How To Paint On Fabric - Free Fabric Painting Techniques For Texture and Interest

Quilting Daily
HOW TO PAINT ON FABRIC TECHNIQUES FOR TEXTURE
How to Paint
on Fabric
Free FABRIC PAINTING TECHNIQUES
FOR TEXTURE AND INTEREST
2
Christi Beckmann
orking in a Series:
W
Create Mixed-media Art Quilts
Patricia Gaignat
Plunging into Skydyes:

Fabric Painting
with Mickey Lawler

Layered Marbling: A Multicolored
Exploration in Surface Design

Jo Fitsell
how to paint on fabric: Free fabric painting techniques
Wholecloth Quilted Garden:

A
Adding Layers of Interest with
Stencils, Stamps, & Stitch
Q u i lt i n g D A ILY. c o m
F+W Media
Quilting Daily
here are so many fabulous

commercial fabrics available.
But if you want your art quilts to
be truly unique, create your own
textiles
with fabric
painting.
When you
paint on
fabric, you
have to be
open to
serendipity,
because
no two pieces of painted fabric are
alike. With our free eBook How to
Paint on Fabric: Free Fabric Painting
Techniques for Texture and Interest,
youll learn how to get beautiful
results.
Mickey Lawler starts you off with
step-by-step directions for using
Setacolor transparent fabric
paints with the sun, salt, and fabric
manipulation to create unusual
effects in Plunging into Skydyes.
Next, in Layered Marbling fabric
goes from plain to patterned with
Jo Fitsells easy technique for fabric
marbling.
You can create A Wholecloth
Quilted Garden by painting on
fabric using thickened dyes, acrylic
paints, fabric paints, and more,
using Christi Beckmanns tutorial.
Finally, Pat Gaignat shows you how

to explore fabric painting ideas
with a variety of surface design
techniquesincluding how to use
stencils on fabric, print techniques,
and morein Creating MixedMedia Quilts, Working in a Series.
With all the fabric painting ideas
and tutorials in How to Paint on
Fabric: Free Fabric Painting Techniques
for Texture and Interest, you will
quickly be able to create unique
painted quilts.
Warmly,
How to Paint
on Fabric
Free fabric painting
techniques
for texture
and interest
Editor
Vivika Hansen DeNegre

Cate Coulacos Prato
online editor
creative services
Division Art Director
Vivika Hansen DeNegre

Editor
Photographers
Larissa Davis
Larry Stein
Projects and information are for inspiration and personal use only. F+W Media
is not responsible for any liability arising from errors, omissions, or mistakes
contained in this eBook, and readers
should proceed cautiously, especially
with respect to technical information.
F+W Media grants permission to photocopy any patterns published in this
issue for personal use only.
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Quilting Daily
plunging into
Skydyes
fabric painting with mickey lawler
Adapted from
Quilting Arts Magazine
Summer 2002
Vanishing Point by Mickey Lawler
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Quilting Daily
n Fall River, Massachusetts, amidst the shipyards and textile mills of

centuries past, stands the PRO-Chemical and Dye warehouse. In March
of 2002, PRO-Chem welcomed Mickey Lawler to their classroom

New Englands gathering place for textile artists and studentsfor
a demonstration of her fabric painting methods. The intensely hued
fabrics produced in Mickeys own studio are treasured by quilt artists
from across the country.
Its a misconception that my fabrics
are dyed, explains Mickey. Painted
fabric has qualities you cant get with
dyes. No fabric comes out exactly the
same. I go into my fabric painting with
a plan, an idea, but if Im not open to
the fact that the fabric will make up
its own mind while drying, Im setting
myself up for trouble.
On her very best days, Mickey has
80% predictability on what will come
out of painting a particular piece of
fabric, and thats the way she likes
it. The idea of trying to exactly
duplicate something Ive already done
takes the fun out of it.
Mickey Lawler with student Nancy Driggs.
A high school English teacher turned quilt store owner,

Mickey began fabric painting in the mid-80s.
She now paints full-time, producing over
Mickey uses Setacolor transparent

paints by Pebeo. These paints are high
quality and permanent once heat-set
with an iron. The finished pieces are
hand-washable, lightfast, and can
be dry-cleaned but she does warn
about everyday use. Fabrics that are
painted arent best used as bed quilts
especially if there are metallic
paints in them as they are particularly
susceptible to abrasion.
5000 yards of painted fabric a year.
F+W Media
Quilting Daily
Painting Fabric
materials
Setacolor transparent paints
Plastic containers for mixing the
paints
An assortment of sponges, bristle

brushes, and sponge brushes
Rubber gloves
Small container of coarse sea salt,
rock salt, or kosher salt
High-quality 100% cotton fabric for

painting
Lightweight plastic drop cloth, cut

large enough for your piece of
fabric to sit upon
Plastic plant misting bottle

Salt technique by Patti Sylvia
A pplying P aint
S pecial E ffects
Creating sunsets and skies
1. Place your fabric on a flat surface.
Salt
1. Mix several different containers of
(You should also allow it to dry

on that surface after painting is
completed.)
2. Lightly spray your fabric with
water from about 12 away from

the fabric, being careful not to soak
the material.
3. Take your brush or sponge and
lightly press onto the fabric.

Unless you want a solid colored
background, lightly press down
using little pressure. Remember
that the paint will continue to
move across the fabric for a while
after it has been applied.
In this method, sprinkled salt absorbs

the paint colors, creating interesting
patterns and swirls on the surface.
1. Paint your fabrics with the desired
colors.
2. S
prinkle the salt onto fabric. Avoid
piling up salt granules on top of

one another, but rather sprinkle it
sparingly throughout the surface.
3. W
ith your spray bottle, lightly mist
the salted fabric to jump-start the

process.
4. Once dry, iron fabric to set colors
before rinsing off the salt residue.

(Make sure you use an ironing cloth
and the appropriate heat setting for
your fabric.)
blue hues. Try to avoid what Mickey

refers to as Disneyland blues
which appear fake and cartoon-like.
Mix other containers of purples,
oranges, and even greens.
2. Take your brush and lightly apply
one of the colors of paint with

horizontal strokes on different
parts of the fabric. When brushing,
whether using short or long strokes,
make sure to move your brush
straight across the fabric (our arms
have a tendency to arc our stroke
when we brush horizontally).
3. Repeat step 2 with other colors,
leaving areas of white fabric for the

paints to move into (remember that
paint will move even after youve
applied it).
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Quilting Daily
Setacolor transparent paints are extremely viscose coming out of the jar, and are
meant to be diluted with water 1:1. However, you can dilute to almost nothing for
lighter shades and they still work beautifully.
tips
& hints
The paints are transparent; painting
over a previously dried piece will not

cover the first design.
Use a high-quality cotton fabric, and
avoid cheap, loosely woven cottons.

Mickey orders her fabrics for
painting exclusively from Testfabrics,
Inc. www.testfabrics.com
M anipulation
To add sparkle, take a metallic paint
thats been heavily diluted and gently
brush over the peaks.
In this process, the crinkling of fabric
causes the paint to move down from
the raised areas and sink into the
valleys.
1. Paint your fabric with your choice
2. Starting from the corners, crinkle
or gather the fabric towards the

center to form various peaks and
valleys in the fabric. Try to create
uneven and unpredictable patterns
while gathering.
3. Allow the fabric to dry completely
before smoothing out since the

paint will continue to move for a
while after it has been applied.
of colors.
Fabric manipulation technique by Calie Kaso
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Quilting Daily
For inspiration, Mickey

recommends Painting the
Spirit of Nature by Maxine
Masterfield and the
Artists Photo Reference
to Sunsets by Gary Greene.
S un
tips for mixing
Setacolor transparent paints
To make a lighter shade, mix the paint with more water.

Tone down a color by adding its complement (i.e., blue with orange, red with green,
etc.).
To create seas, mix paint containers with the following: ultramarine, ultramarine
with a few drops of black, cobalt with drops of black, pale cobalt, pale gray with
pearl added, any shade of green.
To create skies, combine cobalt and ultramarine.

To create realistic greens, youll want to mix the Setacolor green with other colors
(i.e., adding drops of black, yellow, blue, etc.).
prints
Outdoors on a sunny day is the best

way to get a good sun print. Since
paint starts to dry quickly after it is
applied, youll want to work quickly in
order to get the best results.
1. Paint your fabric completely with
paint.
2. Once covered, take some objects
(anything flat that will block

out light completely: feathers,
cheesecloth, rubber stamps, flat
leaves) and lay them across the
paint. If you choose to use feathers,
you may need to break the quills
in places to keep the feathers from
arching on the surface if any light
seeps underneath, it wont work.
Make sure to press your objects
(such as feathers and cheesecloth)
right into the paint so it blocks out
the light entirely. Once pressed,
you can also paint over the objects
to make sure they are covered.
Browns can be (theoretically) created by mixing two complements, but often times
a purple shade is achieved. You can correct this by adding yellow.
To achieve a fire engine red, mix vermilion and orient red. For a true pink just add
water.
Turquoise is emerald and cobalt.

Orange is yellow and vermilion.
Peach is yellow and orient red.
True black requires adding a few drops of ultramarine to the black.
Blue violet is violet and ultramarine.
Red violet is violet and orient red.
Golden yellow is yellow with a few drops of violet.
Mickey is the author of Mickey

Lawlers Skydyes: A Visual Guide
to Fabric Painting. You can get
an autographed copy of her book
through her website at www.skydyes.
com. PRO-Chemical and Dye can be
reached at 1-800-2-BUY-DYE or on the
Web at www.prochemical.com.
skydyes.com
3. Place your painted fabric in the
sun. When the fabric is dry and the

objects are removed, youll notice a
lighter area of the object remains.
F+W Media
Quilting Daily
Above: Sun print by Calie Kaso

Right: Sun print by Nancy Driggs
Below: Sky dye technique by Karen Catalano
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Above: Sky painted by Terry Maddox

Right: Painted landscape on leather
by Carole Finger
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Quilting Daily
Left: Fabric manipulation

technique by Susan
Raban
Below: While fabric was
still dry, Susan Raban
used a sponge brush to
make small black shapes.
After this dried, she
applied more paint, some
salt, then sprayed with
water to jumpstart the
salt process.
Q u i lt i n g D A ILY. c o m 10
F+W Media
Quilting Daily

Adapted from
August/September 2011
layered
marbling
A multi-colored exploration
in surface design
materials
Gallon container
Blender
Face mask
Gloves
Carageenan
Plastic tray (2" deep, transparent
or white)
Alum
Cotton fabric, cut to the size of
placing fabric on the surface of the water, creating a design. Inspired
paint
Water
Eyedroppers or squeeze bottles
Newspaper or newsprint
Fan
Drying rack
Mild dish soap
arbling is an ancient technique of floating very thin paint on

the surface of thickened water. The paint is then absorbed by
by the way painters painstakingly layer each color on an oil painting,

I experimented with increasing the layers of acrylic paint on my
marbled fabrics to achieve a richer depth of color. By letting the fabric
dry completely after each layer of paint was applied to the fabric, and
floating stencils on the surface to capture colors, I was able to achieve
your pan
Golden Artist Colors fluid acrylic
great results. This process requires some preparation and patience, but
the actual application is quick and addictive.
by J o
F itsell
F+W Media
Quilting Daily
Directions
A lum
soak
Before marbling, you will need to soak

your fabric in a solution containing
water and alum. (Alum helps the paint
adhere to the fabric. You should soak
your fabric before you cut it.)
1. Fill a sink with 2 gallons of
lukewarm water and add 2

tablespoons of alum.
Caution: Wear gloves and a face
mask if you have a sensitivity to alum.
2. Stir the alum into the water, then
add your fabric and allow it to

soak for 1015 minutes. You can
soak up to 4 yards of fabric in this
solution.
3. Without rinsing, remove
Note: You can soak the fabric in the

washing machine as long as you stop the
rinse cycle. (It is important not to rinse
the alum out.)
4. When the fabric is dry and
wrinkle-free, cut it to the size of

your pan.
Note: You can iron the fabric at this
stage to remove wrinkles.
P repare
the
carageenan
Carageenan is made from seaweed
and serves as a thickening agent.
When handling carageenan, follow the
warning labels on the package and avoid
breathing it in by wearing a face mask.
Note: The basic proportions are 2
tablespoons of carageenan to 1 gallon of
lukewarm water.
your fabric and hang it on a

clothesline to dry.
Figure 1
Figure 2
Revisiting the Meadow 33" 43" Layered marbling, acrylic on canvas and cotton, acrylic
resist; machine quilted.
F+W Media
Quilting Daily

Figure 4
Figure 3
Figure 5
M arbling
technique
1. It is important to test your paint to
Figure 6
1. Fill a gallon container with
lukewarm water and then use it to

fill your blender halfway.
2. Add 1 tablespoon of carageenan
to the blender and blend for

approximately 1 minute, until the
specs disappear.
3. Pour the carageenan mixture into
your tray. Repeat this process

with the second tablespoon of
carageenan, again filling the
blender halfway. Then pour the
remaining water from your gallon
container into your tray.
4. Gently stir the mixture and let it
sit until the bubbles are gone. The

mixture should turn to a clear
consistency. If bubbles persist,
drag a strip of newspaper across
the surface of the water to clear
them off.
Note: If you do not have a blender, just
prepare the mixture the night before and
let it sit. (I prepare 2 gallons for my
16" 20" tray. One gallon is enough for
a dish tray.)
see if it floats on the surface of the

mixture. To prepare a test sample
of paint, add a small amount of
water to the paint using a ratio of
1 part water to 3 parts paint.
Test the paint by dropping small
amounts of it in the tray with
an eyedropper or squeeze bottle
(Figure 1). If your paint sinks to
the bottom (Figure 2), continue
diluting it with water until it
spreads across the surface. Each
paint will behave differently, so
it is essential to take the time to
test your paint until you find the
correct water-to-paint ratio.
2. Using an eyedropper or squeeze
bottle, drop your paint one drop at

a time into the mixture. You will
notice that the floating paint will
begin to spread less as the surface
is loaded and that it is possible to
add colors on top of each other.
Keep in mind that the first color
you drop will spread the most.
(Figure 3)
3. When you have arranged paint
on the surface in a design that

you like, hold your fabric in a
F+W Media
Quilting Daily
Below (detail left): Color for Lili

46" 23"
U shape over the top of the pan.

(Figure 4) Lower the fabric from
the center outwards, letting the
fabric rest on the surface of the
mixture. The paint will attach
instantaneously. Lift your fabric
up off the surface and place it on a
sheet of newsprint.
4. Let your fabric dry for 24 hours.
(I use a drying rack and a fan.)

5. When the fabric is dry, gently
rinse it to remove the alum and

carageenan. Do this in a sink filled
with lukewarm water and a small
amount of mild dish soap. Do not
agitate the water or put the fabric
under a running tap. Lay flat to
dry. Press on the reverse side.
6. Repeat the marbling process for
more layering effects. You do not

need to add more alum to your
fabrics on the second go around.
As you repeat the marbling, spend
a little time beforehand looking at
the piece and planning what colors
to place on the next layer.
Option: Prepare and float stencils
(made from light-weight cardboard or
paper) on the surface, and add small
amounts of paint inside each area.
(Figure 5) Lay fabric down on top of the
stencil. Gently pat the back of the fabric
to make sure the paint is attaching. You
will see the fabric change color as it
becomes wet. (Figure 6)
Photos by Barbara Frey
F inish
You can reuse your carageenan
mixture, though it will start to cloud.
Carageenan may be saved for a few
days in a cool space or placed in the
refrigerator for months. To collect
paint that has dropped to the bottom,
pour off the carageenan mixture (I
dispose of it in the toilet), and then
place fabric on the bottom of the pan,
as if you were monoprinting. The
fabric will absorb the paint and you
will have a fun, printed piece.
jofitsell.com
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Quilting Daily
a wholecloth
quilted garden
adding layers
of interest
with stencils,
stamps, & stitch
by
Adapted from
April/May 2011
C hristi B eckmann
y fiber art often begins

with pieces of whole cotton
cloth that have been colored with

thickened Procion MX Dyes.
These are my experimental cloths,
created with no particular plan in
mind.
I enjoy the process of playing with
fabric dye because you never know
what the outcome will be. Next,
I begin the layering process using
some of the numerous surface design
techniques that we fiber artists have
at our disposal. The layering process
is completely spontaneous and
adds to the fun! Applying different
techniques, layer by layer, creates the
depth and interest that I hope to end
up with.
Directions
1. Gather your supplies, including
1 yard of soda-soaked fabric and

your alginate-thickened dyes.
(For additional information on
preparing the fabric and thickened
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Quilting Daily

dyes, refer to Lisa Kerpoes article
on page 62.)
2. Paint the fabric with thickened
dyes, using a foam brush. Your

painting should be fairly abstract.
Avoid trying to achieve something
realistic.
Note: I keep an artists idea book of
different color combinations I have
come across, plus I am also involved
in my own self-study program of color
interactions, which provides added
inspiration.
materials
Foam brushes
PFD (prepared for dyeing) cotton
fabric (soda-soaked)
Procion MX Dyes in a variety of

colors (alginate-thickened)
Synthrapol
Stencils (purchased or handmade)
Acrylic paints (I recommend
3. Process your painted cloth
according to your method of

choice. Either let the cloth sit
for 24 hours, then wash it with
synthrapol several times and allow
it to dry; or, as I prefer, let the
fabric sit for about 30 minutes,
then roll it in plastic and allow it to
steam for 30 more minutes. Follow
with 2 washes with synthrapol.
4. To begin the layering process,
add floral motifs to the fabric

using stencils as follows. Dilute
acrylic paint in a spray bottle in
a 1:4 ratio of water to paint (the
desired thickness is a personal
preference), then spray the paint
directly over the stencil. Stencils
can be purchased, or you can try
carving your own. For my piece I
used stencils purchased at a local
scrapbook store.
5. Move the stencil to different areas
of the cloth. I stuck with one color

of paint (black), but you can use
several different colors with the
stencil. Allow the paint to dry
thoroughly before continuing with
the next step.
6. Add more imagery and layers
with stamps (see Getting Started

with Stamps). Apply paint to the
surface of the stamp using a small
foam brush, and stamp the motif
on your fabric. Continue stamping:
Golden Artist Colors paints, but

even inexpensive acrylic paints
work fine.)
Spray bottle
Jacquard fabric paints
Stewart Gill metallic paints
Stamps (rubber, clear, or
hand-carved)
Adirondack Acrylic Paint Dabbers

Sharpie or other permanent
markers
Batting (I recommend Warm &

Natural low-loft batting.)
Backing
Fusible spray adhesive
Thread in a variety of weights
and colors for machine stitching
(Iespecially like Premium Sulky
12 weight.)
Fabric for binding or facing

Above: Detail showing stamping, stenciling, and embellishment with permanent marker.
Previous page: I Dont Care if You Dont Like my Flower Garden 39" 32"
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Quilting Daily
getting started with stamps
When selecting paint for stamping, there are several options to choose from. I
prefer acrylic paints. Adirondack Acrylic Paint Dabbers are wonderful for using with
stamps.
Choose a variety of stamps that are all within a single theme. For example, I used
floral motif stamps to keep with the garden theme.
Select stamps that vary in size and shape.

use a variety of stamps and keep
basic design principles in mind to
ensure balance and interest within
your design. Let the stamped cloth
dry thoroughly before continuing
with the next step.
7. To add definition and detail to the
different elements you previously

stenciled or stamped, trace around
them using a permanent marker,
and shade different areas to add
depth. You can also doodle shapes
right onto the fabric. And be sure
to take advantage of the wonderful
selection of permanent marker
colors available.
Tip: Vary the size, shape, and color of
your flowers since, in nature, flowers are

not all one size, shape, or color.
8. Apply dabs of color to accent
different areas of your cloth.

Accent paints such as Jacquard
paints, Stewart Gill Metallics, or
even inexpensive puffy paints
work great. Now is the time to add
zinger colors in small amounts
that say, look at me. Be wild and
spontaneousthere is no right or
wrong way to add accent color.
You can also try painting detailed
areas, such as flower petals or
background areas, to add further
depth.
9. Add batting (I used Warm &
Natural low-loft batting) and a

piece of backing. Using fusible
spray adhesive, spray baste the
sandwich together.
10. Machine stitch your quilt using
different weights and colors

of thread. You can use simple
straight stitching or free-motion
quilting. I followed select floral
motifs on my piece, and I
intentionally did not match the
thread to the color of the flower
to add further definition and
contrast.
11. Add a binding or facing to finish
your piece. I used an artist

binding (facing) to complete my
piece.
freereinarts.com
Above: Detail showing accent colors used to
create depth.
Left: Detail showing machine stitching to add
further definition.
F+W Media
Quilting Daily
working series
Adapted from
August/September 2011
in a
create mixed-media art quilts
by
P atricia G aignat
efind a successful way of working is to create art in a series and to

make multiple pieces of art simultaneously. While getting started on a
series can feel overwhelming, its really quite easy. If you feel stymied and
wonder what qualities tie a series of work together, try keeping an art
journal. Youll have lots of inspiration as you leaf back through it from
time to time, noticing what common themes consistently arise in your
work and what images speak to you.
F+W Media
Quilting Daily

Left: Detail from Wait For It 12" 12"
Screen-printed canvas, collage, painted
canvas; machine and hand stitched.
Previous page: In the Zone 14" 21"
Mixed-media painted paper, stenciled collage,
screen-printed canvas; machine and hand
stitched.
materials
Heavy watercolor paper
(I use 140-lb.)
Canvas
Acrylic paints
Gesso (both black and white)
Freezer-paper stencils
Collage elements
Painted tissue paper
Found objects that can be used as
stamps
Soft matte medium (I prefer the

brand Golden Artist Colors.)
Thread and hand needles

Sewing machine
Alphabet stamps
Staz-On solvent inkpads
Stiff interfacing such as Peltex by
In my own work I like to use icons
from my sketchbooks as a jumping
off point, but I am equally inspired
by experimenting with different
mixed-media and surface design
techniques. Many of the images in my
work have evolved through multiple
pieces of art over time.
I deas
for creating
a mixed - media
series
1. Paint several 12" 12" squares of
watercolor paper that have been

previously covered with random
layers of acrylic paint. Cut them into
312"412" strips. You can also screen,
stamp, paint, and stencil canvas and
rip it into various pieces, leaving the
edges frayed for added texture.
2. Iron freezer-paper stencils of a
stylized figure and some random

squares onto the watercolor
strips and then apply a light
coat of thinned gesso over the
background. If using canvas, you
can iron the freezer-paper stencils
on and paint through them. Then
peel the freezer paper away.
3. Machine stitch your found objects,
such as old monotypes, book pages,

or fragments of canvas that have
been screened or stamped, to the
surface of your piece.
4. Paint, stencil, and stamp various
layers of white tissue paper. Allow

to dry, then adhere to the base
collage using matte medium. Add
Pellon
Commercial cotton fabrics

Craft felt or low-loft batting
Jacquard Textile Paint
Jacquard Versatex Screen Printing
Inks
June Tailor Fray Block

Fusible web such as Mistyfuse or
WonderUnder
Perle cotton thread, hand-sewing

needles
Brads and charms

Optional
Thermofax screens
Duct tape
Awl and jewelry pliers
Digital camera
Photo-manipulating software
Printer
F+W Media
Quilting Daily
Above: An altered photo of a piece of art I

created; used to make a Thermofax screen.
Left: This That 20" 11" Screen-printed
fabric; machine and hand quilted.
7. Stitch the entire piece to the background by hand
sewing with running stitches and decorative hand

threads.
Tip: To save your fingers while hand stitching, use an awl to
make holes for the needle and a pair of jewelry pliers to pull
the needle.
Making a series of mixed-media quilts can be a freeing
and rewarding process. The point is to play, experiment,
and have fun. Remember, there are no rules! Just enjoy
the process, and when in doubt, keep building up your
piece with stamps, text, screens, or stitching until you
feel it is complete.
reclinerart.posterous.com
tips for creating

further interest by using more stencils, stamps, etc., to
achieve a more complex look.
5. Attach your strips using a zigzag stitch. Add more
texture by overlapping additional stamped and stenciled

images, adding text using letter stamps, and by leaving
the thread tails exposed.
6. Cut a piece of Peltex 1" larger than the collage on all
4 edges. Fuse to the wrong side of some commercial

fabric (cut about 3" larger on all sides than the Peltex).
Fold the fabric over to the front and fuse down.
Tip: It might be necessary to add some bits of Mistyfuse at this
mixed -media art
Photograph your work, either while in progress or when
completed. This is a simple and quick way to have original

images to use in future projects.
Think of each piece as a visual journal. You can explore
recording and experimenting with new processes, depicting

your mood with fabric, paint, and stitch.
Use the same images in multiple pieces to tie the different
pieces together. Try mixing images with different techniques

and media.
Try using text, alphabet stamps, and various font styles as

decorative, graphic elements in your work.
point to help the corners fuse down neatly.

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How To Paint On Fabric - Free Fabric Painting Techniques For Texture and Interest

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HOW TO PAINT ON FABRIC TECHNIQUES FOR TEXTURE

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