My Process
Preparation
I often use photographs taken while traveling or walking around my city. Sometimes a calendar page or a greeting card invites me to imagine it expressed through fabric.
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I typically use already stretched, white canvas, purchased in an art supply store. The larger the canvas, the larger the pieces and fabric patterns can be.
Next, I calculate a good approximation of grid size on the canvas that corresponds to a square inch on the image. I measure and draw the grid lines on both surfaces. I cut out two cardboard frames corresponding to both grid sizes used for the inspiring image and the canvas. These frames guide my eyes to focus on where I work.
I look through my fabrics and sometimes go to suppliers to gather possible prints relevant by color, texture, and design patterns. I usually limit my material to cotton fabric, though sometimes I use see-through silks, and colored threads as well.
I store my fabrics in cabinets of narrow drawers. However, the ones I’m using for my current piece, I keep in a small cabinet on wheels that is close at hand to the easel.
The key is to visually focus on just one grid square at a time, and not to worry about the full picture. Amazingly, it all comes together.
Creative artistic license and personal expression make the grid square come to life on the canvas. Among those at Laura Breitman’s workshop, no two works were the same even though we all used the same inspiration image.
Creative Design
How to blend different color hues using the hard edges of cut fabric pieces, capture the irregularity of a reflection in the water, replicate the energetic movement of leaves or grasses, or the play of light on a sidewalk or road, are all parts of the creative process. These parts are best experienced by looking at the whole piece.
I consider the overall pallet and specific colors, and how they will be perceived when next to hues of other pieces of fabrics. I also examine the fabric’s pattern, such as printed leaves, flowers, squares, or abstract shapes. The background color of the fabric must be considered as well. When using thread, the thickness—whether to use one or more strands—allows for depicting shapes such as branches or tree trunks, creating accents, or guiding the eye across the composition.
I generally do not leave the canvas exposed. I use small scissors to cut the fabric, sometimes placing it on the canvas to mark edges to cut or sometimes cutting pieces after affixing them to the canvas before the glue dries. If a fabric is very thin and difficult to cut detailed edges, I might stiffen it with an adhesive before cutting.
Application
As an adhesive, I use the one Laura recommended: Golden GAC 400, described as a “100% acrylic medium for stiffening fabric and paper made of natural fibers.”
I use a paintbrush to apply a small layer of adhesive to the canvas. I then place a cut fabric piece and add another layer of adhesive on top. With each overlapping piece of fabric, I brush on another layer of adhesive.
When using thread, I apply the glue with my fingers, and then use a brush to guide its placement. This is sometimes a tricky step and may require repetition to complete.
Mistakes can be resolved in one of two ways. Placing additional fabric on top of the one misplaced is a simple way but will add dimension to the piece, often a nice effect. However, the mistake can sometimes still show through if covering it with a thin or light-colored fabric. The other way to undo a mistake is to gently scrape the edge of the pieces secured and rip them off carefully.
I first worked at a table, bending over the canvas. However, after noticing an increase in backaches, I switched to an easel. This has made for a far more comfortable and ergonomic way to work. I find it helps to step away periodically to see the overall work in progress. When I’m not working on it, I place a cloth over the piece to protect it from sunlight. After completing a collage, I brush on a thin layer of varnish to protect the piece from ultraviolet damage. Again, I use Laura’s recommendation of Golden Polymer Varnish with UVLS [Matte], a 100% waterborne, acrylic solution. I like to frame my works. My preference is a floating frame that adds dimension to the work.