Showing posts with label stencilling. Show all posts
Showing posts with label stencilling. Show all posts

Monday, 25 January 2016

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

Friday, 14 November 2014

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 (23rd 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



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