I just think this one looks so much like knee bones! It was folded into the linen from yesterday, and had the same treatment, but a tighter weave makes it look quite different. Also, as I learned when dyeing things with Cindy-with-no-blog-yet, dipping fabric dry makes for very blurry lines and edges, while dipping things wet makes the edges of the resists very crisp. While I like crisp for edges of moons, I really like the slow fade that happens across this circle.
If things worked right, we're on the island of Monhegan, watching the sunset now. Unless it is raining. and then we are snugged up against the table in the kitchen with rum&lime, listening to the rain and talking. My brother and I always joke about the world's smallest family reunions. Come on mom, you know you want to be here for a day!
More of the texture experiments. This is a chunk of white linen that was fan-folded and pinched between popsicle sticks. the sticks were the resist, and they made the white lines that I emphasized with stitching.
We are headed to Maine tomorrow, taking my dad, visiting my brother and his wife and the Bestest Nephew Evar. I'll be back online in a week. I made one extra circle that will magically appear tomorrow, and then boom: silence.
I'm looking forward to it!
Yesterday I mentioned I also had a burlap bag that carried coffee into the country from Costa Rica (I think). Look at the difference in dye take-up and coarseness in the weaving! The circle in the center is where it was bound around a penny – the tighter fabric did not absorb dye as well as the loose fabric, and the bound part (the corona) did not take up dye at all.
Did I say yesterday that I tried a fistful of different fabrics and textures in the indigo vat?
I had two different burlaps (which is real wealth in the texture department); one from a used coffee sack, and this from the end of a bolt. The weave in this one is more even, and the effort I used to create a resist on it kind of worked. The coffee sack is very thick, and has twice as many threads in each direction. The resist process did not work well on the coffee sack.
I rather like this one though – the emphasis on the weave directed the stitching.
I doubled the chemicals in the indigo vat: the same again of powdered pre-reduced indigo, soda ash (instead of lye) and thiourea dioxide (which really stinks). It seems to have cheered it right up. I cut up a bunch of new pieces of white and neutral fabric in many many textures and weights.
This piece is a standard shibori resist on plain cotton. I pulled the fabric tight over a penny, and rubber-banded it. The circle of the penny is barely visible, and but the rubber-band resisted the dye and kept the white line white.
A front seems to have gone through, and the weather is a little dryer. Easier to sleep, I hope!
Indigo on silk – I love how silk glows! It has a sheen unmatched by anything else I've used.
I was experimenting with crossing lines of stitching. I also wanted to keep the intricacies of the resist dyed fabric visible.
strips of indigo fabric, ripped, stitched in a woven pattern