A fun little poll!

Juliana Imai & Allen Tsai Ad Campaign for ESPRIT, Spring/Summer 2010

This is Juliana Imai and Allen Tsai's 2nd ad campaign this season. They are both in the Benetton, Spring/Summer 2010 ad campaigns too.

Models: Juliana Imai (Ford) & Allen Tsai (Next)
Ad Campaign: Esprit, Spring/Summer 2010
Photographer: Barnaby Roper
Stylist: Soraya Dayani
Hair and Makeup: Valery Gherman

Source: Espirit.com

حسب موقع الفيفا : مصر تحتل رقم 10 في تصنيف شهر فبراير عالميا لاول مرة في تاريخها

لاول مرة في تاريخ كرة القدم المصرية والعربية يحتل فريق عربي المركز العاشر في ترتيب فرق منتخبات كرة القدم العالمية، بينا تعد هذه القفزة الثانية من نوعها على المستوى الافريقي حيث حقق فريق نيجيريا المركز الخامس على العالم عام 1994 .
وقد اعلن الفيفا على الموقع الرسمي ترتيب شهر فبراير وجاءت مصر في المركز العاشر بينما جاءت اسبانيا اولا والبرازيل ثانيا وقد قفزت مصر من المركز الرابع والعشرين الذي احتلته في شهر يناير بعد ان استطاعت الفوز بلقب الامم الافريقية لثالث مرة على التوالي (وللمرة السابعة في تاريخها) في سابقة تاريخية لم تحدث من قبل .
وتصدرت مصر الفرق العربية والافريقية لتصنيف شهر فبراير.

وتراجع المنتخب الجزائري الذي تلقى هزيمة مذلة على يد نظيره المصري (4 - 0) 5 مراكز في تصنيف الاتحاد الدولي ليحتل المركز الحادي والثلاثين بعدما احتل المركز 26 الشهر الماضي، وليخرج أبناء رابح سعدان من أفضل 5 منتخبات أفريقيا.

أفضل 5 مراكز أفريقيا:

10- مصر

15- نيجيريا

20- الكاميرون

22- كوت ديفوار

27- غانا

أفضل 5 مراكز عربيا:

10- مصر

31- الجزائر

55- تونس

59- السعودية

60- البحرين

No. 4 & A New Batch

This week I kept the Citrasolv/NatGeo collage simple and used only contrast to tell my story.

 

CS NO.4, 2-2-10, 16" x 18"

Because I don't want to use up all my WonderUnder on this series, to adhere this collage to its masonite substrate, I coated both the surface of the masonite and the backs of the papers I wanted to use with gloss medium. After they dried, I was then able to use my hot iron to collage the pieces down. 

I hit it with one coat of satin finish varnish to seal it. 

 

CS NO.4, 2-2-10, 16" x 18"

I've been going through a lot of papers to make this series and I still have six or seven re-purposed masonite pieces left to collage, so today, I melted another magazine. 

  

  

  

 

With this batch of papers, I learned from a couple of my previous mistakes and some slight adjustments yielded spectacular results. Last time, I got a lot of pages that were mostly black, and a lot more that all looked very similar to one another.

This time, I was more discriminating in picking my magazine- I sought one with a lot of brightly-colored photos, rather than one with darker photos and pages. Those dark, rich photos may look luscious in the magazine, but once the ink in them melts, they can become very black and indistinct.

The second thing I did, which took only a couple of minutes and, I think, made the biggest difference in my results this time as compared with the last, was that I went through the magazine first, page by page, and removed all the pages that had a lot of text and/or black areas. This helped to keep too much black ink from permeating every page in the melting process, and kept my colors bright and strong, and the patterning on each sheet sharp and clear.

Shu Pei Ad Campaign for Benetton, Spring/Summer 2010

The Asian girl in photos #3 & #4 doesn't even look like Shu Pei. Is that another Asian model or are the images over-Photoshop-ed?

Love the last photo with Shu Pei & Allen Tsai Shi-Han Hsiao (according to Models.com even though he doesn't even look like Shi-Han to me.)

Models: Shu Pei (Next) & Allen Tsai (Next) Shi-Han Hsiao (New York)
Ad Campaign: Benetton, Spring/Summer 2010
Photographer: Josh Olins
Stylist: Marie Chaix

Source: fadedcolours @ tFs

Busy Week!

I got a lot done last week and throughout the weekend, so lets dive in!

I started the week LWI some inexpensive muslin with some excess dyes left over from last week's silk experiments.

Pretty boring except for this one piece, which took on a look similar to indigo.

 

Better quality muslin would- naturally- have yielded better results, but I had the fabric, I had the dyes, and I wanted to use it all up.  These lengths of cloth will be prime candidates for stamping, stenciling and other surface designs sometime in the future.

Next, I played a bit with discharge paste on some of my previously hand-dyed fabrics. I've used the paste in straightforward color removal before, but last week I wanted to explore using it to replace one color with another. I stamped, stenciled and screened both plain discharge paste and paste mixed with textile paints onto this piece of previously hand-dyed, dark gray fabric.

 

 36" x 48" 

I found that I preferred stamping the paste on, rather than pushing it through a stencil. Initially, the paste used through my stencil seemed to sit where I'd placed it, but over time it absorbed into the fabric and spread out, leaving me with large, white-ish blobs. Disappointing, but a good lesson- I suddenly heard Melly Testa's voice in my head from an old episode of Quilting Arts Tv: "Work very, very dry."

I finished that piece of fabric off by painting deep red curved and circular marks onto it and then dyeing it a deep rust color.

It's unsuccessful as a wholecloth piece, in my opinion- it's too dark overall- but it has some really lovely details in it, so it's likely I'll cut it apart one day and use it in pieces.

I switched tactics and fabrics and, following Melly's example of working dry (though she was using thickened MX dyes in her demo, not discharge paste), I ironed a freezer paper stencil onto another smaller scrap of hand-dyed fabric. I squeegied the barest amount of clear discharge paste over the stencil, making sure it was absorbed into the fabric before gently removing the stencil. This worked to give me crisp, clean edges.

What I found really fun, though, was the neat texture you can get when you "color replace" a second image on top of an image you've already discharged.

 

Here, I've stamped a 50/50 combination of discharge paste and transparent red and yellow textile paints onto a dark green background. 

 

I chose these two colors to demonstrate the efficiency with which the paste works to remove the original color. If I had simply not used the discharge paste, and stamped red and yellow textile paints onto a dark green background, the yellow would have nearly vanished and the red would have read as a muddy brown. But because the (green) color has been removed, both the red and the yellow read clearly for what they are.  

Here's another example of using discharge paste to remove dye from a hand-dyed fabric (this time in an earthy green) and replacing it with two other colors- yellow and turquoise...

Using discharge paste to create surface design is simple and effective, and is probably going to become a staple in my technique repertoire. 

Continuing throughout the week with more textiles, I did one last experiment dyeing silk veils. Once again, I cut two large veils into 16 pieces, soaked them in vinegar, wadded them into meatballs and froze them.

The results were again quite lovely.

 

I'm now ready to dive in and dye ten very large silk panels, parfait-style. Look for a post about those (and the reason for my sudden interest in silk) in the next few weeks.

And remember the down-and-dirty image of this piece?

It has now become this...

... and is getting both hand stitching...

... and free-motion machine stitching....

I hope to have it finished by the end of the week or sometime next week.

Tomorrow, look for a post about my CitraSolv collage, Number 4 and for details about my new association with LQuilt. 

Until then, happy creating!

Juliana Imai Ad Campaign for Benetton, Spring/Summer 2010

Models: Juliana Imai (Ford) & others
Ad Campaign: Benetton Underwear & Beachwear, Spring/Summer 2010
Photographer: Josh Olins

Source: JulianaImai.blogspot.com