Frequently Asked Questions
Why Fiber Art? Fiber is my medium of choice because I love working with textiles, and I enjoy the freedom of expression this medium allows me. I like to combine the diverse colors and patterns of fabric with the strong line elements of the stitching to produce work that is visually rich and invitingly tactile. |
What is your design process? I usually begin with an infatuation with a particular plant or scenic wonder, and the intense desire to depict and interpret it. I often make a print on fabric (see below), and prepare patchwork components, then work intuitively and fairly quickly to combine them. This is the exciting part! Once the surface cloth is complete, I layer it with batting and backing, and add depth, texture, and movement with stitching. If the work calls for it, I may add embellishment with hand beading or paint. My goal is to produce work with a strong graphic appeal when viewed from a distance that has a lot of fine detail to reward a closer look. I also aim to design work that has a timeless quality and not just novelty appeal. Although I draw on a variety of techniques, technique is never the motivating force behind the design. I have a motto: Technique should be the servant of intent. |
How do you make a print onto fabric? I employ three main techniques: cyanotype, heliographic prints, and image transfer. |
How do you make a cyanotype? I start with fabric that has been chemically treated and stored in a lightproof bag. I am lucky to have a wonderful supplier who custom treats fabric for me (see Links). Working in dim light, I lay plant material, or transparencies made from original digital photographs, on the fabric, and then take it outside into strong sunlight for a timed exposure. I bring the fabric back indoors, remove the materials, and rinse until the water runs clear. The areas that were covered remain white, and the rest of the fabric turns a beautiful Prussian blue. Once the fabric is dried the prints are very stable. The process is endlessly variable and fascinating. |
| How do you make a heliographic print? I start with cotton or silk PFD fabric (prepared for dying; it has no chemical finishes), and paint it with diluted Setacolor Transparent paints. I lay plant materials on top, and expose the assemblage to strong sunlight to dry the fabric. As it dries, the paint wicks out from under the plant material and leaves a print. Again, the process depends partly on skill and partly on serendipity. |
How do you do an image transfer? I start with an original digital photograph, which I manipulate in a photo program. Sometimes I run fabric through my printer and print directly on it. Other times I print the photo on a transparency sheet, then transfer it to fabric that has been prepared with acrylic medium. |
Where do you get your fabric? I buy PFD (prepared for dyeing) cotton and silk from on-line suppliers and hand paint it. I buy high quality commercial cotton prints from specialty quilt shops. I am always on the lookout for beautiful silks, wools, and velveteens I can use to add texture and interest. And I am lucky to have a good stash of silks brought back from India and cotton prints saved from the last half-century of family dressmaking. Together, all these varied fabrics bring a richness and depth that are not reliant on fashion trends. |
How should I care for fiber art? Treat it like you would a fine watercolor—hang it away from direct sunlight, and where it won’t be subject to accidental smoke or water damage. |