Please join me for a day of colorful, messy fun on July 21, 2018 at Sitka Center for Art and Ecology on the beautiful Oregon coast. We will use natural objects such as flowers, branches, leaves and grasses as reverse stencils while we paint on cotton and linen fabric with thickened fiber reactive dye. Bring an apron and rubber gloves; I will provide all supplies and materials. We will mix our own colors from two blues, two reds, two yellows and black, using a technique which gives impressionistic results.
Select from a variety of projects including linen placemats and table runners, cotton bandanas, rayon scarves, or cotton pillow covers. Additionally I will have a bolt of Kona cotton, suitable for designing your own fabric for quilting, apparel, table linens, wall hangings, etc. The workshop materials fee includes $20 worth of product; more will be available for purchase at cost, so paint all you can in a day!
We will use brushes, foam rollers, sponges and spray bottles to apply the dye to soda-soaked fabric, then wrap in plastic to take home and “batch cure” overnight. The dye reaction will take place in the damp fabric over 8-24 hours at room temperature, then you will rinse and soap to remove excess dye and see your final results revealed. I hope to see you there!
Painting on fabric is something I have always loved to do, and in recent years I have tried it with pleasing (to me) results on my own handwovens. I weave yardage with white, light- or natural-colored yarn, usually, but not always, in plain weave. With thickened fiber reactive dye, I use brushes, rollers and sprayers to create abstract designs in bright colors on cellulose fibers, e.g., cotton, linen, rayon. If the yardage is of adequate size, I can sew it into something wearable.
Recently I completed two items made from handwoven and dye-painted rayon. One was woven with a seed yarn originally dyed in a pale sage-green color. The seeds are made during spinning from a shiny rayon thread that is plied and allowed to build up a little bump on another ply; the result is they look like reflective little beads. Another item I made was woven from white rayon yarn in a textured twill, dye-painted and fashioned into a long-sleeved tunic.
Another project involving woven panels. For this one I made two warps of a rayon/flax blend yarn. I folded the warps into packages, then bound each bundle tightly with plastic strips, and dyed in indigo, for an ikat-like effect. Thinking the weaving would go quicker if I dressed the loom with two similar warps, separated by a few inches, I threaded the loom with side by side warps about 8 inches wide and approximately 4 yards long. Live and learn – this did not hasten the process of weaving, which required throwing the shuttles separately on each warp for every row. I used a navy fine rayon boucle yarn for a textured weft.
This project is similar to the Mexican-inspired one, but I added enough extra warp for sleeves. I wove two long panels and 4 shorter ones: two for the center panels and two for sleeves. I folded over one short edge of the center panels and trimmed the warp ends to an inch. I just overlapped the long edges and zig-zagged with navy thread. The sleeves are made by folding one short edge on a 45° angle and stitching the other short edge to the folded portion of the long edge. See Virginia West’s A cut above: Couture clothing for the fibre artist for an illustration of the technique. The top is soft, drapey and comfortable, and will be cool for summer.
A recently completed jacket made from cloth I wove and dyed over the last couple of years.
A few years ago I acquired some wonderful yarn on sale as a close-out. It is a blend of alpaca and Tencel, both of which are soft (and slippery) fibers. I wove a few yards – enough to cut and sew a jacket, but I learned what other weavers probably already know, which is that alpaca does not full like wool does when wet-finished. The fabric is fragile and unravels easily because alpaca, unlike wool, has no little scales reaching out to grab onto their neighbors. About a year or so after taking the fabric off the loom, I folded and clamped it and dyed it in indigo, itajime-style.
Another year on, I serged the edges of the pattern pieces as I cut them out, but if I pulled a bit too hard on the serger thread, that slipped right off too. I primarily used Vogue 8676, designed by Marcie Tilton, with elements from a couple of other patterns as well. I stitched every seam twice for strength, but that ended up perforating the cloth. This yarn was really meant for scarves and shawls, not tailored clothing. But I persisted toward my goal of a jacket, which I lined with Bemberg rayon, and fitted with snaps instead of buttons for closures.
One of my students recently remarked that I “see shibori everywhere”. It’s true – look at the animals, plants and landscapes that resemble shibori-dyed patterns on fabric. Which inspired which? Clearly there were patterns in nature before humans felt inspired to represent them, but creating unpredictable pattern on cloth by shaped-resist methods frequently reveals to me a relationship with natural phenomena I had never thought about before.
Friday evening, June 2, 2017, was the opening reception of the PHG Group Show, Fiber Artistry at the Multnomah Arts Center Gallery in Multnomah Village. The well-attended reception opened the exhibit, which features the work of approximately 30 Portland-area weavers and fiber artists. The work spans the gamut from functional items such as scarves, jackets, rugs and table linens to wall hangings and sculptural items. Professional and emerging artists, as well as seasoned hobby weavers, have a chance to show off their work in a beautiful neighborhood gallery, in an exhibit artfully hung by dedicated guild volunteers. Many works are offered for sale; don’t miss it!
Coming this summer: a 2-day weekend workshop on Shibori techniques and dyeing in an organic indigo vat. Please join me the weekend of July 29-30, 2017 at the Sitka Center for Art and Ecology on the beautiful Oregon coast. On Day 1 we will view an inspirational slideshow, then build the natural indigo vat and practice a variety of resist techniques on fabric samples. On Day 2 we will dye the samples in indigo, then complete a cotton or rayon scarf to take home. Bring up to 8 ounces of your own fiber to resist-dye, if desired.
Last November, I had the good fortune to attend the 10th International Shibori Symposium, held in Oaxaca. Three hundred or so participants came from all over the world to gather and talk about tie-dye and related matters. There were exhibitions, demonstrations, workshops, talks, studio tours and assorted opportunities to meet world-renown textile artists, teachers and scholars. After a week of immersion in everything textile, on my way home I felt like excess information was leaking out my ears. Many thanks to the Portland Handweavers Guild for the study grant which helped me get there!
November is a great time to visit Oaxaca, when the tourist load is somewhat lighter, but the weather is comfortably warm during the days and nights are comfortably cool. A lot like late summer is here in the Pacific Northwest. The food was fantastic; I never had a bad meal. Not everyone speaks English, but the locals appreciate when you try to communicate in your rudimentary Spanish, augmented by signing and gestures.
My hotel was two blocks from the zócalo with its restaurants, cafés and nightlife, and directly across from the Museo Textil and neighboring San Pablo Cultural Center, where a lot of the symposium activities took place. I loved being centrally located, within a few minutes’ walk from restaurants, shops, markets and local sights.