Learn basic fabric painting techniques such as airbrushing and screen printing and make a style statement with your own textiles.
This is a one-color, hand screen printed cotton bandana. This color way is called 'Russet,' it's a natural, cream colored bandana and the design is printed in burnt-orange ink. The nature inspired, boho botanical design is called 'Thicket' and is one of my original illustrations. It depicts rabbits and chipmunks in a thicket of wild roses, blackberries, mushrooms and branches, with lots of other hidden surprises. The bandanas measure approximately 22” x 22.” The design is printed on one side. They are 100% cotton, printed with non-toxic, water-based inks. They work great as a head scarf, neck kerchief or dog bandana. They can also be used as altar cloths, or hung as wall art in your home! ----------------------------------------------------- CARE These bandanas are made of 100% cotton, and are light weight - similar to a classic paisley bandana. Since these are printed by hand, inconsistencies may occur. The bandanas shape and image placement may vary as well. Wash by hand in cold water. Hang or lie flat to dry and iron as needed. These are cotton and have not been preshrunk, therefore have they may shrink when washed, or dried in a dryer. The ink is water based and will soften with wash and wear. ----------------------------------------------------- NOTES All of my products are completely original, designed and illustrated by me. The colors may vary depending on your screen settings. Please message me if you have any questions! ----------------------------------------------------- SHIPPING This item ships with tracking. International orders may take longer to ship due to delayed post office shipping times. ----------------------------------------------------- FOLLOW For more Bandanas, Stickers, Prints and Patches, please click here: www.etsy.com/shop/KateOHaraArt Follow me on Instagram for announcements, discounts and more art pics: www.instagram.com/kate.ohara.illustration Website: www.kate-ohara.com ----------------------------------------------------- All rights reserved © Kate O'Hara Illustration 2024
Welcome to your new favorite piece: the high-quality Hoodie with an impressive weight of 380gsm. Handprinted right here in Germany, this hoodie was crafted with attention to detail to elevate your style and comfort to a whole new level. Adorning the chest is a small yet intricate screen print – a subtle expression of your individual style. This hoodie isn't just an article of clothing; it's a personal statement. The back features another artistic screen print, giving this hoodie a distinctive touch and making it a real eye-catcher. With a weight of 380gsm, this hoodie is not only incredibly soft but also amazingly sturdy. It not only feels great but also looks brand new even after many washes. We understand that quality matters to you, which is why we crafted this hoodie with utmost care and love for the craft. Pair it with your favorite jeans or match it with a skirt – this Hoodie suits every occasion. Whether it's cozy evenings at home or outings in the city, it will quickly become your faithful companion. And the best part? It was handprinted here in Germany by skilled artisans to ensure you receive a unique and high-quality product. Experience the difference with our handprinted Hoodie. Stylish, comfortable, and exclusively made for you – a must-have for those who value quality and individuality.
Mono screen printing is a great technique if you want to create beautiful painterly prints but achieve the flatness of a screen print. It allows you to incorporate multiple colours in one layer and play with brush strokes and. . .
Colette Moscrop is a textile artist based in London that specializes in hand screen printed artisan textiles that are inspired by vintage styles and urban living. All of her textiles are the perfect base for embroidery and embellishment. Make her prints your own by adding your own stitches, appliqué and more. This windows design is perfect for embroidery and makes a great starting point for a modern sampler. Ideal for embellishing with stitches, using in patchwork and other craft projects. Choose your favorite threads and you have an easy project to work on in the evenings. PRODUCT DETAILS: One Windows Embroidery Sampler Panel Panel Size: 19.5" x 13.5" (50x34cm) Color/Fabric Options: White Windows on 100% Natural Linen Fabric OR Denim Windows on 100% White Cotton Fabric Heat Set and washable; iron on a warm setting on the reverse side of the print
I 've seen a lot of easy screen printing set up in my time but this has to be the easiest and most genius. Heather over at Skinny Laminx ...
You can shop Caitlin Parks' limited edition screen prints from printclublondon.com Spend over £60 and receive FREE UK SHIPPING
Sometimes I wish there was a second me. Alt-Leah would go with the flow; she would be spontaneous. She wouldn’t have a plan A, B or C and definitely wouldn’t track her hours in the studio. Today is a lovely sunny day so alt-Leah would probably have kidnapped her grandson from school and driven to th
We're always into DIY fashion and we love all different kinds of techniques when it comes to making or customizing our own clothing, but sometimes we get
Finally finished! The image was screen print dyed onto the warp strings and then woven. More about that here: en.wikipedia.org/wiki/Ikat Progress shots and explanations here: littlemecha.wordpress.com/2010/12/17/ikat-portrait-weaving/
I spent this morning cutting paper stencils with my 7 year old daughter and then screen printing her designs onto bags and fabric with her. It was smashing - I love spending time with her doing this and we both get very excited by the results! (she was so exhausted, she had to ha
Screen Printing: Cheap, Dirty, and at Home: You don't have to spend a ton of money on equipment or have a screen printing studio to make some pretty good quality prints. I taught some friends how to reuse old picture frames and curtains to make screens, burn them in the sun, and clean them …
Original 'House Plant' screen-print, printed on fine grain heavyweight 200 gsm A4 paper. Hand-printed by me, featuring a blue houseplant silhouette against a pink and yellow background. Please note all prints vary slightly due to the nature of being hand-printed.
Sarah Fennell - Studio Tour May 2017 Words: Jo Dowsett Photography: Carolyn Carter
Innovative creativity from PaperArtsy. Paint, stencils, and techniques galore for any mixed media enthusiast to enjoy.
Perfect to banish those blank walls and bring art to your space. Our posters are giclée-printed on premium 190gsm, acid-free paper for sharp, high-quality images and super vibrant colors.
How to print on fabric with just 2 materials you probably have in your house right now. Freezer paper and an inkjet printer. WARNING: totally addictive.
(Kind Of) Screen Printing on the Cheap: Usually, if I want a design on a t-shirt I will paint it, however there came a time when I found myself in a position of having volunteered to make 30 or so t-shirts with the same design and could not be bothered to paint them all freehand so I rese…
"MAMIWATA" - Collaboration ISAKIN x 16 PN 16 PN est une marque de textile parisienne créée par @musunake 100% coton blanc Impression couleur sérigraphiée ventrale Étiquette col imprimée Étiquette manche cousue Coupe classique Nos tee-shirts taillent plutôt petits. Si vous hésitez entre 2 tailles prenez la plus grande
Great tutorial from Lil Blue Boo on using Speedball photo emulsion with sunlight Very comprehensive tutorial for creating your own screens with Speedball photo emulsion My tutorial for screen printing with a paper stencil Small scale screen printing tutorial by Lotta Jansdotter
How to make custom reusable screenprint stencils with Ikonart Textile film.
Ten step process to screen print in your own home. Using Speedball Ink screen printing materials you can create custom designs and art work on prints, shirts, bags, and more.
On Thanksgiving weekend my husband and I went to the Art=Quilt=Art show at the Schweinfurth Museum in Auburn Maine. First let me tell you I think this is going to be a yearly pilgrimage. The quilt show was inspiring but then we got to see Auburn's Christmas Parade and saw a hilarious play at the Auburn Public Theatre. It was as near as perfect weekend as I can image. Anyway, lets talk about the award winning quilt. When we entered the show we were told no cameras. I was disappointed but agreed to the restriction until I came across an award winning quilt. I then went back to the front desk and begged. They said I could take a picture but not post it till I had the permission of the artist. They even gave me the contact information. I contacted the artist, Ayn Hanna, as soon as I got home and she not only gave me permission but agreed to an interview for the Fire Blog. Here is what she said about herself in reply to my original email. I had told her that I was a printmaker in addition to being a fiber artist. I am a printmaker as well (earned my MFA at Colorado State University) and didn’t start working in textiles until several years after grad school. I’m now working to bring my printmaker aesthetic to the textile medium and I view the breakdown screen-printing process as a most perfect blend of drawing, painting and printing. I love it much as I love other printmaking processes - because the marks achievable in this process are not achievable any other way, and I enjoy working within mediums that are not 100% controllable by the artist. First her quilt and then the interview. And some detail pictures Ayn's Intro I am a printmaker and textile artist. My professional artist training include a BFA in Graphic Design and an MFA in Printmaking/Sculpture from Colorado State University, as well as experience as an Etching Master Printer. I have taught drawing and printmaking at the college level and currently offer workshops in eco dyeing and multiple screen-printing techniques on fabric. I am honored to have my work selected for the Q=A=Q Show and even more so to have received an award. I appreciate being invited by Judith to have the opportunity to share more about my work and process with the Set it on Fire blog community. 1. There are many different ways to deconstruct silk screen (DSS). Can you tell us a bit about what method you use? As a printmaker, I love many printmaking processes, especially those in which I can achieve marks that really can’t be achieved through any other medium. I view the breakdown screen-printing process as the best combination of drawing, printing, and painting techniques. To create marks/images on a screen, I use a combination of direct drawing as well as low relief collaged shapes, sometimes creating simple color elements on single screens (which I then combine when printing them out on fabric) and other times creating more complex/complete multi-color images on a single screen. I generally will create multiple screens with the dried dye and then compose the foundation of a piece through combining the printing out of multiple screens on a single piece of fabric, alternating with drawing directly on the fabric as well. 2. What other types of surface design techniques do you use with your DSS fabrics when you make a quilt? I often will draw directly on the fabric with thickened dyes to enhance the printed image, sometimes will discharge areas of a piece, sometimes combine with layers of my hand-dyed fabrics in a reverse applique process. I use stitching to add another quality of line. 3. Where/who/how/when did you learn to DSS? I’ve learned most of the major printmaking techniques in college, while earning my MFA. As a professional printmaker, I use many resources, continue to do web research, study available educational materials, and experiment with new techniques in my studio, finding and using whatever best resonates with the direction I’m headed in with my new work. 4. Overall what do you think about DSS? e.g. "favorite because...." or "useful because..." or "generally hate it because...." I enjoy it because I find it the best way to combine drawing, painting, and printmaking on fabric, and because there is a certain lack of control with the process which allows for “happy accidents” and which requires some study and practice to achieve stellar results. 5. What type of mark do you hope to get from your DSS? I know that Beth and I hope for very different results when we DSS. I hope to achieve marks that just can’t be achieved through other mediums, a hand-drawn line which is then printed….there is a character to this all its own. I’ve had people respond to my work, curious how it was made/what it is made of and wondering if it is encaustic painting – this tells me that it has a new and different look and I think that’s a good thing. 6. When you DSS are there special tools/shapes/images/patterns/whatever you like to use? I use anything and everything that might give me an interesting mark. I draw using syringes with thickened dye. 7. If you have a favorite art quilt that you have made that incorporates DSS feel free to send a picture of it and tell us why you like it. “Big City”, (fabric, dye, stitching, batting, mounted on stretcher frames). This was inspired by the buildings and fire escapes on the Lower East Side of New York City that I used to walk past on my way to work when I lived in the East Village several years ago. The piece is 40 inches by 60 inches overall – inclusive of six 20 inch square pieces, so it’s modular and has a flexible configuration. This is a new direction for my work in that this is the first of my dye drawing textile artworks to be stretched around canvas-covered frames, in a sense “objectifying” them as art objects for the wall. I see these as a perfect blend of textile, painting, and art object all in one. This piece has been exhibited this year at the American Craft Council Baltimore show, the Fabric of Legacies show, and the SOFA Chicago show. 8. You could talk about the making of the quilt in the AQA show so those that can't see if up close and personal can get a better feel for the process and methods you used in it. I have 2 pieces from my LineScape series in the Q=A=Q show, “LineScape #14” and “LineScape #36 (Bridges)”. “LineScape #36”, (the piece that won an award) is a whole cloth dye drawing which I made by creating multiple dye drawings directly on screens, printing out multiple screens on the cloth, and then also drew directly on the piece with thickened dyes. I used stitching and couching to add line variety and bring the composition together. Thank you, Ayn! I know that I am going to try some of your process in the near future. Judith
Juliet Thornback and Delia Peel met through a mutual friend back in the early noughties, with a view to producing handmade clutch bags; Juliet, then a florist, and Delia a theatre designer, embarked on a […]
Transparencies vs oiled paper: Normally I make a screen by printing a design onto a transparency, then transfer the image to a screen that is coated in photo emulsion by exposing it to light —…
Learn how to create multicolored prints with ease! Our step-by-step tutorial shows you how.
Experience the comfort and style of Pointer And Pine's Sad Cowboys Club Tee. This unisex tee is perfect for everyday wear with its casual aesthetic. It's a super soft tee that's machine washable for easy care. Embrace the unique screen-printed design inspired by vintage flags. Enjoy the perfect blend of fashion and comfort with this exceptional tee.
Using Reactive Dyes, I tried to screen print a cotton warp. Some of the threads obviously slipped when I put in onto the loom but it wasn't bad for a first atempt and using differnt coloured wefts, interesting effects were achieved.
This chest has gone through several iterations since my childhood, when it was covered in a folksy, floral tapestry fabric. I prefer it now...
Now, THIS is exciting stuff! After doing deconstructed screen printing with randomly created screens, I decided to draw on my last screen, with a syringe. This is a technique I learned in a DSP class with Kerr Grabowski. That’s my screen above. I drew on it with very thick black dye. In fact, it was […]
La SERIGRAFÍA TEXTIL es una técnica donde los diseños impresos son más duraderos que los de las otras técnicas ¡Aquí tienes todo lo que necesitas saber!
Deconstructed screen printing First let me tell you that I am NO where near an expert just a beginner learning about surface design. I basically only “think” I know what the experts in the field are trying to explain to me. I DO know how various experiments I have tried have worked and I am willing to share them. I will start in the beginning with what I THINK I know. I will also include little side bits of info that I think are relevant marked with an asterisk(*) I will also try to answer all question in the comment box so everyone can see the answers (yeah, I was wondering that myself). What exactly does deconstructed screen printing mean? To me, it means that I have constructed a screen with dyes applied in a textual way which I have allowed to dry onto the screen. Then I used a wetting agent to deconstruct the work (in dried dye) that I made, depositing the reconstituted dyes onto a substrate, which in this tutorial is cotton*. * you can use any plant based fabric. You can also use silk that has NOT been prepared in advance with soda ash by adding soda ash to the print paste – see below. Silk does not like soda ash so limit exposure to it by using it in the print paste not a soak. First I want to talk about “printpaste”. Print paste is agar from seaweed which is also used in processed food and totally non-toxic. This is a link to the directions from the company that I buy my supplies from. MY directions are a bit different. I call them (my shortcuts) the quick and dirty approach. I use only THICH SH. You get more bang for your buck. If you want regular viscosity print paste simply use less THICK SH. My directions for print paste: In a kitchen blender that you use ONLY for your art materials mix 2 tablespoons of THICK SH with one quart of cool/coldwater. I use no other chemicals just water. *My water is from a deep aquifer and is filtered through a very expensive water filter which removes all chemicals and minerals. Use a Brita if you don’t have a water filter. Blend on high speed. Look for a used blender at Goodwill or any second hand shop. You’ll thank me. Trust me when I tell you this is the BEST way to mix it. Second best way is with a kitchen whisk. It takes about an hour for the print paste to “set-up”. Print paste will last longer than the time it will take you to use it up (over 6 months in the refrigerator). ALSO thickened dye will last a LONG time. I've used mine months later. Keep refrigerated. A few ways to use print paste. Use it to mix with powdered MX dye to create thickened dye. Use it “as is” to wet a constructed screen on cotton that has been pre-soaked in soda ash. Use it mixed with soda ash (powdered) to deconstruct a screen onto cotton* that has NOT been prepared with soda ash ahead of time. I will also discuss another use for print paste later which is a discovery/experiment done by Judith. Soda Ash* – three ways Make a gallon of soda ash (one gallon of filtered water with one cup of soda ash). I use no other chemicals because my water is very soft (mineral free). If you have hard water you might want to add Calgon water softener per instruction on container. Print paste with soda ash added is 1 cup of print paste with one Tablespoon of soda ash. Don’t ever skimp on the soda ash*. Preparing the cloth ahead of time. Soak your fabric in a gallon of soda ash/water 5 minutes and either wring out or spin. A spinner will help you recover MUCH more of the soda ash water and helps your fabric line dry faster. DO NOT ever put soda soaked fabric in a dryer – LINE DRY. Fold when dry and keep where air circulates (not a plastic bag) *Picture this. Soda ash is the catcher’s mitt and dye molecules are the balls. Don’t let those expensive dye molecules fly around without a bunch of catcher’s mitts to grab them. Err on the side of caution. Soda ash is cheap. My Spinner Setting up/Constructing your screens I am VERY fortunate and have a large space in my kitchen to set up my printing table which is 4’ X 8’. Yes, it is a ½ sheet of plywood covered with carpet foam (stiff) and synthetic felt. I cover the entire thing with an ugly old flannel sheet which is absorbent and washable. I am mentioning this because I set up about 6 screens to “do” a 45” wide piece of cotton 8 feet long. You will need to arrange a spot to deconstruct. You might want to get a sheet of ½” plywood 2’ X 4’ and cover with batting and muslin like I made hereto be my ironing surface. This is very handy because being 48” wide gives me room for a 45” wide piece of fabric. Just a suggestion. However you DO need a printing surface. Prepare as many screens as you think you can handle. Making the thickened dyes: My thickened dye is dark and I like it that way. Try it my way first. There is nothing as disappointing as “light” pastel prints. If you are afraid the dye is too dark you can add the dye to some clear print paste right in the well before you print. This is an example of the flexibility of dark dyes. Recipe: 1 cup print paste with one teaspoon of dye powder.(use a mask when handling dye powder) *An added note. I try to use just enough and not too much dye to construct the screens. If you do use too much dye, make sure to get all the remaining dye out of wells or the dye will drip onto the screens below while drying. Drops and spots of dye can add interest to prints but know that they will act as resists until they start to break down and become interesting. I will try to point this out later on when we look at actual prints. Remember, there are NO mistakes, just interesting lessons. outside/bottom of screen - faces fabric Inside of screen - where you place and squeegee the dye Something I bought to take to my first art quilting class with Pamela Allen, a life changing experience. It was a padded ironing board on one side and a cutting mat on the other. Very convenient. I slip it inside a bin bag and presto, it becomes a padded surface for prepping my screens Place somewhat flat objects between the drop cloth and the face (bottom) of the screen. You will be looking at the inside of the screen. Suggestions are wrinkled plastic sheeting, vegetable bags, stings or yarns, flowers, leaves, grasses. You want the objects relatively flat. This string turned out to be too hard and made blobs of dye on the screen. I was supposed to place a piece of soda soaked cotton on top of the plastic bin bag to catch dye. I remembered on screen #2. Screen holding objects in place before first pull with dye Place one, two or three colors in the well of your screen and pull the dye over the screen. When you feel you have the screen covered well with dye do a very firm pull leaving an even but NOT THICK layer of dye on the screen. First pull with these two colors. All I had in the refrigerator was a drop of orange, a drop of red, some yellow and some dark navy. Thought I'd use these up before making more. Screen is covered without excess dye in screen Marks made by dimensional objects Lift screen off surface and remove any objects that are stuck to the screen. As you can see I forgot to put down a piece of pre-treated fabric to catch the dye. I did add the cloth for the second to sixth screens. The sun was a bit bright but you CAN see the variations in the amount of dye on the screen created by the objects. Orange and blue #1 and #2 have big blobs I removed the string because it was catching and holding too much dye. Screen below is my fave so far You can really see the dimensionality of the dye on these two screens "Printing" on the catch cloth, blotting the vegetable bag I have now finished wiping all the utensils I used on the cloth as well as wiping up all spills. The clean up cloth usually turns out great. Below it is folded and in a bag for batching. Place the screens on a flat surface and use jar lids as spacers between screens *(optional). Allow to dry – very dry. I need to go get my spacers and these will be dry in the morning. Did I mention Maine is VERY dry? I stack them 3 X 3 and slide them under my counter which have legs. I started out today with 6 dried screens. I set up 2 tables side by side. The tables are 30" X 6' so the 4' X 8' table hangs one foot off each end and is wider than the two tables together. Tables stored behind door Set up with not much moving around room With print table on top. With opened bin bags covering table. I found this was the easiest way to fold up the fabric to batch which you will see at the end of the printing session. Table with pre-treated fabric tightly T-pinned to the table I was almost out of print paste so I made 2 quarts (2000ml). That's 2 T.Thick SH /1 quart (1000ml) water. Thick SH in 1 lb. bag with blender I keep the lid on at all times to keep mold spores out. Print paste lasts a long time (over 6 months) but when it goes bad there is no question. It smells like rotting seaweed. REFRIGERATE IT. The dark heavy deposits of dye will act as a resist. The lighter and see through area will be where the color melts (deconstructs) easiest and is then deposited on the cloth. As the screen is pulled over and over, more dye dissolves leaving larger areas with dye on the cloth and smaller areas of resist. That is due to the break down of the dried dye and it's deposition on the fabric. Initial wetting with a thick layer of clear print paste First few pulls. Lots of white because not much dye has broken down yet. From this picture you can really start to understand how the thickest dye that hasn't dissolved (deconstructed) yet acts as a resist. After 4 pulls (prints) One of the cool things that I experiemented with was to make 4 prints, then turn the screen up-side-down and print again over the four prints. If you look at the fabric with 2 prints above, that would mean I would turn the screen so that the red part of the screen was now on top and the blue on the bottom. This was my attempt to get rid of all the white. These are the four blocks above with one print and one reverse print. Still lots of white but you can see red and blue all over. One of the things I love about this type of surface design is the wonderful figuring on the cloth. I will point out more after the fabric is batched and washed. . The next thing I did was to take the squeegee with clear print paste and pass it over the print. It picked up enough color to tint the white spots. I didn't want to mix the red screen and yellow screens so I used clear print paste directly on the squeegee without a screen and as you can see the white spots are now tinted without losing the definition. This is the power of the first strike. Once those catcher's mitts have balls in them they have a powerful bond. If you are relatively gentle with the clear print paste, you can add tint to the white without disturbing the original prints. This was Judith's idea. My idea was to place a used screen on the print and just pull tinted print paste on the small area that was white. This also worked and was a bit faster. It also had the safety of having the screen between the printed fabric and the squeegee preventing any smears. This another screen in process I forgot to get a picture of all the fabric covered. You will see it tomorrow after batching. This picture is after I tore off the last 2 feet of unprinted fabric which I will save for another time I need pretreated fabric. I took that last bin bag and placed it over the end of the fabric then folded it so that all wet sections were touching plastic. Four big folds below. Folded neatly into a small packet to fit on my tray. I leave the tray on the top shelve of my parents bookcase. They live in an apartment off my kitchen. My house is 60 degrees which is too cold to batch. There apartment (especially near the ceiling) is about 80 degrees. That is perfect for batching. Another method if you don't have parents conveniently located off your kitchen is to use rice bags heated in the microwave oven, placed on plastic covered fabric and covered with a towel. It works beautifully. Next we will see the finished fabric and a comparison with some deconstructed pieces I did before filling in the white spots. Here is the entire piece batched, washed and ironed Some of these are close-up and some are pictures of two prints. I only made four prints of each screen. Sometimes you can make more but I'd rather have mine rich in color than numerous. This is a closeup of the drips. The thick drips of dried dye act as a resist but as they break down (deconstruct) they leave a halo or outline of their color. Can you see the navy outlines along the sides of these drips? On the block below you can see a double image or ghost image. This happened ( many times) because I lifted he screen after the first pull, thought the image too weak so I lowered the screen back into place but it was just enough off to give the double image or ghost look. On the screens above, you can see the navy color around the drops or circles on both screens These last two were just fill-ins. I had run out of dye on the screens and just filled in the space with color. If I hadn't, I would have large blocks of white. This way I used some of the left over dye, covered the white and have something I can add more layers to with stamps, more dyeing or fabric paints. This was a very sad pale square although the drips and dots are kind of cute. A good first layer. The objects on the left are color catchers which grab loose dye molecules in the washing machine to prevent dye back or dye re-depositing on the fabric Here are some fabulous deconstructed screen prints with those sad white blank spots. See the difference when you fill them in? Also with all the white filled in, 4 prints can read as one long piece of fabric. . In addition to filling the white spots or areas of resist with dye I also have been very diligent to at least butt and sometimes overlaps screens slightly so that multiple prints read as one piece of fabric like the results from today. I hope you have enjoyed this tutorial as much as I did creating it. If you have any questions or need a clearer more precise description, please leave a comment. You can also email me at the email address in my profile. Cheers.
The incredibly great Ulrike Lea Moormann illustrated this great graphic for you. No matter whether screen printing, plotting, appliqué or stamp, with this file you just have to get started . The matching colors are available here as a set or individually in the shop. After payment, the download link is directly available to you and will also be sent to you as an email.
