Module 2 - Chapter 7 Traditional 'Piecing' Methods

Seminole Patchwork

Different patterns using the Seminole technique are illustrated below using strips of black and white paper

Log Cabin Method

Using patterned papers

Traditional Lob Cabin (left) and Courthouse steps designs

Chevron Log Cabin

Chevron Lob Cabin using strips of varying widths

Off Centre Lob Cabin achieved by using strips of different widths for light shade

The Log Cabin technique lends itself to using many different geometric shapes as the centre piece.  The samples above demonstrate this technique with a diamond and pentagon as the centre shape.

Hand dyed and Commercial Fabrics

Chevron pattern in different widths using dyed and commercial fabrics is shown above.

The pentagon shape as the central piece with hand dyed and commercial fabrics based on a drawing of a tortoise pattern.

The sample above shows log cabin blocks constructed of irregular strips and angles and sewn together to form a pleasing range of tones and lively design.  The pattern formed can be interpreted as patterns and markings on some of the tortoise shell examples in Chapter 4.

This sample shows the same technique as above with coloured fabrics ready to be completed as a cushion.

The versatility of Log Cabin design leads to endless possibilities!

Module 2 - Chapter 6 Mono Printing on Fabric

Mono Printing on Fabric

Fabric used in the samples below was purchased as Ready to Dye (RTD) cotton homespun and poplin.  The homespun was slightly heavier than the poplin however both took the dye and fabric paint very well.  

For the samples I painted thickened dye mix and fabric paint onto perspex and glass sheets and created patterns with plastic card, card board, brush, brush handles and threads.  Interesting and subtle effects were achieved which can be interpreted as markings from animals, birds and reptiles.  I also used discharge paste over the dye to achieve a bleached effect.

Painting with Dye mix

I mixed dye powder with thickener to create a paste which could be applied to the surface and allow patterns to be drawn onto the surface.  The perspex surface created unusual and natural effects using dye mix as the mix resisted some areas creating pockets of undyed fabric and a mottled effect.  This resembled patterns and markings on reptiles and a second and third print from the same plate resulted in softer and more subtle effects.

The dye paint however resulted in a lighter shade than fabric which had been dyed using the immersion technique with the shibori methods.  This provided variation in tone for use in later samples which I saw as an advantage rather than a problem.

Painting with Fabric Paint

I also applied acrylic fabric paint, Pebeo Setacolour, to obtain a darker and denser colour.  This is applied, allowed to dry and heat set to create a permanent colour fast pattern.  When dry the fabric is slightly stiffer than dye however it did result in sharper patterns.  I created a series of prints with a second and third application of fabric to produce lighter and softer patterns.

A thread of fabric was accidentally laid across the glass in one sample and the effect spurred me on to create some samples using thread either as a resist to the dye or painted to create interest and diversity in patterns.

I felt the white fabric looked rather stark when dry and to counteract this I placed some samples in tea and coffee liquid to achieve a softer effect against the black pattern.  I was pleased with this result and the finished effect again creates a subtle and variegated background to the patterns created.

Three consecutive prints from the same plate

Marks made with plastic card and cardboard

Marks on plate overlaid with thread to create a resist

Painted thread to add texture and pattern overlaid on painted surface

Fabrics overdyed with coffee (top) and tea (below) creating a softer background 

Pattern added to previously dyed fabric

Discharge Paste

I experimented with discharge paste produced solely for use with cold water fibre reactive dyes.  I did try bleaching the colour however this was not as effective on the dyed fabric.  Samples below show the discharge paste painted on gathered fabric, stencilled and applied to glass for mono printing.  Again this technique provides a subtle gradation from the finished dye colour to underlying colours and lends itself to interpretation for animal markings.  

The black/green based dye bleached back to a yellow/brown while the jet black dye bleached back to a dark purple/brown yielding a very pleasant result.

Some samples had been previously dyed using the 'tritik' shibori technique.  I dyed these using the immersion technique and the dye penetrated all the fabric which was somewhat disappointing but a good learning experience.  An interesting side effect however is that on these pieces the original stitching provided somewhat of a resist and has created a subtle pattern of lines across these fabrics.

Bleach applied to dyed fabric which was then mono printed with dye painted on glass plate

Module 2 - Chapter 6 Patterned Fabrics

Patterned fabrics using Shibori dying:

Below: Fabrics dyed using Shibori technique on cotton lawn and a calico homespun.  The dye used was a cold water fibre reactive dye, Drimarene K.  Different strengths and fabric produced varying effects illustrated in the photographs below.  

The colour used in the following samples was Black 2B which is a green based black dye and the results ranged from a light grey to darker grey approaching black. 

Details of resist techniques below from top to bottom are:

1. Homespun with bulldog clips using weaker strength dye (details of recipes on the attached worksheet)

2. Homespun using rubber bands to produce ring effects

3. Cotton lawn using bull dog clips

These patterns can be used as a base for stitchery to produce animal markings similar to turtles, tortoises, lizards or feathers.

Plain dyed fabric below using different strengths of dye mix.  The top two samples below were dyed using a weaker strength dye mix on homespun (top) and cotton lawn (middle).  It is interesting to see how the dye reacts to the different fabrics, I think the homespun had fabric finish on the surface which resulted in the lighter colour.  This is enhanced by the crease marks of the fabric which have taken the dye more than the other areas.  This effect was unintentional but has resulted in a natural looking pattern which can be used in stitched work to offset stronger patterned fabrics.

The resultant shade of these samples was a lighter shade than I had envisaged so I mixed second stronger batch of dye mix to try and achieve the darkest shade possible.  The bottom sample below shows the cotton lawn fabric dyed with a stronger mix of dye which produced a markedly darker shade.

Shibori techniques using a darker dye recipe.  Other techniques were also applied such as painted fabric and application of dye with a rubber stamp providing variety and interest.  Different effects were achieved with painting the dye on fabric using a brush or immersing the fabric in a dye bath and allowing to fix for 90 minutes.

Worksheet showing dye recipes and techniques used

Arashi Shibori (dye painted on fabric)

Fabric was twisted as it was pushed together to create crossed lines

Tie Dye with bulldog clips

Dye painted on fabric with brush

Dye immersed in dye bath with fixing time of 90 mins 

Detail of above sample

Tie dye with rubber bands and immersed in dye bath

Fabric scrunched into a ball and tied with thread using immersion dye bath

Detail of above sample

Samples drying in the Summer sun

Tritik Tibori

Hand sewn and gathered

 Painted Fabric

Stamped Fabric

Samples below were dyed using a cold water fibre reactive dye, Drimarene K, in a newly available colour 'Jet Black'.  This dyed a darker colour than those above however faded slightly when dried.  I also experimented with patterns on previously dyed fabric using discharge past. A purple/brown colour emerged as a result which lends a subtlety to the pattern and tone.

Printing on fabric with inkjet printer:

The samples below show experimentation with printing on cotton lawn inkjet fabric sheets using a copy of paper mono prints and a photograph of owl markings .  These printed onto the fabric very successfully and can be used in the sewn samples to add variety and interest as well as a bit of fun.

Below are examples of a previously dyed fabric using Shibori dying techniques and representing patterns found on tortoise shells.  The original fabric was saved as a photo file then printed through an inkjet printer to obtain multiple copies on different backgrounds:

1. Printed on organza fabric creating a soft transparent effect that can be used to overlay other fabrics.

2. The paper backing of the organza fabric which creates a byproduct of patterned paper which can be used in paper 'piecing' methods.

3. The same pattern printed on cotton lawn to create a more 'solid' effect and heavier print.

Commercially patterned fabrics:

A selection of commercially printed black and white fabrics: