Fabric Surface Design: Painting, Stamping, Rubbing, Stenciling, Silk Screening, Resists, Image Transfer, Marbling, Crayons & Colored Pencils, Batik, Nature Prints, Monotype Printing

Fabric Surface Design: Painting, Stamping, Rubbing, Stenciling, Silk Screening, Resists, Image Transfer, Marbling, Crayons & Colored Pencils, Batik, Nature Prints, Monotype Printing

Cheryl Rezendes

Language: English

Pages: 320

ISBN: 1603428119

Format: PDF / Kindle (mobi) / ePub

Sensational sewing projects demand fabulous fabrics! Fiber artist Cheryl Rezendes shows you how to create an astonishing array of surface designs, simply and safely, using textile paints and printing ink. She covers a wide variety of techniques: stamping, ancient Japanese Shibori, silkscreen, soy wax and flour resist, image transfer, marbling, nature printing, foils and metal leaf, and more. Step-by-step photographs illustrate every technique, and Rezendes includes innovative suggestions on how to combine and layer techniques for stunningly original results.

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Textile Colors, Neopaque or Lumiere, PROfab, or Pébéo Setacolor, as well as any of the shimmer and metallic paints Prewashed fabric (see page 28) STEP 1. For real fish: Thoroughly wash and dry the fish with paper towels, paying close attention to any areas that may have mucus, which will stain your fabric. Plug up all orifices with paper towels or tissues; some people remove the eyes. STEP 2. Set the fish on your covered work surface. To get a good print that includes the fins and tail, it

Interfacing This is, without a doubt, my favorite of all the screening techniques I offer you in this book. It was invented by fiber artist Jane Dunnewold, and there are both controlled and serendipitous aspects to it. I use a medium-weight Pellon interfacing (not fusible). Cut it to the size of your screen or smaller. For the paint, I like heavy-body transparent or opaque textile paints, but you can also use artist acrylic paints mixed with the appropriate textile medium. After you cut your

transfer by first digitally photographing a large, mixed-media collage on canvas (40” × 24”), then uploading the file to my computer and printing onto a Jacquard Cotton Inkjet Fabric Sheet using an HP desktop printer with DURABrite ink. The image transfer, The Gift, is 8½″ × 11″. PROFILE Karylee Doubiago Karylee Doubiago’s textile work has intrigued and fascinated me since I first saw one of her pieces. With each new example, my interest has continued to grow, as I find new ways to see her

also great fun. You can work freehand, with a tissue-paper pattern, or by transferring a simple drawing directly on your fabric, then tracing over it with stitching. Embellishing digital images printed on the fabric, as well as following a previously painted or printed design, can also yield lovely results. In order to avoid (or at least decrease) your fabric’s puckering, you can first stabilize it before stitching. Which stabilizer you choose from the many options available is dependent upon

Thank you to Jeanne Marklin for her friendship and willingness to read many of these chapters prior to publishing and to my longtime friends Ferne Bork and Hollis Wheeler — they both know why. I must take the opportunity here to thank all the unknown and unnamed fiber artists who have come before me and who have freely and so graciously shared their skills and amazing ingenuity as they forged new tools, used old tools in new ways, and reawakened ancient techniques within new and contemporary

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