Wednesday, May 06, 2020

Definitely time to sew again...

Empire-style dress design drawn for a costume history class in 2016

But not with a patterned fabric used like this batik-style one, although I just made over 2 dozen versions of this design in colorful new incarnations.

I have been falling for wonderful linen fabrics, which come also in the soft greyed colors which are my favorites, as well as brighter colors. And some of my favorite fabric designs go with some of those linen colors.

So, the parts of this picture with the patterns will be solid colors of linen, with a pattern on the front of the bodice.


Maybe one of those 2-Sprig colorings I just made. This version of the design fits more closely together, and has some interesting layouts.








You can see that these textured designs look like embroidery.  So for me, they seem more appropriate for smaller areas like a bodice front.


Time to start making something...

When I was in school the first time, 50 years ago, I used to draw the costume I was going to make during vacation, and prop it up on my desk to look at while I studied for finals. I find this drawing has the same effect. I keep looking at it.
 

Labels: , , , , , , , , , , , , , , , , ,

Wednesday, April 22, 2020

Time to Sew Again 2020

My 2-sprig textile design
from part of a copper batik stamp




I am cleaning up my sewing room, and organizing the fabrics I have on hand for the top 20 or so projects I have in mind. (Of which if I get 2 or 3 made, I'll be very happy.) I want to alter/make a couple of patterns, for a linen tank top to replace the one I used for sleeping for many years. And a linen princess-line tunic to go with my favorite multi-color long skirt, which I plan to embellish with card-weaving (time to get back to doing that too) along the seams. And from that a pattern for linen tunics/dresses with a bodice panel from one of my textile design fabrics. Maybe a Viking costume with card-weaving. . .

I have plenty of fabric on hand, linen and my (and Amy Vail's) textiles, a few pre-washed, for the first few projects. Time to get a washing machine again, once it is possible. Linens are beautiful, soft and strong, but definitely need to be pre-washed several times.

Here's another of the Empire/Regency inspired clothing designs I did several years ago for a Costume History/Fashion History class, using textile designs I did for the project.

Empire-inspired dress design
using my textile designs

It will be fun to get back to doing one of my favorite things. Maybe roses next. . .

Labels: , , , , , , , , , , , , , , , ,

Monday, May 09, 2016

Workaround again - for Minoan Textiles

http://www.spoonflower.com/designs/5683117-minoan-favorite-textile-design-ewbarber-2-batiktextures-trueblue-cherryred-forestgreen-white-by-mina
Real Minoan fabric design, 1500 BCE approx, as shown by Elizabeth Wayland Barber, from Egyptian frescos.

I need to add a powerpoint presentation to the discussion board for a class I'm taking. This was the workaround for doing images that I used before, but now I know how to do that. Only that way only works for image or video files. Most of the other students have used a link.

So, we'll try. This is the topic I have been totally absorbed by lately. (Well, roses too...)

Minoans, specifically their clothing.

(where did that come from? Well, I have always been interested in costume history. And an Art History class last semester.)

This textile design is derived from one that Elizabeth Wayland Barber shows in her wonderful books, as being a favorite exported by the Minoans to Egypt. (1500 BCE or so?)
No, this won't work to share a powerpoint for my class, but I can share this fabric design. Soon it and other Minoan designs may be up at Spoonflower.

It is up on Spoonflower, and there are other Minoan-inspired fabrics there too now. Not available yet for sale, except a blue-grey one.

smaller Minoan-inspired design from the Snake Goddess' bodice

Of course I did make a colorful one too. 

To see what these designs are inspired by, check my Pinterest board.   https://www.pinterest.com/minawagner/minoan-clothing-fabrics-approx-2500-1200bce/

The green in the first design is definitely not Minoan. I have just been rereading the chapter from Elizabeth Wayland Barber's book Prehistoric Textiles, reprinted in Woven Threads, a book about evidence about Aegean textiles. And in the ancient Egyptian depictions of Minoan textiles, they are just red, white, and blue. But these are a couple of their favorite patterns.
 

Labels: , , , , , , ,

Wednesday, October 21, 2015

All the Cats Are Outside Hunting Moths and Won't Come In to Supper Sept 2015

AllTheCatsAreOutsideHuntingMoths&Won'tComeInToSupper 
Happy Kitten Day - late. The kittens birthday is September 7th; I made this new fabric design on September 10, 2015. I just got it proofed, edited, re-tested, and put up for sale today, Oct. 21.

Learned 2 things in the process. The first is that Spoonflower's new fabric-printing system is indeed brighter, and I'll want to get this printed on one of those fabrics. (The synthetics also print bright colors.) And the second is that with these textured backgrounds and fills (done from Photoshop patterns), it is important to print them full-size to be at their brightest. Otherwise, just like a small print seen from a distance, they go greyer.

I think I might be going to use this fabric, or one of its coordinates, for a fleece-lined open vest this fall.

The happy kittens (5 years old now) are all happy and healthy. They spend some days out on the balcony and low roofs with the roses, but when I'm gone to classes, I get home too late, and it's getting cool and dark already before I could let them in.

Labels: , , , , ,

Friday, September 19, 2014

More Nomad Dress Ideas (Folkwear#107)

Batik-look version of the Nomad Dress

This mock-up version of the Folkwear #107 Afghani Nomad Dress is made from some of my virtual-batik fabric designs at Spoonflower, a print-on-demand fabric designers' site. Although I have tested these 2 designs shown, the Arts and Crafts Deer and Grapes design, and the 2-Sprig design, the deer in quite a few colors, I have not yet made them in the same color, as shown here. This color prints as a deep rich Aquamarine.

 Love Explosion fabrics version of Nomad dress Folkwear#107

This is a more brightly-colored and multi-fabric mock-up, using some of my computer drawn quilting fabric designs. Of these, the hearts and the maple leaves are available, but the Love Explosion and this new color of my 2-Papercuts design I have not yet tried out. But this gives an idea how combining brighter colors would look. The hearts as shown here is a larger version than I tested, I think, but these vector designs can be made any size.

Soon I'll be ready to show the fabrics I'm working on now, derived from the copper batik stamps I just got, and others, which I am making into virtual embroideries instead of virtual batiks, and with textured backgrounds.

Labels: , , , , , , , , , , , , ,

Tuesday, September 09, 2014

Nomad dress ideas

Folkwear #107 Afghani Nomad Dress pattern, using my ideas for Spoonflower "cross-stitch embroidery" fabric designs
 I am thinking of making a Nomad dress from Folkwear pattern #107. Seems like I have always wanted one. But somehow I never noticed this pattern. And here this style is, coming around again.

Back in the day, I would have embroidered  the bodice myself. Today, I am using some of my cross-stitch designs from the '80s to make Spoonflower fabric which I can have printed, and use for parts of the dress.

I'll probably use either fabrics I dye, or lightweight cotton batiks, or both, for most of the dress. Fabric from Spoonflower comes in many weights, but the cross-stitch patterns look best on the linen-cotton canvas, which is heavier than I would use for the whole dress.

To do this version, I need to put those cross-stitch designs on different background colors - I'm thinking of a deep, rich aquamarine which I just tested as a virtual batik. Once I've bought some of the new colors, they will be available for sale too.

Here's a different version, using some of my Decorator Collection coordinates. The bodice and sleeve prints are available for sale now. This one shows the waistband that the pattern has. These vector-drawing patterns can be any size; I'll have to test appropriate sizes for this dress.

Folkwear #107 Nomad dress pattern, another idea using my Decorator collection fabrics at Spoonflower
Sept. 9, 2014 New tjaps today! I captured a couple of my top choices. New virtual embroideries this time, instead of (or in addition to) virtual batiks. Coming soon, with luck. And this time, no chance for the mail carrier to deliver the package to the garbage can so it vanishes!

Labels: , , , , , , , , , ,

Tuesday, June 03, 2014

Empire Inspired Dress Design with my Fabric

Empire-waist dress in Regency Stripe fabric, dark bluegreen

Regency-inspired dresses and fabrics April 2014 (written 4/16/2014)

This spring I was taking a costume history (fashion history) class. And one assignment we had was to design some modern clothing inspired by a historical period.

In the days when I was an active Society for Creative Anachronism member, I designed, drew patterns for, and made 12th century and Renaissance clothes for myself. But for this assignment, I decided to do Empire/Regency inspired designs, since I knew from my long-ago experience that those dresses, if cut right, could be flattering. If not, like the granny dress revival from the 60s, they can look like a sack of potatos tied with a string.

The secret, also mostly not apparently known by the designers of recent empire-waist tops, is that they have to flare from that high waist, not be cut straight.

The fun thing about doing this type of assignment today is the great research possibilities for the historical references. Even the current costume books may have larger color pictures, compared to 20th century ones. But of course, the internet sources are the great difference.

Turns out there are thriving Regency/Jane Austen communities out there, including commercial patterns drawn to re-create real period designs, which have to be worn over period underthings or they won't fit. (No wonder some of the period paintings and drawings, like some by Ingres, don't look right in their proportions. Their stays pushed the bust way, way up.)

But of course, I was doing modern clothes designs, in fact, things I might want to wear myself. And, since my clothes designing has always been fabric-driven, and since textile design is now my passion, first I had to design the fabrics...

Besides some overall prints, I wanted some border prints which might look like embroidery patterns. And I will be making engineered versions which can be placed around curved, flared hems and necklines, as well as straight for on sleeves.

This stripe is not like any period fabric, although maybe it has a little rococo flavor. But I like it on this dress. I designed it smaller, but liked the effect when I stretched it larger to put on the drawing, so I made a larger version of the fabric too. There's a link on the picture to one of the fabric pages at Spoonflower. I will be making one even taller too, and soon this large-scale darker one with a textured background will be available.


**Other versions coming, including border prints which look fairly in period, one based on a vintage copper batik stamp.

And, I'm working on some fabrics to recreate the big surprise I found in my research - shawl dresses in rich colors with deep borders, made from imported Kashmir shawls, or the European copies made in merino wool. Josephine had several. They weren't always wearing those drafty transparent white muslins...

Labels: , , , , , , , , , , , , , , ,

Wednesday, April 10, 2013

Why I think of myself as a designer, not an artist - written July 15, 2011

 




Midnight Garden virtual batik - my fabric design at Spoonflower

 

Because one design inspiration gets used many times, in many forms, rather than being a one-of-a-kind artistic piece.

For instance, I did a stylized cat drawing in the '70s as letter paper. Then in the '80s, it became a silver pierced cat pin for my mother, then I did one for myself. Then later a smaller version to have cast, for my sister. Then in about 2002 I drew around it to make a fabric-type design to use in a color-theory class exercise. Just recently I finally scanned that and did a vector drawing, and a couple of different fabric designs at Spoonflower to go with the black-and-white fabric in a previous post. And this week, colored it as a virtual batik as one of several fabrics in a skirt design.

In the fabric above, the flowers are from a batik stamp I bought. It went through a couple of fabric-design versions. Then, for a limited palette contest a few months ago, I did this virtual-batik look with this new repeat. (Not these colors.)

I liked it, but wasn't quite happy with it. Now I know why. The flowers were lonely, They needed butterflies.

(That is, variations in scale, texture, and color. The butterflies, by their orientation, also add an effect of movement to the design.)

The butterflies were inspired by a butterfly picture outline, but I redesigned all the interior lines. I drew them in Photoshop to go with my fabric collection done from antique Japanese fabric stamps. The fine detail goes with the finely carved details in the stamps.

I did this fabric design with butterflies added for another limited-palette contest (although I left out the hot pink and orange and chartreuse). This contest was for butterfly designs. I intended to use several different butterfly drawings, but once I added this one, it was perfect.

And it just got 11th place in the contest!  My record. Lots of other people liked it too.

To see it as fabric, click the link in the title. It should be available for sale soon; I'm ordering a swatch. (2013 - now available.)

Labels: , , , , ,

Friday, June 08, 2012

A new version of the camouflaged cat in tall grass, from June 2012

watercolor and fabric design from early summer 2012
The grass is taller than ever this year (2012)  - I'm not weed-eating until the redtail chicks have flown.

I did this design in watercolor class, with misket as the silkpaint-style resist. It uses only 2 colors of paint, viridian green and a brown.

Then I put the photo or scan into Photoshop and made it repeat. That takes a very long time.

One thing I like about the misket, is it does what it wants to sometimes. Here I was using up an older bottle. That large root was a large blob that just came out, and I drew it out into the organic shape with a toothpick.

That collaboration with a tool with it's own agenda leads to a very spontaneous style. 

For me drawing on the computer is like that, very different from my pen and ink style. (Biological illustration with a crow-quill dip pen and India ink. Fine stippling. My nose 3 inches from the paper. Hours.)

Labels: , , , , , , ,

Sunday, April 24, 2011

Another new (old) fabric design

 Spoonflower is having a contest for black and white designs, entry deadline May 3. I made this on April 21.

I was looking at my designs wondering which would be good in black & white. I wanted a bold graphic, one without too much expanse of black background, since blacks at Spoonflower don't print really dark, and may fade in the wash.

I wanted a variation in the texture, the size of the black and white areas.

Which ones would do? The ravens? The cat drawings? The new sea turtles virtual batiks? A quilt-style combination of all of them? Hmm, that's earth, air and water, just need fire...

Although this one was drawn as leaves, long ago when I was learning to draw by playing on the computer, once I had redrawn it as a vector drawing, with a black background, it looked like stylized flames too.

I may do those others in black & white too as companion fabrics, but I love the bold graphic effect of this one. And yet it's organic, not quite symmetrical. I would buy this in the fabric store.

And now that I've redrawn it, I can do it in lots of colors, with companion fabrics in those colors.

Of course the newest design one has made is always the most wonderful design in the world....

Labels: , , , , ,

Friday, April 15, 2011

New (old) fabric design - 2 Papercuts

I have been designing fabrics all along, just not posting about them. I just uploaded this design to Spoonflower about a week ago.

It's a new version of a papercut design, of which I just recently have been doing some new ones. But this one I did about 10 years ago, the first time I was doing this type of design, which is related to Hawaiian and Tahitian quilt designs, snowflakes, and Baltimore Album quilts. But my inspiration is often a tiny bit of a William Morris design.

This larger one, though, I designed in my head while walking to work, and when I got there, cut it out of a page-a-day calendar - the kind with graph paper on the back.

This layout has an interesting wavy effect, because I did the 2 elements in a slightly different size. Click on the title to see it as fabric.


Before Spoonflower, I never could do more with it than cut it out of colored origami paper and make a section divider page in my color theory class notebook. Now I can get fabric from it in any of a dozen or so colors I set up, and on several weights of fabric. And make something!

Labels: , , ,

Saturday, May 09, 2009

The Pacific coast iris hybrids are blooming in the yard


Some of my favorite flowers are blooming here now.

The little wild white irises and yellow Calochortus down the hill along the trail, apple trees in the orchard, dogwoods all around town, and here in the yard, many colors of hybrids of the Pacific coast irises, along with hardy Geraniums and Veronica Waterperry.

The English bluebells (Scilla) are just finishing, the last of the flowering lawn bulbs, and the rest of the spring garden bulbs are done here.

This textured picture of an iris should make fun fabric, especially in a mirrored layout, where, when the grasses meet at the edges of the image they make interesting bug-like designs.

Labels: , , , , , ,

Wednesday, April 15, 2009

Spoonflower hooray!

At Spoonflower (www.spoonflower.com), you can upload a design, and get digitally-printed yardage with your design printed on it! I only have about 114 designs sent to them so far, and have gotten some successful samples in light and medium colors. *

This is a design that started as a small dye-painted square of test fabric. Then I scanned it, Photoshopped it to get many colors, and made an array so it could print as yardage. Soon I'll order a sample to see how the colors come out. Then if that works well, I'll get a couple of yards to make perhaps a knee-length vest, lined in a teal fleece which I got for that, and then found it didn't go with the batiks I intended to use. And it will be my unique fabric.

Your designs remain private unless you choose to make them public, but no one except your self can buy them now. Someday. Unless one of your designs is chosen to be in the weekly contest, and it wins - in which case people can buy it for a week. And you would win some fabric. Right now they're printing on a quilting-weight cotton. Other fabrics later. (Update: several more fabrics now available, in different widths.)

This is a lot of fun. Click on the fabric to see some of my other designs.


*(Dark or black backgrounds with low-contrast images don't work well.)


11-09 UPDATE Spoonflower now makes it possible for us to put our fabrics up for sale, but only the ones we have ordered swatches of. So I have a couple available for sale now, and more coming. This one soon. 11-29-09 This one is now available for sale: 
http://www.spoonflower.com/fabric/111479

Labels: , , , ,

Sunday, April 12, 2009

I'd forgotten I did these raven sketches


I found them going through old class files, looking for duplicates to delete.

I think they'll make fun fabric designs.

There are three ravens who hang around in the parking lot at work. One of my co-workers feeds them. If they're flying overhead and he calls, they come down. They have him trained to call when he has food for them.

Labels: , ,

Monday, September 29, 2008

How to make gingko leaf fabric


First you catch your gingko tree. That is, now, while the leaves are on the trees, go around looking for one. If you don't have one in your neighborhood, nor room to plant one (or none at the local nurseries), try a nearby college campus. They often have them.

(I actually bought a gingko tree for this and Precious Metal Clay jewelry, with a rootstock that had different shaped leaves from the top, so I have 2 shapes to use.)

You're going to want to collect the leaves to make your real fabric in the early fall, when they're freshly-fallen and still soft. But it should be ok to pick enough leaves to do a few fat-quarter color samples like this one. They're easiest to use while fresh, pliable and strong. If it's going to be a day or two, press them to keep them flat.

I suggest doing your tests on cotton fabric, ready-to-dye or prepared-for-dyeing. Your local fabric store may have some, or your favorite internet fabric store. If not, try the fabrics at dharmatrading.com. Use Procion MX dye with cotton, linen, or rayon fabric.

You may find a color you like straight out of the jar; I prefer mixed colors, and mixed from mixed colors themselves, not from the clear primaries, which to my eyes give bland bright colors. So you will want to experiment with colors too, separate from the leaves. I suggest using 2 colors only, choosing some near each other on the color wheel, which will blend harmoniously, unless you have favorite dye colors already.

The easiest and most direct way to do this will be to fix the dyes with a paint-on fixative, like Afterfix from Dharma Trading. The alternative is to batch-fix the dye, which involves covering the dyed fabric with plastic to keep it moist for 24 hours. Either way this is best done in warm, even muggy weather. The only thing about the Afterfix method is that it is harder to do on long pieces of fabric. (It's great on fat quarters & half-yards.) You may want to work with 2-yard pieces max, and do more than one if you need more.

Supplies for dyeing;

Procion MX powdered dye (or liquid), 1 or 2 colors, and instructions from your dye supplier for tub dyeing and dye-painting
Plain salt (not iodized) from the grocery store
Warm water (tap water)

Afterfix paint-on fixative (from dharmatrading.com)
OR soda ash for batch-fixing,
AND soda ash for immersion dyes for coordinating fabrics.

Spray adhesive, especially a kind which can be removable if sprayed lightly. Test.

Cotton, linen or viscose rayon fabric, ready to dye. Prewashing and drying before use is a good idea. If you are going to batch-fix, presoak in the soda-ash solution, let drip dry before use.

Helpful: Synthrapol detergent, for washing out dye, and Reduran for cleaning hands.

Tools for dyeing and dye-painting:

Dust-mist mask for mixing dye-stock solutions (and soda ash solutions)
Measuring cups and spoons (not to be reused for food), and old milk or water jugs with lids, and cups or jars to mix dye-stock in (disposable), plus disposable plastic spoons for mixing. (You don't have to throw these away each time, usually they clean easily.)

Rubber gloves, especially for putting fabric into immersion dye baths.

1 to 2 very fine mist sprayers - pump-types work well. From a dye supplier, or maybe hardware store.

2 sawhorses, with scrap fabric strips, pushpins or staples, and sewing pins, or other method to stretch fabric outdoors, or a clean grassy (or concrete) place to lay out the fabric

Instructions for leaf-dyeing

Read some dyeing instructions first. Dyes are mixed at different concentrations, depending on the density of different colors. Your dye supplier should be able to tell you.

Wear old clothes that you don't mind getting dye spots on. Maybe an apron too.

1) First, lightly spray adhesive on the back of each leaf, and attach them to the fabric in a pleasing pattern. Work on a hard surface, so you can rub them down.

Attach fabric scrap strips to sawhorses with staples or pushpins. Attach your fabric to these strips with sewing pins, or lay fabric out on grass.

2) Mix a scant teaspoon of plain salt into 2 cups of warm water. You will mix your dye-stock solutions from this. The salt gives you a longer working time before the dye bonds to the water and won't dye your fabric.

3) Put on your dust-mist mask while you mix the dye. Close the jar after measuring out dye, and wipe down surfaces with a damp paper towel. Rinse utensils after use. (Use a damp paper towel, or damp paper towel in a plastic dish, to mix on - that way you see any spilled dye.)

For each color, mix 1 to 2 teaspoons of dye into 1 cup of the salt stock solution. Fuschia-based colors are strong; use 1/2 to one teaspoon. Turquoise-based colors are weaker; use 2 teaspoons for a equivalent strength. Like making gravy, start with only a little water, making a paste with the dye in a mixing cup, then adding more water gradually. If some spots of color don't dissolve easily (some reds and golds and grays, I've found) you might filter the solution through a disposable coffee filter.

For darker colors, use more dye, and spray more times.

Put some of each color into a sprayer. Don't breathe the spray! If you are working outside, and spraying away from yourself, that may be fine. Or wear your mask.

4) Your fabric should be laid on the grass, or stretched between sawhorses, with leaves attached, leaf side up.

The important part of spraying the dye is to spray each color lightly several times. Do not saturate the fabric. If the fabric gets too wet, the dye will run under the leaves. Too few passes with the sprayer will leave the fabric looking dotted. Don't let the sprayer drip on the fabric. (Try to hold it off the edge and spray onto the fabric, walking around the stretched fabric to get all areas. Or keep a paper towel under the sprayer to catch drips. Test first! Find a sprayer that doesn't drip.) Test this whole technique before trying your real fabric.

( 5) If you have dye stock left, mix up 2 or 3 gallons of soda ash and salt solution, pour into a large white bucket, and add 1 or 2 colors of dye. Scrunch another piece of fabric to fit, and wearing rubber gloves, push it down into the bucket under the liquid. Leave for 3 to 24 or more hours (turquoise-based colors for 24 hours minimum). This immersion dyeing will make rich colors to coordinate with your leaf fabric.

Or use a large ziploc freezer bag, and 1/2 to 1 gallon solution. This will hold a t-shirt, or some fabric. Less mess. )

6) Let the dye dry completely, maybe 24 hours. Leaves are still on the fabric. If you used sawhorses, take the fabric off and lay it out on the grass. Paint on the Afterfix, leave on for 1 hour, then rinse off. Take leaves off, thoroughly rinse fabric in warm water (Synthrapol detergent is helpful), then wash out.

OR after spraying the dye, in warm muggy weather, cover with plastic to keep warm and moist for 24 hours. This is less useful for this spray technique, where the fabric should dry between spray coats. It is useful for dye-painting on cotton.

©MinaWagner2008 You may print a copy of these instructions for your personal use. Please do not print more copies, or use this as the basis of a class, without contacting me.

Labels: , , , , ,

Sunday, July 06, 2008

Batik Mandala


12/18/07 This is a new design for a Cafepress t-shirt. It's based on a scan of a copper batik stamp (tjap). The color scheme is right out of the textbooks: purple, red-violet & blue-violet, and the complementary gold & yellow. I have to admit it works. The version I'll use at Cafepress will have the background removed, so the color of the t-shirt will show through. I think it will look particularly good on black, navy, and the brown longsleeved women's tee.

If I can do some fabric for a skirt with the stamp, just a simple natural fabric color design on purple-dyed fabric, that ought to be fun to wear with a tee. I got this stamp to give away, so if I do anything with it, it has to be soon.

Unfortunately, since it's a large one, it does not fit into the little electric frying pan I have to heat wax in. I have been trying to find an old electric fry pan at the thrift stores, but haven't turned up one yet.

6-20-08 I just got a section made at Cafepress for this design: WRW Color by Design - Fabrics by Design section

7-6-08 I hope to do some experiments these next 2 weeks with soy wax for batik: lower temperature, easier cleanup and removal from the fabric, and can use cooking pans too, not just wax-only containers.

Labels: , , , , , ,

Friday, December 21, 2007

Papercut color


I did this design several years ago when I was taking color theory, as a papercut. It was my favorite of several I did at the time. Red-violet & blue-green, two colors that are both capable of looking either warm or cool, depending on context. The idea is that it looks like a light is shining through the page.

The inspirations for this series of designs included Harriet Hargrave's books on Baltimore Album papercut-design quilts, and the symmetry of William Morris' fabric designs.

I always thought it would be fun on a t-shirt. Now, with Cafepress, I just have to send them the design to have it on a tee. Also, of course, a pillow, and a tile box and a round ornament or magnet. This version has been Photoshopped for richer color and some texture.

With luck I'll have a new section for it up at Cafepress this weekend. Leave me a comment if there's any particular item you'd like to see it on that I don't have.

July 6 2008

I got the whole section done up at Cafepress, including the new color t-shirts, and my new color variants on the design a few weeks ago. WRW Color by Design

And now, at Spoonflower, I can have one of my alternate color versions tiled as fabric, unique custom fabric, digitally printed!

Labels: , , , , , , ,

Thursday, June 14, 2007

Will the Real 9-Grain Bread Please Stand Up*



The picture is just for fun, to show how different the same quilt pattern can look with a different color arrangement. I call this one Kaleidoscope 4-Leaf Clover.

It's about time I started baking again, and I'm hoping that publishing this recipe will encourage me to do it. I made the same bread recipe the same way for many years, then I started experimenting. Once I tried substituting the ground orange for the melted butter, I never made it any other way. Then my family gave me a bread machine, simultaneously with the flour company's stopping having stone-ground flour, and selling a finer-ground type they called "better for bread". I thought it was the bread machine that made the bread less flavorful, and experimented with substituting things for the water to make it better. It got pretty good, and then I found some stone-ground flour at the health food store, and the bread was better still. Unbleached white also makes a significant difference compared to bleached. You can taste that difference most in the dough, and in a bread with more white flour.

Will the Real 9-Grain Bread Please Stand Up* ©2005Mina Wagner

This is a recipe for a large heavy duty bread machine. Cut it in half if you are not sure. The texture works fine for hand kneading too.

Ingredients
1 c 9-grain cereal (cracked wheat could be substituted)
in microwave container with
2c water . Microwave 1½ min (or 2 min low power), stir, and let soak while other ingredients are prepared. You will then drain most of the water out, reserving some in case the dough needs more liquid.

½ large whole orange, seeds removed if necessary. (approx ½ cup)
grind the orange in a cuisinart or food mill

add
1/3 c brown sugar
2 eggs
¼ c yogurt (very runny and acidy is good, or you might need some extra liquid)

stir in
the mostly drained cereal


Stir together, then add on top in the bread machine, or stir in by hand

1½ c stone ground whole wheat flour
1½ c unbleached white flour
2 T gluten flour
½ t salt**

add
scant 1½ t yeast** (or slightly rounded 1¼ t or 1 pkg) If kneading by hand, I would proof the yeast first, in ½ c warm water and 1 t sugar.

I usually add 2 – 4 T flour during kneading to get the texture right, but unless the yogurt is runny, some liquid might be needed instead.

Unless it's very hot, I let the bread machine knead and raise the bread, but bake it in the oven.

I bake this in a buttered bread pan in the oven at 325°. Start watching at 20 or 25 minutes to see if it needs a foil hat to keep the top from getting too dark. It usually takes about 40 minutes (35 – 45). Tip the bread out of the pan onto a towel and tap the bottom to see if it sounds done, and if the bottom is golden.

** This is much less yeast than most bread machine recipes use, but it's the amount I was used to using for 3 loaves. The salt is a yeast inhibitor; to reduce one, cut back on both. Most bread machine recipes use lots of both.

CAUTION some bread machines require a much higher liquid to solid ratio. So start with the half recipe, and add liquid if the machine is straining. Or look at the recipes that came with your machine, and count the cups of liquid to cups of flour in the basic white bread recipe. Sugar dissolves, it doesn't count as solid. Also you'll notice that I am counting eggs, ground- up orange, and yogurt as liquid, and the only water is whatever is not drained off the cereal. That's because I substituted flavorful things for all the water.

*This recipe was developed over the course of a year with many tests. After a while, to make the bread, I was looking back through my notebook at several versions, and using parts of each. That's where the name comes from.

VARIATION 9-Grain Cranberry bread

Use ½ c 9-grain cereal, and less water, maybe 1½ c.

Add ½ c dried sweetened cranberries with the sugar

Poke the cranberries down into the dough when the loaf is put into the pan to keep them from burning.

Recipe for the Real 9-Grain Bread ©2005Mina Wagner. You may copy this recipe for your own use, or show it on a web site, as long as you give me credit.

Labels: , , , ,

Sunday, June 10, 2007

Kaleidoscope Night Sky



This is my coloring of a classic quilt pattern called Kaleidoscope. I designed something similar some years ago, but never made it. I didn't mean to stay up so late last night drawing it in Illustrator, but it took a long time to figure out how to recreate this effect; the coloring is not at all the classic one. I wanted to get an illusion of depth, and of light shining through the surface, and I think this succeeds. Half-close your eyes to see the light and dark pattern better.

When I first designed this (with colored pencils and markers on graph paper), part of what stopped me from making it was the potential difficulty of finding the fabrics with the color gradients needed to get the effects of depth and light. Traditional fabric printing doesn't do gradients very well. I wasn't dyeing yet. Now I could dye or dye-paint a gradient that could do those patches. And since I used my favorite colors, these are ones I have worked out how to dye.

I could have found a black with white stars fabric, probably. In this version, those tiny stars are 5 and 6 points, and they have colored edges. I'd never find a fabric like that, though now I could dye-paint a black and white batik with faint star colors.

There are at least 3 sizes of circles in this design that can be brought out by the coloring; this version shows the mid-size one. Although I have used colors halfway between the blue and blue-green, and the blue and purple, in those overlapping circles, it just looks right, not as if the colors are a transparent overlap, which I thought it might. (By the way, there's one gradient direction error in the picture - do you see it? I never have to worry about the hubris of trying to rival the gods with perfection, since I always make errors. And no need to put in a deliberate error either, like the Amish.)

Now in the comments at Dressaday on the June 6 Black and Pink stripes post, Jasmin told us about digital textile printing for fabrics. This is a similar process to printing on treated fabrics with your inkjet, and fixing the prints (supplies at dharmatrading.com) which I've done. But unless you have a very large printer, that's only for 8.5x11 inches pieces. These new technologies are becoming available for custom printing even for small yardages, if you have digital images in the right formats. And they do millions of colors beautifully, so gradients will work.

So I could have printed enough for a bedspread or wall-hanging, or a designer dress! Or sell the design to a digital printer who wants to make commercial yardage. At a minimum I'm going to upload a high-resolution version to my Cafepress store, WRW Color by Design and put it on a throw pillow with black borders, since I'd love to have one of them. And maybe a black tee-shirt…

Labels: , , , , , ,

Sunday, January 07, 2007

Heraldic Design as Inspiration for Fabric Design


These are two papercut designs I did in the design class 2 years ago. The first was a counterchange assignment, and I love the way this floral lays out in an alternating stripe when it is repeated. Naturally for me, both designs turned out as fabric designs.

The second design was for a tessellation assignment, and since I am familiar with quilt-style tessellations, I wanted to do something more difficult than a standard based-on-a-square pattern. I also wanted to do something that looked floral, so I was happy with this trillium effect. After I turned this in I realized that by dividing the patches, I could have leaves & butterflies too, with this layout.

This second pattern is less obviously related to heraldic design, but heraldry uses tessellations in the "vair" and other fur designs. Counterchange is, of course, a common design effect in heraldry, one which is very effective. When I suggest heraldry as an inspiration for fabric and other surface designs, I mean not the heraldic lions or unicorns, (unless used as repeating patterns, which can be fun), but more that looking at some of the design strategies, like field divisions and counterchange, can be a rewarding source of inspiration.


Labels: ,