About | Susan Webb-Lee

Art Quilt Classes with Susan Webb Lee

Winter 2004

Contemporary Art Quilts
Learn the basics for creating your own original designs in fabric. Internationally recognized quilt artist, Susan Webb Lee, will help you explore your creative side with guided exercises and proven techniques. You will gain confidence in your own intuitive processes as you create unique works of art.

For more information about these and other workshops for individuals or groups, email Susan at: Susanleestudio@aol.com Or contact her at: 107 Horseshoe Trail
Barnardsville, North Carolina 28709. Home: 828-626-3573

About the Quilts………………….

Surface Design Techniques

The term "surface design" refers to the various methods used to change the color, texture, or appearance of fabric. Surface design techniques typically include such processes as tie-dye, fold and dye, stitch and dye (all shibori techniques), block printing, silk screening, stamping, embroidery, dye-painting, and others.

My quilts are made from cotton fabrics that are purchased either already dyed and printed, or un-dyed fabrics that I dye and paint myself. I like to buy pima cotton or muslin for dyeing, and I prefer using Procion fiber reactive dyes. These dyes are extremely lightfast and colorfast, and are the same types of dyes that are used in commercial industry. They are cold-water dyes, and therefore, do not have to be boiled in order to set the color.

One of the fastest and easiest ways that I have learned to dye fabric is in a large Ziplok plastic bag. The gallon size works well for up to 2 yards of fabric. The fabric can be placed in the bag either wet or dry, and then a solution of dye is poured on top of the fabric. The fabric is sealed in the bag, and is gently squeezed and manipulated while encased in the plastic. Nothing leaks out, so there is virtually no mess. After about 30 minutes, the bag is opened, and a small quantity of dye fixative solution is added. The fabric then needs to remain in the plastic bag for at least another 30 minutes, but up to 2 hours is ideal. If the day is hot, the bag can be placed outdoors for an even richer and more saturated color.

You will produce fabric that is somewhat mottled and uneven in appearance. The dyed muslin fabric has the soft and supple look of suede. Depending upon how much dye powder was used, and the number of colors added, your results can vary greatly. There is much diversity in this type of dyeing. Even the type of water (well, city, high mineral content) you have makes a difference in how the dyes will react on the fabric. If you used fabric that was wet, your colors will be softer and well blended. If your fabric was dry when you put it into the plastic bag, your colors will have a more pronounced "edge" to them, and more distinct areas of color variation.

Another technique that I enjoy using is batik. The art of traditional batik is widely used in Indonesia, and is a process where hot wax is applied to certain areas of the cloth in order to prevent those areas from absorbing any dye. Intricate patterns can be created by using wooden printing blocks (tjaps) that have metal designs imbedded into them. The block is dipped in hot wax and then printed on the fabric. A tjanting tool, a wooden handle with a hollow metal tip, is another way to produce fine lines of hot, melted wax.

I like to batik my own hand-dyed fabrics. They already have the quality of being somewhat vague and indefinite, as far as actual pattern goes. By applying waxed areas using blocks, I can create another design layer on top. The wax can also be applied using a brush, or almost any type of printing implement, if you’d prefer not to have a regular pattern. After the wax has dried, I paint dye directly over this waxed fabric using various brushes.


	About Susan Webb Lee \| Quilt Artist \| Teaching & Lectures
Detail of "Looking for Swedish Pleasure"
		Art Quilt Classes with Susan Webb Lee Winter 2004 Contemporary Art Quilts Learn the basics for creating your own original designs in fabric. Internationally recognized quilt artist, Susan Webb Lee, will help you explore your creative side with guided exercises and proven techniques. You will gain confidence in your own intuitive processes as you create unique works of art. Susan teaches workshops in the following techniques: Machine Piecing and Quilting Traditional Hot Wax Batik Cold Water Resist Batik Dye-painting with Procion Fiber Reactive Dyes Fabric Painting and Printing with Acrylics Soft-edge Piecing and Random Quilting For more information about these and other workshops for individuals or groups, email Susan at: Susanleestudio@aol.com Or contact her at: 107 Horseshoe Trail Barnardsville, North Carolina 28709. Home: 828-626-3573 About the Quilts…………………. Surface Design Techniques The term "surface design" refers to the various methods used to change the color, texture, or appearance of fabric. Surface design techniques typically include such processes as tie-dye, fold and dye, stitch and dye (all shibori techniques), block printing, silk screening, stamping, embroidery, dye-painting, and others. My quilts are made from cotton fabrics that are purchased either already dyed and printed, or un-dyed fabrics that I dye and paint myself. I like to buy pima cotton or muslin for dyeing, and I prefer using Procion fiber reactive dyes. These dyes are extremely lightfast and colorfast, and are the same types of dyes that are used in commercial industry. They are cold-water dyes, and therefore, do not have to be boiled in order to set the color. One of the fastest and easiest ways that I have learned to dye fabric is in a large Ziplok plastic bag. The gallon size works well for up to 2 yards of fabric. The fabric can be placed in the bag either wet or dry, and then a solution of dye is poured on top of the fabric. The fabric is sealed in the bag, and is gently squeezed and manipulated while encased in the plastic. Nothing leaks out, so there is virtually no mess. After about 30 minutes, the bag is opened, and a small quantity of dye fixative solution is added. The fabric then needs to remain in the plastic bag for at least another 30 minutes, but up to 2 hours is ideal. If the day is hot, the bag can be placed outdoors for an even richer and more saturated color. You will produce fabric that is somewhat mottled and uneven in appearance. The dyed muslin fabric has the soft and supple look of suede. Depending upon how much dye powder was used, and the number of colors added, your results can vary greatly. There is much diversity in this type of dyeing. Even the type of water (well, city, high mineral content) you have makes a difference in how the dyes will react on the fabric. If you used fabric that was wet, your colors will be softer and well blended. If your fabric was dry when you put it into the plastic bag, your colors will have a more pronounced "edge" to them, and more distinct areas of color variation. Another technique that I enjoy using is batik. The art of traditional batik is widely used in Indonesia, and is a process where hot wax is applied to certain areas of the cloth in order to prevent those areas from absorbing any dye. Intricate patterns can be created by using wooden printing blocks (tjaps) that have metal designs imbedded into them. The block is dipped in hot wax and then printed on the fabric. A tjanting tool, a wooden handle with a hollow metal tip, is another way to produce fine lines of hot, melted wax. I like to batik my own hand-dyed fabrics. They already have the quality of being somewhat vague and indefinite, as far as actual pattern goes. By applying waxed areas using blocks, I can create another design layer on top. The wax can also be applied using a brush, or almost any type of printing implement, if you’d prefer not to have a regular pattern. After the wax has dried, I paint dye directly over this waxed fabric using various brushes.
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