Every year, the remarkable program and scheduling committee at the Contermporary Textile Studio Co-Op in Toronto--where I have the privilege of being a member--organises a week-long workshop with a high profile
textile artist. This summer, we had the fortune of receiving the very
talented Dawn Dupree.
Dawn is also the author of the book Heat Transfer Techniques, which has a plethora of information and clear instructions on alternative uses for the heat press.
It turned out to be an extremely productive week where we learned new
methodologies and revised familiar ones, with a twist, of course. By
mid week Dawn regaled us with a lecture at the Textile Museum of Canada, where we learned more about influences and methodologies within her bountiful, versatile and extraordinary body of work.
We started with mark-making exercises, using tools of our own devise. These exercises are always fun and liberating, where prolificness is the norm, enabling a very successful editing process later on. Our most engaging images were later transferred to silk screens for printing.
We used several foil sheets during the sessions, and the ones that worked the best were those brought by Dawn from overseas. The colours were rather unusual and rendered excellent results. The sample at the centre of the image is one that did not work very well (I'm not sure about the supplier), however, the results were intriguing enough.
Many, many more techniques and issues were explored during this very inspiring, recharging, and unforgettable week. It always takes a little while to process it all.
Dawn is also the author of the book Heat Transfer Techniques, which has a plethora of information and clear instructions on alternative uses for the heat press.
We started with mark-making exercises, using tools of our own devise. These exercises are always fun and liberating, where prolificness is the norm, enabling a very successful editing process later on. Our most engaging images were later transferred to silk screens for printing.
 |
| From left to right: 1&2-Marks made with tools I made out of hemp twine held tightly using clothespins and tape. 3-Marks made with chopsticks, detailing a section with an artist pen. All instances used Speedball's India ink. |
We used several foil sheets during the sessions, and the ones that worked the best were those brought by Dawn from overseas. The colours were rather unusual and rendered excellent results. The sample at the centre of the image is one that did not work very well (I'm not sure about the supplier), however, the results were intriguing enough.
 |
| Marks made with a can top. The adhesive was screenprinted on fabric, and the foil ironed on top. The negative image left on the foil sheets may be further used--the possibilities are endless. |
We used very diverse resists, from maylar stencils, to textured open fabrics, to flour, etc.
 |
| From left to right: 1-Materials used for resist, archived within the pages of a sketchbook. 2-Open-screen resist technique using dyes on Habotai. |
Many, many more techniques and issues were explored during this very inspiring, recharging, and unforgettable week. It always takes a little while to process it all.
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