Wednesday, March 20, 2019

Parfait Snowdyeing

It's been 2 years since my first go at parfait snowdyeing, and I was not thrilled with my results. I came away with things I should and would do differently for better results should I do it again. But really, I wasn't sure I ever would. It was almost a whim to try it over the weekend, those piles of snow you saw in my moose pictures destined to be greatly reduced if not totally gone within the week with forecasts of temps getting near 60 degrees. I already had some pfd fabric cut into half yards for gradations I never got to and I knew that if I took the time to scour them beforehand with synthropal, I'd not get to the dyeing part. I know most people don't bother to wash their pfd fabric but I always have. This time I just gathered my precuts, cut them into fat quarters and fat eighths before soaking them in soda ash solution (left over from my last dye session), quickly reviewed the process and, per my resolution word(s) for the year, winged it! I pulled some recently acquired vases and a variety of dye powders out and started layering.


The original directions suggested placing some small thing in the bottom for the fabric to rest on out of the melted dye-laden snow, but instead, I stuffed a fat eighth into the bottom of each rectangular vase before topping with snow and my first fat quarter. More snow and some dye powder, more snow and another fat quarter, more snow and more dye. That's all that would fit. A similar process for the tall cylinder vase. Sitting in my garage with nights still getting below freezing, it took about 24 hours for the parfaits to melt. The idea of this method is that dyes from upper levels will seep down into the fabrics below creating interesting mixes. It didn't look to me like there was much seeping as I emptied the vases out and started rinsing. However, as I unfolded and soaked, things looked promising.


These are the fat eights in the bottom of the rectangular vases. Yes, not a lot of dye made it down to them. The one on the left became a candidate for overdyeing in the next session.


These two are from the shorter rectangular vase. Golden yellow and I believe mixing blue were the dyes, me thinking that when the two seeped together, I'd get a lovely green. Not so much. Both of these would get overdyed, even though the yellow one had some nice texturing in it.


These from the tall rectangular vase are much more interesting. I rather loosely gathered these side to side and then folded the ends under to fit the width of the vase. I used more than one dye color on each layer, spreading them side by side more or less, and there may have been a bit of seepage onto the one on the right, the rose red coming through. I think the other colors I used were more of the mixing blue and some seafoam green. The one on the right has bright green, ultraviolet and maybe some lavender thrown in. I wasn't really keeping track, and making last minute decisions as I went. (Winging it!)


There's some very nice texturing in there.


The big winners came out of the cylinder vase. Again, struggling a bit to remember what I put in there, but definitely the ultraviolet and lavender on the top and more of that golden yellow underneath. But there was also a surprise.


While trying to separate the damp fat quarters I'd layered in the soda ash, my rubber gloved fingers struggled to find edges. I was coming up short on fabric and I had this feeling I had two fat quarters glued together and already stuffed into a vase. Sure enough, it was in this vase that they ended up, creating duplicate pieces that also create a mirror image! I'm very excited about that and the possibilities they present.


So I guess you could say, my faith in parfait dyeing has been restored, and I will probably do it again. Not prewashing the pfd fabric didn't affect how it took the dyes - good to know. And these results got my brain ticking away, knowing exactly what I wanted to do next. I quickly gathered more snow and fabric for a regular snowdye session. They say you must make hay while the sun shines. Well, here it is dye fabric before the snow melts! I'm ironing up the results this afternoon . . . 

Sunday, March 17, 2019

On St. Patrick's Day

National Quilting Day was yesterday and I've been busying myself with some snow dyeing (which I will report on in a separate post). Appropriately for today, I listened to Ireland's John O'Donohue (my niece gave me the Complete John O'Donohue Audio Collection for Christmas) while I ironed the results of my labors, and just happened to be listening to the cd about your work and creativity (geared towards the traditional workplace but applicable to those of us working at home at our craft). At the end of the segment, he recited this lovely blessing that I appreciated hearing (along with much of what preceded it), a kind of affirmation of a personal insight and redirection of the path I'm on this year. May you find comfort and inspiration in it, too.

May The Light Of Your Soul Guide You, by John O’Donohue

May the light of your soul guide you.
May the light of your soul bless the work
You do with the secret love and warmth of your heart.
May you see in what you do the beauty of your own soul.
May the sacredness of your work bring healing, light and renewal to those
Who work with you and to those who see and receive your work.
May your work never weary you.
May it release within you wellsprings of refreshment, inspiration and excitement.
May you be present in what you do.
May you never become lost in the bland absences.
May the day never burden you.
May dawn find you awake and alert, approaching your new day with dreams,
Possibilities and promises.
May evening find you gracious and fulfilled.
May you go into the night blessed, sheltered and protected.
May your soul calm, console and renew you.

Wednesday, March 13, 2019

Breaking News!

After several outings at local shows, and to rave reviews, the Cobban Bridge slice quilt that I collaborated on with friends in Wisconsin has recently sold at an Empty Bowls silent auction back in Wisconsin. This time we had two bidders and are thrilled to have raised this much money for the Feed My People organization. Viewers of the quilt have encouraged us to keep at this, and to keep our themes local to the Northwest part of Wisconsin. Our fearless leader, Mary, already has her eye on several potential locations for us to interpret in this seldom seen format.


I wasn't feeling well yesterday so I ditched any thoughts of working in the studio for sitting in front of the tv, reviewing the magic loop method and starting sock two of a pair I started knitting an embarrassingly long time ago. I was soon rewarded for being downstairs at a time of day I'm usually upstairs by the arrival of this beautiful moose!


It's difficult to tell from the photos just how big this moose is, but perhaps it would help to know it is standing in probably 12 to 15 inches of snow. It seemed in no hurry, almost like it was posing, so I hustled upstairs for my camera.


I was surprised by how very healthy this moose looks, nice and plump with beautiful fur. Some years when the moose come down out of the mountains, especially if it has been a hard winter, they can look a bit skinny and ragged. It was browsing on the bushes in the buffer between my development and a 2-lane highway.


Moose can get surly. Well, as big as they are, it's no wonder they are not the type to spook and scamper off, would just as soon charge you. So I usually give them a wide berth. I started my picture taking through the deck door. But as it decided posing time was over and moved on down, I ventured as quietly as I could out onto the deck. But moose have sharp ears and it definitely knew I was there, turning its head with every click, as if to say, "What are YOU lookin' at?"




All this in the midst of what we are hoping is the last snow storm of the season. A lovely gift that made me feel better. It's the first moose I've seen this year and I was beginning to think I wasn't going to get the chance.

Monday, March 11, 2019

Some Surprises

I did a little multi-tasking this weekend. The older I get, the less my desire to do this; my mind only wants to focus on one thing at a time and I don't blame it. However, there was motorcycle racing to watch, and the hours of qualifying don't require total concentration. I decided this was a good time to take apart a couple of silk ties.


This is the tie that's been on the water wall forever, the one I want to use in the next quilt in the series. Its pattern just naturally looks like water flowing to me and its colors look to work with the background batik I wanted to use. As one would expect, there is a "right" and a "wrong" side. Oh! The paler side might be the answer to portraying the foamy nature of fountain water. Hadn't considered that option before.


But the real surprise was what lurked inside the second tie, the one that might do something interesting in inserts as breaking ripples in a lake scene. I still can't figure out how that very different shaded square pattern is part of the weave of the squares on the front side. Holding it up as it shows on the bias, it too gives an abstracted sense of movement and flow.


Yet another surprise awaited me with this tie. If you've ever taken a tie apart, you know that a heavy woven interfacing like the one on the right in the above photo is used to give the tie body and keep it from stretching and twisting out of shape since tie fabric is always cut on the bias. When I first started taking ties apart, I was tempted to keep this part, but quickly decided that was taking my keep and recycle tendencies too far. Into the trash it goes. But the interfacing in this tie, seen on the left, is very different from any I've seen used in ties. It is soft with no visible weave, very much like some thin cotton battings I've used. The tag said this tie was totally hand sewn (I can attest to that, using a heavy silk thread) and indicated it was made in China. I'm so curious about this and am keeping it.


The wheels have been turning, making me eager to keep working in my water series sketchbook, and it was time to add some reference photos of the quilt I want to work out next. I added three views of the "Boy with a Dolphin" Fountain, the sculpture being by David Wynne, which is tucked in the Children's Garden on the Mayo Clinic campus. (There's a lovely story behind his inspiration if you follow the link.) Actually, I couldn't have cared less about that sculpture; I was focused on those steps and the way the water tumbled down them.


So after the ties were taken apart, I turned to the sketchbook to work a bit on my fuzzy initial ideas for the quilt. Turns out, multi-tasking by listening to the commentators while drawing lines actually helped move ideas along, a way of distracting the left brain that had kept balking at how to get going on this. The final sketch was a small eureka moment which I may not have gotten to without fiddling with the previous ideas. And boy, do I like that dotted line paper! Now if I can get the tie fabric to do what my inner vision is seeing it doing. Yes, eventually one has to put aside pencil and paper and start working with the real thing.

One last surprise that day: while I was checking the background batik hanging on the water wall to see just how much was there (that's it on the left), I noticed these pieces of paper pinned next to it. Are you familiar with the expression "nose blind" as in for whatever reason, you get so used to an odor in a room that you stop smelling it, even if it is unpleasant? Well, this is the equivalent, only I guess you would call it "eye blind". I know I put these up there long ago because I had no place else for them at the time, and I didn't want to forget about them. And yet I had, with them right in plain sight. I was surprised when I spotted them, more surprised when I leaned in to read them. The first refers to working in a series:

"Working in a series is really about what stays the same - and what changes."

The other has some phrases I ran across that so beautifully and interestingly describe water images (the underlines are mine):

"the lovely inattentive water"

"...stare at water which is already elsewhere
in a scrapwork of flashes and glittery flutters
And regular waves of apparently motionless motion."


Easy for YOU to say, Alice, harder for me to work out visually in fabric and thread!

Wednesday, March 06, 2019

Points of View

Here are a few things I've run across lately that I thought worth sharing with you in this rare photo-less post.


“Art is not Magic, i.e., a means by which the artist communicates or arouses his feelings in others, but a mirror in which they may become conscious of what their own feelings really are: its proper effect, in fact, is disenchanting.”

This struck me as a slightly different way to think about the art we make, puts the emphasis away from the artist and onto the viewer. I decided I really like that and indeed have seen it in action. Yes, I may want the viewer to get what I'm trying to relay about my own thoughts and reactions regarding the subject or fabric or patterns I'm working with. But it takes some of the pressure off to accept the fact that my work may tap into something totally unexpected in another. That strikes me as exciting.

Here's another differing point of view:

"People say that I paint depressing and meaningless things," Mikael remarks. "When you are painting things," he replies in disagreement, "you are actually giving them meaning. Depicting is an act of meaning-making. Painting and sketching is a way to say that life is meaningful, even though it looks like . . . this." 

Turns out he had the same "moment of enlightenment" that I had when working with Drawing on the Right Side of the Brain by Betty Edwards:

"The brain is so much better at depicting reality when you don't understand what you are seeing, then you can hotwire your perception. You have to work in an abstract way, and then your drawings will turn out much better."

Finally, consider this way of preparing to create from the painter Calvin Chih Hao Teng:

"In Eastern philosophy one must first settle the physical body to settle the inner heart. To create, I bring my body and mind to total serenity. Only then can I harness the power of my brushstrokes to freely express my inner thoughts through my paintings."
Fluid Nature by Susan Byrnes, October 2018 issue of Artists Magazine

Do follow the link on him and read his artist statement. It is like none I've read before!  

Tuesday, March 05, 2019

Thinking About Water

I'm guessing that if I were to pose the question, "What color is water," many would do as I did, and automatically answer "blue". After all, lakes are blue, one can sail the deep blue sea, tropical lagoons are a particularly distinct shade of blue. And that is why when sorting through fabric, so many blue ones ended up on my water wall. Not sure exactly when the epiphany struck, reminding me of something I instinctively know, water is in fact colorless and clear. This quality means that what we perceive as the color of water is the color of something else being reflected back or being seen under or behind or even floating between the water molecules themselves. Think the rocks of a river bed or the sand under lapping waves, dirt muddying a river or algae growing in a pond. Even the foam produced by a waterfall or wave can make us think the water is white.


So I soon found myself searching out photos of water that I'd taken over the years. I lived within a short walk of an ocean beach for 3 years and a few of the photos I took there quickly proved my point. (You've seen a glimpse of these pasted to my sketchbook.) On this particular stretch of beach, the ocean was often grey, mimicking our many cloudy grey days, or would read grey near the close of day.


Other times it had a rich green tint to it.


And if there was a beautiful sunset going on, parts of it could turn the color of the sunset as well.


So I did my best to throw out those preconceived notions of all water being blue and moved on to a more difficult task: thinking about how water moves, whether in constant motion of a creek, concentric circles rippling out from a disturbance or frothy sprays thrown up by a fountain. How does one capture the movement of water with fabric and thread in two dimensional space? That's what I've been exploring, trying to work out since my first attempt on the Eisenberg Fountain quilt - my initial trial on a small sample version shown above. The water cascading down the stone wall was obviously clear, but you could still see how the water moved over it, in this case in two very different patterns.

See the actual building here. It's quite impressive.

But there must be less literal ways to do it. In that sketchbook I'd taken with me to Rochester, I found a note wondering if the flow of the fountain could be done with silk that had been ripped into narrow strands - an idea I'd totally forgotten. Then there's the photo of a friend's textile dabblings I've kept on my laptop in the studio for years, waiting patiently for me to run with the idea it gave me - that scattered diamond shapes might work to abstract moving water. More recently I've considered burning out areas in a sheer fabric to show motion. And just the other day, I decided to look in some files I don't often peruse anymore, and found some minimalist library posters done by Andre Chiote that I had saved. The one above is the poster done for the Aberdeen University Library in Scotland. When I saved it, I'm sure it was because of its visual connection to quilt improv block technique I've dabbled in, but upon seeing it now, looking for water inspiration, I see water moving down the face of the building. Ahh, a new way to think of capturing water movement in fabric!


And this is the value to me of starting that topic specific sketchbook. It's jarring loose some ideas as I add to it and helping me to open my mind to different ways of seeing things, while giving me a place to keep them together while I'm thinking about the next design.   

Tuesday, February 26, 2019

What Sparks An Idea?

Check out the dotted lines printed on each page
I'm finally doing something with the sketchbook I bought specifically to organize my thoughts and work out ideas regarding this water series I'd wanted to pursue. That idea came from those three months I spent with my friend in Rochester MN while she got treatment at the Mayo Clinic. We discovered so many water fountains, a couple of small lakes, and even a little creek and a man-made waterfall with pool within the city limits. They all provided respite from our serious business, the sound of them and the movement of the water healing. Could any of this be captured in fabric? I started jotting down ideas in the sketchbook I'd brought along and once home started setting aside inspirational photos and fabrics. But I decided if I was ever going to make progress, I needed to have everything in one place, and I needed to start jotting down some of the small things that came to mind, not just design sketches.

Make your own table of contents

I chose to try a Leuchtturm1917 notebook with dotted line pages. I kept seeing references to this sort of notebook, apparently all the rage lately for organizing your life. The dotted line is sort of a compromise between lined and graphed pages, subtle enough to stay in the background but there to guide writing and sketching when you want straight lines in any direction. This version has other handy features, including numbered pages and a space for developing a table of contents so you can quickly find specific things. 

Reminding myself of what I thought I wanted to explore

So I've been doing some writing, printing out photos, transferring some of the sketching and notes from other sketchbooks, feeling in my element (I really do love organizing!). This is in preparation for making a very small sample that I can add to that sketchbook, a sample that has to do with portraying sparkles on a body of wavy water. I'm finding those dotted lines wonderful to work with, keeping my script in line and providing vertical and horizontal references for lining up the pictures I'm adding.

A bag of silk ties, a spark of an idea from just one

And what sparked the idea that I want to try in the sample is this, this one tie peeking out of the bag of Goodwill silk ties. I'd walked past that bag a number of times with no reaction, but it only took the one time when I only saw a sliver of those multicolored squares and could envision it creating the kind of visual movement I had in mind.

Reminders of the illusive "color" of water

It doesn't take much to move you forward, give you a possible solution to a challenge. But it also doesn't take much to lose it. Or to repeat something without realizing it. One way to avoid that is with a sketchbook, designed to hold all those flashes of insight and all those little things that may not appear directly related but feed the whole.

_______________________________________

Addendum

I just found this great short video explaining better than I have about the value of keeping a sketchbook, or as Austin Kleon calls it, an art journal, a place to put your thoughts, all your thoughts, down on paper.

https://www.instagram.com/p/BtweA9JHYqe/?utm_source=ig_embed&utm_medium=loading

Thursday, February 21, 2019

Curiosity Continues

What do you suppose I am up to here?


Well, I was thumbing through the Bags With Paper and Stitch book (the one with the silk fusion instructions and gorgeous eye candy by the way) when I came to a page showing tags and medallions one can make using hot glue and rubber stamps. I probably haven't had my hot glue gun out in decades, but still have plenty of hot glue sticks for it, and I have plenty of stamps to choose from. I couldn't resist trying this out. What you see on the stamps in the top photo is talcum powder, which keeps the glue from sticking to them. The hot glue is applied to parchment paper - I traced around my stamps so I had an idea of the amount and shape of glue to put down - and the stamp pressed into it while still hot. The stamp on the bottom has been flipped over so you can see the hot glue covering it.


Once the glue has cooled, it peels right off.


And I was quite surprised with the clear images left in it.


Boring on their own though, so the final step is to paint them front and back. I'm guessing that helps preserve the glue as well. I tried Liquetex acrylic paint and Versatex paint (which is slightly metallic). I found I had to work at getting the paint down into the relief; otherwise the paint just hits the high points. I'm thinking I could go back over the Celtic knot ones with a darker color just to hit those high points to bring the design out more.

This book is definitely short on details so this felt like it encouraged me to follow my "wing it" resolution attitude for the year. And what will I use these for? I have no idea but I'm sure I'll think of something, or probably more like it, a use for them will conveniently present itself. I've already gotten one suggestion to attach one to my silk fusion!

_____________________________________________

Addendum

Just found this great short video explaining why it is important to keep a sketchbook or as Austin Kleon calls it, an art journal. I think it explains better than I have why collecting your thoughts, all thoughts, on paper is a good thing.

https://www.instagram.com/p/BtweA9JHYqe/?utm_source=ig_embed&utm_medium=loading

Wednesday, February 20, 2019

More Silk Fusion

I was quite a bit happier with my second go-round on the silk fusion. I still struggled with separating out/fluffing the pieces of silk roving to get better, more even coverage. And that did result in another somewhat thick product in the end. I think there is another method for making something thinner and more paper-like. I used up most of the dyed roving in the top layer, trying to arrange it more "artistically" across the surface. I was pretty pleased with this.

I used netting (tulle) instead of the fiberglass screening and found a tip I saw in a video came in handy. The tulle is so lightweight that when you put the second piece on top and start working with the brush and water, it helps to use clothespins or clips along the corners to hold the two pieces in place.

I used the gloss varnish instead of textile medium, diluted approximately 2/3rds varnish to 1/3rd water which was the suggested starting point. More or less water effects how stiff it will be in the end. The textile medium had to be heat set. The varnish does not need to be, although it doesn't hurt to iron it. Good thing as I hung this piece up by a single clip in the center after it had mostly dried while flat on the table, and was astounded to find that as it continued drying, the sides curved round to form what looked like a cylinder with the top half missing! The instructions DID say that with the varnish, one could sculpt the fusion while damp and it would hold its shape. I just didn't think it would take off on its own. However, heat and pressure from an iron followed by time weighted under books flattened it out.

And look! The netting left no impression on the surface. Hard to capture in photos, but the gloss varnish also leaves a sheen that compliments the silk's natural sheen.


But my goodness, this bit of fusion is stiff as a board! Perfect for a book cover though, which was my intention for it. I still plan to use the first piece to test out stitching, stamping and other embellishing, and then decide if I want to add anything to this one.

Friday, February 15, 2019

A Variation

I found a bit of time this afternoon to explore some additions to the basic Ratoon tangle I showed in the previous post. In spite of being very mindful of where I placed the initial "seeds", I still did not evenly distribute them and so still have a slightly wonky ratoon. I wasn't taking it slow and thoughtful as one should so made several mistakes as well which I did my best to cover up. Then I proceeded to a thought I'd had to echo around it (I'm thinking maybe the spacing should have been closer together) and followed some cues from one of the examples in the newsletter (the looping in the center circle and the lined square in the background). Finally, I got out a colored pencil to "and then add red" and finished it off with some graphite shading. Wishing I'd done parts of it differently, but I can surely try again! 

Thursday, February 14, 2019

A New Tangle

The Zentangle people introduced this new tangle called Ratoon last month. I studied it and wasn't sure if I was interested in it or not. But it kept calling to me and yesterday I sat down with my "Just Add Red" sketchbook and a pen and tried it out. I'm always fascinated with how simple some over and under designs are if you just know the sequence. This one is full of lovely swooping lines that I found a joy to draw. And once done, albeit a little lopsided, I decided I really liked it and could see all kinds of potential for adding to it, including some bits of red. So I will continue to work with this tangle and see how far I can take it. It may not be suitable for a machine quilting design, but I could definitely see using it with hand embroidery.

If you would like to try this one, you can find the step-outs for it in the January Zentangle newsletter

Tuesday, February 12, 2019

More To Be Curious About

That's what a 12" pile of snow looks like
We suddenly got some winter, starting over the weekend with plunging temperatures and high winds yielding below zero windchills (reminiscent of my Wisconsin Days) and then segueing into a 24 hr or more steady snowfall that at last check has us at about 14 inches. Apparently there will be another small round before daybreak tomorrow yielding another mere 3 inches. All very light and fluffy, this snow, so easy for me to clear the small bits my neighbor doesn't do for me (that's his snowblower in the above picture), but keeping the roads slick so an easy decision to stay home today, and stay inside altogether over the weekend to avoid frostbite!


So it was a good time to pursue another thing I've been curious about ever since art group friend Meg let me borrow her book, Bags With Paper And Stitch by Isobel Hall, at least 3 years ago. She has been exceedingly patient about its return any time I've brought it up. Even so, I should get what I need from it or buy my own copy! I was initially enthralled by the beautiful purses within, and then intrigued by a short section on silk papermaking. And I do mean short. The instructions left me with lots of questions, so more recently I searched around the internet, discovering that this is also referred to as Silk Fusion. A really good source of information, instructions and the silk used in this process can be found here at Treenway Silks. With that I should have been ready to go, but still I dragged my feet, until I paged through the February/March 2019 issue of Quilting Arts Magazine. There was the final prod, Tamara Leberer's The Art of Silk Fusion article. It had even more process pictures and detail instruction, so time to put aside my fears, see that I had everything I needed on hand, and go.


I'm not going to give you step by step instructions as those are readily available at Treenway Silks. As I worked through the process, I kept thinking that it was a lot like the wool felting process. You lay out your pieces of silk roving and wet generously with soapy water. Screening on top and bottom holds the roving in place. The dark areas you can see through the screen are wisps of dyed roving, of which I only have a little, so I used it sparingly over the natural roving on this first try.

Textile Medium before brushing evenly across and through surface

After the roving soaks water into its fibers, it's time to add the "adhesive". My various sources lists three different kinds (and the encouragement to experiment with others). Whether you want something fabric-like or something very stiff like paper will determine which product to use and whether or not it will need to be diluted. I wanted something more like fabric on this first try so went with Textile Medium. This gets worked through the screening front and back with a brush, just like the water. None of the directions were very precise about amounts, just indicating to be liberal and sponging off any excess. And that's it. Now you wait for it to dry before peeling off the screens.


Having never seen a piece of silk fusion in real life, never held a piece in my hand, I didn't really know what to expect. Descriptions led me to believe the finished product would still look like silk with its distinctive sheen and be smooth, not textured. So it was with some disappointment that the big reveal revealed the same issue I'd had with my first papermaking effort: the surface had picked up the texture of the screen, the thickness varied across the piece, and it felt like I was holding a heavy piece of paper toweling, or at best, watercolor paper.



And boy, was it stiff, at least in my estimation, not fabric-like at all. Look how it stands up when leaned against something and barely droops when placed on top of my water jar.


I was hoping without much faith that during the heat-setting process, some if not all of that texture would smooth out. No such luck. But the more I looked at it, the more I realized that it looked like the weave of some fabrics. So that could be a plus. But as I squint closely at the photos of Leberer's fusion, I can't see any textures even though it looks like she used the same kind of screening that I did.

So once again, a promising experiment has left me with questions, primarily why? Why take silk roving and do this to it, coming out with something that doesn't resemble silk at all? How would I incorporate something like this into my work, either quilting or multi-media? I'd had visions of it working as a book cover in the stiffer version and that is still a possibility I suppose, if more dyed roving was worked into the final layer. One is supposed to be able to embellish this with machine or hand stitching, beading, stamping and the like. My mind drew a blank with this particular piece. Maybe some of those coral-like images I discovered from my paint and glass experiment could be stamped on?

I have more roving and enough curiosity left to try this again with a different adhesive. The Gloss Varnish might give me the silk look that is currently missing, although this is billed as a stiff end product. I think I now know how to get a more even distribution of roving fibers down and wonder if the stiffness with the textile medium is because I used too much. Finally, the book's instructions call for netting, not fiberglass screen which may leave less of a pattern across the surface. All things I feel worth exploring before giving up on it. After all, I did rather enjoy the process, if not totally the results.

Parts of this process are the sort of things that one wishes one could watch someone in action doing it, be in a class room with a teacher, view a video of. And well after the fact, it has occurred to me that there probably ARE videos of the process on-line so will have to check that out. In the meantime, while googling Isabel Hall to see if she had a website, I found her video demonstrating a different method of creating silk paper using what she calls cocoon strippings and not requiring the use of an adhesive. Not sure my roving is the same product but I think this is more to my liking.