Turned, kneaded and manipulated....

Continuing with precision dyeing, the final posting on this subject....

9. Depending on the amount of fabric being dyed, I start adding the salt solution at about 5 - 10 minute intervals. Each time I do this, the fabric is completely removed from the dye water, and a portion of the salt solution is added. This could be in two to four portions depending on the volume of salt. I keep adding more boiling water after each portion to dissolve the next layer of salt. It is very important to remove the fabric and thoroughly stir in the salt each time so that when the fabric is returned to the dye bath it receives the salt equally. Once again continual stirring is important - turn, knead and manipulate!

10. Then it is the turn of the soda ash, same thing, lift it out, add some of the soda ash solution, stir well. Because there is a lesser amount of soda ash, this goes in as two - three portions.

At all times keeping the fabric moving is paramount for complete even distribution of colour.

11. Once all the salt and soda ash have been added, I will leave everything to soak for about 30 minutes, returning every five minutes or so to give a stir.

12. Finally, the dye water is disposed of, the fabric gets several rinses, first in cold water until it is nearly clear. Then a hot water rinse or two as this usually releases more surplus dye. Finally I put it through a hot water wash in my washing machine. After this it is pretty much colour fast or as near as it is ever going to be. To get it back to a 'bought' fabric finished, the fabric is ironed dry. Never dry and then try to iron - crinkles can be very stubborn! With some of the heavier fabrics I will give it a burst in the drier to take away some of the dampness. Often I will iron once, leave the fabric to 'air', then iron again.

All this may seem somewhat over the top but to get a result so that a roll of hand-dyed fabric is indistinguishable from the commercial fabrics is the intention. The client gets the colour and depth of shade they desire (well, 99% of the time!) and everyone is happy!

I have related these techniques to silk but they are the same for cellulose fibres ie cottons, linens, rayons etc.

I hope these blogs on this subject have been of use. Some of you have commented that they have been helpful and I hope your own dyeing experiences may be enhanced with what I have explained. You are very welcome to follow these procedures but also be aware that it still takes heaps of experience to get to this point. I appreciate that not many people need to be so precise.

To finish, something entirely different. I have just returned from spending time with family in Rotorua. It is wonderful to get absorbed into family life again. The photo is of Taria and Jessica, grand-daughters and cousins, training to be artists...

Precision Dyeing continued

I want to pick up where I left off with the blogs on precision dyeing. The last blog on this topic, Seasons Greetings had the dye powders dissolved in water, strained to remove any undissolved dye, and the fabric wetted out.

7. At this time I will also prepare the salt (uniodized) and soda ash solutions. The amounts are worked out according to how much dye is being used. Simply, the salt pushes the dye into the fibres, and the soda ash makes it stick. For the 100gms dry weight of the fabric ie WOG, I need 135gms salt and 18gms soda ash. These I dissolve separately in boiling water. Salt is quite hard to dissolve (in cooking it gets absorbed by the food); the soda ash needs a dash of cold water first before adding the boiling water as it does have a tendency to fizz. The quantities of boiling water are sufficient to dissolve both the salt and the soda ash and this makes it easier for the fabric to absorb.

8. The volume of fabric to be dyed dictates the size of the container, it is important that the fabric has plenty of room to be manipulated in the dye bath. Although the Procion MX dyes are cold water dyes I am somewhat of a wimp and use hot water from the tap! Into this I add the dissolved dye and thoroughly stir to distribute the dye evenly. Then the wet fabric is immersed and the action starts - from now on the fabric is constantly on the move, it is turned, kneaded and manipulated so that the colour is spread evenly across the whole length (remember this is precision dyeing and needs to be like a 'bought' fabric - this is not tie dyeing!)

And just so I can give you some pics, the following show the value of keeping records! In all cases I am referring to the swatch second from left, which is silk:

Procion MX Navy Blue comes out lavender...

Procion MX Deep Purple comes out Cerise...

... and one part each Procion Mavy Blue and Turquoise HZ gives me a purple. I am not sure when I discovered that these two colours gave me a purple on silk but it was a relief to finally get a purple.

Artists' Sunglasses

During last October I was able to attend some of the films offered at the Italian Film Festival. One film "A Matter of Heart" offered a gem of an idea as well as being a delightful human story.

One of the characters was a middle aged writer who became a mentor for a young lad of about 12 years of age. One day these two were strolling through an open air market somewhere in Italy, and the young boy asked his friend how he could become a writer too. The older man spied a stall offering sunglasses and promptly purchased two outlandish sets. He then sat the boy down, they donned their glasses, and he asked the boy 'what did he see?' The boy responded, along with prompting, by describing the scene, people and scenarios about what he was viewing. The boy was then told that he now had a story and his new sunglasses were to be his 'writing' sunglasses.

Further on in the film this young boy was spotted on numerous occasions, putting on his special 'writing' sunglasses and peering at the scenes around him, intently absorbing, recording and questioning what he saw.

In the context of this film, this subplot was very meaningful, but it did get me feeling that visual artists need such a tool, we each need a pair of 'artist sunglasses' too. Whether we in reality have a specific pair of glasses, or whether these glasses are locked in our imagination, we can use them as an aid to focus on what we are seeing. They may become a powerful aid in helping us to concentrate on what we see and hopefully transpose our seeing, thoughts and feelings into our art. So next time you are having an artist blank, imagine putting on some outlandish sunglasses and focus the mind and sight, it may just work!

To all of you, the very best in art making for 2011... let's make it a great one!

Did you know...

It is still the festive season, and high summer holiday time for many of us here in New Zealand. I am trying to take some time out but haven't succeeded just yet, however I feel the next few days will be more relaxed.

Herewith a couple or three 'did you know' facts that may interest you:

We all know of the fabric which we call corduroy, it being constructed with vertical ribs. But did you know where the name came from? Early temporary roads, particularly over soft ground, were made from laying logs of wood cross ways. There were called corduroys or cordways. I suspect this method is still used in appropriate circumstances. Also trousers made from corduroy are often referred to as 'cords'.





Why do we call trousers 'trousers' ie plural? In earlier times trousers were two separate garments ie one for the right leg and the other for the left leg. This could be cost effective if one leg became damaged!



And do you know why 'plus fours' (those shortened trousers worn traditionally by golfers where longer trouser legs may get caught up in the swing) are called plus fours? In earlier times men's underwear had longer legs than contemporary underwear, and this style of trouser was made four inches longer than the underwear, hence 'plus four'. One could also have 'plus eights'; and both are often made from corduroy.

Giving

We don't need to be reminded that now is the time of giving, and receiving. During the week before Christmas I managed to complete my second knitted blanket, and delivered it to the local Women's Refuge for passing on to someone in need. Much of the wool has been donated (I am continually scrounging for knitting wool!) and I am just the 'machine' that knits it. This is one of those lovely win win situations.

Seasons Greetings

I don't do much in the way of Christmas trimmings, although I enjoy what other people do. My attempt above wraps some of my art tools in Christmas decorations. All the very best to everyone for the festive season and the New Year - may 2011 be an extraordinarily creative one for you all.

And just a wee bit more on precision dyeing of fabrics.

5. Once the dyes required are selected and weighed, paste them with hot water from the tap, add some more and stir well to dissolve all the powders. Some dyes are notoriously hard to totally dissolve, so after giving the dye water some extra time to dissolve any difficult powders, I then strain it through the toe of a pantihose. Any undissolved residue is then discarded. The worst colours for leaving undissolved powder are anything containing reds ie browns, purples, navy and of course any of the reds. If straining is not done, the undissolved powders will 'spot' any dyed fabric.

Dye water being strained through the toe of a pantihose.

6. Fabric awaiting dyeing must be thoroughly washed to remove any manufacturing dressings. This is essential with the plant fibres eg cottons, linens etc, but oddly enough silks do not need to be pre-washed although I give them a good soaking before dyeing. All fabrics need to be wetted out before starting the dyeing process.

That is all I will write on this topic at this time. More in the New Year. I hope you are finding this useful. Even though you may not be into precision dyeing, perhaps some of what I write is new to you.

I will blog on and off during the holidays, with things befitting to the season.

The biggie - how to read colour

We know the colour we want, there may be a swatch of another fabric, a magazine cutting, a flower or you-name-it, colour is everywhere. Achieving that colour in hand dyed fabric is a challenge; skills in 'reading' colour need to be developed. Just as a musician is able to recognise individual sound notes, or the way a mechanic tunes a vehicle, the visual artist needs to be able to analyse colour to reproduce it. One of my favourite pastimes on long drives is to concentrate on the colour of the car in front of me, and 'read' the colours to determine how I would reproduce this, it works!

We all know that there are warm and cool colours, we also know that there can be a warm red and a cool red, a warm green and a cool green. Being able to look at a colour and separate the many individual colours that come together to produce a colour is the next step.

There is also the intensity of the colour, is it at full intensity; or is there less intensity, a paleness or lightness of the colour?

I have a range of Procion MX dye colours which total 28 - they include 4 reds, 2 yellows, 2 blacks, 6 blues and 4 greens, plus a further range of individual colours. I know these colours intimately - I have been working with them for about three decades. If I was to be given a different set of dyes I would have to start all over again!

Everyone of these dye colours is made up of a complex selection of colours, and in various quantities to make that individual dye colour. When faced with a new colour ie it isn't in my range of colours already and this is in most cases, I need to determine what dyes to combine, and how much of each. Usually I start by selecting a main colour, then the others that will blend to make that colour. Recording quantities/proportions is paramount. And the intensity? Full strength for a strong colour, with less for paler colours.

My dye Record Chart which I use to record new colours. The colours used were Blue G, Soft Orange and Deep Purple. The swatches from the left are cotton, silk charmeuse, silk/rayon velvet and silk organza. Remember how I said it was so important to know that makeup of fabric? These four swatches all came from the same dye bath.

How does this all work?

3. I have determined the weight of the dry fabric (see previous blog), and for this example we will use 100gms (WOG). I have also decided that I want the colour to be quite intense, a good strong middle range is 5% DOS (depth of shape).

4. I have a pile of file cards each recording how much dye, and the chemicals that are required to achieve an outcome on fabric weighing in at various amounts from 25gms to 1000gms. It says that I need 5gms of dye in total for the 100gms dry weight of fabric. Referring back to my warm brown colour above, I therefore need 2.5gms of the Soft Orange, and 1.25gms each of the Blue G and Deep Purple. (Apologies to those who work in imperial quantities, but metrics are so much easier!) It is essential to weigh dye powders and not work with volume eg half a teaspoon etc, as all dye powders weigh in at different weights eg 5gms each of two colours may look, in volume, completely different.

My dye quantity record cards.

More next blog....