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Krawczyk - Intentional printing : simple techniques for inspired fabric art

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Draw, stamp, screen print, and more to create gorgeous art cloth! Intentional Printing walks you through a two-part approach to fabric design. Author Lynn Krawczyk starts by showing you how to develop your own distinct printing style by first identifying the colors, themes, and processes that speak to you and then using those ideas repeatedly to explore your furthest possibilities. At the same time, Lynn urges you to think beyond simply printing fabric and consider how the finished cloth will be used. She demonstrates a variety of printing, stamping, painting, and col. Read more...
Abstract: Draw, stamp, screen print, and more to create gorgeous art cloth! Intentional Printing walks you through a two-part approach to fabric design. Author Lynn Krawczyk starts by showing you how to develop your own distinct printing style by first identifying the colors, themes, and processes that speak to you and then using those ideas repeatedly to explore your furthest possibilities. At the same time, Lynn urges you to think beyond simply printing fabric and consider how the finished cloth will be used. She demonstrates a variety of printing, stamping, painting, and col

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Intentional Printing
Simple Techniques for Inspired Fabric Art
Lynn Krawczyk
CONTENTS - photo 1

CONTENTS - photo 2

CONTENTS - photo 3
CONTENTS
Introduction

Years ago, I was at a crossroads with my fiber art, stuck somewhere between art quilting and an interest in surface design. I was at a loss as to how to meld them into my own style and create original work, so I decided to stop trying. I decided that I would simply experiment and see where it took me.

I created a wide range of oddities: three-dimensional, lopsided fabric bowls, long strips of meticulously handstitched fabric, hideous color combinations of hand-dyed fabric. Nothing had a purpose other than to keep myself working while my creative self solved the riddle of what kind of art I should be making. My studio overflowed with misshapen, unattractive projects.

I began to question everything. Maybe Im not an artist, I thought. Maybe Im no good. I took one of my less chaotic creations over to a friends house and lamented over my lack of direction. She became very quiet, then said, What do you want it to be? I stared at the tortured fabric object sitting between us. Mostly I wanted it to not be ugly. But in the end, all I could say was, I have no idea. So I went home and continued to make bad art.

One evening, I sat stewing over the corner I had painted myself into as my friends question kept rolling around in my mind: What do you want it to be? I finally realized there was another side to those seven words I hadnt considered before, one that went far beyond a single project and into the bigger area of my artful self. As soon as the rush of understanding came, a small edge of despair followed. I didnt have an answer. But now I at least understood the question, and that felt like a major step in the right direction.

I came to realize that I had labored under the idea that when I worked in the studio my creative self was in charge. I fretted that if I voiced too strong an opinion, I would stifle the flow of creativity. I finally understood that I was letting my creative self do all the work; I was burdening it with too much expectation. How unfair.

From that moment on, I began to really look at how I made art and ask myself some new questions. What do I like? What dont I like? If no ones opinion but mine counted, what would I make? What habits do I have in the studio that are an asset to my art making? Which ones are sabotaging it?

I began to work alongside my creative self, moving as a team. I stopped being timid and connected with what I was doing. And art became easier, a place without worry or angst. I found that sweet spot in my studio and in my art that had been eluding me for so long.

is an application of intentional printing I use frequently in my work This - photo 4

is an application of intentional printing I use frequently in my work.

This book is meant to help guide you toward your own kind of understanding about your art. Yes, there are techniques and there are projects to help you refine your skills. But there is more than that. I can teach you technique until the cows come home, but Im doing you a disservice if I dont help nudge you toward assimilating these new skills into your personal vision.

Intentional printing is about slowing down and looking beyond the mechanics of how to print pattern on fabric. Its about discovering your intention toward your art by slowing down, getting to know what you love, and embracing the techniques that you learn to create your own art. Its permission to go inward and focus on the aspects of your art that speak your truth the clearest.

Heres to finding your own sweet spot.

Intentional Printing in Action

The easiest way to demonstrate the flexibility of intentional printing is to set it loose among six artists with varying styles. Ive chosen five textile artists, in addition to myself, who have very clear visions of the work they create. Their styles are well-defined, and their work is distinctive. Using the principles of intentional printing, I printed fabric that is customized to their styles and asked them to make a project from them. Throughout this book well visit with each of the artists and see her approach to working with fabric produced by intentional printing.

Chapter 1 Exploring Intentional Printing Being an artist is about more than the - photo 5
Chapter 1
Exploring Intentional Printing

Being an artist is about more than the techniques used to create your work. A clear understanding of how you move through your creative practice is just as important. Acting with intention when it comes to your art is about striking a balance between spontaneity and purpose. The combination is powerful and liberating. In this chapter, well explore the basic ideas of intentional printing and learn how to harness them in our work.

What is Intentional Printing?

What do I do with it now? This is the eternal question every fiber artist has asked herself when faced with a hunk of handprinted fabric.

When I first began working in surface design, I accumulated a giant pile of printed fabric. After it reached epic heights, I decided to sort it into two piles: pieces that I loved and would use in a project and those that I thought would make great backings for projects. The latter category had the most by a landslide.

Thats when I realized I needed to make a change. Making fabric with the hope that it might work in a piece of artwork felt like a waste of time and resources. I needed to make fabric for a project. And so intentional printing began.

I threw away everything from my art-making process and started rebuilding from the ground up. Two things topped the list of problems I wanted to change. The first was that I was relying too heavily on serendipity in my work, that eternal hope that a bolt of inspiration will strike and Ill create a really stunning piece of art.

The second issue was that I was experimenting too much. I was trapped in a constant cycle of distraction and wanted to try everything new that came down the pipe. I was constantly starting over, never getting good at anything, and my work reflected the unrefined quality that comes with having just learned something.

The goal became clear: to construct a way of working that gave me more control in the art-making process without strangling the creative groove and to pick a facet of surface design that I truly loved and see how far I could push it.

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