Festival and print.

August means the Festival of Quilts, and this year I went for the full four days. It was wonderful. I was helping Sandra Meech in her amazing and very popular gallery, but naturally had a lot of time to see the show and indeed make one or two purchases. I tend to stock up on fabric and thread at this show, which then lasts all year and means I don’t need to buy much in the coming year. As if…

So, here are just a few favourites from the show, a month since it happened, but then I never really rush when it comes to social media and sharing. I think I work about as speedily as a medieval illuminator to be honest.

Sandra Meech.

Janet Twinn.

Michael James.

Leah Higgins.

Eszter Bornemisza.

Rosie James.

Lucie Summers on the left, and Suzette Smart.

Neil Bottle.

And something less contemporary, a wonderful selection of Baltimore Album quilts from the 19th century.

I took advantage of the recent hot Bank Holiday weekend to do quite a lot of printing, painting and dyeing of fabric in the garden. I’d bought some bargain Egyptian cotton bundles at the Festival of Quilts, and some silk and one or two other fabric mixes. I added a few metres of calico I already had, and spent three days building up my fabric stocks, which had gone very low indeed.

I don’t like going out and about in the sun and heat so working in the shade, but drying fabric in the sun was perfect.

I dug out my thermofax screens first of all, and printed up a good batch of fabric using acrylic paints. I particularly like metallic paints for this.

Some of the printed fabrics drying on the line. I keep some pieces undyed but dye most when the paint is dry.

Procian dyes mixed and ready to add to the dry acrylic printed fabrics.

Fossil prints thermofax screen prints on cotton. The colours are dye from the sheet below coming through. I didn’t mind this as the piece was going to be very colourful, as you can see below, and the marks added more interest to the finished piece.

Above and below, more thermofax printing followed by Procian dyeing.

Some of the finished pieces drying in the sun.

Washed screens draining and drying. Hot weather is so useful at times.

I also worked with one of my favourite techniques, painting and printing with acrylic paints. I like the stiff handle and texture this gives the fabric, even though it can gum the machine needle up at times.

Above, some of my materials for acrylic print/paint techniques.Homemade print blocks [always make your own, it’s easy and then they are properly personal] and leaves from the garden. Nature does the best leaves if you want fine detail. I paint a mix of richly coloured and plainer, paler fabrics, some of which I then dye with Procian dye.

Here are a few of the acrylic painted, printed and dyed fabrics.

Well done if you’re still with me! I thought it best to get the whole print/paint/dye caboodle all done in one enormous blogfest.

To round up the acrylic theme, before we get to the indigo, here is a piece of work I laid down a couple of weeks ago. The background fabric is black cotton painted and printed with gold acrylic paint.

So, this piece is waiting for my new table. It’s a kitchen/sewing table, we’re a little short of space here so multitasking furniture is a must. Actually it will mostly be a sewing table, let’s be honest.

So, indigo dyeing, which I have just started to dabble with. I went to a one day indigo dyeing course in July, and here are a few of the cloths and papers I dyed on the course.

This book was around as I was trying to remember a particular church I once visited in Venice. It’s a good weight so I plonked it on some indigo dyed papers to flatten them. Then I noticed the title!

Below is a piece of work laid down and ready to stitch, using some of the indigo fabric dyed during the workshop. I cut it and reversed one piece as I liked the back of about one third of it better than the front.

The first image shows a few fabrics I was thinking of using. Most colours go with indigo but I think, for me, it’s best to limit the choice to just shades and mixes of mainly one colour at a time. I imagine it all depends upon the background.

I’ve used this corvid before, and he may appear again, he’s that sort of chap.

I made up an indigo vat at home yesterday. I thought it would enjoy the heat, and having not done it before wasn’t sure what to expect. It behaved well though, and I was really pleased.

It was nothing complicated, just a kit I bought from good old Art Van Go, with some caustic soda added to 5 litres of warm [25 degrees or thereabouts] water in a lidded bucket. Just in case you don’t know you need the lid to keep as much oxygen as possible from getting into the vat, as successful dyeing relies on a process of reduction and oxidation.

I’m reading about indigo at the moment, and there are and have been vast amounts of recipes and additions to the vat tried over millennia. I may grow some next year. It would be fine in a good summer, as indigofera tinctoria, a legume, preferably likes some heat. Isatis tinctoria, woad, a brassica, would manage more easily in a less clement summer.

Below, some resist materials I used to wrap into cotton and silk fabrics to make patterns. I like a more random finished look as it fits in with my work.

Above, some of my wrapped bundles, ready to dye.

The resist materials at the end of the day. Love the blue pegs and balsa wood. Some thin porcelain sheets made some lovely fine marks on some silk, and patterned themselves with beautiful and subtle marks too.

Some of the indigo dyed fabric on the line. I’ll be trying multiple dips next time for some darker blues.

And a big pile of ironing.

I’ll undoubtedly post some of the individual fabrics in the next post or two. It gets you like that, each piece is so exciting, you can become quite a bore about it all.















4 thoughts on “Festival and print.

  1. Thanks Rachel, I must admit I did enjoy those three days. Slow can be good, you are right. Hand embroidery and detailed painting by hand, there’s never going to be a way to speed those things up.

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