Gallery #11
Teresa Goins
Teresa Goins started Goins Textile Design in the 70's, becoming one of the trade name hand-dyers in the popular hand-painting era for Home Furnishings.
For years Teresa's core technique involved strict formulas of Procion H dyes, foam brushes, and templates. With these techniques she has developed a highly successfull collection of textile designs which she markets through wholesale interior design showrooms.
During the industry slowdown that occurred after 9/11, Teresa was looking for a way to lower costs and hit upon Dye-Na-Flow which eliminates steaming, wash-off, and pressing. While some of her designs did not translate well, such as those that used water-color wash effects, many designs did. Plus, Dye-Na-Flow allowed for additional techniques, such as dry brush effects, that do not work with dyes.
"As I experimented with Dye-Na-Flow, I found some compatability with my technique, and some constraints. I have translated most of my Procion H color formulas to Dye-Na-Flow and have found success working with them, and they are less volatile.
Techniques vary with each project. Basically, I use foam brushes, and hair or nylon brushes work well for detail. Often, if I am hand-painting in repeat, I will make a template for the design which locates the specific colors, make those marks, then take the template away so that I can paint more freely.
Unlike dyes, you can get a dry-brush effect with these products. In order to control traveling issues, I use sodium alginate. I always keep on hand water containers that have different percentages of sodium alginate so if I want a pastel color but need to control the travel, I have a choice of thickeners."
Teresa Goins
|
Click any image to see a larger version. |
|||
|
|
|
|
|
|
|
|
|
Criteria: Create the feeling of walking into a field of wildflowers. Constraints: 38 9ft x 54in drapery panels. Each panel had to flow into the next in a non-repeating motif. "I borrowed every floral book from the library and spent weeks pouring over each one, determining the shapes and colors. I worked with six panels at a time, starting at one end, using a brush with a washed-out Dye-Na-Flow blue to sketch out the designs. Then I came back to the first, and started filling in the colors and building up the designs, making sure that the design of one panel flowed in to the next. Dye-Na-Flow has proved to hold the pigment against direct UV rays and performs well
in public spaces." |
|
Inset from Panel 21 of 38 panels created for the Austin Lake Spa by Teresa Goins. |
|
Inset from Panel 8 of 38 panels created for the Austin Lake Spa by Teresa Goins. |
|
Chair Seat by Teresa Goins Dye-Na-Flow on 50/50 cotton/linen. |
|
Silk Runner by Teresa Goins Procion H on silk. Neopaque black was used to produce strong lines. |
|
Pillows by Teresa Goins Shibori pole wrap technique with Procion H. |
|
Kimono repaired by Teresa Goins The Utah Opera ordered 13 kimonos only to find when they received them that they were severely damaged. They asked Teresa Goins to fix them. "After viewing the Japanese motif books I brought with the designer, we decided on several motifs that would best depict the designs worn in that period. The kimonos were shipped to my studio in Calif where I painted each one with Jacquard Lumiere paint. There were 13 Kimonos, each painted with similar but very different designs. Each train, sleeve and bodice were painted on every Kimono. Then they were shipped back, fitted and pressed. After 4 seasons and approximately 12 performances, the costumes look fabulous, according to the
costume department supervisor. And, they were dry-cleaned after each performance." |