Module Two. Chapter Six.

 

Patterning of Fabrics – Shibori Methods Using Dyes

I chose two weights of white cotton to use for these techniques, most of my samples use the lighter of the two weights simply because this was easier to work with.

I used Dylon ‘Velvet Black’ cold water dye; half a pack (25g) mixed with 1.5 litres of water. The pack only instructed the addition of salt but I also added the soda and used the ratio suggested in the course materials. Many of my samples dried with stiff, chalky areas, these washed out but I wondered if this was because the soda solution was unnecessary or perhaps I didn’t dissolve the solutions sufficiently.

When mixing up the dye solution it appeared a deep indigo blue and I was very wary, especially having spent hours tying and preparing my fabrics. There was no need to worry though, the untied pieces of fabric that were left to soak overnight are a beautifully deep black!

The appearance of the dye solution did make the decision about how long to immerse the different pieces of fabric very difficult. I didn’t want to end up with fabrics that were all pale grey but nor did I want to risk immersing fabrics for too long and therefore lose all the patterning. I was very lucky, I have quite a good range of tones and some lovely patterns.

These are the images of my samples – each is numbered and has the tied/wrapped fabric alongside. I meant to photograph the fabric before dying but forgot but I think the tying techniques show up quite clearly – hopefully I can recreate some of them as I would like to try to achieve some darker pieces with a greater contrast in the patterning.

I have tried each of the techniques – tie and dye; tritik shibori and arashi shibori as well using a combination of the techniques.

This spiral stitching technique is very effective but pulling up the thread is hard work!

The image below shows all my tied and dyed fabrics with the plain black dyed pieces – this shows the range of tones achieved.

I haven’t completed the monoprinted fabrics yet, these will follow.

Module two. Chapter Five.

 

Patterned Papers

Monoprinting is a technique I haven’t tried before, I was very pleased with the results. I liked the fact that the results were not totally predictable, making a second print when less of the ink was on the glass has also given a pleasing range of tones in my patterned papers.

These first samples were created with ink using various ‘tools’ to make the marks.

Sponged ink using scrunched paper.

   Cardboard tube dipped in ink.

Edge of plastic card and tip of spatula.

Edge of plastic card twisted in circular movement.

Sponge applicators of different sizes.

Polystyrene packaging cut into block, stamped.

Marbling comb

These next samples are monoprints using printing ink.

Net ‘sponge’ torn into strips and laid on glass.

This sample taken straight from the glass to remove excess ink before cleaning – I think it is reminiscent of the creases found in the hide of animals such as elephants – a happy accident!

Another attempt with the net ‘sponge’ this time stretched over the entire glass.

There is a pattern taken from a sketch of alligator skin scratched into the ink with the end of a paint brush. I think my ink was too thick as the pattern is barely visible but I do like the black markings created when I rubbed the back of the paper.

A piece of thick card with small serrations cut into the edge.

Strip of thick card, corner and edge used to create pattern.

End of cardboard tube with grid created with corner of plastic card.

Second print.

Pattern scratched into ink with tip of spatula.

Second print this time slightly better.

Marbling comb used to scratch design in Gouache instead of printing ink.

Glue spreader – Gouache paint.

Second print.

These next samples are made using bleach on paper painted with black dye.

End of cardboard tube and edge of plastic card.

Reverse of above sample – I noticed the back when scanning these pages, some of the papers are more interesting on the back!

Drawn with a glue spreader.

Drawn with edge of plastic card.

Printed with head of a spatula.

Cotton bud.

Plastic card twisted in circular movement.

Module Two. Chapter Four.

 

Drawing Patterns from Animal Markings.

I should declare that drawing scares me! This chapter has given me much more confidence as I have spent quite a lot of time on these little sketches!

My difficulty is thinking I have to produce perfect representations, as I began to focus on the line patterns rather than the image as a whole I became more relaxed and a lot looser.

I can’t say that I am completely happy with the samples I have produced; the drawing was a good starting point though as when I produced my dyed fabric samples I could see how some of them related back to my drawings. In other samples I saw markings that led me back to find images and produce drawing samples so it has been quite a cyclical process.