Tuesday, March 21, 2017

Working in a Series or to a Theme?

Here is a less than flattering picture of me with Leaf Cluster I at the opening reception of Pend Oreille Arts Council's "100 Artists Exhibit" last Friday. The lighting for taking evening photos is terrible at this venue but not terrible for viewing the art. The place was packed, mostly with all those artists who submitted a single new work for the exhibit. I believe of the 100 artists members, nearly 80 do have a piece of art hung here, and the variety seemed to please the public who mingled with the artists. I got enough positive feedback on my little piece to confirm my feeling that working in a series based on my linocut would be worth my time and be favorably accepted by the viewing, and hopefully buying, public.


And so I've been thinking about the variations I could try out within the series. I did more quick test prints on paper, experimenting with different placements and angles within a 10 x 10 inch square, as my first thought on doing this series was to have them this size, wrapped around stretched canvas and mounted in floater frames. The paper here is actually 12 x 12 to represent that extra fabric needed for the wrapping. Light pencil lines delineate the 10 x 10 center and the paper has been folded to give me horizontal and vertical center line guides for placing the linocut when printing. Besides placement variables, there will be background (fabric) and paint color changes, and of course, stitching lines doing different things. But this is just the beginning, apparently. The more I muse in my mind and then do test prints, the more ideas spill forth demanding a larger format then 10 x 10, and even a different dimension than a square.

This idea definitely feels like a series, at least in the purist definition of the word: "a group or connected succession of similar or related things, usually arranged in order." Google "work in a series" and you'll find definitions and advice from various sources that are fairly similar to each other. From Clara Lieu: "For a series to work, you need to find a subject you are passionate about that is both open to variation and yet specific at the same time. A successful series should allow each individual work to be able to stand on its own, yet simultaneously relate to the rest of the other works in some manner." (The rest of her post is worth the read.) ArtBusiness.com doesn't care about your passion but more about making yourself understandable to those you want to buy your work: "...we need help deciphering what your art is about. So help us. Now the easiest way to do that is to work in series-- to create unified, cohesive, coherent, related bodies of work." This excellent article goes on to say that working in a series "...is not about repetition at all, but rather about being able to explore, investigate, examine or address particular ideas, themes, issues, compositions, concepts or topics in progressively deeper and more meaningful ways, and from a richer variety of perspectives than is possible by making just one or two... The knowledge and experience you gain from working within a well-defined set of parameters, while expressing yourself from a range of different perspectives within those parameters, allows you to nuance your compositions more subtly, purposefully and in greater depth and detail, and to communicate the results of your observations and explorations in more impactful, compelling and consequential ways." And all this, especially when presented as a compelling group, not only helps the viewer understand you and your work but "...at play also is the phenomenon of strength in numbers, of the whole being greater than the sum of the parts. In a good compelling series, there's a cumulative effect above and beyond each individual work being considered solely on its own merits."

While in Rochester MN I became fascinated with the sound and movement of fountains

I bring this up because, since returning from that extended stay with a friend receiving treatment at the Mayo Clinic in 2012, I've had every intention of starting a "water" series based on the unexpected influence the many fountains and other water features had on me while there. Someone mentioned I'd already started on a water series, pointing out how many of my quilts did feature water in some way. I think this confused me and what I had in mind for the series. I had a certain sequence in mind and yet I was not following it. I made one quilt somewhat out of sequence of the order I'd been mulling (Eisenberg Fountain) and went no further, allowing distraction after distraction and thinking I was still working on my series just because what I was working on included water (Adrift which is still not finished). Eventually it occurred to me that I was more working to a theme - that of water - than in an actual series. And I don't think they are the same thing at all. A group of artwork by many artists may work together in an exhibit precisely because they all include the same theme, say of water, but they are far from being what a series by one artist would be.

Of these 3 moon-themed pieces made for a miniature-themed exhibit, only the one on the right prompted a series based on the strawberry moon

The clincher to this line of thinking was running across a blog post by Shelly Stokes where she said, "Working in a series is really about what stays the same - and what changes." Ahh, so simply stated and clarifying for me. I could quit fooling myself that every quilt I worked on with water in it was part of my water series and admit they were merely ones falling within a favorite theme. The water series is actually something very specific in my mind and I have to remember that.

As for the leaf cluster, I really do intend to work through the variations pretty much as described by the ArtBusiness.com quotation and Shelley's simple description. Even though I keep catching myself saying out loud that I will be exploring "variations on a theme", (which with all this musing about series vs theme makes me nervous), I'm pretty sure I will be going down the series track, my variations focused on that single subject of a leaf cluster. My previous exhibit experiences are also influencing my desire to pursue this as a series to present as my offering for the upcoming ArtWalk. It's an event that has the option for presenting more individual pieces than most of POAC's exhibits, and I've been caught out before looking at the "collection" of quilts I've managed to finish and/or round up only to realize how they hardly went together to present a cohesive whole. We'll see if I can do more this time than just come up with a bunch of art quilts to put up.

Monday, March 13, 2017

Contour Lines

Diva Dance "Waltz" and variations
The Zentangle people came up with some variations on a theme that caught my attention back in December. Called "Diva Dance", the trio's first rendition, "Waltz", reminded me of mark making exercises I've seen that often end up looking like bark are water flowing. I've failed to get those kinds of images when I've tried it, so set the step-outs aside until I had more time to work with them. I have a tiny notebook where I copy in the step-outs for future reference, which gives me practice and a feel for the design before I use it elsewhere. I finally got around to doing that yesterday before sitting down with the newest of my sketchbooks and trying out different ways of working with the idea on a larger scale. Rick and Marie have started a video series of their working on a Zentangle with this one showing "Waltz" running under the rest of the design. I was amazed at how helpful it was to watch someone actually zentangling as he explains what he is doing.

Diva Dance variations "RockNRoll" & "Foxtrot"
Today I proceeded with the other two variations, "RockNRoll" and "Foxtrot". Zentangling is billed as a meditative practice and indeed, I found myself going into a meditative state, or at least a calmer state as I worked my way around each drawing. All of these are based on closely spaced parallel lines with the interest being the darkened "bumps" that forces the next line to curve out a different direction and creates holes and gaps. The more I drew, the more I was reminded of contour maps as well as the closely spaced parallel lines of background quilting and the echo quilting around applique motifs. No wonder I was drawn to these.

Normally one would use something like a Pigma Micron or Pitt pen to Zentangle but I wanted to use the Preppie fountain pen whose nib I usually find makes a thicker line than I want for sketching. But on this beautiful drawing paper in the Fabriano Venezia sketchbook, it works like a dream, and I am starting to understand why so many sketchers use fountain pens. You'll also notice bits of red here and there, added with a Pigma Micron 01 pen. This is a little experiment triggered by seeing a succession of black and white "urban" sketches where the artist added a bit of red - maybe just one door in a group of houses, or the flowers in a window box, or in one case a brushstroke across the top and down one side which had nothing to do with the scene being sketched. That limited pop of unexpected red elevated the sketch from interesting to mysterious somehow. At the very least, it got my attention when I otherwise would have moved on to the next sketch. At any rate, I was looking for a theme for this sketchbook, and since its cover looks somewhat like a red brick wall, it seemed the perfect place to see what would happen if I sketch in black "and then add red..."  

Wednesday, March 08, 2017

That Leaf Cluster

Nothing gets one in gear faster than finally getting around to opening exhibit documents to discover one has a little more than 2 weeks to finish a new piece of art for said exhibit. And so I got the needed boot to pursue a year old idea and see if it would work. It's mostly been the thought (i.e. fear) of mixing up paint to match the color in the leaf cluster I'd brought home that was holding me up. Time to bite the bullet and just do it! But I'd not even tested my linocut since carving it so that was the first order of business. Just inked with an ink pad and tested on plain paper.

Test fabric on top, "real" interfaced fabric, linocut and leaf cluster on bottom.

A week or so prior, I'd already fused the two pieces of batik to Decor Bond and pressed an additional large piece of the batik to use for trials. When I found that day with a bit of time in it to do this, I was afraid to pause for my usual checking of procedure for fear I'd lose my nerve and/or run out of time. It's been a long time since I worked through the on-line linocut course from Dejanne Cevaal but I was pretty sure I remembered enough to do some printing on the fly. Mostly, I wanted to try to apply the paint without getting any on the ridges this method leaves as you remove the background. I started with Speedball Screen Printing Ink in brown, adding black to darken it. But I needed to get some dark red in there too and found myself grabbing some Oriental Red Pebeo Setacolor paint to mix in.  I dabbed a bit on a small piece of the fabric and thought I had the color pretty close. I loaded up my hard foam brayer and started stamping, leaving the Decor Bonded strips to near last.


Normally the screen printing ink doesn't need diluting but I didn't stop to think that the Setacolor paint is normally diluted before use. That explains why the mix seemed thick prompting me to add a touch of water. And why when I picked it up off the palette there were peaks of paint standing out from the brayer. And probably why I was having a difficult time getting the solid coverage I'd envisioned. Not that this partial coverage isn't a nice effect, just that it was not what I had envisioned for my little art piece. I think it should have been thinned more.


I began to rue the fact I had not taken the time to review my lessons. And when a few days later this book arrived, one I decided to purchase on the recommendation of Dijanne, I wished I'd had it to consult before my printing session. Just paging through it makes me even more anxious to get back to linocutting and printing.


But in the meantime, I now had my leaf cluster printed on my batik, layered over Hobbs Thermore batting and muslin, ready for some stitching. I'd left out that spool of thread on the left because as it sat next to the batik and the actual leaf cluster, I just KNEW it was the perfect color for the stitching. Silly me. My first stitching would be to outline the leaf print and then maybe add a round or two of echoing. So fixated on this solid leaf idea, I decided I didn't want the variegated right next to it so used the solid burgundy on the small spool. Ok, it matched but did nothing else. So back to the variegated thread, which I did test on a scrap. But once I'd done a round of it, I wasn't so sure, yet my stubborn nature that had deemed it PERFECT prevailed. I started stitching across the background and after half a dozen lines could see that this thread that looked so reddish purple on the spool variegated to a decidedly lavender purple on the fabric. Rip rip rip! Maybe I need to go with the orange across the background, but in spite of it looking good on the sample, it too variegated to an unacceptable color (bright yellow!) and didn't look right as it ran across the browner sections. 

It's only 10 x 10 inches but taxed my abilities

I stared for a long time at my thread collection, willing the right color to magically appear where I was looking (yes, they are mostly arranged by color), and finally allowed my eyes to roam upward where I spotted the somewhat light burgundy variegated thread. Thinking it was too light, I gave it a try anyway and it turned out to be the best solution. I know some experts insist it's the value of the thread, not its color that is important, but I sure didn't find that the case here. Of course, all those lines of stitching I'd removed left needle holes, so the restitching had to be carefully done to hit or at least cover them. Yeah, what fun.


I realized I was so fixated on the burgundy thread because my original leaf had shone hints of deep burgundy along with a very dark brown. But once I got out of the poor lighting in the bathroom where I mixed the paint and did the stamping, I wasn't seeing as much red in the leaves as I'd intended. I pondered if I could paint over the leaves or in some other way add some red to them. In the end, I decided the safest experiment would be to try my Inktense pencils. Remember, I was working on a tight deadline and there was no time for starting over if I screwed this piece up. A simple way to work with these pencils is to transfer color from the dry pencil onto parchment paper or the shiny side of freezer paper, then pick up the pigment on a wet brush. I chose a stencil brush to see if I could work color not only on top of the paint but into the fabric in those areas where the paint didn't totally cover.


I think it made a little difference, but overall, this is still just a dark reddish/brown leaf. Again, nothing wrong with that and it looks good on this fabric, but it is not the color of the original leaf that got me excited when paired with this batik. Not to worry, I'll be doing this again and being more bold when I mix up my colors.


This really was intended to be a trial run for a possible series using this stamp. My idea is to wrap the finished work over canvas and put in floater frames. But because of the dimensions of the batik strips (which started as rejected padfolio pockets), there wasn't enough for wrapping. So I always knew this would go in a 10 x 10 frame. And when I do that, I always attached the finished piece (after zig zagging the squared up raw edges) to either watercolor paper or cardstock for extra stabilization. Knowing that, I didn't have to worry about burying the many thread tails that got pulled to the back., thank goodness.


Time to dig around in the closet to see what I had in terms of that board and I discovered an unopened pack of illustration board I totally forgot I'd bought. Normally I'd put a heavy needle in the machine and sew around the edge to attach quilt to board. But this board struck me as thicker than what I've used before so I hesitated.  Maybe I could just use some glue or . . . I remembered this roll of double-sided mounting tape suggested by a scrapbooking friend many years ago. Am I getting lazy or just smart? It's archival so let's just say I'm getting smart in my old age.


With the quilt permanently attached to the board, my "label" information can be penned on the back of it. When I do this rather than printing out a label, I use the initial stamp I carved as well. This frame had a Masonite back board rather than cardboard like so many cheap frames do, so it went on last. A business card with the name of the piece and price gets taped to it to meet the labeling requirements of the exhibit.

Leaf Cluster I by Sheila Mahanke Barnes 2017 - 10" x 10"

And here it is framed and ready to go (with no glass). I did have a black frame on hand but found a lovely mahogany brown one on a shopping trip that I think looks much better. I filled out paperwork yesterday and dropped it all off on time this morning. I do like it but have misgivings about its simplicity. Too minimalist? Will people view it with at most a "that's nice" or a shrug before quickly moving on? It's certainly not "great" art but I think it is ok "decorative" art. So I was a bit surprised and relieved at the accolades from the ladies checking in artwork today. They can be pretty deadpan as they do their job so to have them ooh and aah made me feel better and encourages me to keep working with this motif, exploring variations on this theme. 

Wednesday, March 01, 2017

It's March

Ok, say it with me. Where did February go? I know it's a short month anyway, but it got away from me as disturbingly as January did. I found myself hustling to get my March spread in the coloring pocket calendar done in time. This one really has few if any true repeats in the design, but I still found myself setting up a few guidelines of approach. For instance, all circles would be yellow. And the outer sections of petals and arcs would also be yellow. Any areas with black dots or other black designs would get the light green pencil while the same shapes sans black would get the darker green. And I also kept reminding myself to limit the number of colors. I wanted this to be a bit calmer.


I think those parameters served me well. That and the fact that I used this spread to try out some of the suggestions in the Colored Pencil Collage book that soon had to go back to the library. I know I've probably read some of this before, but this time I actually did what was presented to see if it worked better than what I've been doing. For instance, she talked about building up layers by varying the amount of pressure applied while either making small circular motions or long strokes. She described the amount of pressure in percentages, as in start with 10% pressure to cover the entire area lightly and then go back in to use about 30% pressure in areas you want to be darker. It never occurred to me to do anything but press hard from the start to get the color and value I wanted. I was amazed at how well this layering with lighter pressure worked, especially in the areas where I blended a brown and an orange in the petals. She also suggested testing all your colors with a band of light to dark pressure to see the variety of looks you can get in a single color, just by changing the value. I did this with the purple pencil where in the inner swirl I left one portion with a single layer while continuing to build up layers and darker value on the rest. That lighter value also fills in parts of the background where leaving it white was too stark. By using the very light value, I eliminated the need to introduce another color.

I also tried to add a little depth to the design by introducing shadows, a technique I learned with my Zentangling. At first I tried just darkening the value of the color to create the shadow but it didn't work very well. Last night I went over the overlapping areas with the black pencil and a very light touch. You might be able to see it if you click on the photo for the larger version. Safe to say this continues to hold my interest and is providing learning experiences and practice that I can certainly use. 

Sunday, February 26, 2017

An Infusion of Energy

Rebecca and her snow dyes

My art group met last week, and after several months of spotty attendance, we had a full house including all but one of our newest members. After several years of unsuccessfully beating the bushes to swell our small ranks, last fall we were suddenly presented with four like-minded textile artists eager to join our group. Each brings her own voice and enthusiasm, and all but one attended the February meeting, some meeting original members for the first time. It made for a lively and exciting meeting. I took my snow-dyes and discovered I wasn't the only one who had been playing in the snow. New member Rebecca (who comes to us via Cody, WY where she also belonged to an art group) also had snow-dyes to show off, hers looking quite different from mine. Of course, we compared notes.

Rebecca's Challenge Quilt

Rebecca is still in touch with her Wyoming group and is taking part in their yearly challenge, this year's theme of child abuse requiring much thought and presenting more of a challenge than many in her group initially cared to take on. Rebecca wanted to focus on more than just the abuse, and came up with this design expressing how a small thing can make a big difference and provide hope. Of course, we wanted to know how she added the text, and it was by composing it on the computer and printing it directly onto the fabric.

Rebecca's Mini-Me
She also shared this guild challenge where all were given a shape like a gingerbread man which they were to use as the starting point for a self portrait. Not content to stay within that stiff form, she cut off the arms and reattached them reaching up, and added the colorful umbrella on top.

Vickie's Ode to Janis Jopline

Another new member, Vickie, sells a lot of her work through the local artist co-op. You can see some of her work and learn more about her on the Art Works site here. I suppose you would say she works rather organically, not tied to working with traditional fabrics but preferring to mix textures and types. This is her "Ode to Janis", using old jeans (leaving the edges fraying) and silks, and adding some embroidery touches. She's a great proponent of the big stitch and she uses it well.

I believe Vickie calls this "Home"

Here's another that shows off her big stitches and also love of adding beads and found objects like the key. She also often incorporates branches or distressed metal rods through loops to combine the function of hanging apparatus with another visual detail of the piece.

Vickie's WIP

This is a piece in progress that I wanted to share because Vickie often adds gold leaf motifs to her quilts. Actual gold leaf applied over dried matte medium as opposed to the foil most of us are familiar with. She feels the foil is too bright and harsh for her style whereas the gold leaf gives just the right amount of bling she is looking for. In fact, this rendition of a 1920's bicycle done in gold leaf is still a bit too in your face for Vickie. She plans to go over the entire piece lightly with white paint, just hitting the high points and giving it a rustic look.

Terrie's play with crayons on dyed (or maybe painted) fabric

Yet another new member, Terrie, runs a quilting business adjacent to her home - Moose Country Quilts. She has written several books, published numerous patterns, teaches workshops, sells fabric and sundries and does longarm quilting. It's a wonder she has time for us! She also works with kids in the classroom so some of her experimentation relates to what would work well in those sessions. Here she colored her design with crayons, often with multiple layers of colors to get just the right shade, then ironed it between absorbant paper to remove the wax. You'd never know this was done by the lowly crayon. Also, she brought along her sketchbook where, inspired by my Inktober drawing a day project, she has been doodling and sketching as close to daily as she can manage. Some of them are tryouts for continuous line quilting, others for applique designs, some just for fun. In fact, the design she colored with crayons is one developed in the sketchbook. She is such a talent.

Terrie's rain quilt - top of quilt is to the left

Since joining last year, Terrie keeps showing us progress on this "rain" piece that started as an experiment with paint. She saw a paned window looking out into the world and has been steadily working to enhance that vision. She has written with pen all kinds of rain-related sayings in waving lines like rain falling and done some hand quilting in the same manner. Her most recent addition she wanted to show was adding ribbon to create the sashing of the panes in the window, something she had not been able to make show up just with quilting. She is well on her way to finishing this.

Meg's latest "kids" fused to Peltex and near ready to be cut out

So what has the old guard been up to? Well, Meg is still creating her "quirkies" - stand-alone images that create stories as she starts grouping them on the wall. Her "Unforgettable Tree" from the Fiber Show last spring remains up, and she's been adding and subtracting to it as the seasons change (follow this link to see the June version). These kids are getting ready to have a snowball fight in front of said tree! Meg has also change her web presence again, ditching her blog site for a platform on Tumblr. Check out what the tree looks like now on her new site, Meg Marchiando Art.

Adele's computer drawings

Her daughter, Adele, was able to join us since it was a school holiday. Only a sophomore in High School, she has many talents including drawing. She and her mother have been doing a drawing a day and posting them to Instagram for over 200 days now. Adele does all her work in a graphics program, using a graphic pad and stylus to draw. She demoed it as well as showing some of her latest drawings. She makes it look so easy!

Robin's booty from her Japan trip including "Year of the Rooster" fabric painting

And last but not least, Robin had photos of her January 12 day Textile-themed tour to Japan to share, with lots of explanations. Not only did she attend the Tokyo International Quilt Festival but she also got to observe a master indigo dyer and learn how to do one kind of shibori tying. Here are some of the treasures she brought home with her, including a quick impromptu painting on fabric done for her by one of the artists they visited.

I think we all left totally fired up and looking forward to the next meeting!  

Monday, February 13, 2017

For Your Consideration While I Dawdle

Running out of room to toss the latest 7 inches of snow
I'm still on artistic hiatus of sorts, having run into time-sucking computer issues, more snow to shovel and other "that's life" sort of things. I'm really not in much hurry to get productive again, rather enjoying this time off to get long-nagging issues attended to and reading caught up on. Time moves forward though and POAC has sent out a schedule of upcoming exhibits that I can and should be a part of. They have reached a magic number of 100 artist members and want each of us to submit a new piece for a March exhibit. Yeah, I can do that, I really can. The yearly fiber exhibit has been moved from spring to fall so I have lots of leeway there. In between, ArtWalk, and several months to get my act together for that.

So while I am taking a break (and mentally mulling possible transformations of some of those snow-dyes into wall art), I can at least share some of the interesting (to me) things I've run across lately. Austin Kleon continues to be a great source, and this Tumblr post caught my eye since I have new sketchbooks awaiting and actually did recently start work in a fresh one: "I like the idea of starting new notebooks by stationing guardian spirits inside the front cover, to watch over things." Click on the preceding link to see an example. This may be a good idea, especially since I've often heard that first page of a new book creates a bit of a block. Once you do anything to it, then it's supposed to be easier to get on with your sketching or journaling.

How I recently started a new sketchbook

Austin also wrote an interesting bit on an often shared quotation of Goethe's: one ought every day at least to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.” Follow this link to get the story of where Goethe got onto this bit of advice which Kleon thinks is "about appreciating, not creating, which is one reason why I like it so much — appreciating (input) is the first step towards creating (output), and too often today we emphasize output over input." 

He also gets into the common advice to work whether or not you are particularly inspired to, that inspiration often comes in the doing. Goethe did not agree with this, nor Marilynne Robinson:
"I write when something makes a strong claim on me. When I don’t feel like writing, I absolutely don’t feel like writing. I tried that work ethic thing a couple of times—I can’t say I exhausted its possibilities—but if there’s not something on my mind that I really want to write about, I tend to write something that I hate. And that depresses me." 
I like the honesty in that. And have days on both ends of the spectrum: didn't feel inspired and ended up with great results, didn't feel inspired and got nowhere but frustrated. (and an aside, I have read several of her books but until I looked her up in Wikipedia, I didn't realize she was born right here in Sandpoint, Idaho!) Austin wraps up with this that I can certainly agree with:

"Productivity and creativity often get confused — anybody who has done creative work knows that good ideas often come when one is least productive. Everybody does it differently: some writers need inspiration before they sit down, and some writers need to sit down for the inspiration.
 
What seems universally true is that we could all use a little song, a good poem, and a fine picture in our daily routine. (Speaking a few good words seems entirely optional.)"
Finally, someone who I've previously quoted on my blog has recently died, author and art critic John Berger. His book, About Looking, is one I've wanted to read. Upon his passing, several videos have appeared on youtube including a late 2016 BBC documentary exploring Berger's life and work. You can also find his 1972 4-part television series, Ways of Seeing, the scripts of which were adapted for the book of the same name, also on my reading list. You can find episode one here, with the rest in the sidebar. Because I know you don't have anything else to do, right? What's 3 hours of your time on a wintry day? :-)

Storm 3 brought snow followed by freezing rain
  

 

Tuesday, February 07, 2017

Getting In Gear

Round 1 of weekend snow
I've been meaning to do some dyeing, maybe even snow dyeing, for awhile. I even bought 25 yards of mercerized cotton and three new dyes (totally unneeded when one views my stash of gifted old dyes) late last year so there'd be no excuses. It took this additional sequence of events to get me there: 1. While doing my January tidy-up, I unearthed Wil's directions for Parfait snow dyeing that I had printed out from the And Then They Set It On Fire blog (a terrific resource for all kinds of interesting textile techniques and surface design ideas), and  Beth's general instructions for snow/ice-dyeing printed from her blog (she ice-dyes the most extraordinary mandalas and is so generous in sharing her knowledge). Oh yeah, plenty of snow stacked up outside, lots of dye powder languishing in the garage and yards of fabric at the ready. 2. Friend Mary posted this new prairie-style art quilt on her blog, made from her own experiments with ice-dyeing (close cousin to snow-dyeing). So in love with this quilt and what an excellent way to use those interesting fabrics. 3. Then friend Chris blogged about snow-dyeing last week. Alright already! I'll probably do some snow dyeing over the weekend, I thought. And then... 4. We got about 10 inches of fresh snow Friday into Saturday. What else is a gal to do when life gives her that much snow?


I started with Wil's parfait method. If you're not familiar with parfait dyeing, it's basically laying out a piece of fabric, pouring dye over it, adding another piece of fabric on top and pouring a different dye over it, continuing in this manner with as many layers as you want. The dyes seep through to the underlying layers creating interesting and unexpected results. In this case, snow is added on top of the fabric and dye powder is sprinkled on top followed by a little more snow before adding the next fabric. Wil did her demo inside a glass vase so we could see the layers, each fabric scrunched as opposed to laid flat. She also notes that you can substitute ice cubes; she got beautiful results from both.) I didn't have a vase big enough so used a big plastic bucket. 


It wasn't until I was trying to get the snow to stay on the top of my precarious stack that I realized I'd failed to fill in the space around each layer with snow. I tried to rectify it after the fact. I think it skewed my results some as my fabrics did not come out anything like Wil's. The snow I used was very light and powdery, very little water content as visible from the small amount of liquid at the bottom of the bucket once the snow had melted. On either side of the container at the bottom that kept the fat quarters out of that melt, I'd placed a fat eighth of white muslin. Waste not, want not.


Each snow-covered fat quarter got a sprinkling of one dye color only. From bottom to top, I used seafoam, tangerine, basic blue, and maroon - all ProChem dyes. As these are quite old, some may not be available anymore. I was just tapping the dye out from the jars which worked pretty well until that last one when a big bunch let loose on my first tap. Well, not as critical as when I've done the same thing measuring a spice from a bottle right over my bowl, but it did cascade down one side which probably explains why the blue and seafoam layers have so much red. I was hoping the blue and maroon would blend into something more purple or lavender, that the tangerine would pick up some of the blue to create some greens and that the seafoam would also blend nicely into a yellow/green piece. The maroon didn't look to pick up any of the blue below it and is the only piece out of the four that as I whole looks good. The others though, all have areas on them that on their own will be usable. They are definitely cutters. And I don't think I've used basic blue before, so was happy to see what it looked like, and I like how it looks.



Here are some close-ups of the great texturing in the maroon piece. The browns in there are the dye separating into the two dye powders mixed to come up with maroon.


As long as I was at it and had so much snow at my disposal, I set up the more standard snow-dyeing process per Beth, and experimented with manipulating the fabric by folding rather than just scrunching it up. I tried two different triangle folds and two loose accordion folds, one rolled after folding, the other bound with twist ties in four places and coiled to fit the remaining space. That's a tray from a garden center, nearly taken back for recycling after it carried my pots of plants home. I realized it might come in handy for sun-printing or such, but it works pretty well set on top of a bin for this snow-dyeing. Again, waste not, want not; I laid another fat eighth of white muslin flat in the bottom of the bin to soak in the dyes that would drip down as the snow melted.


One of the things that I didn't like the last time I snow-dyed was sprinkling on the dye - either by tapping straight from the jar or by tapping it off a measuring spoon. I'd been thinking about these old salt and pepper shakers I'd put in with my dye supplies just in case they might come in handy, and now was my chance to see how handy they might be for distributing dye powder more evenly and with less of it flying around in the air. Goodness - they worked even better than I anticipated!


Here's that folded fabric covered with snow and sprinkled with dye - first ProChem golden yellow over the entire surface, then Dharma Better Blue Green in places that I hoped might hit the outer edges of some of the folds. I used a measuring spoon to add here and there some Dharma Cobalt Blue. Again, old dyes and I'm not sure if the Dharma ones are still available under those names. It always looks so gruesome to me at this stage.


But after the snow had melted off, it looked very promising! After rinsing, definitely promising!





Ahhhh - basking in my success! I love these! (click on any picture for a larger view)


These are the fat eighths that soaked in the run-off. Kind of fighting with my camera to pick up the actual colors but I think I've manipulated them fairly closely. Okay and usable somewhere, but not in the "precious" category. I actually have plans for these sparked by a textile artist I follow on Facebook - stay tuned.
Overall, my outcomes were more successful than my first try at this and here are some of the reasons I think why. I still don't quite have the scrunching down like I would like but folding the fabric really produced exciting results. I don't think I've tried this mercerized print cloth before but am very pleased with it. It barely raveled during the washing process, it's a weight and weave I like working with better than Pimatex, and the dye color looks rich and really taken up in the threads. I also tried Beth's method of heating the wet dyed fabric in the microwave prior to using a cold water soak before starting to rinse out the excess dyes in warm soaks. I've read of this method before but this is the first time I used it and I think it made a difference.

By Sunday night my dyeing was all done, new fabric ironed and tickling my imagination. By Monday morning, round two of ten inches of snow had stacked up, wet heavy stuff this time, and demanding I spend my time removing it from my driveway and path to the front door. I hear your snow-dyeing results can be affected by how much moisture is trapped in the snow you use. Will I try this wetter snow to see? Naw - I have other things to shift my attention to. But gosh, I have so many talented women to thank for getting me off my duff to give this snow dyeing another go. Be sure to check out their blogs and art.