What you will achieve:
By the end of the course  you will have produced a range of samples
Investigated, printing techniques using the cloth for both surface and print.
Deconstruction and rejoining  techniques in found materials and textiles.
Exploration of existing cloth/paper surfaces as a source for ideas.
Hand and free machine stitch to create textured surfaces.

Student preparation:
As you work through the course you may chose to make reference from your own images. Bring one or two images of previous work if you have them. Please bring a small 5cm piece of firm fabric in which you have made some hand stitch marks (Can be plain or patterned)also bring a small pIece of textured fabric (cuff/collar/seam).

What Students will achieve:
A series of small samples and pieces which could be used as a starting point for student' own practice for textile based work and mixed media, collage, stitching, 3-D, books or sculptural work.
Discussing ideas for working with the fabric and papers such as methods of layering and stitching together.
Developing the stitched mark as an additional line.
Drawing and marks with threads

Student preparation:
As you work through the course you may chose to make reference from personal images or ideas looking at surfaces of walls, marks in the land etc using materials you have collected for inspiration. Bring one or two images of previous work if you have them.

Synthetisch vilt is verkrijgpaar in een zeer grote kleurvariatie, het is stevig en compact van structuur. Afhankelijk van de dikte heeft het als voordeel dat het enerzijds  niet in een raam hoeft worden opgespannen (dunne kwaliteit) en dat het anderzijds uitstekend geschikt is voor het maken van allerhande accessoires door zijn dikte (dikke kwaliteit).

Synthetisch vilt kan gebruikt worden voor het maken van handtassen, I-pad hoesjes, telefoonhoesjes, boekenkaften e.a. . Je vindt synthetisch vilt in de woning als vloerkleed, kussens of plaids, maar ook als placemats of onderzetters voor een verrassende, feestelijk gedekte tafel.

Tijdens deze workshop komen heel wat toepassingsmogelijkheden aan bod.  Net zoals op alle synthetische stoffen  kan ook op synthetisch vilt kleur worden aangebracht via transferverf of transferkrijtjes. We gebruiken ook andere materialen om het oppervlak te versieren zoals puffpasta, transferfolies, paintstiks ... .

Je kan synthetisch vilt eveneens stikken, borduren, fusen of bewerken met de soldeerbout.

Alle bovengenoemde technieken kunnen onderling gecombineerd worden zodat er een gelaagdheid ontstaat.

Tenslotte kun je het vilt lamineren waardoor het een beschermlaag krijgt. Het is een speciale, transparante  coating . Deze coating kan ook aangebracht worden in combinatie met vezeltjes, draadjes of dunne  stofjes.

Create translucent images utilizing innovative and new techniques of encaustic monoprinting.  Melted pigmented waxes on a hot plate can be transferred to a variety of papers both Western and Japanese to build "washes" and visual textures.  Layer color to achieve rich nuances of tone and depth.  We will investigate how the variables of heat, paint, paper and pressure can affect your results, keeping a notebook with samples of our conclusions as a reference for the future. 

Enhance your prints by experimenting with the use of stencils and masks, subtractive and additive markmaking techniques as well as the ability to enrich the surface with mixed media drawing, wax collage and encaustic painting.  Create textural surfaces, how to produce wax batiks on paper as well as a number of ways to register prints for multiple passes to build the image, and learn how to attach your prints to wooden panels or varied methods to present them free floating.

This is a workshop that offers the opportunity for artists of all levels to gain competence and control in one of the hottest new media. Encaustic is an ancient painting technique dating as far back as the 5th century B.C., but wax monoprinting on paper is brand new! Bring images of your work and Catherine will give you focused one on one time to discover how to dovetail encaustic into your artistic vision to build your body of work. 
Encaustic monoprinting is incredibly fun and creatively satisfying: If you are like her, you'll love that it offers you the chance to work through a lot of ideas quickly with results that offer richness and spontaneity.

Participants will draw and paint encaustic on papers, use encaustic to dip for translucency or encase an object, learn to use wax as an adhesive and layer it for visual depth, transfer photocopy imagery and much more.  Use a wide variety of purchased papers including recycled paper elements, old book pages, photographs, vintage letters and envelopes, magazine imagery, and small 3D objects...

We will also explore the sculptural potential of integrating paper and encaustic: design folded, cut, or embossed sheets for a springboard to creating three dimensional unique constructions.  We will learning how to carefully glue Japanese mulberry paper to lashed wooden armatures and make them as tight as a drum.  Encaustic can be used to lightly stain and strengthen the structure or it can completely envelop and encase the paper.  Learn how to fuse onto both convex and concave surfaces as we create structures that range in form from the organic to architectural.  Complete a series of small studio constructions that will inspire and ignite diverse sculptural ideas.

Enhance your prints by experimenting with the use of stencils and masks, subtractive and additive markmaking techniques as well as the ability to enrich the surface with mixed media drawing, wax collage and encaustic painting.  Create textural surfaces, how to produce wax batiks on paper as well as a number of ways to register prints for multiple passes to build the image, and learn how to attach your prints to wooden panels or varied methods to present them free floating.

This is a workshop that offers the opportunity for artists of all levels to gain competence and control in one of the hottest new media. Encaustic is an ancient painting technique dating as far back as the 5th century B.C., but wax monoprinting on paper is brand new! Bring images of your work and Catherine will give you focused one on one time to discover how to dovetail encaustic into your artistic vision to build your body of work. 
Encaustic monoprinting is incredibly fun and creatively satisfying: If you are like her, you'll love that it offers you the chance to work through a lot of ideas quickly with results that offer richness and spontaneity.  

Cherilyn verzorgt een workshop met dit nieuwe in koudwater oplosbare vlies voorzien van een plakkant.
Tekst volgt eind Mei...plaatjes alvast hierbij!

Wij maken van tevoren twee indigobaden aan om optimaal van de tijd gebruik te kunnen maken. Deelnemers kunnen naar keuze stalen maken of 2 werkstukken. De reserveringstechniek die we toepassen is een eenvoudige shibori methode: naaien, vouwen en klemmen etc .... De voorbereiding hiervan duurt langer dan het verven op zich. Deze mini workshop is geschikt voor alle niveaus.

De zijderups vormt al spinnend een cocon. De prachtige cocons van de moerbeivlinder zijn vervaardigd uit een lange gesponnen draad. In deze mini workshop worden de cocons eerst geverfd en gefixeerd naar eigen kleurkeuze. Daarna worden de gekleurde cocons verwerkt in sieraden zoals halskettingen, oorbellen, ringen of broches.

Gil zorgt natuurlijk weer voor voorbeelden om iedereen te inspireren.

Deze workshop is geschikt voor alle niveaus.

Tijdens deze mini workshop gaan we encaustic papier collages maken op een zgn. smeltplaat.

Daarna wordt fototransfer gebruikt om figuratieve elementen aan de composities toe te voegen.

We gaan zowel in zwart/wit als kleur werken.

Om ‘n persoonlijke touch te geven aan de collages wordt deelnemers gevraagd een eigen verzameling papier en laserfotokopietjes of -prints mee te brengen.

We werken op kleine formaat (bv 13x18cm of 15x15cm) zodat we in serie kunnen werken.

In deze eerste mini workshop gaan we experimenteren met "Rusting Powder" ofwel roest poeder. Met behulp van dit poeder gaat het roesten veel sneller dan met de al bekende klassieke methode.

Katoen en papier vormen de basis materialen. Ze worden behandeld met het roest poeder in combinatie met diverse ‘surface design' technieken. Sjablonen, stempels en thermofax zeefdruk worden gebruikt om unieke roest effecten te creëren.

Hoge contrasten zullen ontstaan wanneer transfer folies en gilding flakes toegevoegd worden.

De resultaten kunnen gebruikt worden in quilts, borduurwerken of papier/boek projecten.

Day 1
"One bath process ", for Wool and silk:
Some specific tannins from plants, called "gallic tannins", are good substitutes of metallic mordants  to dye wool and silk. By combinations of some dyestuffs together in the same dye pot with gallic tannins and organic acids such as citric acid, a one bath dye will be achieved, giving attractive shades, of good fastness to light. Several dyestuffs will be tested, to obtain a full range of shades (madder reds, yellows from rhubarb, browns from Walnut husks and others).

" Using some plants instead of mordants" : By using some specific plants, called "bio accumulators of Aluminum, some dyes "100% from plants" can be done on natural fibers (wool, silk). By using this "two baths process", we will explore a wide range of possibilities ( yellows from weld or yellow woods, reds from madder, cochineal and lac, blue shades from logwood, and mixes of dyestuffs to get greens and other shades

Day 2: Printing on wool and silk, using sustainable methods:
On silk, we will print some preparations of plants ( bio accumulators, and then we will dye the printed pieces with various dyestuffs.
On wool, we will be able to print some mixes of "mordant plants (bio accumulators) + dyestuffs, and then, by drying and steaming the fabric, the dyes will be fixed at the best

Day 3:
"Preparation of a quick organic indigo vat":
With powdered indigo, calcium salt and sugar, it is possible to prepare a quick and efficient indigo vat for wool and silk. Some samples will be done with the vat on various types of fabrics (wool and silk).
"Maya blue":  a special pigment can be prepared with indigo + clay to dye paper pulp in blue. This so called maya blue will be prepared in this course, some paper pulp will be stained and then some sheets of paper will be done.

Day 1
"One bath process ", for Wool and silk:
Some specific tannins from plants, called "gallic tannins", are good substitutes of metallic mordants  to dye wool and silk. By combinations of some dyestuffs together in the same dye pot with gallic tannins and organic acids such as citric acid, a one bath dye will be achieved, giving attractive shades, of good fastness to light. Several dyestuffs will be tested, to obtain a full range of shades (madder reds, yellows from rhubarb, browns from Walnut husks and others).

" Using some plants instead of mordants" : By using some specific plants, called "bio accumulators of Aluminum, some dyes "100% from plants" can be done on natural fibers (wool, silk). By using this "two baths process", we will explore a wide range of possibilities ( yellows from weld or yellow woods, reds from madder, cochineal and lac, blue shades from logwood, and mixes of dyestuffs to get greens and other shades

Day 2: Printing on wool and silk, using sustainable methods:
On silk, we will print some preparations of plants ( bio accumulators, and then we will dye the printed pieces with various dyestuffs.
On wool, we will be able to print some mixes of "mordant plants (bio accumulators) + dyestuffs, and then, by drying and steaming the fabric, the dyes will be fixed at the best

Day 3:
"Preparation of a quick organic indigo vat":
With powdered indigo, calcium salt and sugar, it is possible to prepare a quick and efficient indigo vat for wool and silk. Some samples will be done with the vat on various types of fabrics (wool and silk).
"Maya blue":  a special pigment can be prepared with indigo + clay to dye paper pulp in blue. This so called maya blue will be prepared in this course, some paper pulp will be stained and then some sheets of paper will be done.

Deze workshop is een vervolg op het zeefdrukken met interfacing stencils. In plaats van het gedeeltelijk dicht schilderen van een vlies heeft GIL naar alternatieve methodes gezocht.

In de voormiddag werk je de stencils uit. Er is een mogelijkheid om te werken met polyester en papier. Tijdens de droogtijd van de verschillende lagen van deze stencils maak je een nieuwe stencil met gebruik van "fusible web" en/of "webbing spray".

In de namiddag maak je, naar eigen voorkeur, stalen met gebruik van de verschillende soorten stencils of zeefdruk je een groter stuk stof.

De gemaakte stencil(s) worden vastgemaakt op een zeefdrukraam zonder beeld. Na het printen verwijder je 't stencil van het zeefdrukraam, spoel je 't stencil uit met water en kun je zo weer aan het werk.

Een simpele maar zeer boeiende techniek.