Wannadu Jacket Buttons

In yesterday’s post, I mentioned the buttons.  Despite my large collection -the result of my own collecting, collecting of my mother, sister, aunts and gifts of unknown origin– I didn’t feel I had a suitable button for this project.  Nothing would do.  I spent some quality time on my tablet at Etsy looking at black buttons.  When I ran across these


at radishka.  I immediately visualized these with gold brushed across the raised surfaces.  Though I searched for another few hours, I couldn’t find anything close.  I purchased determined to add my own gold paint of which I have a few to select from


Also a few paint application tools


beyond the normal brushes.  I decided to use the Luminere Gold and the medium-sized roller.  I started by poking some holes in waste foam and settling the button shanks into the holes.


I knew I wanted 5 buttons on my jacket which left me with 1 to test (ruin). I squeezed out a little paint on a cleaned foam meat tray


and rolled the roller through it a few times to spread the paint and pick it up on my roller.


Then rolled across my test button.  To my utter shock, my first test was perfect. Exactly what I had envisioned!  It took several more dollops of paint and I needed to hold the buttons in place using a latch tool


I needed the cotton swap to remove paint in the few spots where I was too zealous with my application.

I let the paint dry 4 hours,  moved the buttons and foam to the top of an opened paper bag, and sprayed with an acrylic sealant.


I let the sealant dry for about 8 hours. Not really sure because I sprayed; let it set until bed time; when I ran downstairs and gave the buttons another spray.  In the morning they were dry and beautiful.

Totally pleased with the end result.


They compliment the jacket just as I imagined and were lots easier to create than I expected.


PS I think I paid $8 for the buttons. 49cents is a pipe dream from long ago. Shipping was USPS First Class and took about a week.


Sakura Solid Markers

You know I’m an artist wannabe?  During my working career art was my stress relief mechanism.  It amazed me at how much art would disconnect me from the rather aberrant business mind-set into which I would become enveloped. In those days, a single afternoon spent with art was heavenly.  My sketching tools were critical components of my travel wardrobe.  I like being retired, if for no other reason than that ‘art’ has become a daily experience even if it is no more than 5 minutes daily with a pencil and a zentangle.  I also like having the funds (kids even 1, are an extremely costly hobby) to experiment with new supplies as they become available. Understandably I was piqued when Julie FeiFan Balzer introduced Sakura Solid Markers in this Video.  I love her presentation style. She’s both upbeat and informative and organized.  She has an extensive vocabulary and uses it. I first saw Julie on Quilting Arts, a weekly PBS broadcast. I think at the time she was doing this stuff all on her own.  She’s obviously receiving support now and frankly reveals that she receives many items with a request to review the catch being that she must be able to be honest. While her attitude and verbal skills remain at about the same level maybe a little better, I see her personal appearance improving. I’m not sure, but I think she’s being coached to make the best possible professional appearance without losing her girl-next-door appeal.  Well so much about Julie, because the point of this blog is that this lovely young lady introduced me to Sakura Solid Markers and I had to get a few.

Although the link is to a full set, I bought individual markers from Amazon in white and blue. I’m a prime member so my cost was limited to around $4 each. (BTW, I’m not being paid for my review. I do my reviews so I personally have a record of what I’ve tried and how it worked for me.  Understand that Your Mileage May Vary in fact probably will).  I figured if I liked these markers white + blue would give me enough variety for a project and then I would find the $48 for a full set.

Being my projects are clothing embellishments, I chose to experiment on a scrap of rayon challis.  I made a control swatch:

I colored spots with the blue marker and  used  sequin waste as a stencil.  The ‘marker’ is very similar to Cedar Canyon Painstiks. I’ve only used the mini Paintstiks and can tell you immediately that having this nice large marker size was comfortable to hold and use.  When it’s used down to the top edge, the bottom twists bringing more of the marker up for continued use. Rather like a lipstick which is also what the texture reminded me of i.e. a nice fat, smooth, creamy lipstick.  I did not like how it worked with my stencil.  Globs of paint tended to accumulate on the edges. Now maybe that’s because sequin waste has small openings close together or maybe it’s just me. I also got out my a cheap  paint pouncers (the kind you buy a dozen for $4.98 at Hobbylobby). I rubbed my marker on wax paper until I had a small puddle and picked it up with the pouncer before applying through the sequin waste. That worked i.e. no globs of paint; even application etc… but I didn’t see it as an improvement over using the liquid acrylic paints I normally would choose. Except for spillage. No liquid paint running everywhere when it’s in a solid stick.

For the second sample, I colored in some of the white spaces and let that dry for 48 hours before heat setting.  I didn’t really mean to leave it that long, but life happens and I figured more drying time didn’t hurt.

I did like the creamy feel when filling these large areas and some smaller spaces but realized the marker by itself was not the tool for very detailed work. (For me that is. Again YMMV.)

One really good thing is that I didn’t notice any smell.  That could be the result of the limited area painted in the tests. But I don’t buy or use Cedar Canyon’s Paintstiks because my working area is not well ventilated. Even a small stenciled area produces headache causing fumes. For me. Again, YMMV and probably will. So I liked that I did not experience any aromas or headaches.

My 3rd sample was a repeat of the 2nd except after 24 hours, I painted Fabric Medium  over it which caused the color to blend a little.  I liked how it blended. It’s the kind of thing to take note of and say when I want a better blend use the Fabric Medium. Then I waited another 24 hours before my next step which was…

I put samples 2 and 3 into a small lingerie bag and  washed  and dried with the towels. I sample with the intention of using on clothing. Whatever I use must survive the laundry and not just typical laundry but the laundry DH will probably do which is hot water and bake on high until dry.  It’s a given that DH will try to help me at some point by doing the laundry.  My clothing must survive his laundry method. (No ssss. No plural. He has only the one laundry method.)

The colors dried slightly lighter than the original application. Not a deal breaker in its own, but they also lightened during the single laundry cycle. Which is the deal breaker. I won’t buy more Sakura Solid Markers which is too bad. Overall, I liked these really well. I can see using these markers when I want to change or add larger areas of color. Initially, I’d be very selective about any stencils used because I don’t think the Solid Markers worked the best in the small detailed stencil. I like the full range of colors and believe they are mixable which would allow the creation of other colors. I love the colors selected for the full set. I can clearly see a cool and a warm of each color.  It goes back to my water-color training where I was taught to choose a warm and cool of each color for the greatest possible color range when mixing.

These solid markers are a good tool. I’m partial to the Fabric Medium because it has the least effect on fabric hand. Perhaps if I were a little more open to a different color fixative…


I painted shoes again. I started with a tan pair which I love but never wear and a white canvas which I got dirty in only a few wearings.

I had the bright idea to cover the soles with masking tape so I wouldn’t accidentally paint the soles.  I mixed up my paint colors because I don’t use color as it comes in the Jacquard bottle and got to work with my fan brush. Using the masking tape allowed me to paint freely. But I’ve used masking tape for other projects and was concerned about possible, um, side effects.  I wanted to be sure I could correct unexpected issues. When you mix colors, there is no guarantee that you can mix them exactly the same the next time. When you need the exact same color, the best choice is keeping the paint for possible use. How do you keep acrylic paint, famed for its fast drying time, from drying overnight?  I texted my sister who is something of an artist and followed her recommendation:

I spritzed the paint with water, put the whole pallet (a recycled bit of plastic) into a large zip lock bag along with a wet rag. Worked perfectly!

The masking tape did it’s job too. Unfortunately, little bits of the Jacquard paint peeled off with the masking tape…

… justifying my keeping the paint usable.  I touched up where needed. Let dry another 24 hours. Then added a coat of floor polish for sealer.

The brown canvas shoes:

are the better of the two. I did have issues avoiding the white elastic inserts. But the worst problem is they are now too small.  No one warned me that shoes might shrink when you paint them!

I ended up with small smudges of paint where I didn’t want any. But these are at least wearable and more likely to be worn now that they are blue.

I count the exercise a success.  I learned something new (how to preserve acrylic paints) and I enjoy doing this sort of thing. Plus I feel fearless. I can buy any color shoe as long as it fits and make it the color I want.  Just got to be careful about shrinkage.


Shoe Painting


I broached this subject several weeks ago at SG.  I’ve become very particular about what shoes I will wear and buy.  My highest heels, are never over 1.25″.  Even wedges aren’t much higher at 1.5″.  I’m retired. My life is mostly casual with a few dressier occasions and a few grubby activities. I prefer flats and low wedges for my lifestyle; and to be honest, I’m now afraid of falling. My last few falls have ended in pain and injury if not broken bones. Shoes were a big part of those falls. So I am now very careful and particular about the shoes I buy and wear.  Nonetheless, I’ve been able to find a lot of acceptable shoes as long as I want them in the color:  black. A few years ago, I could get all the shoes I wanted in black or red. This year it is black or what they call tan which is a muted orange to me. I want basic but nice looking, flattering shoes in black, navy blue and brown.  Wouldn’t mind an occasional grey, red or even orange but my mainstays must be black, navy blue and brown.

I remember in my late teens painting a pair of shoes.  The little paint cans were practically in every store. Along with good instructions and the few tools you might need. No more. Those kits are not to be found. At least in South Dakota.  That’s why I broached the subject of painting shoes on SG.  One of our members referred me to SassyFeet and this video. Based upon the view I purchased NeOpaque paints in blue, brown and black.  The NeOpaque blue was not a navy blue.  If this worked I planned to add a little black to dull the blue into navy.  If it doesn’t work, I have more basic colors for painting Tshirts and the like.

I purchased the leather shoes above just last December.  The color is Pewter which I thought might be close enough to wear with my brown based 6PAC. Unfortunately, I didn’t like the metallic shine on my feet.  Every time I glanced down, I was startled and had issue associating that glare with my feet. So these would be my trial.  I used rubbing alcohol (as recommended by Sassy Feet) to clean the shoes before beginning to paint.  I was hesitant about using the recommended fan brush.  My previous experiences had been with applying blush or a facial peel using a much wider fan brush.  The experiences were less than satisfactory.  The brush sucked up enough peel for 5 treatments and put that on my face. Not good.  However, it hardly picked up any blush.  Or maybe it picked it up but did not deposit on my face. So I was really surprised when the 1″ fan brush worked wonderfully.  It was able to spread paint a wide ways and still get into the cracks and crevasses.  I did have a few whoops! Which I tried but failed at completely removing. I used both the Q tips recommended and a much finer tip DH offered me. The Qtips were not the problem.  I am the problem.  I think I was blinded and didn’t see many of the whoopses until both coats were applied and the shoe completely dry. I used the spoon to dip paint from the jar into my paper cup. I did not use either of the two optional brushes. The fan was more than sufficient.

As instructed I applied one coat of paint.  Let it dry 30 minutes.  Then applied a 2nd coat.  I can understand why they recommended sealing the surface with floor polish.  After both coats are dry, the shoes are very dull.  I grabbed what I thought DH was using on “his” kitchen floor.  Using the cosmetic wedge sponge I applied the finish.  I think the wedge was a good choice.  I didn’t have any issues with fuzz or loose bristle brushes. The thin end easily pushed the finish into cracks and crevasses and then applied the finish over the entire shoe.  I applied but 1 coat of finish.  My experience with floor finish is that when it gets too thick it cracks and flakes or becomes cloudy.

After the shoe was completely dry and ready to wear, DH advises me that I didn’t use the floor finish he uses in the kitchen, but the cabinet restore.  Oh well. The only way to tell if that was a mistake is by wearing the shoes.  (I may have a future updated post. So far, so good.)


Tanking the Otto Tank

I do like the Otto Tank as previously fit. It is to me the perfect, sleeveless, knit-top pattern. But during the dog days of summer, I like a little less coverage. Also, this pattern was titled as a “tank”.  In the magazine it looked like a “tank”. But my finished garment didn’t look like a tank.  Read the rest of the story here.

RTW Basics

There are some basics that I just buy. Things like plain, cotton T-shirts and tank tops in plain colors of black, navy and white. The cost/time benefit is low. Especially with my laundering methods.  I get 4-5 of “like new” wearings and then colors fade and shapes change. Good enough around the house, but out-and-about, I want nicer. I think I really need these plain, basic pieces. It seems to me that if everything I wear is a statement piece, instead of looking put together I look busy; confused.  The statement pieces disappear into a mess instead of being a focal point.  I do sew these basic pieces sometimes, but mostly I just buy.

Recently I had an unusual issue with a plain, navy-blue T-shirt.  I would wear it with my other pieces and put it into the laundry.  It would disappear for weeks at a time.  Finally DH would bring it back and tell me it wasn’t his shirt… it was mine.  I decided I needed to do something so that I would know this was my piece.  I didn’t want to put a tag in it.  I’ve given up on personal designer tags.  I’m still proud of my creations. I just don’t like tags rubbing the back of my neck. No tags for me. What else could I do that would immediately indicate this was my shirt (upon coming out of the dryer), but still retain its plain supporting role in my wardrobe?

I considered machine embroidery, my favorite. Except I really don’t like struggling to hoop an already sewn-together garment.  I considered some type of decorative stitching but again I’d need to get some stabilizer in there and keep it lined up while stitching.  I could rip seams to make that easier— but I won’t. Finally decided the easiest would be stenciling a design.

I sorted through my stencils and found one I liked

Except, I knew I wanted to put this on the front multiple times. I know you can lift and replace the stencil and scrape the paint again, but I always seem to make a mess plus it’s hard to conceive the total impact,  errr to know when I’ve repeated the design enough times.  So I decide to use my Cameo Silhouette.  I followed Carolyn Keber’s excellent instructionsEmbird and the Silhouette Cameo” purchased on the Secrets Of site.  It might have been faster and easier to do  within DE (software for the Cameo) but I’m pretty familiar with Embird. For me it was fast to scan my design; set the edges using the outline tool; save as a SDF and after importing into DE click the trace button.  Because I’m familiar with Embird, creating the SDF took me no more than 10 minutes (that includes scanning in the design). Once traced, I changed my mat size to 13X24″ and then played.  I copied my traced design multiple times, arranged and rearranged. I spent more time playing than anything else.  For these large stencils I use two sheets of freezer paper that have been pressed together and then trimmed to size.  I have the Cameo set to cut through only the top layer. Once cut, I separate the two layers and carefully weed the top layer. It’s another time-consuming chore.  If I’m not careful, I will tear the freezer paper.  For smaller stencils, I use bona-fide stencil material, but I can’t find big material and judging by the cost of the small stuff, probably wouldn’t buy it any way.

Once separated and weeded, I’m ready to place on my fabric. I keep a largish piece of cardboard (cut from an old box) which I insert inside the T-shirt. So far that’s been enough to keep the paint from bleeding through to the back side. Then I spray my freezer-paper stencil with re-positionble glue (sometimes called stencil spray).  It’s possible I could iron the freezer paper to the T-shirt and not use the glue.  But I’d rather be safe then sorry and use the glue for a good seal. This time I had problems positioning my stencil.  I placed it; removed it; rearranged the T-shirt on the cardboard; then sprayed the stencil a second time and positioned on my T-shirt.  I used a gold puffy fabric paint and dabbed it onto the stencil.

Fearful that I would disturb the paint, I let the T-shirt dry, in place,  overnight. Should I have removed the stencil immediately?   Because the next day I had a heck of a time removing the stencil.

Some pieces wouldn’t release even using the dental tool.  I soaked it overnight in water. Scraped at the stencil. Washed it. Scraped at the stencil.  Soaked and scraped again and again, but still had little piece that wouldn’t release:

For the next week, I kept soaking in water and trying to scrape away little pieces of freezer paper.  I’ve never had this issue before.  Maybe it was the 2nd spraying of glue?  Finally, I gave up and said “I’ll probably wear a vest over it any way”

Not only are there still little bits of paper but the paint has turned white in multiple places. (All that soaking?) It’s not really the basic piece I envisioned.  Guess I’ll have to buy a new, navy-blue T-shirt.

Day 3

(..without a real iron)

I’m still not happy with the appearance of Fabric 01

The turquoise stripes are too bright for me and the red is just….weird.   I want to knock back the turquoise and since I can’t remove the red, I’ve decided the best way is to push the red through out.   I cut 2 of the stencils, shown yesterday

and had several 12×12 tests that I thought I could use if needed.  I was anticipating putting the stencils in place, painting and then moving the stencils to a new place. As I looked at my paints I realized that wasn’t going to work. Not that the freezer paper stencils can’t be moved and reused.

My problem is that  I will be mixing paint. I can never mix the right amount of paint.  I have either too much, which then is thrown away; or too little and need to mix another batch. I dislike throwing away the paint but the real problem is mixing more. I can never mix exactly the same color.   I’ve learned there is a way to make different shades of the same color blend together and look intended. That is: to paint through out. Instead of working and completing all the color in one place, say starting at the top right and filling in all the color across and down;  if I apply a little color at the top then some at the center over to the other side and then across the bottom i.e. dabs of color 1 everywhere and then return with color 2 filling in all the places missed — the eye will be fooled and blend the colors together.  The first impression is that the colors are the same. Close examination will tell you that the colors are different but look fine together.  Some people even say there is a richness to the piece because of the diversity of color.

But to work throughout, I need my stencils in place everywhere I plan to paint. Someone’s going to disagree with me, so let me explain.  I’ve good results using stencils, but issues when moving them around. It’s almost guaranteed that after the first application, I will get paint on the back of the stencil and transfer it to another place where it is not desired.  It’s better for my process if I can completely cover all the area I want to paint with a stencil before I even begin to mix the paint.

All that to say, I spent Day 3 cutting more stencils.  The two full stencils I had barely covered one of the two pieces of fabric to be painted. With the Cameo, it’s not a difficult process to cut the stencils but it does take time. Time to cut and iron two sheets of paper together, then trim to size, then let the Cameo cut the stencil. Time that had I had a good iron I could have spent doing some actual sewing. But at least I was working towards the rescue completion of  this sewing project.

Simple Image Transfer; Aloe Vera and Canvas Gel

Although I do love to add design to my T-shirts, I’m not really interested in coping completed images from one source to another. I mean those great prepared T-shirt transfers aren’t really for me.  My issue with the prepared designs is that they are usually not “my” style or they are the same style of 20,000 others.  There’s more to it than just “can’t find one I like”.  I have a underlying desire to create and explore art.  Especially art materials.  But I’m not a particularly good artist.  I can draw — if I work hard at it and take a long long time.  I’ve found many many wonderful artistic scrolls, dings, and designs which I’d love to play with and are copyright free in Dover books.  I could draw these designs to my fabric but hate to invest the time.  It would take me forever plus I have a problem resizing.  What I’d like to do is some simple resizing  and change to outline format at my computer; send it to my printer and then iron the outline onto my fabric.  Once the basic structure is there, I enjoy and can easily flush out the design with paint.  The transfer sheets work but are a bit expensive.  Especially when I have to use the entire page to make a small design.  Transfer sheets also add a layer of  product which stiffens the fabric. Yes paints do too, but a paint designed for use with fabric does not impart the stiffness associated with the transfer sheets.

I’ve spent some time looking on the Internet (love those You-Tubes). Some of the ideas are great but so expensive I can’t contemplate using them. Others require equipment I don’t have (laser printers or thermal fax anyone?)   Doubtless someone will suggest  transfer pens and pencils.  I seem to be inept when it comes to those.  I either can’t transfer enough to see the details of my design or I transfer blobs that can’t be covered up. So I’ve been keeping an eye out for something simple. Something I can do easily, quickly and cheaply. I think I found it.

The first You-Tube which started-my-wheels-turning demonstrated using the wax sheet which supports mailing labels.  You buy a package of Ink Jet laser labels and remove all the labels from one of the sheets. Just get rid of them–you want the supporting sheet.  Then you print your design to the wax sheet. I happened to have a few almost empty sheets of labels.  My first wax sheet crumpled in the printer so it was necessary to clear off a second.   The design printed but rather lightly, so I ran the paper through the ink jet printer a second time.  I cut a rectangle of cotton fabric and spritzed it with water– enough to dampen all over but not sopping wet.  I pressed the fabric to remove all wrinkles and then laid the printed wax sheet face-down onto the right side of the fabric.  I burnished the back side of the wax sheet with a popsicle stick.  A spoon is recommended but I didn’t have a spoon handy when I got to this step.  I think the popsicle stick worked fine.  Because I ran the wax paper sheet through the printer twice the print was a bit blurry.  I still have a clear enough image to paint.
I did have concern about placement of the design. I’m pretty specific about how I want an embellishment to appear.  Probably too many years using machine embroidery in which I can control to-the-thread where a design is located.  I was really encouraged by the simple process above which did not require heat.  I added heat only to ensure the fabric was wrinkle free before making the transfer.

For my second attempt, I pulled out an over-head transparency.  These things must be nearly indestructible. At one time businesses stocked them by the case.  Everyone who talked to a group wanted a printed transparency to help illustrate their points.  For gosh sakes,  artists were employed to create some of these.  The plotter was a god-send as transparencies could now be beautifully completed by machine in mere hours rather than weeks. Then they fell by the wayside, disused and unwanted. Trash because projectors could be connected to computers displaying the work file.  Out-of-date transparencies were a thing of the past.  Eventually, businesses discarded their stock of  transparency media which is how I wound up with a couple of boxes.  I wanted them because they helped with placement of machine embroidery designs.  I used the transparencies sparingly for many years. Sparingly because they are expensive to replace and often a close-enough embroidery placement is good-enough.  Only those designs which I split and needed precise recombining warranted a transparency.  I switched from transparency to Vellum.  Vellum was transparent enough to see though to align my embroidery designs and lots cheaper. 10 sheets cost $7 ($3.50 with a 50% off coupon) and the ink doesn’t smear.  I had to let transparencies dry before bringing them anywhere near my fabric.  Otherwise I’d have ink smudges in the worst possible places of course.  The remberance of which suddenly prompted me to try the image transfer process with a transparency.

Using the same design, I printed to a transparency sheet.  Once again I ironed my fabric rectangle and sprayed with water until evenly moist but not wet. I placed the transparency ink-side down onto my fabric and burnished but this time with hard-rubber brayer.  I think I like the popsicle stick better.  With the brayer I seemed to wiggle the transparency. Fortunately not enough to ruin the transfer.
I started painting this test mostly because I wanted to see the effect of mixing Aloe Vera with fabric paints.  I wanted to know if Aloe Vera changed the color or would just thin the paint.  The consistency of paint + Aloe Vera is good, almost the same as paint straight from the container. But it does seem to change colors almost as if adding white.  I combined Aleo Vera and Canvas Gel (liquid) with different colors.  Both products have interesting transparent results. Aloe Vera seems to have an effect upon hue whereas the Canvas Gel does not.

Either the label sheet or transparency can be reused.  I wiped both with a damp rag.  There is still some residue of ink on the label sheet. The transparency is completely free of any ink.

Simplicity 2599 Update

I’m still working through my issues with this project.

I’m not entirely satisifed by merely removing the color and I have those spots to address.

I did some experimenting thinking maybe some smaller ferns
or golden birds

maybe some additional paint
maybe clusters of spots.
I ended up loving the effect of SoSoft fabric paint in the Renaissance Brown much more than gold.
Most of the spots disappeared after allowing the fabric to dry 24 hours.   But some remained and I preferred adding circles to adding ferns.  But once again this project has bitten me.  After carefully stenciling perfect circles in 2 sizes and allowing the paint to thoroughly cure, I found this:
I’m stuck again.  I don’t like one wobbly circle.  I don’t want to add more circles. I think I have the perfect amount to compliment the design without detracting from it. I don’t want to try to make the other circles wobbly. What do I do……………………..

After the Wash…

I promised updates to my experiments with image transfers and the gel medium posts. I had fun playing with these products and ideas.  Also, it’s a great stress buster.  I find that I become completely absorbed in the process.   If I was a real artist, I would have been totally satisfied. I would have kept track of my results so I could use the techniques when I wanted them.  But because I’m a dressmaker, I need to take it an extra step.  I need to know what happens if my “artwork” is laundered.

Let’s start with Image Transfer.  To recap, at my HP1401 printer  I printed an image:
on transparency paper and then immediately transferred the image to fabric which had been coated with Liquitex Matt Heavy Gel Medium.
The result before the wash was a soft, fuzzy print:
which barely survived the wash:
My initial conclusion is that this is not a good process to use with garments which will be laundered. It might be OK with purses or other craft items which will be used and discarded.

I also tested a new-to-me marker, Sargent Art markers. I specifically wanted to know if these were colorfast so my test was 3 phrases and application of Liquitex and a fabric medium tested some time back.
After the wash:

I was quite surprised.  The “control” sample tells me that by itself, the marker is not color fast.  It faded some during the first wash and will probably continue to fade until gone.  Jump to the last phrase “Fabric medium”  I expected this to be the brightest and best after all it was overwhelmingly successful with watercolor pencils. It s not as faded as the “control” but not nearly as preserved as the “Gel Medium” coated phrase. Additionally, while both mediums affected the hand of the fabric, Liquitex Gel Medium has a softer hand!

I also mixed gel medium with acrylic paints and applied to the fabric using stencils, foam daubers and brushes.  I’m completely sold on Liquitex Gel Medium as an additive to acrylic paint:
The colors are bright; the shapes crisp AND the hand of the fabric acceptable.

I also had tried the image transfer process as an outline that would be painted into or embroidered i.e a base form for other processes. My sample, while not completely colored in, was satisfactory before the wash:
but thought-provoking after the wash:

Nearly all the color has disappeared while the black lines have softened and faded.  In my samples, it wa not sufficient to apply Liquitex Gel Medium and then add color.  Neither the colors of the ink jet print out nor the markers were color fast. BUT were color fast if they were top coated with the same product. I’m afraid a garment would be uncomfortably stiff if I created a sandwich of gel-color-gel.  It might be acceptable in small amounts. Truthfully, if it’s small amounts, I’d rather use machine embroidery.  I’m sort of looking for process that I can use BIG like covering most of the garment without spending a week changing thread at the embroidery machine.

Now, like a real artist, I can put these samples into my book along notes of what I used and how I used it.   In the very least, I had an enjoyable experience.  Like removing color, this may take some thought before I can decide how to incorporate it as an embellishment for dressmaking.