Chapter 6 Patterning of fabrics using dyes and paints

In order to build up a collection of patterned black and white cotton fabrics based on patterned papers in Chapter 5 and from drawings of animal markings in Chapter 4: 

• Collected a number of black and white cotton fabrics some with abstract patterns (see personal collection)
• Cold water dyed A4 size white cotton fabrics with Dylon black
• Monoprinting - Painted A4 size white cotton fabrics with black acrylic and clear fabric medium 

 Cold water dyed A4 size white cotton fabrics with Dylon black

Samples were made of

• Plain black pieces
• Shibori tie and dye
• Tritik Shibori
•  Arashi Shibori

The following handwritten sheets indicate the procedure followed to acquire a number of samples. (Taken from my sketchbook)

Here is a photo of me dyeing all item types

Health and Safety is noted in my sketchbook Chapter 6 page 6
 

Plain black pieces

I found that different intensity of dye resulted, between greyer versions of the first attempt and darker blue/black in the second attempt. (Each are labelled)

These were made alongside the Shibori samples

Shibori is a name given to several methods where tight pressure is put on certain areas to form a resist to the dye, in this case leaving areas of white against black.

Shibori 'tie and dye'

I must be the worst 'tie and dye' practitioner.
After at least three attempts I did not really suceed.
The following shows a photo of some prepared fabrics (four items on the right) and a couple of dyed samples, the best of a bad bunch.  I assume that I was unable to get the mix of dye, salt and soda correct and/or timing of the dyeing and drying.
The final scan in this section indicates some of the dyeing mixes I used.

The subtle lines are appropriate for slug and snail markings 

Tritik Shibori

For this the fabrics are hand or machine stitched to gather the fabric together, then the dye is painted using a brush at the edges and left to dry.
The first two photos show the stitching before and after the rows are gathered.  I only did handstitched samples.
The samples were left to dry overnight.
I particularly liked the results and felt that all seemed to reflect the slug and snail theme. 

Arashi Shibori

For this the fabric is wrapped around piping or in this case cardboard tubes (see two samples on the left of the first photo) sealed with cling film, tied tightly with string, gathered then painted with dye using a paint brush down the ridges.

They were then left to dry overnight.

Both samples were successful and seemed to provide an effect suited to slugs and snails.

Monoprinting -
Painted A4 size white cotton fabrics with black acrylic and clear fabric medium 
The following handwritten sheets indicate the procedure followed to acquire a number of samples. (Taken from my sketchbook)

Here is a photo of me monoprinting all item types

Health and Safety is noted in my sketchbook Chapter 5 pages 1 and 5

The following samples are itemised above and are in order: 
Samples MF2a and 2b, MF3a and 3b, MF6 (silk), MF7 (silk), MF8, MF9 and white acrylic with clear fabric medium on one of the grey dyed pieces.

                                                              

  

Of all the techniques in this chapter I enjoy the rapid results achieved with monoprinting, with more effective tonal variation.  I'm sure with practice the dyeing techniques will improve although I was very happy with the Tritik Shibori, in particular where tonal variaton was evident.  Also these achieved the markings I wanted.

Last but not least another paper design achieved by leaving fabrics to dry flat on it.  Maybe I could have done the same with some fabric!