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June 29, 2006

Work on the Sting Ray Outfit

Grace worked on the patterns and brought them to the studio.
SRmuslin+Grace.jpg
You can see her pinning the muslin for the jacket on the mannequin. The jacket will be made from black leather, including the sting ray leather, and the dress will be black silk with white shibori patterning
.

The design started with the sting ray leather piece which we decided would be in the center back.(We we also trying different placement for the shibori pattern on the dress)

SRmuslin+stingray.jpg

The curves of the sting ray leather indicated the shape of adjacent pieces. SRmuslin.back.jpg

But we wanted the over all design to be asymmetrical so the collar on one side goes down into the peplum. Both have a waviness that suggests the movement of the sting ray thru the water.
SRmuslin.front.jpg

We decided to reduce the left side collar to accentuate the difference. The sleeves and cuffs still need work. The dress to be worn under the leather. We wanted a flirty, feminine dress to contrast with the leather jacket. The dress will be made of the silk matelasse with the shibori stripes and silk chiffon or organza. The ruffles needed to wave like the peplum. Grace cut the pattern and then made a muslin (in some small overall print that was laying around). The organza worked better than chiffon for the waves.
SR. dress muslin.jpg
We changed the top so that the side fronts are separate pieces, that makes it easier to put some shibori patterning there. A surprise when the jacket comes off. Now the shibori patterning is an engineered design, that is the placement is dictated by the placement on the garment. So I am using a string to layout the lines on the skirt pattern.
SR. eng.design.jpg

The line on the top piece were a little less clear. A curved line would probably looks best but the stitch pattern is based on even spacing, the curve will change the spacing. A straight line design, easier to make , might go off the pieces. I'll just do both.
SR. eng. top.jpg

Now to cut the fabric and layout the stitching lines on the white cloth. First the skirt.
SRmarking.jpg

Then the top, two different designs.
SR2top.pcs.jpg

Next each line of shibori patterning is folded and marked with a template. The stitching patterning is up at this dot down between... so the marks are required.

SR.template,marks.jpg

Then stitch and gather each line.
SR.stitched.jpg

All the stitching on one piece is completed before gathering, just so you can see the next line. With this stitching pattern it gathers into scallops. It is then gather as tight as possible and tied off, ready for dyeing.
SR.gathered.jpg

Off to complete the rest of the stitching.

June 28, 2006

More about black and white

We had a DYE DAY yesterday and I tried the new Procion MX dye from Pro-Chem , #609. I got cold feet about trying it on my carefully stitched T-shirt because of my previous experience.

I took another T-shirt and finger pleated, a la tie-dye, and bound it up with string. Five minutes work at risk to test the black. It soaked in water while I prepared the dyebath. I had the dyebath at 35C, so I took a short cut and dissolved the dye directly in the dyebath. I then immersion dyed it following Pro-Chem's instruction for MX. It used up the whole sample of dye I had, it always take a lot of dye for black. I then washed it before untying it.

Wet it looked black, then wet they always do, but open there were blue halos around the resisted white areas. cotton blk.jpg
Not exactly the black and white I had been aiming for. Dry the black ground looked pretty good--even,maybe a little aged looking. While studying the resists I saw some firespots--areas where undissolved dye contacts the cloth--caused by undissolved red dye.
firespots.jpg
No short cut goes unrewarded!

I thought this black was a pretty good neutral black so I got out my matelasse black and white samples I made for the sting ray outfit and compared them.silk:cotton blk.jpg.
Beside the black on silk the black on cotton is disappointing. It is hard to match the black on the silk matelasse--this stitched shibori gives a truely black and white design.


June 27, 2006

Entwinements scarves and shawls, prices

brightthyme.jpg


Entwinements makes a line of colorful, pleated shibori scarves and shawls which are sold at indoor, fine craft fairs (see UPCOMING SHOWS) and a few special shops. The line has:
•star scarf, $130
•shawl, $260
•giant star, $260
•opera shawls, $500
•quetzalcoatl,$375
•medium feather pleated, $450
•feather pleated wrap,$1000.

An extra shibori dyeing adds to the price. For example, a special opera shawl, that has an extra layer of capped shibori sells for $550.

As a special treat to those who show up at our booth, we have available there some small scarves (a normal size scarf-14"x 60"- pleated looks quite small) at $55.

A selection of one-of-a-kind pieces, more exotic and experimental, are also available at the shows.

MATERIALS: these are 100% silk. A few styles are finished with glass beads. All have a brass logo sewn on as my signature.

TECHNIQUES: arashi shibori and the texture has been set, leaving the finished pieces pleated.

SIZE: I always have problems with this logical question.
It is easy to measure the silk before I pleat it but after it is pleated I have troubles.
All the scarves of the same style are the same size before pleating, after pleating they are much smaller and difficult to measure. Each pleating can reduce the size of the silk to about 1/3 of it original size. Some our pieces, the feather pleated ones, are pleated twice and shrink twice. So we start out with really big sizes of silk so that when we are done pleating they still have enough substance to look like something. Pre-pleated sizes are easy to measure and reproducible but misleading because the finished pieces will look much smaller.
If the today's pleating is at a different angle or a different rhythm today's scarf will appear to be a different size than yesterday's. How far open to do stretch the pleats when you measure. The point being that I can not give numbers that accurately describe the finished size.

We current produce the following styles:

The star scarf is a nice size for around you neck. It has built in points that give a very avant-garde look. This scarf is made from one yard of light weight china silk.

The giant star is a larger (3X) version of the star scarf and can be worn as a scarf or opened more and worn as a shawl. This is made from 3 yards of light weight china silk.

The shawl is a more traditional shape, is frequently worn as a scarf with jackets but will cover the shoulders nicely. It is finished with glass beads. It is made from 2 yards of wide light weight china silk.

The feather pleated scarves are pleated twice and I thought the complex pleats looked like the structure of the feathers I used play with. This condenses the silk more and makes the colors richer. This is made from light weight china silk 4 yards long.

The newest feather pleated style is the quetzalcoatl. Sorry, these are so new no professional photos yet. This has two layers of soft organza and is double pleated. The organza is sheer and has a matte finish. Each layer was 6 yards long initially. This is a long narrow scarf that spirals around and appears to have a round cross-section. It reminded me of a plumed serpent; Quetzalcoatl was the plumed serpent god of the Aztecs.

The largest feather pleated style is the wrap. This is a large piece, it will envelop you and keep you warm or make you look grand or maybe both.

Opera Shawl and feather sets
(the two pieces are dyed together at every step of the process) can be part of the line but more often are one-of-a-kind. Opera shawls alone are available in the basic colorways.

Dye Names

I wrote an article for SHOPTALK, a column in the Surface Design Association's newsletter called A Dye by Any Other Name... that is interesting to any one trying to dig out technical information on dyes.

June 26, 2006

Black and white on cotton

Tomorrow we will have a DYE DAY here at the studio. This is a day when we dye for ourselves. We also invite a few nearby friends and occasionally one shows up.

I hope to get some black and white T-shirts to expand my summer wardrobe. It needs to be black and white, with maybe shades of grey but black, white, grey and pink would not be acceptable.

Getting black with any dye can be a challenge. It is easy to get dark grey but getting dark enough to get a black, ahh--- that is a real achievement. Then there is the color of black--- some blacks have a blue cast, others a red cast. Getting a neutral black is another piece of the puzzle. For me, getting black on cotton is much more difficult than getting black on silk. This is because the acids dyes that I use have a manufactured color that is a neutral black. Fiber reactives dyes, that are commonly used on cottons, have no black dye.

So a black fiber reactive dye for cotton has to be a mixed color; typically navy, gold and some red. Getting the right mix for this substrate and for this dyeing process is tricky. It is not a simple as buying a mixed black, a small change in process, say letting the dye-bath cool during processing instead of holding the temperature constant, can change the relative fixing of each dye color and the black has a red cast. So there are many different black mixes available and I have at least 3 different formulas that I mix myself.

Getting black and white, on cotton, in shibori is even more complicated. Shibori depends on diffusion of the dye for its fuzzy edges and each dye has a rate of diffusion dependent on its molecular structure (this is the basis of chromotography). Since a black mix has 3 dyes with 3 different molecular structures, the dyes tend to separate when they diffuse creating halos of different colors.

This is not a theoretical problem, it is a re-occurring one for me. Here are some pictures of my last attempt at black and white shibori on cotton.

I started with a cotton handwoven shawl from Colombia. I scoured it to remove naturally occurring pectins, spinning oils and any sizing used in weaving. The damp cloth was laid out on a flat surface and finger pleated across the width. The pleats were tied. The pleated, tied areas were alternated with untied sections.
cotton handwoven.tied.jpg
It was then dye black in an immersion bath. As you can see I got a reasonable black (I think the cloth is still wet in the photo). Note that the cotton string is a different color.
cotton handwoven.dyed.jpg
Opened, washed, dried and ironed the shawl reveals the dissapointing results.
cotton handwoven.overall.jpg
Here we see that the black ground is good but there is PINK. The pink becomes the dominate color and the impression is not black and white. Here are some details:
cotton handwove.detail 1.jpg cotton handwoven.detail2.jpg

Clearly there is black, white, grey and PINK halos!

So for tomorrow I have some T-shirts stitched and a new deep black mix of Procion MX dye from Pro-Chem , #609, an new formulated black (different red) of Cibacron F and and old black mix of Cibacron F. In the morning I will test all three with my process on cotton jersey and then pick which one I will try on the T-shirt in the afternoon. One more go at black and white on cotton.

June 22, 2006

Contact details

ENTWINEMENTS
and
the Studio of
Karren K. Brito
111 Allen
Yellow Springs OH 45387

karren@entwinements.com
office/ voice & fax:937.767.8961

Yellow Springs is not a highly traffic place so you may want to contact me when I am closer to you. I make 8-10 trips to various places in the US each year, mainly to do fine craft shows( see fine craft show schedule). I try to go to a different place each time to make myself available to the largest possible audience. I take an ample selection of my shibori with me when I go to do shows but if you want something special you can contact me ahead of time and I can bring it with me.

I seldom teach workshops now, because of the additional time away from the studio, but do enjoy giving lectures on a variety of topics; dyeing, shibori, or shibori dyeing in the Ancient Andes.

June 19, 2006

Indigo and a Simple Vat

indigo ferns(sm) .jpg

This is my shibori on cotton T-shirts. Indigo and shibori are natural partners. The Japanese shibori still being made in Arimatsu Shibori is mostly indigo on white cotton. I am including some simple instructions for making an indigo vat. This article was orginally written and published as a SHOPTALK article in the newsletter published 4 times a year by the Surface Design Association. Indigo is not a simple subject so I expect to revisit it.

indigo rosettes(sm).jpg

DYEING with INDIGO


Indigo is an ancient and unusual dye stuff. Egyptian Pharaohs buried their dead in indigo dyed cloth. Indigo has a long history in Africa, China, Japan and India, where it is recorded in four thousand year old Sanskrit documents. Ancient Andean textiles are even tie-dyed with indigo. Several plants, indigo and woad, produce the dye stuff in their leaves, which are green. The extraction of the dye stuff from the plant is a long and complex process.
Very few natural blue dye stuffs exist, indigo is the only commonly used blue natural dye. Both natural and synthetic indigo are still in use today. The synthetic indigo is cheaper and therefore used to dye your jeans. Natural indigo is contaminated with other, but closely related dye stuffs, giving a richer palette which shibori dyers appreciate.
The blue indigo is insoluble in water and therefore can not dye cloth. A reduced form of indigo, sometimes called white indigo, is soluble in an alkaline solution. This reduced form of the dye is readily oxidized back to the blue form by exposing it to the oxygen in the air. Once the insoluble blue indigo is in the cloth, it is there to stay. It will dye any fiber you can get water into: cotton, linen, wool, silk, etc.
Neither the dye bath nor the fiber in the dye pot will look blue. Once the fibers are removed from the dye bath and exposed to the air they start to turn blue. After it has completely turned blue, the fibers can be dipped back into the dye bath to get a darker color. Many dips are required to build up a luscious dark blackish blue.
This modern chemical method uses either sodium hydrosulfite or thiourea dioxide to reduce the blue indigo to the leuco-indigo . Handling the powdered metallic dust for the zinc-lime vat is now recognized as hazardous and the fermented vats are too slow and temperamental, so this is a safe and reliable vat, easy for a novice indigo dyer.
Il use thiourea dioxide as the reducing agent, if you use sodium hydrosulfite, which is much weaker, you will need to use more.

I prepare a indigo stock solution and a vat, free of oxygen, and then combine the two. In the stock solution the indigo will be reduced and dissolved, so that we don’t have to worry about that in the vat. The stock solution is very alkaline, because it contains lye, assuring the dissolution of the solid dye. The vat should not be that alkaline because these extreme pH could damage the fibers. So in the stock we have the idea conditions for the rapid reduction and dissolution of the indigo and in the vat we have good conditions for the fiber. We will add small amounts of the stock to the vat initially and then as it gets consumed from the dye bath. We will also have to maintain the conditions, pH and oxygen –free state, of the vat.

FROM THE STUDIO


I use:
Indigo, synthetic, microperle is the easiest to dissolve and use
Lye – found in the supermarket with drain cleaners, used to prepare the indigo stock solution
Thiourea dioxide or sodium hydrosulfite to reduce the vat
Soda ash – to raise the pH of the vat
optional-pH paper – to measure the pH of the vat (for the range pH >8)

Plastic containers are cheap and inert to these solution as the lye and alkaline solutions are very corrosive and will react with glass and any metal except stainless steel.

Prepare Indigo stock

Dissolve lye. Slowly add 1.5 oz. of lye to one cup of water. The solution may get hot, so go slow. The lye and its solution are very corrosive to human flesh, so wear goggles, gloves and work carefully. Clean up any splashes or spills with lots of water.
Dissolve indigo. In a 1 quart container, place 2 oz. of indigo powder. Add enough water to paste up the dye. Then add the dissolved lye, carefully. Then fill with warm water. Sprinkle 1/4 oz. of thiourea dioxide on the top and stir until dissolved. Let stand 1 hr. or more until there is yellowish solution beneath the blue surface. A drop of the yellowish solution should turn blue as it trickles down the outside of the jar in 20-30 seconds. This process can be hurried along by heating in a water bath to 120°F (never more than 140°F). If it only turns greenish yellow add some more thiourea dioxide, a 1/2 teaspoon at a time and wait another 1/2 hr. Cap tightly. Will store indefinitely, will turn all blue if too much oxygen gets in.

Prepare the vat

Any size vat can be used but a 13 gallon kitchen garbage size is convenient, a lid is nice for a vat that will be used for a long time. Fill with warm water, and stir in 1/2 cup of soda ash until dissolved. Test pH, it should be 10 or greater. If not add more soda ash. When the soda ash is dissolved and the pH satisfactory, stir in 1 tablespoon of thiourea dioxide. This will react with the oxygen dissolved in the water. Let sit 30 minutes or more. When you are ready to dye add, with a great deal of care, 1/4 cup of the indigo stock solution.

Dyeing with the indigo vat

Prewash or scour all goods.
Wet all goods thoroughly before dyeing in indigo.
Remove surface scum from the vat to prevent spotting.
Carefully introduce the goods into the vat. This is when oxygen gets added to the vat, so do it carefully and slowly. Move the goods under the surface for 10 min. Avoid the sediment on the bottom.
Remove the goods, slowly and carefully. Catch drips in a separate tubs, they can add a lot of oxygen to the vat. The goods should have a yellowish cast.
Let the goods oxidize by exposure to the air. At least 30 min., overnight is best. You will see the yellowish color disappear and blue take its place.
Dip and air again and again until you have the color you want.
Let air for 24 hrs., then wash. Wash until no more blue comes off.
Neutralize by soaking in a vinegar bath for 10. min. or in a tannin bath (also known as hot tea) for 10 –30 min.


Maintain the vat

With normal use the indigo will be consumed and oxygen will be introduced.

When the blue color does not darken, or you can see that there is no more indigo in the vat, you will need to replenish the indigo. Add indigo stock a tablespoon at a time.
When the vat is too blue, you will need to reduce the vat, because it has too much oxygen. Add 1 teaspoon of thiourea dioxide and wait 30 min. for it to reduce.


Dyeing with indigo is a complex process, probably the hardest dyeing I do. I feel very humble when I see what the ancient dyers accomplished with indigo.


Q&A

Q My vat no longer works, how do I fix it?

A Many things can go wrong with a vat:
If the pH is too low (less than 10) the indigo will not reduce, no matter how much thiourea dioxide you add. You will need to add more soda ash to raise the pH and get the vat working.
If the vat is sharp yellow below the blue surface ( instead of the normal yellowish-green) the pH is too high and you will need to lower it by adding a drop or two of lemon juice or vinegar.
If you have too much thiourea dioxide ( or other reducing agent) you will not be able to build up dark colors because some of the indigo on the cloth will dissolve each time you introduce the cloth. Whip the vat a bit to incorporate some air and use up the excess reducing agent.

Q My dark indigo dyed cloth rubs off blue on everything, how can I prevent this?

A Indigo is very wash fast but has a tendency to crock (rub off) . The crocking can be reduced by slowly building up the layers of indigo, long oxidation periods and washing between each dip. The Japanese will use 30 dips to build up the darkest color. If you don’t wash between dips, do a final wash with hot water and an aggressive detergent such as Synthrapol, until no more blue comes off, then neutralize.


Q I like the pale turquoisey blue you get with the first dip, but it seems to disappear with time, what did I do wrong?

A Nothing, one dip indigo is not stable and tends to fade. To get a stable pale color add very little indigo to the bath and dip three times. Neutralize and wash.


Q How long can I keep a vat?
A Indefinitely. You just have too keep adjusting it. If it sets for a long time with out use it will all oxidize and you will need to add reducing agent, thiourea dioxide, before using.

June 18, 2006

More shibori samples for the sting ray

I am working on an outfit, composed of a leather jacket and a dress, with my collaborator Grace Meacham. This will go to for the Art in Motion show at the Textile Center. We started with a piece of sing ray leather that is black and has a white pattern down the center (May 28, 2006 entry). I'm trying to get a shibori pattern inspired by white pattern and that will look good with the sting ray leather.

When Grace and I evaluated the stitched shibori samples we liked the pattern which worked on both the grain and bias fold of the fabric but the background was not black enough and the hand was wrong for the dress that we were now envisioning. So we need more samples. Grace wanted to see a crepe de chine because of the drape and I'll add some more fabrics from what I have on hand. The most efficient way is to stitch all and dye once.

Making samples is always a learning experience, and it is a lot like shibori you don't know what you'll learn. I added a wool/silk sheer slub fabric that I love, a silk corduroy and a silk matelasse that is lovely but I have never found a use for. I also stitched more of the shantung and then reserved the background to create a white shadow pattern. They were all stitched and dyed together.

The wool/silk sample was too porous and the pattern was in many shades of grey instead of black, white and grey.

The crepe has a defined pattern but the background is very mottled and distracting. A smooth surface like this shows more variations in the ground color than a textured cloth. Also the crepe is very dense and even a tiny bit of compression produces variations in color, useful in many shibori techniques but counter-productive here where I would like a even black background. The black background is what will determine if it looks good with black leather in the jacket.

The silk corduroy is a sample(10-14 yds) I got in from a Chinese supplier and have never worked with. I used Lanaset black dye that dyes only silk. corduroyjpg

It did not dye the nap of the corduroy. If you look at the top, at the selvage, where there is no nap you will see how black it is. It looks just like the rayon (nap)/silk(ground) velvet dyed with Lanaset, so I suspect it is really rayon/silk corduroy! One curious effect is that the white nap tends to visually enlarge the white pattern.

The white shadow shibori sample on shantung did change it from a white stripe on black to a black stripe on a mottled white ground.
stingraysample-wtshadowdetail.jpg


Not very inspiring, it may need more work such a binding closer to the stitching.

The matelasse sample worked well.
matelassesample.jpg

The pattern is clear, the back ground evenly black. The black still looks black next to the shiny black leather. Grace likes the hand-- very supple-- and loves the texture created by the matelasse (hard to see in the photo). So we will use the matelasse for the dress.

The next step is to work on the garment design and make a pattern. We want the design not only to include the sting ray leather but to reference the shape and movement of the sting rays in the sea-- they are beautiful to see move.

June 16, 2006

Outfits for runway show

Grace is coming today to work briefly on the sting ray outfit that we are making for Art in Motion to be held at the Textile Center in Minneapolis in October. There was a call for entries, a jury and now we need to make 3-6 outfits to send by the end of September.

This will be the 3rd time we have participated, a runway show is time consuming to put on so we are honored to be part of the event.

Last year we sent several outfits, Copper Tails and Las Ondas Negras. .The Textile Center and the local PBS station taped the show and aired it locally and made a DVD. We also showed both outfits in the runway show at the Surface Design Conference (conference archives) held last June in Kansas City

Here are some images of the CopperTails outfit composed of a halter jacket with a bare back and tails to the floor. It is made from my feather pleated arashi shibori and tipped with seed beads. The bias cut pants drape at the ankles. It is all silk and we dyed all of it since it all goes with the shibori.

coppertails.v2.jpg


coppertails.v3.jpg

coppertail.v1.jpg

June 15, 2006

Return from Santa Monica

The trip to Santa Monica was lovely, and the side trip to see the Getty Center was nourishment for the aesthetic soul.

I don't think that I have ever had so many people ask me if I MADE my shibori scarves! My answer is that everyone in the show makes what they sell.

This show is a juried show, as are all the shows I do, and even the website says that

" All the work in our shows is made by the participating artists. "

So what caused this group of people to ask this more than others?

Was there no other shibori at the show?
The woman across the aisle from me, Eileen Tabata Fitzpatrick of the Sachiko Collection had traditional Japanese kanko shibori pieces sewn into her jackets. Candiss Cole had her own shibori done on handwoven and Gloria Lewis, who studied with me briefly, had some lovely stitched (mokume) shibori there. Justine Limpus Parish had pleated clothing, not resist-dyeing, not silk but the pleats have a similar quality to mine. True, my work looks different from each of these, and this is as it should be, everyone should have their own style.

In Southern California, at least as seen in this show, the hippy traditions are still alive and appreciated. My work has a very polished quality, as opposed the a rustic character, and this could be what they were responding to.

June 06, 2006

Final Preparations for Santa Monica

I leave tomorrow for Contemporary Crafts Market in Santa Monica CA website and a few of our experiments are good enough to take a long. Both of these involve having two base colors instead of one.

The first one is a medium feather pleated boa with red pop and turquoise seamed together in the middle (the seam runs crossways).

turq:red feather.jpg

The second one is a quetzalcoatl which is also feather pleated but made of two layers of silk. One layer is red pop and the other is purple passion.


red:purple quetzalcoatl.jpg

I think that both these colorways work well.

My process to create all the colors in these pieces is:
*start with the dyed colors
*wrap them on a pole--arashi shibori
*discharge some of the color
*over-dye to add many new colors over the discharge

When both colors are wrapped on the pole they are first discharged together obviously since they are wound up together. They must both discharge at a similar rate, at the same concentration. What is much more common is that one color discharges faster than the other, then you have to make a choice. You can stop when the easily discharged color is discharged but some of the original color remains but the other color is intact. This can make it very difficult to get any new colors on the intact color. Or you can continue to discharge until you get some color lifting out of the more difficult to discharge one, but usually by that time you have lost all of the original color of the other.

So finding TWO color combinations that discharge well together is a tiny miracle. Then I overdye them, here they must look good with the same new colors. A subtle silver green might look very lovely with a dove grey but next to a very bright red just looks like dirt. So finding two colors that discharge well together and then look good with the same overdyes is a bigger miracle.

I'm grateful to have found two combinations, the red pop with the turquoise is my favorite; a little unexpected don't you think?


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