Sunday, July 7, 2019

Painting with Dyes for Cards



Textile Card by Eileen Gidman


My personal favorite, of this set of 25 cards that were just recently completed, is this goose in the purple and gold. I really love the purplish tingle to the back.

Textile Card Making

At a meeting this morning, I was asked about the steps required in making the card tops. I was surprised myself how many steps there are. Painting the fabric with thickened dyes is the most time consuming but so much fun. Here are the steps to making the cards:

  1. Paint images with thickened dyes onto cotton, linen, velvet and silk fabrics.
  2. Cure and wash.
  3. Iron on 4 1/2" X 6 1/2" heavy interfacing to the back of each proposed card top.
  4. Cut out leaving an additional 1/4" all around for fringing.
  5. Fringe. (I was fringing them outside yesterday when a big gust of wind came. I was chasing card tops all over the neighbourhood, ha, ha!)
  6. Fold card stock in half. 
  7. Glue textile piece onto card top and lay under weight to dry.
  8. Sign card in case the buyer wishes to place the card in a 5 X 7" frame.
  9. Add a back label that tells what it is made with, the artist (Eileen Gidman) and a red maple leaf to signify it is Canadian made.
  10. Package in clear display bag.
  11. Label that it is original and frameable art.
  12. Add price stickers. 



Textile Card by Eileen Gidman
I left the last 1" or so of thread loose on the fisherman's line. I wanted to put a cap on the figure, but when you are free motion stitching so small, there is little opportunity for maneuvering so it looks more like a straw hat. I kind of like how it turned out though.

Textile Card by Eileen Gidman
How did I get such vividness with this purple? All I can say is perhaps using freshly made up dyes and going over the plum in successive layers. I like adding a little mauve to the leaves to suggest the reflective light on the leaves.

Textile Card by Eileen Gidman
 Fruits of the Creston Valley. Most recently we've been enjoying strawberries and raspberries. Cherries are starting.

Textile Card by Eileen Gidman
Some of the new cards available for sale at Creston Card and Stationery . None of these cards have the hand dyed velvet embellishments like the last set of textile cards I created this spring. These cards are unique with more detail in the painted image. There is still additional black thread sketching adorning them.

Textile Card by Eileen Gidman
More of the new cards available for sale at Creston Card and Stationery .



Sunday, January 20, 2019

Gold Ink


Gold Ink & Calligraphy Pens
My interest in calligraphy was reawakened recently when a took a three hour calligraphy course at our local college www.cotr.bc.ca/creston. Many years ago, I practiced writing italics for hours by a kerosene lamp in a log cabin, nestled beside a stream, and surrounded by towering cedar trees. What a magical setting that was and all that practice is helpful to me even now. 

When practicing with the ink sketching and watercolour painting, I couldn't resist trying some gold ink in this dog's beard.


Fine Tec Pearlescent Colours
This set arrived in the mail two days ago. Thank you to the people who posted about these Fine Tec colours online. They are working well with a calligraphy dip pen. The watercolour brush is used to add a little water to the compressed metallic colour disc and is then mixed. Using the brush, a bit of pigment is added to the back of the calligraphy nib for use. 


Copper colored Fine Tec pigment Practice
Pear and bird drawn with a straight nib. The leaf is drawn with a watercolour brush and the bottom irregular bit is 'scumbling' with a watercolour brush.


Arabic Gold, Fine Tec Pearlescent Colour
Trying the different colours with a dip pen and straight nib. The straight nib worked the best for me. I did not have success using a broad tipped nib (C series) for lettering. The metallic flakes showed thick and thin in a single stroke.


Practicing for 'My Life with My Human' series

More pen and ink practice with watercolour
Drawing with Speedball Super black India ink and a dip calligraphy pen. Allow to dry completely before adding the watercolour.


Combining watercolour and calligraphy on mottled card stock.
When trying a new medium, I often combine it with mediums I am already familiar with. Note in this photo and in the illustration below, I used masking tape to cover up the area to be used for the printing while painting with watercolour. After removing the tape, the lettering was added.


Practice
Combining sketching in ink, watercolour painting and calligraphy lettering. The slightly mottled coloured paper worked well for this illustrative style of painting.


Brush work 4" in height
Italics numbering using a flat 1/2" watercolour brush and thalo blue which brushes on smoothly. Being able to print this large with a brush really surprised me! I wondered about trying a house painting brush.

Illustration about Habitat for the Birds
Combining calligraphy lettering, sketching in ink and watercolour painting in an illustration.