Fabric Pyrography - 2

Hi! It is Sandy Snowden again with more Fabric Pyrography.

I had an opportunity to do some wood burning when I was recently out of collage...at that time I ironed an embroidery transfer image onto the wood and burnt it away using a wood burning tool. Pretty basic, but it stuck in my mind.

Somehow I felt that technique could be used on fabric as well. I have rarely come across work by textile artists who have used hot tools solely to make a feature of burnt marks.

I remember hearing of one artist who used a regular clothing iron to do this. As I recall, he looked for different steam patterns on the soleplate and used them to differing affects, such as a mandala shaped burn pattern on cloth. If you know of his work, will you pass the details on?

EDIT: I knew someone would know the answer! thanks 'Reg82'! (sorry, don't know your name.) It is Willie Cole. His website doesn't seem to have as many images of the iron scorches, as he refers to them, but I see he also took the idea further and found a way to heat the metal perforated ironing boards and used them to print with. However, he even has a Wikipedia entry! If you want to find more images of his work, it is easiest to Google Images Willie Cole iron scorches or Willie Cole iron burns.

I did come across one artist who centred her thesis on the idea of the ‘Iron as Memory’. Shannon McCarty’s work consisted of framed and unframed work which had been burnt using the hot soleplate of an iron.

Installation by Shannon McCarty.

You can discover more images here. I haven’t been able to find any more recent work by Shannon McCarty.

But now, onto that Fabric Pyrography!

For many years I have been making burnt marks on fabric using a soldering iron. I mostly draw or trace a design onto fabric (using a lightbox) and then follow the line drawing with a soldering iron.

Fabrics: I use silk and cotton the most.
Starting with cotton. For most of the works I have done using cotton, I used a thick cotton version of a fabric that we call Calico in the UK. It is a firm version of the American muslin. (All following references to Calico is the British version.)

The silks I used have been varied. I will mention a beefier type today and some finer and thinner types tomorrow.

Tools: For silk or for cutting synthetics, I use my Margaret Beal(MB) soldering iron with a curved tip. (White handle below) But for the thick cotton, I use a fine tip soldering iron made by Drapers which I got at a local ironmongers/hardware shop some time ago. (Blue handle below)

As you see, it isn't as fine as the M.B. one, but I find it gets hotter and so works better on the calico. The MB soldering iron is useful for detail. I have also used the curved side against the fabric when I am 'colouring in' or shading.

One of my students had a wood burning tool with exchangeable tips. This is also a good option. Since doing the research for this series, I am now determined to save up for one of the tools which has a temperature control!

Method of working:
Basically, you use the soldering iron as a mark making tool. This does take a bit of experimentation as you need to work out:
how to find a place to work within the range of the cord,
how to find a place to work with adequate ventilation,
where to park the soldering iron so you don't burn something else,
how to hold your soldering iron without burning yourself,
and so on! And that is just for the tool.

For the fabric, you also need to work out:
how much pressure to use when making marks (what your fabric can take!), how you will hold the fabric taut and other important considerations.

I have tried drawing directly on the fabric laid onto a non-flammable surface like tile. But I found you need to have the fabric taut, such as in a hoop. This allows a little give as you press onto the fabric, but the fabric is secure enough that your marks end up where you want them. It also allows more air, which is needed (as you may know) for burning.

Examples:
The first piece in which I used Fabric Pyrography was a piece called ‘Uncommon Virtue’ for ‘She Made Her Mark’ exhibition which was the first art quilt exhibition at the Quilter’s Hall of Fame. I wanted to reference the stitching, weaving and making women have done over the centuries.

"Uncommon Virtue"

This is where I remembered the idea of Pyrography. With a little experimenting, I found I could make marks with the soldering iron on the calico backing. So, I chose to continue the idea of the actual stitching I did, but instead make marks which resembled stitches.

In this instance, all the marks were linear. But to draw the whole of the work together, I also seared the edges of the fabric from the mini-corset shape...just a light touch, which also served to control the fraying.

The most recent work I did with Fabric Pyrography was last year. I decided to do a set of Celtic inspired letters as part of an online group. We had each done a different technique for each set of letters we did. So, I chose to do this set using Fabric Pyrography.

I chose to use calico for my fabric - actually the back of some calico I used years ago for a toile/sloper when I was first learning pattern drafting. So, recycling!

A few of the letters

As you can see, the linear quality is still there, but I have taken the idea further with shading and a strong burnt edge.

I decided to create a sort of swatch book with the Burnt Letters.

I kind of like the look of the pages swirled round like that. The burnt edges make their own pattern.
I stitched a bead between each letter on the upper left to hold them together.

They could be flicked through as well.

If I did this again, I wouldn't cut all the squares of fabric first because sometimes it gets pretty hot when you are burning a section near the edge. (See the advice about how to work out how to hold your fabric!)
You have to also take into account that the just-burnt section of fabric will be HOT. So when you reposition where you are holding the fabric you have to be careful not to touch the section you just did. It cools fast, but you don't want to touch it straight away. (How do I know?)

Example:
This is a natural silk dupion. It doesn't take as much heat or pressure to make the marks as cotton does, but is a lot easier to handle than thin silk which I will cover tomorrow.
The wording is in progress for an Illuminated Letter B for Book.

First I traced the lettering onto silk for the phrase and was in the process of etching the letters with the soldering iron. The wrapped hoop helps to hold the silk without damage.

The phrase completed and some decoration

 

I often use metallic gel pens in conjunction with the marks made by the soldering iron and have done so here. (I haven't washed this piece, but have found that some gel pens can be set to be permanent. However, you should test first if you plan to wash work that has gel pen.)

The completed work.

I used a finer silk twill to create the figures at the bottom of the letter. The technique for fine or thin silk is a bit different, so I will talk about it tomorrow.

Fabric Pyrography - 1

Hi I am Sandy Snowden...or Sandy in the UK if you are on any of the art quilt lists.

Beth asked for guests for this month and I thought you might like to get into some of the 'Setting on Fire' part of the "Fire Blog"! ... or at least burning fabric or "Fabric Pyrography", as I call it.

Today we start with looking at backgrounds of this type of work and some artists using burning in their work.

Pyrography - The term means "writing with fire", from the Greek pur (fire) and graphos (writing).

Pyrography can be practiced using specialized modern pyrography tools, using a metal implement heated in a fire (pokers or needles), incense sticks on paper or cloth, or even sunlight concentrated with a magnifying lens. Others have perfected their technique using candle flame; adding smoke to the burn marks made.

Pyrography was known in China from the time of the Han dynasty, where it was known as "Fire Needle Embroidery". But it seems the technique used in more ‘modern’ times was developed in the late 1800’s by adapting an electric cautery tool, one of the latest medical technological advancements of the time.

There is a lot of information about the popularity and development of “Les Arts du Feu: La Pyrogravure” as the French called it, at the very eclectic E-Museum of Pyrographic Art.

from the E-Museum of Pyrographic Art

Materials:
The most frequently used material for this technique is wood. Any search on Pyrography will bring up images, forums, tutorials, books and more.
Work and tutorials by Lora Irish, author of definitive books on Pyrography and other wood techniques, can be found on her website.

You may have also seen the wood burning technique used on leather. Actually a lot easier than pyrography on fabric.
A variety of ideas, photos and information on tools can be found doing a search for pyrography on leather. For instance, this video by Harry Rogers is quite informative, though the image he draws is a quick sketchy one.
If you want a video of a Master at work, this link takes you to the Takis Leather Work Shop in Greece.(Accompanied by Greek music for your pleasure!)

Fabric:
You are probably familiar with work done using a soldering iron and synthetic fabrics. A few artists who use this technique to create very different looks.

Margaret Beal – Fusing Fabrics and New Ideas in Fusing Fabric - Margaret layers synthetics and sheers over acrylic felt. Then she uses the soldering iron to make marks through the layers. Margaret's website

Kathleen Laurel Sage - Uses dissolvable film, machine embroidery, trapped organza fabrics, cutting back techniques and use of a soldering iron to produce lacy see-through panels. Kathleen's website

Kim Thittachi also uses soldering irons in many ways. Kim's website...Kim uses the technique as one of a wide variety of things she teaches. Jo Vandermay showed her experiments on Lutrador following ideas that Lesley Riley uses. This was on the Fire Blog last year

I use this technique of soldering iron with synthetic fabrics in my own ways, too. However, for this series of posts I want to talk about using a soldering iron to burn marks onto fabric. I will go into this further tomorrow. Meanwhile, do check out some of the links above.

If you have a soldering iron, you might like to get it out so you can get ready to try some of the techniques. If you have used it previously with synthetic fabrics like the artists I mentioned above, you should also get a metal scourer (like for pots and pans) and clean off any residue. *While the soldering iron is cold and unplugged!*

During this series of 4 blog posts, I will keep track of any questions and try to answer them fully on the last post.

EDIT: I will collect any links from the comments and put them at the end of the last post, as well.

Gallery Wrapping Art Quilts

More and more of us are finishing off our textile art by framing it and gallery style is the latest trend.  Ordinarily I tend to buck the trend but I really like this one.  There are many good ways to do this but I thought I’d share how I do it with you.  Feel free, of course, to alter as you wish.

We’re starting out here with a either a 2 or 3 layer art quilt. That is:

 1) a base, a top and batting in between 

or

(2) a top and felt on the bottom.

The frame can be a store bought stretched canvas or 4 stretcher strips with a piece of foam core board glued to the top of it.

 

In most cases, I’ve made a quilt and later decided to put it on a frame; however, I’m starting to make them to a specific size before I start. The most important reason is I think it makes a neater final product if the batting ends at the top edge and you don’t have to wrap the whole thing around to the back.  It gets pretty bulky to get a truly square corner.  If I make it to size, I don’t have more batting than I want already stitched beyond the exact size of the frame I’m going to put it on. (The red arrow indicates where the batting stops.)

So, to begin, make sure you have an adequate amount of fabric (minus the batting) around the edges of your quilt to wrap it. You need it come at least a half inch preferably ¾ inch over the side.  Here there’s about an inch but it’s better with a little less fabric so there’s room to tape it when you’re finished. But this works and you can extend the tape beyond the edge or you can trim any excess if it’s larger.

I begin by stapling the center of each of the four sides, then proceeding on one side at a time by stapling all along the edges on both sides, tugging some as you go so it stretches to the frame ever-so-slightly.

 

Then do the same on top and bottom leaving the corners unstapled until now. I had to go back and pull that staple out of the left corner before I went any further. You'll end up stapling there but to begin it's good to leave some leeway until you know exactly where you want it.

To make your corner, you just tuck, pull and staple as shown. Now, maneuver the fabric to lay flat and pull taut, hold and staple in place.

 Just make sure it’s lying flat, taut and square before putting in the final staples.

 

Sometimes it folds right over easily and sometimes it takes a little finessing of the fabric to make the last fold nice and neat.

And you might want to catch it here with a staple.

Fold it over .

Hold it in place. 

Tack it down.

Another for good luck!

And there you have it.

Repeat this until all four corners are done and then you’re ready to tape off the edges with gaffer’s tape for a clean look.

You may find that you need some tools to help you pull the fabric taut (gently though!)

I wish I had some canvas pliers, which is on my list of things to buy (grin…a long list).  Here’s a link to one: http://www.dickblick.com/products/fredrix-premier-canvas-pliers/

But, especially for the smaller sizes, regular pliers do the job.

You can wire your frame before or after you’ve attached your art.

When it comes to wiring the back, D-rings work best but small eye hooks are just fine too,  They go inside the frame so it lays flush against the wall. It’s tricky to put them in though, so this is how I solved the problem of getting those pesky little screw eyes into place with only 2 hands: begin by starting a hole for the screw with a pushpin.  Remove the pushpin and insert the screw eye as shown.

 

It’s an awkward task because of the size but also the fact that the D-rings are mobile and the placement is on the edge of the frame.

Also, it’s worth picking up some flexible wire for this.  It’s amazing how much easier it is on your fingers.  It also gets nice and tight because it’s easier to wrap around itself and achieve a secure fit.

Loop the wire into the screw eye or D-ring and pull it around first to one side of the wire and then the other. 

     

Pulling tight wrap the wire around itself repeatedly, pulling and pushing taut as you go.

Now that the first one is in, put the other screw eye in on the opposite side and proceed with inserting the wire into the screw eye in the same manner, always keeping the line as taut as you can.  This wire will stretch some as you go so keep it tight.

 

Ready to hang!

 Voila!

Janis here for my last guest post!  It's been fun!  Thanks for having me!

the continuing story of beads

Hi, it's Anne Marie again! My pieces always start off with a colour, shape, object, or germ of an idea. I work intuitively, so am reluctant to sketch, or commit anything to paper. Although frustrating at times, it seems to work! I start with a shape &/or theme, choose and attach the main focal (always with an off-centre placement), audition clusters of beads and found objects, take a quick photo, then begin stitching. Depending on the size, I may decide to add smaller focals/clusters, and possibly a path (linear division). As I get closer to the edge, I flatten the texture, using a unifying stitch (moss/boucle), and size 11 seed beads. Where do I get my ideas, you say? Imagination, dreams, and the stash of a magpie! ..... I pull the colours from my main focal (but not always), gather a bunch of beads, shop if I must, and then start stitching. Somewhere in this process, the piece starts talking to me, and the flow begins. Trust your instincts, listen to your imagination, don't worry about the end result, tell a story, and just focus on the joy of the process! I leave you with photos of some of my 2013 and 2014 Bead Journal Project pieces.

The little houses, in my 2012 series, all include a number(s), corresponding to the month, a vintage button, and one or more buttons from the family button jar. My unifying theme for the 2014 series, is the shapes of the leaves (collected in the fall of 2012). I love to blend techniques, and include gifted items, found objects, and recycled items in my pieces. I challenge you to include some in your art! If you'd like to see/read more, I invite you to wander over to my blog.

Sunprinting Tips

Hi!  Janis here, another guest post!

Last summer I thought I did a blog post on the process of sun printing but in response to some recent questions, much to my surprise, I looked back on my blog posts and found none. That’s why I’m posting one now, so we can think ahead to warmer, sunnier days!

I paid serious attention to the blog posts I found here on the Fire blog and adding my own thoughts and experiences on the matter.

I tried using ProChem translucent textile paints, DyNaFlo, Speedball Screen Print Ink, and Solar Fast Sun Printing Dye. I was not able to do any real study to compare each of the products, mostly because here in New England the weather tends to change often and without warning and the results are completely related to the brightness and warmth of the sun and test results are easily skewed by such temperamental fluctuations as the clouds going in and out!

Nevertheless, and perhaps because of this, I can tell you that Solar Fast was the most reliable of them all for me. That’s not to say, I won’t persist in trying out other products for the best results from them, such as Setacolor products, which, by the time I tried them, the warmth of summer days had already begun to fade and I was getting too frustrated with it all.  So, I turned to other forms of printing on fabric and dyeing it until it became too chilly to stay outdoors working.

The process itself is pretty straightforward.  Start with small pieces about 12” X 15” or so. You apply paint, ink or dye to the fabric and you lay down leaves or flower petals  and place them in the sun. For good directions for Solar Fast go here: http://jacquardproducts.com/assets/jacquard-site/product-pages/dyes/solarfast/SolarFast%20Instructions.pdf

 From my experimenting, I learned some things that are worth passing on to the novice.

Avoid sun printing on windy days for two reasons.  First, because you have to take extra steps to secure the leaves onto the fabric.  Second, it tends to dry the fabric so quickly that it’s more difficult to get a good print. However, if you can’t avoid wind altogether, I found it most helpful to use trays to place the whole shebang in.  

You can use those inexpensive molded plastic frames, which I love the best.

Or you can devote some larger baking pans to the process as I did here.

I also used various sized acrylic sheets over the trays (or simply on top of the pieces that are place right on the ground) to keep the wind out and to keep the moisture in. I also have a plastic sheet (4 ml) underneath them all, which I print them on and it helps to carry them from table to ground.

Remember the variables to achieving good prints are many and prepare to play without knowing quite what’s going to happen for awhile.  It takes practice before you can control all of the various aspects: heat, amount of water in air and in the fabric and paint or dyes. You may want it to be quite wet, as well, to give it a watercolor look.  Here’s one that was quite wet with DyNaFlo and has a lovely watery feel.

And here’s a Solar Fast print that has a very clear and detailed images.

Are your leaves lying tight to the fabric or is it loose?  I use my fingers to press down the leaves as much as possible, but it helps, to begin by placing the acrylic sheet over the top of leaves that just don’t want to lay flat.  You can take the time to flatten out your leaves or flowers the night before – that can help.

Here’s one that shows vivid color with lots of detail but not a great print because the colors didn’t blend at all (too dry). Still a great piece to cut up and use in my fiber art but not as a whole cloth piece.

 The fiber content is also an important choice.  When you begin, use anything cheap to play without fear of ruining good fabric.

This is translucent fabric paint but it was one of those days when the sun kept disappearing and it didn’t have enough moisture or enough pigment.  It’s also on a light, gauzy cotton.

But as you go along, start choosing better grades (smoother and tighter weave) of cotton or silk. I also love to print on organza or other sheer fabrics to use in my mixed media collage process. 

 Experiment! Overprint! 

And Enjoy!

Here's what I did with a lot of my solar prints in the following months!