Wednesday, April 26, 2017

Reviews of my book- Digital Fiber

Digital fibre art is one of Wen's signature techniques. She has been recognised in the textile/fibre world for decades, and this experience and expertise is well reflected here. As with most how-to books, it starts at the beginning with the kinds of tools and equipment needed to give a good result. Wen then takes off from there, showing how to alter images, print them on different fabrics, and then apply stitch for added depth, interest, and highlighting. By incorporating a number of different techniques, the finished work looks more layered and complex, but it is very achievable. An interested beginner should not be put off, as Wen offers many tips. At the same time, experience artists will find enough here to take their work to the next level. 
(Down Under Textiles, Issue 25)

Wen Redmond has been experimenting with different styles and techniques for many years, and this book distils her work with digital images and various materials. The book is only 127 pages, but is jam packed with information―you will find much of what you need to know here. Wen covers topics including taking photos, manipulating them through cropping filters and colours, printing and transferring them, layering and blending. She also writes about fabric preparation, using paper and other substrates, and the various paint and other substrates, and the various paint and other layers than can be added. There are any examples shown, with full and detailed visuals and written explanations. This is a perfect book to have on the bookshelf to refer to when you are looking to create a particular effect. Alternatively, use it as a guided series of exercises to extend your repertoire of techniques. 
(Down Under Textiles, #27)

For those of you enjoying Wen Redmond's Holographic Pictures technique in this issue, you can find the application of digital photography to textiles and mixed media expanded upon in this book. It looks at many different ways of using photography with different substrates and mediums to create a wholly unique approach to your art. It is a very user-friendly book with a lot of tips on how to make your own life easier (you can use photos taken on your phone as the techniques here will make allowances for a lower resolution in the pictures) and there are apps suggested, such as Grungetastic, that will make the whole process of jazzing up your photo much easier if you aren't able to slave over Photoshop or another Photo Editing programme. The latter will provide you with more complex images to play with but this allows anyone with basic technology to have a go. The book is helpfully divided up into sections such as using fabric or paper as substrates, using Pre-Coats (such as InkAid) and basic Digital Photography printing before moving onto more experimental chapter, using acrylic mediums, overlays, creating textured surfaces for blending or printing over and using nonporous substrates. Each section is fully illustrated and clearly explained in stages and each chapter contains its own Process and Example sections so you can get to grips with how to achieve an effect and then see some finished pieces.
 (Workshop on the Web, March 2017)

Inkjet printers can be used to print on a variety of substrates, and mixed-media artist Redmond shares how best to combine printed fabric or paper with paint, photographs, and art supplies such as gel medium to create one-of-a-kind works of art. 
 (Library Journal, 2/1/17)

Wen Redmond has produced a visually inspiring book featuring her photographs, quilts, and processes. Wen explores a large variety of photo editing options, including many that can be done directly on your phone. She demonstrates how to prepare and treat fabric for printing to promote longevity, and how to manipulate each step of the process so that it is tailored to the artist's interest, skill, and creative desire. (Quilting Arts, April/May 2017)

This book is a wealth of information presented in a useful and intelligent way. I particularly like the way Wen effectively describes the results she is looking for when digitally enhancing/modifying her photos and that her instructions are not product specific. The variety of substrates presented, the use of acrylic mediums to create 'skins', the mounting of work were all subjects are seldom presented in the same pages as fabric. I am particularly grateful for that. Here in one book I can get information that I previously had to go to three of four and muddle my way through. Thanks so much for this Wen Redmond and C&T Publishing.

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