My silk scarves are all out at galleries, so I've taken some time to make more. I'll bring them with me to Napa, California this January. Here are some stacked on my rack. I'm using insulation board under to transfer the from the print table till I'm ready to wash out.
I always underestimate the time it takes to wash out the printed fabric. After a few cold water rinses, then warm, then long soaks in hot (heater is cranked to ultimate) I still put through the washer, then sometimes even boil the fabric. Then a last wash, dry, iron. Sucky process.
I was once asked how many screens I use. I don't keep track. But here is what is kicking around at the moment. You'll see that they're not washed out and the thickened dye is dried on. I'll get to that since it's just a cold water rinse and then I'm good to go.
The Schweinfurth's Quilts=Art=Quilts exhibit continues and I see it afresh each time I visit. My work -- the blue garden thing -- is in great company. And the discussion continues: we want to know why, how they did it, what was the inspiration, what did the juror see. Endless possibilities.
Every couple of months FLFA gets together and encourages. What? Yes, encourages. To be public, to make work, to try out new processes, to learn about the goings on. Oh, and the impromptu show on the walls were things we share. That as well. Great group.
As the skies turned gray and snow fell, it was easy print in the studio. I was thinking about this summer when I'll be teaching in Washington State at the Pacific Northwest Art School a class "Start With Dark". Simple, dramatic, bold. No wimping out here -- start with dark!
I'm multitasking here with printing and piecing. Until I can build another print holding rack, here is my backup plan. I've got Styrofoam insulation boards stacked with plastic drain segments and plastic sheeting wraps. Works, and that's all that matters.
Carol Acquilano's book "Winter Trees" is part of the Art of the Book now at the Rochester Public Library. These graphic forms, each a separate aquatint, are just so beautiful, so dynamic, so strong. Not the best photo, you'll have to trust that this is just one great and inspiring example from the show.
As a piecer I'm always looking to set in a shape just where I want it, not necessarily where it is easiest to fit. I'm getting adept at plopping it down and then melting it in. See, I've got "ears" attached to this shape, and common cuts to set it in. Part of the "Line, Shape, Setting" class.
I often see people looking at their work with red filters, checking at the work in black and white, and other means to read only the value of the piece. I tried this, but I still find it disturbing. I really do what to see what the color is. That's just my world, I guess.
A little study showing the fabrics I use for those skinny lines will travel with me to Napa this January. It replaces the one I once traveled with. Seems that other line study needed to keep traveling, so here's my new friend.