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Acrylic paint

An emulsion of pigment to form a fast-drying paint that is water-soluble but permanent after it dries; useful primarily for finishing embellishments.




Technique for applying a thin liquid fabric paint in nebulized form to the surface of a fiber art work by means of an air-spray device.
See Air-compressor




Device for providing high-pressure air-spray through a jet nozzle for the purpose of applying nebulized liquid fabric paint to the surface of a fiber art work.

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Balanced and Unbalanced Twills 

In these types of twills, the warp and weft floats may be equal or unequal. In other words, the twills may be of the reversible or irreversible types, known respectively as balanced and unbalanced twills. 
See Twill, Warp and Weft.





Damask stitch

See Satin stitch




Buckram replacement

Felt and felt-like textiles are used in fiber art work when rigidity is needed. Synthetic felt-like fabric (commercially available as Fosshape) is particularly valuable because, in contradistinction to felt, it can be stiffened without water or toxic additives, by applying heat in the form of a hot air gun, fabric steamer or steam iron. Furthermore, this material can be cut with scissors and sewn together. It is mildew resistant and capable of being dyed and painted with fabric paints. I experimented with it in my search for a method to enhance its structural integrity and hardness. I ultimately found a simple novel method for achieving my artistic goal by using a conventional oven for baking preformed three-dimensional designs of felt panels sewn together. An optimal combination of temperature and duration, specifically 230℉. for 30 minutes, proved ideal for my purposes. Prudence dictates constant vigilance to ensure against burning the artwork during the baking process.


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Cut Stencil Silk-Screening

A silk-screening technique that uses a green film, called S3S Stay-Sharp Lacquer Film. A design is cut into the film. This is a laborious method that precedes application of the film to a silk-screen frame, allowing it to be used in a method similar to photo silk-screening. Ink is applied to the film surface and spread by means of a squeegee across the frame. The design on the film is transferred to fiber material placed under the frame.
See Air-brushing, Image transfer, Photo silk-screening, Silk-screening


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Damask stitch

See Satin stitch





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Felt is a sturdy textile used in fiber art work for both structure and design. It is produced by matting, condensing and pressing natural wool or synthetic fibers.
See Buckram replacement.  





Needle felting is the process of interlocking wool fibers by stabbing them with a barbed needle. The barbs catch the scales on the fibre and cause them to entangle and thus bind together. To create a three-dimensional fiber sculpture by felting can take many hours of work and literally thousands of stabs from start to finish. To save countless hours of work and create a sturdy hollow effect, one can substitute Foss Shape as an armature that will serve as a canvas for the felting process. This applies especially when felting is being done primarily for decorative design elements. There are two types of felting, wet and dry. Either alone or both simultaneously can be used in fiber art work as needed.
See Foss Shape





Fosshape, Foss Shape

A synthetic felt made commercially. It is a more durable and workable product than fiber felt. Moreover, it can be hardened for three-dimensional fiber art works by means of hot air gun, steam iron, hand-held steamer. Baking in a regular oven works especially well, but may damage fiber work if exposed to heat that is too hot or appliced for too long. If steaming is used, an industrial steamer is recommended instead of a simple hand-held device for achieving satisfactory hardening.
See Buckram replacement
, Felting

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Image transfer

The process by which images are applied to fiber art. The image can be in any form, including drawing, photograph, painting, print, stencil, photocopy, among others. The image is transferred onto the surface of the fiber material by any number of techniques, such as silk-screen, photo silk-screen, stenciling and mono printing.
See Cut stencil silk-screen, Photo silk-screen, Silk-screen


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Photo silk-screening      

Adaptation of silk-screen printing technique in which a photographic image is used to create the stencil. The image is first transferred to clear acetate, which is laid over a screen (mesh) that has been treated with a light-sensitive material. Exposing the screen to strong uniform light reproduces the photographic image on the mesh. The mesh is then used as the stencil in the silk-screen process.
See Cut stencil silk-screening, Silk-screening


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Damask stitch

See Satin stitch






A printing technique in which a finely-woven fabric, called mesh (originally of silk, but currently of nylon or polyester), is stretched across a frame and used to support an ink-blocking impermeable stencil. The stencil is a negative of the image that is to be printed with open spaces where ink or fabric paint will appear. The open areas in the stencil allow transfer of ink or fabric paint onto a fiber material. A roller or squeegee is moved across the screen stencil forcing ink or paint past the mesh threads onto the printing surface, thereby printing the desired image. Also called serigraphy or screen-printing.
See Cut stencil silk-screening, Photo silk-screening





Satin stitch

In sewing and embroidery, satin stitch or damask stitch is a series of flat stitches that covers a selected part of the background fabric. Narrow rows of satin stitch are made with a standard sewing machine using a zigzag stitch or a special satin stitch foot. Machine-made satin stitch is often used to outline and attach appliqués to the ground fabric.





Stencil silk screening

See Cut stencil silk-screening








Thread painting

[In progress: Definition to be inserted here.]




Trompe l'oeil

A style of highly realistic, detailed painting in which the senses are tricked into perceiving the flat two-dimensional image as a three-dimensional illusion. From the French for “deceives the eye.”  Although the technique was revived in Baroque times and more recently popularized (by a wide range of artists from Tiepolo and Peale to Dali, Harnett and Magritte, and latterly to Latzke and Orosz, among many others), it actually originated in ancient Greek and Roman painting and mosaic works. Synonymous with photorealism.




Twill is a type of textile weave with a pattern of diagonal parallel ribs. It can be identified by looking for the presence of pronounced diagonal lines that run along the width of the fabric. In contrast to plain weaving, twill produces its diagonal pattern by floating (that is, skipping) warp threads or strips over two or more weft threads or strips before being woven into the fabric. Alternatively, weft can be floated over warp.
See: Balanced and Unbalanced Twills, Warp and Weft.



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Warp and Weft

Warp refers to the horizontal threads (or, as in my work, strips) on a loom over and under which vertical threads (or strips), the weft, are passed. In contrast to plain weaving, twill produces its diagonal pattern by floating (that is, skipping) warp threads (or strips) over two or more weft threads (or strips) before being woven into the fabric. Alternatively, weft can be floated over warp.
See: Balanced and Unbalanced Twill, Twill.