Wednesday, October 19, 2016

Mono Printing Demonstration for Art Quilt Etc.

Art Quilts Etc. is a circle of Desert Quilters of Nevada.  The art focused group meets most months to share work and ideas.  It is a group of approximately fifty talented members.

Each month after general business and show and tell projects, the demonstration of a technique is given by a self selected member. This month I had the pleasure of demonstrating a few mono printing methods on fabric.

Below you'll find photos of the demonstration pieces, a brief description of the process, additional resources, and two blocks that incorporate mono printed fabric into a design.

Subtractive print method
Additive print method

Additive and subtractive print methods

Additive print method

Mono Printing on Fabric

Mono printing allows considerable freedom in the approach to imagery and pattern design using additive (adding paint to a plate) or subtractive (removing paint from a plate) techniques. The characteristic of this method is that no two prints are alike. The beauty of this medium is in its spontaneity and its combination of printmaking, painting and drawing applications. Mono printing is a versatile way to create your own fabrics.


Fabric: Recommend washing sizing out of commercial cotton fabrics.
Paint: There are many paints specifically made for use on fabric.  Experiment with different paint to get your desire hand (softness of the fabric once paint is applied).  Follow manufactures directions for setting the paint. The paint brands I like using are Pro Chemical and Dye, Lumiere by Jacquard, and Pebeo Setacolor.  If you desire layers, print consecutively using transparent paints.

Fabric Painting Medium: Golden GAC-900, can be used to modify acrylic paints.  I use it to thin the consistency of fabric paint as needed.


Apron, palette or styrofoam trays for mixing paint, clear acetate, soft rubber brayer or small paint roller, mark making tools, plastic to protect surfaces, paper towels.
Printing plates such as linoleum mounted block, Gelli Arts Gel Printing Plates, home made plate (laminated card stock).


Stabilizing fabric is completely optional. To do this, simply iron the wrong side of the fabric to the shiny (plastic) side of a piece of freezer paper.

    Using the brayer, roll ink out onto the Plexiglas or printing plate, covering it completely.
    Using a mark making tool, draw an image or create pattern of marks on the printing plate.
    Place fabric on prepared plate and rub lightly with brayer.
    Gently peel away fabric.

   Using squirt bottle of paint and/or a paintbrush, paint a design onto the fabric.
   Work quickly as paint drys.
   Place clear acetate over painted surface and press lightly with your hand.
   Peel away acetate.  An other print can be made with paint left on the acetate.


   Printing with Gelli Arts Blog

   Negative (Subtractive) Mono Printing ~ Textile Arts Now Blog

   Jennifer Rodriguez's board "Monoprint Inspire" on Pinterest

Once fabric is dry and set according to paint manufacture's recommendations, it is ready to be incorporated into something more.

Printed fabric ready for ?

Mono printed hand dyed fabric, cut, fused, reassembled, and stitched

Mono printed fabric, then stitched to enhance printed lines

Tuesday, October 18, 2016

In Stitches Seriously Humorous ARTQUILTS, Year XXI, "Sheila" in Chandler Arizonia

In Stitches Seriously Humorous ARTQUILTS, Year XXI, Vision Gallery, Chandler, Arizona
November 18, 2016 through January 7, 2017

Sheila ~ 21 by 21 inches

Batik, cotton fabric, commercial prints, poly and cotton threads, embroidery thread, wool batting, fusible.


Raw edge applique, free motion stitching, photoshop, and hand stitch.
The landscape is fused, raw edge appliquéd, and then free motion quilted.  Sheila’s image was thread painted, smile and all. Sheila was twice printed onto white cotton.  The first layer was random pastel colors of yellow, pink and green.  The next layer printed an outline sketch of the lizard.   The lizard was free motion stitched and then appliquéd to the quilt. The border is stab stitched to add movement and texture around the paisley prints.

Artist Statement:

My ideas are born from challenges, sometimes found in a conceptual design problems and sometimes found in technique development. Working in textiles and mixed mediums are my passions. The combination presents some of my greatest challenges. One problem leads to an other, each causing an artistic resolution affecting individual choices and outcomes. The resulting inventiveness can be distinguished in the personal mark.  I make art that speaks to me and hopefully speaks to others.

Living in a desert has taught me to view the environment with a discriminating eye.  One must look closely to see the uniqueness of it’s native flora and fauna. The unforgiving climate gives way to wonderment and eons of adaptations. I find inspiration in the light as it touches the landscape and the flowers that come to bloom after a thunder storm. The desert reminds me to slow down and to examine all things more closely.

The creation of the piece, “Sheila”, started from a simple demonstration. For our local art quilt circle, I taught the nuances of using raw appliqué techniques to create an original landscape design. I love to teach almost as much as I love working with color. The rich color choices available in batiks, provided me with a plentiful palette.  The vividness of the desert colors was easy to recreate.

Once the raw edge appliqué demonstration was concluded, it became clear that something was amiss.  All was well with the color and the form of the design. Still while pleasing to the eye, the piece lacked interest.  I went home and pondered the problem.  My challenge was to take a lovely desert landscape and push it past boring into enticing.

Thus, Sheila, the Australian lizard, came into being.  I decided to create a large menacing lizard as the focal point for the peaceful desert scene. As I worked, adding definition and color to the the printed outline of the lizard with thread, Sheila began to take on a personality of her own.   I free motion stitch somewhat unconsciously and by the sound of the machine. In this case, the stitching resulted in the lizard’s grim mouth transforming into a Mona Lisa smile right before my eyes.  I love the whimsy of the lizard. I love that Sheila looks right back at you, beyond the canvas, smiling knowingly.  She reflects my fun imaginative side.

Saturday, October 15, 2016


Traveling in the northwest part of our country is always a grand pleasure.  Below you will find photos from the journey and a peak at a current textile piece, Mrs., that was started in Cynthia Corbin's class.

Clouds Above Willapa Bay, WA
Bridge Underling
Mushroom in Oysterville, WA

Tidal Waters, Wallapa Bay, WA

Weather Spool, WA

As part of a technique to discover design possibilities, Cynthia asked us to choose a favorite photo and create a design inspired by the lines and shapes we saw.  I selected a woman's face, traced a general outline, then over lapped it with an other outlined photo to break up the predictable face shapes.  Choosing non representative fabrics added to my interest in color play.  Fabrics were fused.  Sheers were used to create shadows over existing shapes.

Mrs. line drawing
Mrs. ~ fabric choices

Thursday, October 6, 2016

2016 Quilt & Fibers Arts Festival ~ La Conner, WA ~

2016 Quilt & Fibers Arts Festival

The annual Quilt and Fiber Arts Festival in La Conner, WA was wonderful with exceptional work form international fiber artists.  My piece, "Moon Over Bourbon Street," was honored with the award of second place in the category of Fiber Art - Created Textiles.
Moon Over Bourbon Street
  The current exhibit, Beauty of Japan, at the Quilt and Fiber Arts Museum surpassed all of my expectations. The scope, design, and craftsmanship of the work displayed was exceptional. 

"Forty years ago, American patchwork quilts were introduced to many Japanese and the colorful quilts brought much joy to them. When silk was used to make quilts in Japan, it became the Japanese specialty and brought much attention.
The silks we use to make the quilts are from very old kimonos that are taken apart because they could no longer be used as wearables. The pieces of silk are revitalized as patchwork quilts. My students took much time and effort with respect to the fabric to create the quilts.They are original creations with designs, colors, and appliqués of flowers and vegetation."

Sachiko Yoshida, Guest Curator   
Colors ~ backside
The Colors of Japanese Fabrics


Saturday, October 1, 2016

Fall Season in the Great Northwest

We arrived in Portland Oregon the last day of Quilt Expo.  Having two hours to see the show, we dashed through with amazing angility.
A favorite piece for me was "You Can Go Home Again" by artist Karen Burns.  She created an amzing water color look of her childhood home.

From Portland, we traveled to Sisters, Oregon where I took a four day class with Cynthia Corbin.   It was a blessing to have unobstructed time to spend creating, enjoy the company of a good friend, and explore a new place.

My favorite creation is called Simple.  The piece is raw appliqued, fused.

Simple #1