How to: Use Markal or Shiva Paintstiks on Fabric

Markal and stitch over a Gelli Plate Print

One of my favourite colouring tools for fabric is Markal paintstiks.  They are oil based and are very opaque, so can be used over any colour, unlike dye or Inktense.  They come in both matte and iridescent which is a bit pearlised or slightly metallic.  Now I don’t do glitz, but for some reason, I love the iridescent Markal – they just bring a bit of a lift to the work.  Note: Markal and Shiva are the exact same things.

Some of my Markals and short stencil brushes

I recently wrote a how to use Markals with stencils, which is in the current edition of Popular Patchwork.  This is an abbreviated version of what is in the magazine.

Markals in Popular Patchwork

You will need fabric, stencil, Markals and a short stencil brush (a toothbrush is perfect).

My Markal Equipment

How to:

1.   Make sure that you have your table covered as Markals are very permanent!

2.   You need your fabric to stay put, so tape in place or use some spray baste, like 505.  You also need to hold your stencil in place over the fabric the same way.

3.   As the paintstik is oil paint, it will form a skin, which you have to remove to get to the paint, either by rubbing with a cloth or cut off with a knife.

4.   Load your brush with paint and apply to the fabric in circular motions.

Adding the Markal through a paper stencil

5.   The colours blend really well and I often add several colours in a piece.  Some people will blend the colours before apply to the fabric, I prefer to mix on the fabric so the blend is not too perfect.

6.   Leave to dry – be patient it takes a long time, like several days.  Once dried, iron the fabric between two layers of baking parchment to make the paint totally permanent.

Hand cut paper stencil

You can use bought stencils or cut your own.  I use both – I like the bought ones when it is something I couldn’t cut myself and The Crafter's Workshop ones have generous use policies, so I don’t need to worry about breaking copyright.  My own, I cut from heavy photocopy paper with a scalpel, normally through two layers so I have a spare version.  I have used freezer paper as it is good for positioning as you can iron it on to the fabric.  However, to my cost, I discovered that it does not peel off wet Markal paint – only use on bare fabric!

Markal on top of hand dyed and pieced silk

There are lots of different ways of using Markals, some more subtle than others, perhaps that will be for another blogpost.  

Stencilling through some sequins waste

Adding the stitched detail

Detail of Unsung Muses figure by Gillian Cooper

Following on from the stencilling on my latest figures, the final stage is adding the stitching to define the shapes. 

Stitching

This is more important than for the more solid figures as the silk is so transparent, the stitching will give strong opaque shapes when they are ‘floating’ in mid-air as even the areas painted with the paintstiks are still see-through.

More stitching, getting an even thicker outline

The stitching is now almost complete and therefore so are the pieces, which is great as I have to hang the exhibition next week.  Things are really coming together for the show at the Scottish StorytellingCentre.  I’ve almost finished all the work, a little leaflet is being printed and I’ve (nearly) got the childcare organised.  

Detail of Unsung Muses figure by Gillian Cooper

Now the biggest problem is finding an existing piece of work that I can’t locate.  It isn’t in the cupboard or under the bed and there aren’t many other places left in the house where it could be.  I can’t believe I can lose an entire artwork!  So this weekend I’m going to be busy finishing the work, making the labels etc and trying to find the missing work.  Fingers crossed...

Detail of Unsung Muses figure by Gillian Cooper

Using paintstiks to add details

Details in paintstik

As some of you may have seen on facebook, my next pieces are being made from transparent organza, which I have hand dyed.  The colours when laid on top of each other are very beautiful and I love that the impact of the colours changes dramatically depending upon what is behind them.  The colours seem strong when they are placed against a white wall, but much more ethereal when floating in the middle of the room.

Paintstiks and stencil brushes

This week I have been adding more detail to the pieces through oilstiks, using the same techniques as I used on the original Unsung Muses figures.  They react quite differently to the oilstiks than the cotton fabric, although that may be something to do with the huge amounts of fabric glue I have on them!

Paintstik details

I do enjoy using oilstiks, even if I get hugely messy – no matter how hard I try I have paint down my arms, face, my glasses, across the table and now in a very 21^st century way on the screen of my phone.  I seem to prefer the iridescent ones as the little sparkle gives the paint a lift in a gentle, subtle way, not overly gaudy.

One of my stencils

These are some of the paintings I did yesterday.  The biggest downside is waiting for it to dry so I can add more on the reverse side and then for both sides to dry so I can add stitch on top as I am rather impatient.  Also time is running on and I have only 13 days until I hang the exhibition at the Scottish StorytellingCentre.  Less than 2 weeks to go!

Detail of paintstik

In my studio: creating a collection of small works

Work-in-progress by Gillian Cooper

Over the past month or so, I have been working concurrently on lots of small pieces.  Some have worked; others will remain samples (a polite term for failures!).  What is really exciting is that they are all coming together now and will be ready to take to Holmwood House for the Meet Your Maker event next Sunday (23^rd November 11-4).

Work-in-progress by Gillian Cooper

The completed pieces will be hand-dyed then mono-printed using acrylic paint, followed by more colour added using Inktense pencils.  I’ve made stencils and used them with Shiva Paintstiks over the top.  Parts are then padded before they are machine quilted.

Work-in-progress by Gillian Cooper

I met my dear friend Marjory Mackinven for lunch today and showed her some of them, saying I was worried that these are too simple.  However, having listed out all the techniques involved, I think I am now agreeing with her that they are more complicated that I had realised!  It was lovely to see Marjory and catch up and we had a fabulous lunch at the new Three Sisters Bake Cafe in Killearn Village Hall.  Highly recommended if you are in the area.

Work-in-progress by Gillian Cooper

Finding the balance between strong design and suitable levels of detail is an interesting challenge.  I often find that as I add more and more detail, the composition becomes less clear and so the overall design is not as good.  The good news is, though, any overworked pieces can always be cut up and used in another piece.  Do you know when to stop?

Work-in-progress by Gillian Cooper

The back of one of the pieces, showing the padding

Work-in-progress by Gillian Cooper