F A B R I C    P A I N T S

Fabric Art

Silk Painting

Historically, fabric painting has been popular in the Far East for many centuries. Although dyes were first developed around 1850 that were appropriate for dyeing silk, it was not until around 1920 that silk painting started to develop as we know it today. Interestingly, Russian emigrants who had fled to Paris earned a living designing and painting exquisite men's silk handkerchiefs. Experimenting, they began to paint on silk fabric in the hopes of developing other items for sale and silk painting was born. It soon evolved into painting on other items such as scarves and wall hangings and grew from there.

At the end of WWII, with supplies scarce and money tight, designers and the French women for whom they designed looked for ways to express their delight in the achievement of peace. They turned to decorative scarves to symbolize the times. Famous artists were commissioned to design silk: Henry Moore, Alexander Calder, Henri Matisse and many others. This creative and competitive pressure to produce fresh new ideas for the textile and fashion industry was the main ingredient needed to develop the medium of silk painting. Artists constantly experimented, manipulating the techniques and sharing knowledge, until silk painting emerged as a popular creative expression. Today, it appeals to many because it allows everyone to create their own original work and does not necessarily require refined drawing skills.

A surge in interest by Western artists has generated a bonanza of new products designed to make the process easier and more attractive to the novice. Faster, less involved dye setting and easier creative tools have helped to make silk painting one of the most popular fabric-related art forms today.

The basis for silk painting is the silk fabric itself: The luster, texture and natural "drape" and its interaction with the dyes make it an exceptional creative experience. Many weaves and surface textures are available, each offering its own element to the surface design. Other fabrics can be used with silk dyes, too: wool, cotton, rayon, some synthetics and linen. The dyes offer shimmering color, the hallmark of silk painting. Most of the dyes available are transparent and, when applied, become an integral part of the fabric rather than resting on the surface as paint would. One tip: Avoid mixing brands of dyes, as each is formulated to interact to specific guidelines.

Lines in designs are created with gutta, a resist material that has been used for centuries in the creation of textiles. The gutta lines "contain" the dyes and help to create well-defined, precise shapes and design elements. Gutta can be purchased as water-based or solvent-based resist and should be used with the corresponding types of dyes. New metallic resists are also available.

When lines are not desired and when a more watercolor style is the goal, dyes can be painted onto the silk in much the same way watercolor would be applied to paper. Brushes loaded with dye can be projected over the surface to create soft-edged, interactive colors.

Other miscellaneous tools needed include good quality brushes, some sort of fabric-stretching device to insure a tight fabric surface on which to work, gloves, mixing pans, storage jars, a steamer to set steam-set dyes, gutta applicator (if gutta line designs are used), dilutant to dilute the dyes (either distilled water or solvent), cotton swabs and cotton balls (can actually be used to apply color to large areas) and paper towels for blotting. Optional are thickeners and antifusants. Thickeners can be added to dyes to create a less fluid and more stable "paint" solution, while antifusants prevent the "merging" of dye colors. Both eliminate the need for gutta.

After assembling all materials, stretch the silk (or other fabric) over a wooden frame or by some other means. Stretching can be accomplished in the very Eastern tradition of using pointed dowels only slightly longer than the width of the material. Catch the hems, top and bottom, with the dowels, thus stretching the fabric tight enough for design work. Both the frames and the dowels are reusable.

If you are using gutta and want a defined line design, slip a drawing under the silk and use it as your pattern. Apply gutta along all lines or where divisions of color are desired. If a free-form style is your preference, of course no design is necessary.

Actual preparation of dyes is considered by many to be the most enjoyable part of the process. By combining colors and creating small amounts of color, you are free to create your own personal palette. If quantities of exact color are required, it is necessary to create enough premixed dye before starting. Once the colors are mixed, you are ready to start application.

This is where the true beauty and versatility of silk dyes come into play. Each is a clear, bright color that will stay bright when applied to the silk surface. Choose colors that will coordinate and blend with one another, or choose widely varied combinations. For added texture, you can sprinkle rock salt on the dyes while they are still wet and create wonderful starburst patterns or create fine sprays of texture with table salt.

Experimentation with silk dyes is easy, fun and very creative. Remember, too, that the dyes can be used on other fabrics, so new vistas of fiber creations are awaiting your discovery. Silk dyes, equipment, how-to books and project suggestions are available at art supply stores.