since the retreat, I've felt torn between a number of ideas. I have had difficulty choosing which direction to go. Another flash of insight two days ago - it doesn't really matter which direction I go, as long as I do something!

Amazing how freeing that realization has been.  I have created two studies for larger pieces I'm entering in an exhibition later this year.  And although they didn't turn out exactly as expected, I know I'm on the right track. Each day I clarify my vision just a little bit more. Oh, and if you are wondering if I've kept my commitment to show up every day - the answer is yes.  I have spent at least several hours each day in the studio since June 1 (except one Saturday - it's ok to take one day off - or am I just rationalizing?!)

Below is a photo of one of my studies.  It is not complete, but I do like it enough to finish it.

What you you do to help you through periods of indecision and lack of inspiration? I would love to hear your thoughts.

Working with Resists - Tip #7

This week I'm winding up my resist Tuesdays series with my final tip - Have fun!  Isn't that why we create? Yes, we are expressing ourselves, adding beauty and/or meaning to the world and perhaps even healing ourselves in the process.  The time spent exploring and playing with new techniques allows us to do those things even better.

I hope that these posts over the past two months have inspired you to try working with resists. I would love to hear about your experiments. And if you are inspired to buy my book and try out the techniques, that's great, too! Please bear with me for a moment of shameless self promotion.  My book will be available next week (finally!) My shipment is on a FedEx truck at this moment, headed to San Antonio. I created eight silk scarves for the book using the different resist techniques. Anyone who orders the book from me before the end of June is automatically entered into the drawing. Below are photos of some of the scarves.

Happy Resisting!

Working with Resists - Corn Dextrin

Corn dextrin is a great all-purpose resist.  It is very versatile - you can stamp it, screen print it, stencil it, brush it.  It looks a lot like potato dextrin when mixed, however it doesn't crack once dry.  If you have tried working with cornstarch, it is similar, however I find it easier to mix. As with most resists, a heavier coating ensures a stronger resist.  Here are a few photos of cloth created with corn dextrin.

Corn dextrin works great with stencils. It is just the right consistency to spread with a scraper.

I love using the free-form "drip" approach. I guess this piece is more structured than free-form, but you get my point.

This piece reminds me of pine cones.  The dextrin was brushed through a lacy cloth. You can see the lighter areas where the brush (fully loaded with dextrin) brushed over the cloth.  And the areas with more definition when there was less dextrin on the brush.

Brayer printing deposits a lighter coating of the resist, so it has a softer effect.  This piece was brayer printed over a textured mat.

Here's another brayer print, over the ubiquitous bubble wrap. Again, a nice soft effect.

How have you used corn dextrin?

Read my tips for working with resists

Read about working with sugar syrup

Read about working with acrylic medium

Read about working with flour paste

Read about working with oatmeal

Read about working with potato dextrin

 Read about working with soy wax

Read about working with commercial resists

Show Up Every Day

While captive on an airplane recently, I read the in-flight magazine from cover to cover. It had a short interview with the author, Danielle Steel, and her quote caught my eye.  She said "if there's a formula at all to what I do, its this: [I] put my butt in my chair every single day. "  Translate that to my profession and it becomes "I put my hands on the cloth every day." Not a bad idea.  I know you've heard this from me before, but it is difficult to juggle all the aspects of my "job".  As someone who has to earn a living from her art, I have to balance income producing activities (teaching and writing) with creative activities that don't have an immediate income attached.  The studio time may lead to sales and income at some point, but there is definitely a lag between creation and sale.

I confess that I don't go into the studio every day.  As my activities on the income producing side have increased, my studio time has decreased. But for the next 6 weeks, I have no excuse.  No classes until late July. Can I actually commit to spending part of every day in the studio? I don't know, but I'm going to give it a try!

Working with Resists - Commercial Resists

I love commercial water-based resists for their ease of use. No mixing is involved - just open the bottle and pour! Jacquard, Presist and Inkodye are three of the many brands available. I was introduced to water-based resists years ago when I painted on silk.  I created detailed drawings with the resist and then painted inside the lines using silk dyes. When I transitioned to other surface design techniques, I didn't realize how versatile those resists can be. They go way beyond the traditional squeeze-on application.  Here are a few of my favorite ways to use them.

I love using my garden as inspiration and as a printing tool!  These are printings of rose leaves from my backyard.

I'm drawn to the soft, subtle effect of this piece. It was created by brushing water based resist through a mesh laundry bag.

Compressed sponges are the perfect stamping material.  They are very thin, which makes them easy to cut with scissors or a craft knife. Once they are placed under water, they swell to the thickness of a kitchen sponge.

Commercial resists are particularly suited to screenprinting.  The consistency is smooth and easily penetrates a silkscreen.  This is a thermofax image.

Back to the old familiar ways - the resist was applied with a squeeze bottle.

What are your favorite ways of applying water-based resists?

Read my tips for working with resists

Read about working with sugar syrup

Read about working with acrylic medium

Read about working with flour paste

Read about working with oatmeal

Read about working with potato dextrin

Read about working with soy wax

Read about working with commercial resists

Read about working with corn dextrin

How About Some Paw Prints With That?

Yesterday was a day filled with adventure.  What I thought would only take a few hours ended up taking all day. I was filming a short video tutorial and had a little help from my friends (aka my cats). Babs (a beautiful Russian Blue) decided that she wanted to be in the movies, and jumped onto my work table right in the middle of a set.  I shooed her away, and started over.  Then Callie, (a fluffy calico) decided she needed to sharpen her claws on the rug.  She was off screen, but was going at it very noisily. OK, let's try this one more time - third time's the charm, right?  I made it all the way through the tutorial.  Babs jumped up at the very end, but I had already finished.  Except she jumped right into the wet paint and left turquoise paw prints over all the samples on the table.  And I still needed to shoot the close-ups, so I needed those samples!!  Fortunately, a quick rinse in cold water removed the paw prints.  Good thing I love those cats!

Working with Resists - Soy Wax

For years, I was drawn to the look of batik, but I didn't want to deal with the wax removal.  When I learned that soy wax washes out with hot water, I rushed to try it. Now I keep a supply in my studio at all times. Compared to some of the other resists, it is easier to maintain the "white space" with soy wax while hand painting. It does tend to break down somewhat in an immersion dye bath, but I love the soft look that creates. Soy wax can be applied with a variety of tools or simply brushed onto the fabric. Here are some of my samples. 

See how the white background was maintained. This feature allows great possibilities for over dyeing.

Even though it is a soft wax, it will crack to create an interesting texture.

This leaf was created by applying soy wax through a stencil.  After washing out the wax, a layer of dye was hand painted on the cloth to give it a hint of color.

When layered with other resists, you can achieve much depth and complexity.

You can even use soy wax for shibori. How have you used soy wax in your work?

Read my tips on working with resists.

Read about working with sugar syrup.

Read about working with acrylic medium.

Read about working with flour paste.

Read about working with oatmeal.


Read about working with potato dextrin.

On Writing a Book

Yesterday I saw my book in print for the first time. I only had a chance to flip through the pages quickly, but I'm pleased with what I saw. My copy is awaiting me back home, so I'll have a chance to look at it more closely this weekend.

The entire experience has been very positive, although not entirely what I expected.  Everyone with whom I've worked has been enthusiastic, helpful and supportive. I feel fortunate to be working with the wonderful publishing team at C&T.

I was amazed that the actual writing is only a small component of the project. I spent as much time creating samples as I did writing. And the prep for the photography, along with the photo shoot itself, took many hours. A lot of time went into figuring out what how-to photos would best complement the text and what equipment, materials and supplies were needed for those photos. There were also many hours of review and revision.

The aspect that was most surprising is the length of time it takes to produce a book. I finished my part last April, so the entire production process has taken over a year. The manuscript was reviewed by several different editors for content, accuracy, grammar and spelling. Fortunately my book did not require any re-writes or revisions. The next step was putting the words and photos together in a meaningful way. And then the final layout and design. All of that was complete by year-end and the book was sent off to the printer. The actual distribution date is June 18, so there is still another month to go.

I feel a bit overwhelmed when I think of all the teamwork and cooperation needed to accomplish the task. I tend to be pretty independent and think I can do everything by myself.  This truly was a team effort and I am thankful to all those who had a hand in the book.

Back in Kansas City

C&T Publishing invited me to attend Quilt Market in Kansas City to promote my new book.  It will be a whirlwind trip - presentation to quilt shop owners today and a book signing tomorrow, then back on a plane for home. I arrived yesterday. 

Since this is my first time doing anything like this, I've been practicing my presentation whenever I can.  Yesterday I found myself in the Pizza Hut at DFW in between flights.  The place was empty, so after lunch I decided to run through my presentation.  I closed my eyes to better concentrate.  When I opened my eyes 20 minutes later, the place was packed.  A man kept glancing at me surreptitiously. Maybe they though I was meditating.  Maybe they thought I was dead. Maybe they didn't even notice.

Well, I'm off to get breakfast and practice my presentation a few more time. More later.


  

Working with Resists - Tip #6

#6 Understanding the Variables

One of the trickiest aspects of achieving consistency when working with resists is to understand all the factors that affect the end result. Years ago I had an early lesson in understanding variables when working with gel glue.  I made three mistakes - I applied it with a rubber stamp, I used silk noil and I immersed it.  The end result was that the stamped image did not show up at all.  Individually, those actions might be fine, but together they resulted in failure. Rubber stamps are not the most effective way to apply gel glue, particularly on a heavy fabric: a sponge stamp is a much better choice. Because gel glue is water soluble, it doesn't hold up well in an immersion. It will work with a low water immersion and a heavy layer of glue, but not with a light application on a heavy fabric.

I've had numerous lessons in what affects the end result. And I'm still learning. I'm not sure I'll ever have them all worked out, but each time I work with resists, my knowledge increases. Below is a partial list of the seemingly infinite variables. What other variables have you found in your work with resists?

Fabric
The weave or texture of the fabric affects the way an image or pattern looks.  It may also affect the ease with which the resist washes out.
The weight or thickness of the fabric affects whether the resist completely penetrates the fabric and how the dye reacts with the fabric.

The Resist
For resists that require mixing, the resist to water ratio affects not only the look but also the resist's ability to block dye or paint.
The length of time the resist sits before use may affect the crackle pattern for oatmeal and potato dextrin.
The length of cooking time (for sugar or oats) affects the resulting pattern.
Different brands of commercial water-based resists have different properties.  Some are more water soluble, some spread more on the fabric, some work well with immersion.


The Application Technique
The thickness of the application affects the resist properties - a thicker layer means the dye is less likely to breach the resist.
The thickness of the application affects the crackle pattern for paste resists.  Generally a thicker layer results in larger cracks, a thin layer results in a finer crackling pattern.

The Dye or Paint
The way the dye is applied (immersion, liquid hand painted, thickened hand painted) can create significant differences in the end result.
The consistency of the thickened dye can affect how much dye penetrates the resist.

Read previous tips for working with resists


Read tip #7 


Read about sugar syrup resist

Read about acrylic medium as a resist

Read about flour paste resist

Read about oatmeal resist

 Read about potato dextrin resist

Read about soy wax resist
 

A Picture in My Head

How can I share with you the image I can see very clearly in my mind?  I can't quite find the words to capture it. Yet that is all I have after my week-long art retreat. A vision - still somewhat nebulous - of my next series. One might say that I wasn't very productive - no cloth to show for all that time.  Yet I feel that it was very productive.   I had a flash of insight while sitting by the creek one morning. That insight, along with many hours of reflection, journaling and meditation, gave me enough clarity to move forward. My fabric has been ordered and will arrive tomorrow. Guess what I'm doing this weekend?

Art Retreat in Place

I am devoting the next six days to an art retreat at home. I thought about going away somewhere, but there were too many reasons to stay home.  And I realized that it's better to be here where I have all my supplies rather than trying to pack up everything. 

I started getting a little stressed in anticipation - the expectations were sky high.  I was putting pressure on myself to get as much done as possible.  Last night I realized that I need to build in some quiet time to connect with my intuition.  So I won't just be in the studio 10 hours a day. It will be a true retreat in that I am taking time every day for meditation, reflection and spending time in nature. And I will be minimizing my computer time. 

I spent the past few days cleaning house and studio to minimize my distractions. Today it's an early start for a walk at a local nature center.  Then on to the studio to play with soy wax dye crayons.

Have a great week - I'll be back next Thursday.

Working With Resists - Potato Dextrin

It took a few years for me to really appreciate potato dextrin. It is best known for its distinctive crackle pattern, however I have found that it can be very versatile. It works well in a squeeze bottle, stamped or stenciled, brayer printed and even screen printed. It washes out easily but it can withstand low water immersion. The main downside is that it is more costly than other paste resists. Covering a large piece of cloth for the crackle effect can get expensive. But it does look fabulous!

Here is the classic crackle pattern. The dextrin was applied unevenly, resulting in some areas with fine cracks and some areas with larger cracks.

Potato dextrin was brushed through a plastic grid, then painted with thickened dye. When using objects as stencils, the result is not always as expected. Instead of creating neat squares, the dextrin pooled around the grid, resulting in this abstracted pattern.

Potato dextrin brushed through lace curtain, painted with thickened dye.  Prior to being used as a stencil, the lace was stiffened with a coating of acrylic paint.

Potato dextrin applied with a brush, painted with thickened dye

Potato dextrin applied with a sponge stamp, painted with thickened dye.

Potato dextrin applied with a sponge stamp, immersed.  Notice how more of the dye breached the resist, resulting in a softer image.

Potato dextrin brayer print with a chocolate box liner underneath the cloth.

Potato dextrin applied with a circular brush.


Read my tips for working with resists

Read about working with sugar syrup resist

Read about working with acrylic medium resist


Read about working with flour paste resist

Read about working with oatmeal resist

Read about working with soy wax resist

Working with Resists - Tip #5

Learn the characteristics of each resist

There are a host of substances that can be used as a resist and each has different properties. Some are more water-soluble than others.  Some crack when dried.  Some remain permanent on the fabric even after washing. You are more likely to be pleased with your results if you choose a resist that matches your intended application and dye technique. For example, to achieve a finely detailed image with crisp edges, a silkscreen or thermofax is the perfect tool. That eliminates using oatmeal, flour paste or soy wax as a resist, because none of them go through a silkscreen easily. Commercial water-based resists, acrylic medium and gel glue are the perfect consistency for screen printing and each will yield a slightly different result. 

The cloth below was screen printed with Jacquard water-based resist and with acrylic medium, then brushed with thickened dye.  The acrylic medium left a softer, ghostly image and the Jacquard left a more pronounced image.

This cloth was created using flour paste applied with a squeeze bottle. Many resists could have been used to create a similar effect, however flour was chosen for it's cracking properties.  The cracks add interest to the circle images.

This cloth employs both soy wax and flour paste resists.  The soy wax was applied with a stencil.  Then flour paste was applied with a rag, creating a scumble effect. After the flour paste was dry, the cloth was immersed.  The soy wax holds up better than flour paste in an immersion, so the leaves retain more of the original fabric color.

In each of these cases, the resists and dye application methods were chosen deliberately to achieve the desired affect. The bottom line - work with the properties of the resist. Don’t expect it to do something against its nature!

Read previous tips

Read next tip

Read about sugar syrup resist

Read about acrylic medium resist


Read about flour paste resist

Read about oatmeal resist

Read about potato dextrin resist

Read about soy wax resist

Are You Any Good?

I had a conversation with the gentleman seated next to me on my plane to Philadelphia earlier this month.  He asked what I did, so I had a chance to try out my "elevator conversation" - the two sentence description of my work.  He asked me "Are you any good?" and I replied with a smile, "Yes, I am."

It seemed like a strange question and there was a time when I would have given a self-deprecating answer.  We are raised to be humble and not talk about our accomplishments. But I think that attitude can have a negative impact.  We need to believe in ourselves if we expect anyone else to believe in us.

 So, how about you all?  Are you any good at your art?

Working With Resists - Oatmeal

I first read about using oatmeal as a resist in Sue Beever's book, Off the Shelf Fabric Painting. I really liked the look, but I didn't like the cooking!  I experimented with some no-cook variations and now oatmeal is a staple in my pantry and in my art.

I'll be honest, oatmeal is a little more work than some of the other resists (primarily in the wash-out), but it creates a truly unique look.  You can achieve the signature oat-y crackle or a variety of marbled, wash effects.  I didn't realize it's versatility until I tried a few variations on the basic technique.  And of course it has the benefit of being inexpensive and readily available. The other thing I love about oatmeal is that it is very forgiving.  Almost any variation in the oats to water ratio or in the amount of time it stands before using will produce good results, as will any method of applying the oatmeal.

Oatmeal, cooked

The oatmeal was applied with a brush - note the brush strokes on the upper portion of the cloth.

Oatmeal, uncooked

Here, the oatmeal was applied with a squeegee. You can see how that technique spreads the oats out, leaving more space between them.

Oatmeal, cooked

Using a spoon to apply the oatmeal, as above, allows more control, making it easier to create a more even oat pattern.

Oatmeal, uncooked

 This oatmeal was also applied with a spoon.

Read my tips for working with resists.

Read about working with sugar syrup resist.

Read about working with acrylic medium resist.

Read about working with flour paste resist.

Intentional Play

I have two ways of approaching the creative process.  Sometimes I have a vision for a series of pieces. I have a message I want to communicate (or more often, it's a feeling I wish to convey). I work deliberately to create that vision.  This often means that I do samples to test colors and even create a mini-version of the composition. This tends to be a slow process and sometimes I get bogged down in the detail.

The other way in which I work is to do what I call "intentional play".  I'm playing, in the sense that I have no pre-conceived vision or expectations for the cloth. I take it one step at a time and let the cloth "speak to me" to build each layer.  It is intentional in that I choose a surface design technique, a certain approach to color or a compositional style and focus on that as I work on the piece. The spontaneity is a nice complement to the more planned approach. 

Right now I have some ideas for a series based on the first approach, but they are still forming and are not yet ready to be applied to cloth.  So my studio time has been spent on the second approach. I have a pile of fabric in various stages of printing and dyeing.  Each day I add another layer, wash them all out the next morning and start on the next layer.  I have no idea what I'll do with them, but I'm not concerned about that now.

Below are photos of some of the things I'm working on. All were created with one or more resists (of course!) and will end up with several more layers before I'm through.

A Nice Surprise

I recently learned that Sue Dennis has awarded my blog the Leibster blog award. People give the award to blogs that have motivated and inspired them. I confess that I'm on the fringes of the blog world and had not heard of it before. It was a nice surprise. When I started this blog several years ago, I had no idea if people would be interested in what I had to say. I kept blogging along anyway, and it's nice to know that at least one person finds it meaningful!

Sue is an artist from Brisbane, Australia.  Her blog, suedennisartquilts.blogspot.com, is a wonderful mix of news and photos of her work and her travels. Thanks, Sue!

The tradition of the blog requires that recipients who choose to accept the award do the following:
1. Link back to the person who gave it and thank them.
2. Post the award to their blog.
3. Give the award to 5 bloggers with less than 200 followers that they appreciate and value.
4. Leave a comment on the 5 blogs to let them know that they have been offered this award.


I know - it sounds a little like a chain letter (which I always break!).  I chose to accept this award, because I wanted to honor Sue's recognition and I wanted the chance to promote some of the blogs I follow. It was hard to narrow it down to five, but here are a few that motivate and inspire me:


And Then We Set It On Fire - This blog is a joint effort by Beth Berman, Beth Schnellenberger, Judith DeMilo Brown, Karen Silvers, Kit Lang and Nienke Smit, along with special guest contributors. The group focuses on a different surface design technique each month.  I love to see what they are doing - they are far more adventurous than I!



Art Quill Studio - Marie-Therese Wisniowski, another aussie, writes this blog. Marie-Therese offers insightful commentary on art-related topics, news about the latest trends in surface design and printmaking and photos of her art explorations.


The Happy Printmaker - Jennifer Nieuwenhof's blog is a visual feast.  I am drawn to her work for the composition, the colors and the energy it brings. Her work inspires me and feeds my love for abstraction.


Judy in the Dyes - Judy Carpenter's blog is a nice blend of what is most important in her life. I love seeing her latest artcloth creations and keeping up with what is happening.  From reading her blog, I felt like I knew her long before I met her in person.


Sarazmuz - Sara Crittenden Coppedge's blog is appealing because of it's simplicity.  The posts are short, sometimes only a photo, but they often leave me with a smile, an idea or simple appreciation for her work.

Working with Resists - Tip #4

#4 Don't Give Up

Occasionally I meet someone who says,  "I saw your article on (fill in the blank) resist, but when I tried it, it didn't work out."  There are a lot of reasons why someone may have different results than mine. So many variables come into play, and it's difficult to troubleshoot in a brief chance encounter. All I can say is that working with resists requires tenacity. (And if you do have questions about your results, I am happy to troubleshoot with you via email.  Just contact me and let me know what's happening.)

When I first started experimenting eight years ago, I gave up too soon.  I had some initial success with flour paste and potato dextrin, but as I tried to expand beyond the basics, I was not satisfied with the results.  I became frustrated and gave up (not completely, just for awhile!)  Eight years and many studio hours later, I have learned a lot.   I have learned the properties of each resist and I have a better understanding of how they respond in different circumstances. I learned that resist recipes are only guidelines.  Even a "commodity" like flour can be different among different brands. You can adjust the quantities for different results and sometimes even the weather affects the consistency of the final product! With some experimentation, you will come to know what consistency yields the results you like.

The corollary to tenacity is to leave your expectations behind.  I already talked about this, so I'll only say that a piece may not be what you expected, but it may be a great candidate for over-dyeing, discharge, stitching, piecing, or even knitting. So if you have tried some resists, but were not satisfied with the results, please don't give up!  They offer a wonderful way to add depth and texture to cloth.

Read previous tips 


Read next tip

Read about sugar syrup resist

Read about acrylic medium resist

Read about flour paste resist

Read about oatmeal resist

Read about potato dextrin resist

Read about soy wax resist 

I Have a Great Idea . . . continued

Last weekend I spent three days in Philadelphia for FiberPhiladelphia 2012, an international biennial festival for innovative fiber and textile art. Three days devoted to looking at art. The exhibits were amazing, inspiring and eye-opening.  When I got back to the hotel Saturday night my mind was racing.  I couldn't sleep because I had so many ideas for my work. Remembering my last experience with a great idea (I completely forgot it by morning), I pulled out my Kindle Fire and made notes. It worked well. No need to turn on the light, just turn on the Kindle and type. And no worry about not being able to read my writing in the morning (like Kit!).   The only challenge is trying to decipher the typos!

ArtCloth Exhibition

Twelve Voices from One, the exhibition for the 2010 ArtCloth Mastery Program graduates, opened last Thursday evening.   Participants in the two year program study the elements of design, dyeing textiles, surface manipulation and mixed media applications. The exhibition is the culmination of the program. Living in San Antonio, I have the advantage of being able to view the exhibit each year. I am always amazed at the diversity of the work.  Each artist has found their own voice.   The works are on exhibit at the Radius Gallery in San Antonio through May 31st. Below are a few photos from the exhibit. I recommend viewing it in person if you have the opportunity! You can also view their blog for more photos.

Work by Ann Graham and Laurie Brainerd

Work by Karen Turckes

Work by Allison Brown-Cestero

Work by Annalisa Jose

Work by Angela Maroun

Working with Resists - Flour Paste

I remember my first experiment with flour paste. It was in Sidney Jostes' garage in the suburbs of Chicago. We were having a resist play day and it was my first time using some of the resists.  I applied flour paste to a pole-wrapped piece of fabric.  Once dry, I unwrapped it and applied liquid dyes.  The resulting cloth was gorgeous, but some of the flour paste stuck to the cloth and I never could get it out. I learned an important lesson that day - make sure to get all of the flour residue off the cloth before you put it in the dryer.

Flour resist is great because it is very inexpensive and most of us have flour on hand, so there is no need to make a special trip to the store or place an internet order.  And you can use almost any variety.  There are subtle differences between whole wheat, all purpose and bread flour, but they all will work. (The whole wheat can be a little more difficult to remove.) I haven't tried any other grain flours (except rice), so there is a whole world of experimentation out there.

Flour resist is also very versatile.  It creates a lovely crackle pattern and it works well with most application techniques. 

Multiple layers of flour paste crackle

Flour paste leaf print

Multiple layers of flour paste resist

Rice flour resist applied with a syringe

Rice flour applied with a squeeze bottle

Peace Amidst Chaos: the background swirl was created with flour resist

Read my tips for working with resists

Read about working with sugar syrup as a resist

Read about working with acrylic medium as a resist

Read about working with oatmeal resist

Read about working with potato dextrin resist

Read about working with soy wax resist