Resist Dye: Shibori, Tie Dye, Ombre

Resists prevent dye or paint from penetrating fabric.  This protects the current color of the fabric.  For example if you start with white fabric the area that is protected will remain white.  There are a variety of resists available depending on the effect you are trying to achieve.

Mechanical Resists:  may include a variety of waxes, starch, glue, or gutta to form a barrier that prevents dye penetration.  Some of the ways these resists can be applied are by brush, stamp, screen or stencil.  After applying the resist and dye in alternating steps the fabric is set and the final step is to remove the resist from the fabric.

Physical Resists:  use binding, clamping, wrapping, stitching, knotting or folding to prevent penetration of dye, paint or chemicals into the fabric.  This technique includes tie-dye, shibori (Japan), plangi (Indonesia), bandhani (India).  The result of these techniques gives a distinctive blurred edge between the dyed and resists areas.  After applying the resist the fabric should be soaked in plain water to swell the fibers before dying to help in the resist process.

Now we will be working with physical resists, later when we are painting on silk we will be using mechanical resists.

Suggestions:

            1.  Bound Resists:  fabric is knotted on itself or pulled up and tied with string,

                        rubber bands, elastic or cord.  Small beads, buttons or other objects

                        can be tied up to create a pattern.

            2.  Clamping:  fabric is folded in two or more directions before clamping between

                        wooden blocks.  The size and shape of the block and method of folding

                        determine the pattern created.  These patterns are easily reproducible.

            3.  Pole Wrapping:  in this technique fabric is wrapped around a pole or pipe,

                        wound with string, then pushed down to compress and resist.  The fabric

                        can be wrapped straight, at an angle, in layers or as a sewn tube

                        depending on the desired effect.  Dyes can then be dripped, painted or

                        poles can be immersed in dye pots to color the fabric.

            4.  Shibori/Stitching:  hand or machine stitches are gathered very tightly to form

                        the resist.  Stitches can be made in flat or folded fabric.  The thread should

                        be strong enough to be pulled tight.  A heavier thread like buttonhole twist,

                        carpet thread, crochet cotton or waxed thread are better than regular

                        sewing thread.

All of these techniques may also work in the reverse if starting with a colored fabric and then using a discharge to remove color in the areas not reserved by the resist technique.

A few stitching techniques:

Test #4 Resist Dye

Materials:     Tied, Clamped or Sewn Fabric Samples Labeled to identify

                        Water

                        Dye Stock

                       

Technique:  Soak samples in plain water before adding to dye bath (10 min. or so) to aid resist

                                   

Add fabric and stir occasionally for 10-30 minutes(longer time=darker color).

After 30 minutes remove fabric, rinse until water is clear and dry.  You may remove the resist materials before drying.

You may also want to try using two or more colors by retying or reclamping and putting your sample into a second color.  These techniques are very effective when using color remover between colors.

Record your results and mount your fabric samples in your technique book.

Test #4 Ombre

This is a French term meaning “shaded” or gradated in tone.  This may be accomplished by going from light to dark or tone to tone. 

            To go from light to dark:  prepare your dyebath, add fabric and quickly remove the first few inches (this all depends on how and where in a garment of fabric you want the gradation to begin) and continue to slowly pull the fabric from the dye.  If the color is not attaining the depth of shade that you require it may be necessary to add more of the dye.  The other option is to slowly lower the fabric into the dyebath, but it is harder to see the results.

            To go from color to color:  there are many ways, but basically prepare two dyebaths, add each end of the fabric to one dyebath and in the middle shift the fabric back and forth between the dyebaths to create a blended color.

This technique will work with many types of dye and appropriate fabrics.  If you are planning a garment and want the placement of the ombre in a specific location it may be necessary to cut the garment and partially sew before dying (for instance:  you want the dye line on the sleeve to match placement on the garment and front and back to match precisely).  To get a softer blend on large pieces of fabric it would be beneficial to wet out the fabric before dying to slow the absorption of dye.

Stamping, Stenciling and Silk Screen

Block Printing-Stamping

Block printing is one of the earliest forms of printing.  By 400 BC India was exporting fabrics to China and by the Middle Ages trade was established in Europe.  As the printing method developed commercially the blocks were made in different wood for different purposes.  The  design stands out in relief on the surface of the block, with a different block for each color of the design.  The block is pressed onto an inked plate or pad and the applied to the fabric surface. 

When designing for a block print or stamp remember that whatever is raised off of the surface is what will print-it is a very direct form of printing.  You can design your print to have different colors, but think about how you will register (line-up) the designs.  This is particularly useful  for adding texture or random pattern to fabrics.

Stenciling-Silk Screen

Stenciling begins with cave painting and prehistoric man placing his hand on the wall and blowing color on and around it leaving the negative image of his hand.  Through the centuries many forms of stenciling have been used, but the invention of paper by the Chinese created an easy material to use when cutting stencils. 

When designing for a stencil remember that what you cut away is what you will see in your design.  Stencils are somewhat easier to register, especially with the clear plastic that many stencils are cut from.  You can make multiple stencils that work together to create a design, each with its’ own color or you can paint multiple colors on different openings of one stencil.  Remember when using a stencil brush the color from the edge to the interior to prevent color from bleeding under the edge of the stencil.  Part of the charm of block printing and stenciling is the fact that they look hand made-don’t fight the process, but use it to your advantage.  The unique look and texture of these processes should be considered a selling point in a mass production society.

If you want or need to have crisp lines, text, photorealism then you should use silk screen.  The process can be as simple as a paper stencil applied to a screen (usually good for 20 to 40 prints) to commercially prepared rotary screens that can print thousands of yards.  We will explore the low-tech end of silk screen-something you can do easily at home.  If you want to have a more complex design, but do not have the equipment to expose a photo screen there are silk screen shops in every large city that will make screens for you with your art work.

Again when designing for silk screen what you take away from the design is what will print.  Color separation (dividing the design into different color areas) is necessary since you need one screen for each color printed.  There are a lot of tricks to designing repeats and line ups in silk screen, but we are going with a basic paper block out.  If you build your own screens you can use a lacquer film bloc, paint on block out like varnish or shellac or commercial block outs.  I find it easiest to use commercially available water based pigments for printing, but thickened procion dye works well also-it is just more work mixing the colors and they cannot be stored and used as long.

Remember these techniques (Stamping and Silk Screen) are opposite of each other in how they print.

Silk Screen prints what you cut away and Stamping prints what you leave.  With silk screen lettering is cut out as you want it to read, with stamping lettering must be reversed to read properly.

Test #6- Stamping

Try some of the wooden blocks or foam stamps that we have available and create one of your own using the self stick foam and foam backing.  You can make any size or shape and multiple stamps if you like.  The advantage to stamping is freedom of alignment and being able to flip and rotate your motif.  Remember whatever is raised off of the surface is what will print.  You may also make stamps from found objects, vegetables, textured surfaces-anything that is a relief surface that can be pressed onto a surface after being inked.

1.  Using a stamp make a record of the basic networks on paper:  Square

                                                                                                                    Brick

                                                                                                                    Half-drop

     4” X 4” minimum- cut out mount & label on page                           Diamond

                                                                                                                    Herringbone

2.  Using a stamp investigate some of the possibilities on fabric.

            A.  different networks/directional or nondirectional prints

            B.  flip and rotate

            C.  voids/packed/spaced                 Tip: remove up to 50% of your shape &

            D.  random/tossed                                   keep one edge straight if you want a rigid

            E.  over-printing                                      alignment-it will help you to register your print.

            F.  change in interval/stripes

            G.  hue/value/intensity (color experimentation)

Caution:  The pigment we are using is water based and will not harm your skin, though I would not put it in my eyes, but it is a textile pigment that works well on cellulosic and because it is a pigment also works on polyester.  Why am I telling you this?  Because your clothes will be permantely stained if you get it on them-it will not wash out even if you use bleach.  One of the tings to learn when working on fabric with dye or paint-No matter how messy the process looks you need to control it and be neat or you can ruin yards of your fabric or someone else project.

Record your results and mount your samples in your technique book.

Test #7- Silk Screen

Create a freezer paper design that you can apply to the silk screen (the ink will hold it in place).  If you have floating shapes be sure to keep them to apply to the screen, they can be held temporarily in place with tape until the ink adheres them to the screen. 

If you have multiple colors in your design you will have to cut an individual paper for each color you want to print(color separation).  The appearance of having multiple colors without cutting multiple screens may be achieved by “split fountain technique” or multiple colors in one screen.  These colors will blend and form new combinations of color.

Record your results and mount your samples in your technique book.

You may bring in your own T-shirt or other item to screen.  If it is a thin jersey place a piece of newspaper between the layers to prevent bleed through.  The ink we are using is good on 100% cotton or cotton poly blends up to 50-50.  After dry, iron on high with no steam on the print for 2-3 minutes to set the color.  It is then machine washable.

Test #7B- Stenciling

Create a stencil design by cutting from heavy paper or thin plastic sheets.  Ink, devore paste or other block outs may then be applied using a brush to transfer the pattern.  Remember to brush from the stencil into the cut area to prevent pushing ink under the stencil.  Stencils may be used repeatedly if wiped and allowed to dry.

All of these techniques may be used in combination and in a variety of ways to create the desired look