Felting and Applique

DINH HAI YEN on

I. Felting:

We used different colour of wool yarn for felting bought from Daiso. First we arranged the colours up to our liking, then we wet it with hot water and hand soap. After some rubbing, the felt came together as one attached formed and remained its form well after clean water rinsing. Using the same principle, we applied that to make felt flower and felt ball. For the felt flower and ball, we had to use felting need to poke everything into place.

Fig. 1 & 2: Wool yarn arrangement and soap rubbing

Fig. 3 & 4: Wool yarn flower process


Fig. 5, 6, 7 & 8: Wool yarn flower and ball process

Lastly, we apply felting on some random pieces of scrapped fabric. This was a random piece of inner layer that I had lying around and I used gray wool yarn on it. The result created a pretty interesting texture, almost like matted animal fur.

Fig. 9 & 10: Wool yarn and needle felting on textile

 

II. Applique

For applique, I used lace and trim at the edges, and  on the surface I used flannel from my altered shirt, leather and red felt to create a red “choker”. I used zig zag seam (C on the machine) and close stitch.

Fig. 11, 12, 13: Process of applique

Thermoplastic – Polyester Organza

DINH HAI YEN on

For this technique we used organza of 100% polyester to ensure the best results. We experiments with different styles of shaping like using marbles, aluminium fold, acrylic, etc.

Fig. 1, 2, 3 , 4, 5, 6, 7, 8, 9, 10, 11, 12: Different experiments with shapes

We wrapped everything into a big aluminium foil ball to boil. The procedure was 2 hours of boiling as we had a lot of foil balls to boil for the whole class.

Fig. 13, 14, 15, 16, 17, 18, 19: Boiling instructions, after match and final result during exhibition

Plastic fusing and Fabric of thread

DINH HAI YEN on

I. Plastic fusing:

I cut thin strips from white and red plastic bag and make a pattern by interlocking the strips together, then using wax paper to prevent direct application, I used iron on medium heat to iron on. The plastic fuses almost immediately and all the plastic strips that were under then iron pan fused together almost immediately. This technique is what I applied to use for one of my final samples to make cherry blossom petals

Fig.1: Interlocking strips of plastic bags

Fig. 2: Fusing plastic strips together

 

II. Fabric of thread

We used water soluble stabiliser ( from Lye Nai Shiong, $6/m) to sandwich the threads in between. Then we use sewing machine and straight seams to lock the threads using multiple straight seams and crossed them. We then dilute the whole piece in water until all the stabiliser dissolved completely. Then I used a plastic sphere as a mold and spray starch spray directly on it to form the shape.

Fig. 3: Sandwiching the threads between 2 pieces of stabiliser

Fig.4: Locking the thread using straight seams

Fig.5: Final product after drying

 

Transfer printing

DINH HAI YEN on

Transfer printing is a technique that uses ink or paint to print on different surfaces. The main one that we experimented were:

Indirect transfer:

  1. Crayon on paper then apply on satin
  2. Transfer printing paint on paper then apply on satin
  3.   Printing on transfer printing paper then apply on both fabric (soft printing) and wood (hard printing)

Direct transfer:

  1. Printing on the fabric using objects as stencils
  2. Crayon on paper

Transfer print using MagicTouch paper:

  1. Soft medium printing
  2. Hard medium printing

We draw with crayon on paper to create pattern which can be used for indirect printing. We had to use some force and pressure because the application opacity will be slightly less than what can be seen on paper, especially with ironing method because the temperature and pressure is not as high as the press machine.

Fig 1. Crayon on paper and indirect application on satin using heat press

 

While for heat press machine, we followed the details (400 degree F, 35 seconds) and the result was a stunning opacity on satin.

Fig.2: Crayon on paper and indirect application using heat press

 

  1. Transprint paint on paper:

Using transfer printing paint on paper, we create different kinds of patterns and details, using different techniques from stenciling to brushing.

Fig 3. Transprint paint on paper

 

Using on of the piece (fully brushed on paint on paper) and having some small pieces of threads sandwiched in between, the heat press machine is able to produce a high opacity transfer printing with the absence of the thread. However, as the fabric is very ‘cushioned’ (layered satin) and the pressure from the machine was very high, we can actually feel the fabric being imprinted onto the satin due to the force.

Fig. 4: Transprint paint on paper, indirect application on satin using heat press

 

This piece was done using a ‘second-handed’ transprint ink piece. With heat press machine, it still work out well even it is already the second time we use it

Fig. 5: Transprint paint on paper, indirect application on satin using heat press

 

This 2 pieces were done using heat press method, however the right side was $6/m satin while the left was $2/m. The photos could not really tell but there is a difference in the quality of fabric (thickness, shine, texture) and the clarity of the printing.

Fig. 6 & 7: Transprint ink on paper and heat press, left – $6/m satin, right – $2/m satin

Fig. 8: Transprint paint on paper and heat press on satin

 

We also tried on cotton (cotton shirt sold in Art Friend), but apparently cotton did not work out well because of the bleeding and the pores of the cotton that pixelated the printing.

Fig. 9: Transprint paint on paper and heat press on cotton

 

Lastly, I tried to using ironing method to see how much of a difference it might be. I left the iron on for around 2 minutes, the photos are much more saturated than in reality, but there is definitely a difference in opacity compare to the heat press method.

Fig. 10 & 11: Transprint paint on paper and indirect application using iron

Transfer printing using printing paper and heat press machine requires a special type of paper. We used TCT3.1 for fabric and CPM6.2 for hard surface.

  1. TCT3.1 on fabric

Fig. 12: Printing on TCT3.1 and CPM6.2

Fig 13. Preparation before printing

Fig. 14: Trimming and afterward mess

Fig. 15: Positioning and hot peeling

Fig. 16: Discarded pile

 

Fig.17, 18, 19: Final print on teal polyester

The print was not really a success as the print was still transparent even though I had made sure that there was a white base when prepping the file.

 

Fig. 20, 21, 22, 23: TCT3.1 on white satin

Finally when using satin, the print was considered successful because the print was completely transferred from the paper onto the satin.

2. CPM6.2 on wood

Fig. 24, 25: CPM6.2 on balsa wood

The first piece ( on the left) was the first print that I tried. It was kinda warped because of the heat from the machine, thus on the second print (right), I applied more towel paper to reduce the warping, thus the print was much better