Do you learn better through watching a demonstration or by reading
directions? I fall into the former category, and I suspect many others with an
artistic eye do, too.
What are your favorite color combinations for quilt art and surface design? I particularly love the combination of hot pink with orange and turquoise. Or red, yellow, and orange together. And then there are the sun-washed combinations of yellow, blue, and green.
I'm an equal-opportunity fabric monger: I drool just as much over hand surface-designed fabrics. I gobble up every new technique and have even tried some fabric stamping, ice dyeing, resist dyeing, and fabric painting. I love it.
I've found that setting aside 15-20 minutes a day of "play time" works for me. Whether it is spent hand quilting, making a patchwork quilt for a friend, or spreading paints or inks on fabric in my studio for some surface design fun—it doesn't matter to me as long as I am tapping into my creativity.
If you want to give your art quilts or fiber art a unique design, one of the easiest ways is with fabric painting and surface design techniques. And one of the simplest ways to apply fabric paints or inks in a unique way is with monoprinting.
Recently, I shared Marcia Derse's tips for making your own fabric stamps for resist dyeing. The way that Marcia came to surface design and incorporates fabric painting and dyeing techniques into her quilt art fascinates me so much, I thought I'd give you some insight into her thought process.
Art quilting can be an expensive hobby. A good-quality sewing machine, specialty threads, and stacks and stacks of fat quarters, are just the beginning. It always seems like there's some new gadget, tool, or surface-design supply I absolutely must have.
Maybe the most important lesson I've learned from Rayna is that rules and perfection are overrated—at least when it comes to surface design and art quilting. In fact, I think it's her laid-back attitude, coupled with a keen eye for color and design, that makes her such a brilliant artist.
Have you ever looked at a heavily stitched or textured textile and thought, "That would make a great pattern for printing?" Lace, embroidery, even free-motion stitching can all be inked up (or painted) for monoprinting and surface design.
A few weeks ago I shared some of Margaret Applin's tips for creating a unique digital fabric design. Today I want to pass on her expertise for Thermofax screen printing.
A note from Vivika: Today our topic is mixing fiber art with wet media (specifically watercolor) to use in surface design. So, I called in my mixed-media colleague Cate Prato, Editor of Cloth Paper Scissors Today, to serve as guest blogger. Take it away, Cate!
I've heard it said that artists see what others don't see. Fiber artist Margaret Applin has a way of taking a familiar surface design technique and turning it inside-out to create designs and textures with a different look.
On this Thanksgiving Day I am in transition. I'm settling into my new Houston digs in preparation for my fresh adventure with Quilts Inc. while still consulting for Quilting Arts and preparing for the next season of "Quilting Arts TV."
I'm going to ask you a question and I want you to give me an honest answer. When choosing among items at a grocery store, have you ever selected one over the other based solely on how you could use the packaging to create surface design?
Reports from Fashion Week earlier this year (how many of us knew the term "fashion week" before "Project Runway" came on the scene?) showed that color, graphic design, spots, and fabric that seems to move would be hot this fall.