Felting

Wet & Needle Felting

Felting websites:

http://www.ebsqart.com/artMagazine/za_287.htm pictures of bubble wrap felted fabric

http://www.gfwsheep.com/needlefelting/needlefelt1.html using felting needles to add decoration to felted fabrics

http://blog.craftzine.com/archive/felting/ great examples of felted projects & links to many creative sites

Felting supplies:  this is just to get you started-many, many sites online

http://www.fibervilleusa.com/indexday.html many “shops” in the Midwest that have banded together to create a cyber mall-also list fiber events in the area-good network

http://www.marrhaven.com/ excellent source for wool roving-link to Michigan Fiber Festival

http://www.mielkesfiberarts.com/ I have purchased from them at Michigan Fiber Festival-good prices, “Bag of Candy” samples of many colors

Process:

Felt is made when the scales that are on the individual wool fibers interlock with the application of heat and agitation.  Soap helps the scales open and interlock.  The process produces a non woven fabric with unlimited variations.  Felt can be made into flat fabric or 3 dimensional forms like hats or bags or solid forms like beads or sculptural shapes.

Fulling is the process of tightening fibers in an already created fabric and making them more compact-a controlled felting process that also results in shrinkage.  This can make knitted or crochet garments or objects have a surface that appears to be made of felt and creates a more stable fabric or in the extreme fabric that becomes hard and unusable as a garment .  Both of these processes are non-reversible,  so particularly when fulling a garment proceed slowly-you can control the amount your garment will shrink .

Fiber Preparation and Choice:

Fiber preparation & the type of fiber is key to the type of felt and ease of production.  Different sheep breeds and animals produce different quality fibers-choose the appropriate breed of animal for the type of felt you want to produce.  Generally if you want to produce felt without purchasing cards or a drum carder for combing the fiber it is easiest to use roving that is produced for hand spinners.  This is sold in a long, even, narrow  strand of carded fiber so that the fibers are running in the same direction.  Roving can be easily pulled apart to form the bats you will need to create larger pieces of felt.  These lengths of roving also come in a huge variety of colors, both natural and dyed that can take another step out of the process.

Types of Wool

Fine, soft wool makes fine, soft, compact felt.  Coarse wool makes thicker, hairier felt.  Shrinkage also will vary with the type of felt, so particularly if you are fulling a finished garment you need to test a sample before working with your garment.  If making wet felted fabric we can work more freely.

Merino is probably the most commonly available wool for felting and easily produces a soft, compact felt.  Other fibers can be blended or used on the surface of the felt to modify the appearance.  Corriedale is very similar in appearance & works well.

Angora can be blended to create a soft halo effect-these fibers can be hard to handle because of static so you may want to use a spray bottle to mist them as you work with them.

Silk fibers do not have scales to interlock, but if placed on top or held in place with thin layers of wool they can be added for luster.

Mohair fibers are harder, with longer, flatter scales that do not lend themselves to felting, but again may be used with wool to hold them in place.

Llama and alpaca will both felt and is sold in the natural colors of the animal-so shades of cream and brown.

www.besweetproducts.com

Pebble Carpet : made of 100% merino wool. designed by Ronel Jordaan in Johannesberg, South Africa, and made by women in a successful job creation program, this floor decor piece is made of hand dyed, carded and felted pebbles that resemble real rocks from nature and are then attached with thick durable cord.  standard sizes are 50x50cm OR 60x65cm. custom sizes available. colors vary in each carpet (natural creams, grey tones, brown tones, and charcoals).

Step 1.  If you want to design a shape-make a pattern from bubble wrap,  with the

               bubbles to the inside.

Step 2.  Layer your roving (pulled off in thin tufts).  Layer one with fibers running in the

               same direction, layer two with fibers running perpendicular.  Repeat layering

               in alternating directions until bat has reached desired thickness.  For a solid

               fabric with good density this would probably mean 8-10 layers.  This will vary

               depending on how you pull and place your tufts, but more,  thin layers

               alternating will create a more stable fabric.

Step 3.  Pour, or if creating small pieces like beads-dip, soapy water mixture.  Any type

               of soap may be used, but because your hands will be immersed in the mix I

               like to use liquid dish soap or liquid hand soap since they are gentle to the skin

               and I do not have to wait for a bar to dissolve, but bar & laundry soap also work

Step 4.  Begin rubbing or rolling (for beads).  If you plan to join a front and back piece

               together do not felt to the outer edges of the piece, but leave a 1 1/2” fringe

               around the edge that you can then layer with the other side and then felt the

               pieces together.

Step 5.  Continue rubbing, pounding agitating until the piece reaches the desired

               consistency-the more you pound the firmer your fabric.  The finished piece

               can then be rinsed with cool water, rolled in a towel to remove excess moisture

               and left to air dry.

If any areas of your fabric are thin you can add extra fiber using a needle punch tool or needle.  Without the needle it will be very difficult to get two pieces of felt or extra fiber to join together.

                                                                                                                                                           

Resist Dye: Shibori, Tie Dye, Ombre

Resists prevent dye or paint from penetrating fabric.  This protects the current color of the fabric.  For example if you start with white fabric the area that is protected will remain white.  There are a variety of resists available depending on the effect you are trying to achieve.

Mechanical Resists:  may include a variety of waxes, starch, glue, or gutta to form a barrier that prevents dye penetration.  Some of the ways these resists can be applied are by brush, stamp, screen or stencil.  After applying the resist and dye in alternating steps the fabric is set and the final step is to remove the resist from the fabric.

Physical Resists:  use binding, clamping, wrapping, stitching, knotting or folding to prevent penetration of dye, paint or chemicals into the fabric.  This technique includes tie-dye, shibori (Japan), plangi (Indonesia), bandhani (India).  The result of these techniques gives a distinctive blurred edge between the dyed and resists areas.  After applying the resist the fabric should be soaked in plain water to swell the fibers before dying to help in the resist process.

Now we will be working with physical resists, later when we are painting on silk we will be using mechanical resists.

Suggestions:

            1.  Bound Resists:  fabric is knotted on itself or pulled up and tied with string,

                        rubber bands, elastic or cord.  Small beads, buttons or other objects

                        can be tied up to create a pattern.

            2.  Clamping:  fabric is folded in two or more directions before clamping between

                        wooden blocks.  The size and shape of the block and method of folding

                        determine the pattern created.  These patterns are easily reproducible.

            3.  Pole Wrapping:  in this technique fabric is wrapped around a pole or pipe,

                        wound with string, then pushed down to compress and resist.  The fabric

                        can be wrapped straight, at an angle, in layers or as a sewn tube

                        depending on the desired effect.  Dyes can then be dripped, painted or

                        poles can be immersed in dye pots to color the fabric.

            4.  Shibori/Stitching:  hand or machine stitches are gathered very tightly to form

                        the resist.  Stitches can be made in flat or folded fabric.  The thread should

                        be strong enough to be pulled tight.  A heavier thread like buttonhole twist,

                        carpet thread, crochet cotton or waxed thread are better than regular

                        sewing thread.

All of these techniques may also work in the reverse if starting with a colored fabric and then using a discharge to remove color in the areas not reserved by the resist technique.

A few stitching techniques:

Test #4 Resist Dye

Materials:     Tied, Clamped or Sewn Fabric Samples Labeled to identify

                        Water

                        Dye Stock

                       

Technique:  Soak samples in plain water before adding to dye bath (10 min. or so) to aid resist

                                   

Add fabric and stir occasionally for 10-30 minutes(longer time=darker color).

After 30 minutes remove fabric, rinse until water is clear and dry.  You may remove the resist materials before drying.

You may also want to try using two or more colors by retying or reclamping and putting your sample into a second color.  These techniques are very effective when using color remover between colors.

Record your results and mount your fabric samples in your technique book.

Test #4 Ombre

This is a French term meaning “shaded” or gradated in tone.  This may be accomplished by going from light to dark or tone to tone. 

            To go from light to dark:  prepare your dyebath, add fabric and quickly remove the first few inches (this all depends on how and where in a garment of fabric you want the gradation to begin) and continue to slowly pull the fabric from the dye.  If the color is not attaining the depth of shade that you require it may be necessary to add more of the dye.  The other option is to slowly lower the fabric into the dyebath, but it is harder to see the results.

            To go from color to color:  there are many ways, but basically prepare two dyebaths, add each end of the fabric to one dyebath and in the middle shift the fabric back and forth between the dyebaths to create a blended color.

This technique will work with many types of dye and appropriate fabrics.  If you are planning a garment and want the placement of the ombre in a specific location it may be necessary to cut the garment and partially sew before dying (for instance:  you want the dye line on the sleeve to match placement on the garment and front and back to match precisely).  To get a softer blend on large pieces of fabric it would be beneficial to wet out the fabric before dying to slow the absorption of dye.

Stamping, Stenciling and Silk Screen

Block Printing-Stamping

Block printing is one of the earliest forms of printing.  By 400 BC India was exporting fabrics to China and by the Middle Ages trade was established in Europe.  As the printing method developed commercially the blocks were made in different wood for different purposes.  The  design stands out in relief on the surface of the block, with a different block for each color of the design.  The block is pressed onto an inked plate or pad and the applied to the fabric surface. 

When designing for a block print or stamp remember that whatever is raised off of the surface is what will print-it is a very direct form of printing.  You can design your print to have different colors, but think about how you will register (line-up) the designs.  This is particularly useful  for adding texture or random pattern to fabrics.

Stenciling-Silk Screen

Stenciling begins with cave painting and prehistoric man placing his hand on the wall and blowing color on and around it leaving the negative image of his hand.  Through the centuries many forms of stenciling have been used, but the invention of paper by the Chinese created an easy material to use when cutting stencils. 

When designing for a stencil remember that what you cut away is what you will see in your design.  Stencils are somewhat easier to register, especially with the clear plastic that many stencils are cut from.  You can make multiple stencils that work together to create a design, each with its’ own color or you can paint multiple colors on different openings of one stencil.  Remember when using a stencil brush the color from the edge to the interior to prevent color from bleeding under the edge of the stencil.  Part of the charm of block printing and stenciling is the fact that they look hand made-don’t fight the process, but use it to your advantage.  The unique look and texture of these processes should be considered a selling point in a mass production society.

If you want or need to have crisp lines, text, photorealism then you should use silk screen.  The process can be as simple as a paper stencil applied to a screen (usually good for 20 to 40 prints) to commercially prepared rotary screens that can print thousands of yards.  We will explore the low-tech end of silk screen-something you can do easily at home.  If you want to have a more complex design, but do not have the equipment to expose a photo screen there are silk screen shops in every large city that will make screens for you with your art work.

Again when designing for silk screen what you take away from the design is what will print.  Color separation (dividing the design into different color areas) is necessary since you need one screen for each color printed.  There are a lot of tricks to designing repeats and line ups in silk screen, but we are going with a basic paper block out.  If you build your own screens you can use a lacquer film bloc, paint on block out like varnish or shellac or commercial block outs.  I find it easiest to use commercially available water based pigments for printing, but thickened procion dye works well also-it is just more work mixing the colors and they cannot be stored and used as long.

Remember these techniques (Stamping and Silk Screen) are opposite of each other in how they print.

Silk Screen prints what you cut away and Stamping prints what you leave.  With silk screen lettering is cut out as you want it to read, with stamping lettering must be reversed to read properly.

Test #6- Stamping

Try some of the wooden blocks or foam stamps that we have available and create one of your own using the self stick foam and foam backing.  You can make any size or shape and multiple stamps if you like.  The advantage to stamping is freedom of alignment and being able to flip and rotate your motif.  Remember whatever is raised off of the surface is what will print.  You may also make stamps from found objects, vegetables, textured surfaces-anything that is a relief surface that can be pressed onto a surface after being inked.

1.  Using a stamp make a record of the basic networks on paper:  Square

                                                                                                                    Brick

                                                                                                                    Half-drop

     4” X 4” minimum- cut out mount & label on page                           Diamond

                                                                                                                    Herringbone

2.  Using a stamp investigate some of the possibilities on fabric.

            A.  different networks/directional or nondirectional prints

            B.  flip and rotate

            C.  voids/packed/spaced                 Tip: remove up to 50% of your shape &

            D.  random/tossed                                   keep one edge straight if you want a rigid

            E.  over-printing                                      alignment-it will help you to register your print.

            F.  change in interval/stripes

            G.  hue/value/intensity (color experimentation)

Caution:  The pigment we are using is water based and will not harm your skin, though I would not put it in my eyes, but it is a textile pigment that works well on cellulosic and because it is a pigment also works on polyester.  Why am I telling you this?  Because your clothes will be permantely stained if you get it on them-it will not wash out even if you use bleach.  One of the tings to learn when working on fabric with dye or paint-No matter how messy the process looks you need to control it and be neat or you can ruin yards of your fabric or someone else project.

Record your results and mount your samples in your technique book.

Test #7- Silk Screen

Create a freezer paper design that you can apply to the silk screen (the ink will hold it in place).  If you have floating shapes be sure to keep them to apply to the screen, they can be held temporarily in place with tape until the ink adheres them to the screen. 

If you have multiple colors in your design you will have to cut an individual paper for each color you want to print(color separation).  The appearance of having multiple colors without cutting multiple screens may be achieved by “split fountain technique” or multiple colors in one screen.  These colors will blend and form new combinations of color.

Record your results and mount your samples in your technique book.

You may bring in your own T-shirt or other item to screen.  If it is a thin jersey place a piece of newspaper between the layers to prevent bleed through.  The ink we are using is good on 100% cotton or cotton poly blends up to 50-50.  After dry, iron on high with no steam on the print for 2-3 minutes to set the color.  It is then machine washable.

Test #7B- Stenciling

Create a stencil design by cutting from heavy paper or thin plastic sheets.  Ink, devore paste or other block outs may then be applied using a brush to transfer the pattern.  Remember to brush from the stencil into the cut area to prevent pushing ink under the stencil.  Stencils may be used repeatedly if wiped and allowed to dry.

All of these techniques may be used in combination and in a variety of ways to create the desired look

Devore/ Burn out

Devore is French for devour and that is what this process does.  The chemical used will devour or burn out the cellulosic fibers in a blend or create a “cut-work” design on 100% cellulosic fabrics.  The process is very simple when using the Fiber-Etch® Fabric Remover.  This product is available from Dharma Traders or the manufacturer www.silkpaint.com.

Method:

            1.  iron wrinkles out of your scarf so that it will lay flat

            2.  pin the scarf to newsprint or brown paper to hold in place & soak up any excess

3.    apply a thin layer (not raised) of Fiber-Etch get on the area to be removed.  Gel

     may be spread by “scratching” into the surface with the bottle or brush (stencils are very         effective with this technique*).

            4.  Dry with a hairdryer

            5.  Iron (without steam on high heat) on reverse side of the fabric.  It will not stick to the iron or to the ironing surfaces, but if you cover the ironing surface with tin foil the process will go faster.  Do not overheat (causing very dark brown patches).  When Fiber-Etch area becomes brittle rinse under running water to remove fiber bits from scarf.

            6.  Record your results.  We will be dying or painting your scarves at a later date. 

*Cut a stencil design from pattern paper that you can use a brush to apply fiber etch to the fabric.  Remember with a stencil whatever you cut away will be your print.  You can also use edges as a stencil to create stripes, or pieces of a stencil to create new designs when linked or overlapped.

Caution:Fiber-Etch is irritating to skin and eyes so be careful when using.

           

Alter Ego Dyeing Instructions

The dyes we will be using are a mixture that will put one color on the silk (sheer) area of your scarf and another color on the opaque rayon portion of your scarf.

1. Put Lukewarm water in a saucepan.
2. Add the two colors (silk and viscose), the fixative, the vinegar, and the cooking salt. MIX WELL!

NOTE: The colors will be mixed in the water but they will separate again on the fabric.

3. Rinse the fabric in lukewarm water, squeeze it out and while still damp put it in the saucepan (the salt will not dissolve completely).
4. Put the saucepan on low heat and stir during 5 minutes in order to homogenise the dyes, then increase the heat up to boiling for 20 minutes.

Turn the heat off and leave to stand for 10 minutes.

5. Rinse under running water and then wash in lukewarm soapy water. Finish rinsing in clear water and squeeze out the fabric.

Scarves, Fiber Etch and Dyes are available from Dharma Trading Company www.dharmatrading.com

Stenciling + Silk Screen Prints

Stenciling begins with cave painting and prehistoric man placing his hand on the wall and blowing color on and around it leaving the negative image of his hand.  Through the centuries many forms of stenciling have been used, but the invention of paper by the Chinese created an easy material to use when cutting stencils. 

When designing for a stencil remember that what you cut away is what you will see in your design.  Stencils are somewhat easier to register, especially with the clear plastic that many stencils are cut from.  You can make multiple stencils that work together to create a design, each with its’ own color or you can paint multiple colors on different openings of one stencil.  Remember when using a stencil brush the color from the edge to the interior to prevent color from bleeding under the edge of the stencil.  Part of the charm of block printing and stenciling is the fact that they look hand made-don’t fight the process, but use it to your advantage.  The unique look and texture of these processes should be considered a selling point in a mass production society.

If you want or need to have crisp lines, text, photorealism then you should use silk screen.  The process can be as simple as a paper stencil applied to a screen (usually good for 20 to 60 prints) to commercially prepared rotary screens that can print thousands of yards.  We will explore the low-tech end of silk screen-something you can do easily at home.  If you want to have a more complex design, but do not have the equipment to expose a photo screen there are silk screen shops in every large city that will make screens for you with your art work.

Again when designing for silk screen what you take away from the design is what will print.  Color separation (dividing the design into different color areas) is necessary since you need one screen for each color printed. 

If you build your own screens you can use a lacquer film bloc, paint on block out like varnish or shellac or commercial block outs.  Additional ways of creating your design would be to create a black/white image in Photoshop or Illustrator and print on an acetate sheet to make your blockout for a photo screen.  Photo screens may also be exposed with ink drawn directly on acetate. I find it easiest to use commercially available water based pigments for printing, but thickened procion dye works well also-it is just more work mixing the colors and they cannot be stored and used as long.

Supplies you will need:

Padded Print Board-generally any slightly padded surface will work.  With the type of ink we are using I like to have a surface at least 24” x 24” padded with an old blanket, quilt batting, polar fleece and then covered with a smooth vinyl.  You can get upholstery remnants cheaply.  If I am printing sleeves I make small pads to fit inside the sleeve and stretch it.

Inks- We used Nazdar Aqua Set Inks in class.  These are available through dealers-I purchase mine at Chicago Silk Screen Supply on Milwaukee.  I like these inks because they have a soft hand, excellent wash fastness, the colors are easy to mix, but they are transparent, which means that you cannot print light colors on black with these colors.   These inks work on 100% cotton or 50/50 cotton/poly blends.  Versatex and Speedball also make inks that are available from Dick Blick.  I find that these have a shorter working time and dry in the screen.

Most of these inks also have an extender base available-this is used to create light colors and also may be used to “extend the color” or thin the ink without changing the color.  These extenders are cheaper than the inks and are used to lower your cost of production.

Silk Screen-   Wood-1”x2” are good unless you get into larger size screens, then I would go to a 2”x2”

                        Screen mesh-110 mesh is a basic size to use for textile printing

                        Staple gun/staples-staple on an angle

                        Duct tape-to block the edges of the screen after you apply your design(to keep ink from leaking around the edges of the design

                        Varnish(if desired)after you build your screens if you varnish the wood it will make

the screen easier to clean.

Squeegee-these come in different sizes and types, almost any will work for textiles it is more a personal preference.  Square edge, rounded-you may purchase them by the inch for specific screens, they should be longer than your printable area so that you do not get streaking.

Block Out Material for design-

                        Paper-we used a wax backed freezer paper available online from paper suppliers or you can use a “heavy weight brown paper” if it is light weight it puckers when it gets wet.  The freezer paper should be used with the shiny side up.

                        Ulano Stay Sharp Laquer Screen Film & Adhering liquid

                        Photo Emulsion

Many other types of block-outs are available, what you want to consider is whether you want to use the screen without restretching new screen mesh or if you want this to be a long-term use screen.  If you are doing a short run of prints, 20-40 and never plan to repeat the design it makes sense to try and use a block-out method that does not tie up the screen.  If this is a design that you plan on repeating time after time, or year after year-then invest the time and money in making a dedicated screen.

Other block-out materials: liquids painted directly onto the screen and allowed to dry (varnish, commercial mask), found materials (leaves, string), contact paper, tapes, ect.

Silk Screen Supply List

Dharma Trading Co.                         Dye for cotton, silk, blank scarves in silk

P.O. Box 150916                                          and velvet for devore.  Fiber Etch for devore,

San Rafael, CA 94915                                 Gutta for silk resist, squeeze bottles

www.dharmatrading.com                       

Chicago Silk Screen Supply Co, Inc.          Will make screens, will order printing ink in

882 N. Milwaukee Ave.                                gallon size ( we used Nazdar Aqua Set )

Chicago, Il 60622                                          some colors available as quart size

312-666-1213                                               also photo screen emulsion, squeege’s

There are many online sources for screen printing materials Standard  seems to have everything and they will make screens for you as an online source

Dick Blick Art Materials                                They carry a line of fabric inks that can be used

Around town and online                                for silk screen and they have materials to make

                                                                        stamps and also carry stamp ink that is thicker

                                                                        than the ink we used.

www.Blankshirts.com                                   Good prices on t-shirts

www.ulano.com                                             Information on silk screen & laquer film products

Books:

Complex Cloth by Jane Dunnewold:  basic book that covers many techniques in a “low tech” way

The Surface Designers Handbook by Holly Brackmann: basic technique book