MAGIC OF LIGHT, MYSTERY OF SHADOWS

KALAMKARI

noreply@blogger.com (M. JOAN LINTAULT) — Fri, 13 May 2011 22:43:00 +0000

In the ancient days, the linga (idol or phallic symbol) of the Lord Shiva in the main temple at Shri Kalahasti was said to be worshipped by a spider named Sri, a serpent named Kala and an elephant named Hasti. The spider worshipped Shiva by spinning a web to protect it from the hot sun. The serpent by placing a gem over it and the elephant by washing it with its trunk. The three are said to have attained salvation by these devotions to Shiva. The marks of the three devotees are still pointed out in the main temple. The three names together form the name Sri Kalahasti, a town in the South Indian state of Andhra Pradesh.

Shiva Temple beside the Swarnamukhi River

India

Map of Andhra Pradesh, where Sri Kalahasti is located.

The temple to Lord Shiva is located in between two steep hills. These hills are said to have been formed from part of Mt. Meru (the Mt. Olympus of Indian gods). As a result of an angry quarrel between the serpent god Adishisa and Vaya the god of the air, three chips separated themselves from MT. Meru and fell in different places in India. Sri Kalahasti is one of those chips and the area is thought to be a holy place because of it.

Sri Kalahasti is not only famous for its temple but also for its dyed kalamkari. Kalamkari are naturally dyed, hand painted fabrics that are richly decorated with stylized figures and decorative elements. The subjects are the colorful myths of the Telegu language of Sri Kalahasti, the epics of the Ramayana and Mahabarata.

Krishna on his chariot with Arjuna as his passenger from the Bhagavad Gita

This method of putting mordant on cloth, then painting or printing dye and resist onto cotton has been practiced in India for centuries. It is believed that the cloths were popular with the ancient Greeks before Christ. Samples of this type of decorated fabric have been found in Fustat, Egypt from the 12^thand13^th centuries and as far as Japan from the Nara period (649-794).

From the Middle Ages the south-east coast of india has been known for its beautiful cloth. It is thought that extensive trade and contact with Persia resulted in many technical and design influences. The word kalamkari is Persian. Kalam means pen and kari means work.

Trade links during that time also popularized the word chinz to describe them. Chintz is a Sanscrit word meaning spotted or bright and was used to describe the block printed cloths.
Kalamkari was used to describe the painted techniques. In the 15^th century the Mughals used the painted and block printed fabrics for tents, floor cloths, palampores used for hangings snd bed cloths, screens, canopies, cushions and bolster covers. Persian and Indian paintings depict evidence of this type of fabric.

Palampore of the tree of life

Aurangzeb holds court, as painted by (perhaps) Bichitr;

The canopy and the clothing are embellished
with block printed and painted fabrics

Documented Western knowledge of kalamkari and chintz goes back to the 16^th Century. Ship’s records of the merchant adventurers of the 16^th, 17^th and 18^th centuries show ample evidence of trade as well as descriptions of the technical processes.

Indian textile fragment, circa 1545

Indian cottons were imported for European use as well as for barter in the Spice Islands (Indonesia and Moluccas) and for sale and trade in North Africa.

Robe à la Française, third quarter of 18th century French Ivory cotton
printed in multicolored floral motif, Metropolitan Museum Costume Institute

Block-printed Indian cotton textiles were imported into France during the second half of the 17th century.

The patterned cloth was all the rage in Europe not only because of the designs and wear ability, but also because of the richness of the colors. There was nothing equal to it in the West. The East India Company sent pattern books to India so that the craftsmen could copy designs popular with Europeans. This fabric was used for garments, bed cloths and furnishings. The word chintz has come to describe any cotton or linen fabric with bright floral patterns.

Hand painted scrolls existed alongside the fabrics that were made for European trade and those that were encouraged by the patronage of the Mughals. These scrolls made of cotton-depicted stories of the great Hindu epics and mythology. These scrolls might have been folk recital scrolls and devotional cloths.

An itinerant storyteller would recite a tale using the scroll as a colorful background for his narrative. Kalamkari are also used for display on outer walls of houses and temples during festivals.

Goddness mata ni pachedi, the Chitara community, Ahmedabad

Today in India, the block printed fabrics are still being made in Ahmedabad in the state of Gujarat and in Masulipatnam, located about 200 miles east of Hyderabad. The painted kalamari are made in Sri Kalahasti.

There is not much information how and when the art began there. In India where there is a legend for every event, there is a story. About 180 years ago a kalamkari workman from the Nellore district who was addicted to drink happened to visit Sri Kalahasti. He became drunk and while intoxicated revealed all the secrets of the kalamkari process.

EASTER EGGS DYED NATURALLY, OF COURSE

noreply@blogger.com (M. JOAN LINTAULT) — Sat, 23 Apr 2011 03:24:00 +0000

When coloring eggs with natural dyestuffs, the eggs are cooked and colored at the same time. Start the eggs covered with an inch of warm water and gradually raise the temperature, this keeps the eggs from cracking. Cook for about 20 minutes. Let the eggs cool down in the liquid.

Wrap the eggs in onion skins and tie with string add 1 tbs white vinegar. The vinegar helps to keep the color on the eggs.

Variations:

Draw on eggs with crayons, with turmeric and 1 tbs white vinegar to the water.

Wrap the egg in tea bags fastened with string or rubber bands. Use regular tea or red zinger and 1 tbs white vinegar.

You can add chopped or sliced beets and 1 tbs white vinegar to the water.

Use coffee grounds and 1 tbs white vinegar to the water.

Add a tablespoon of vegetable oil to the dye and swirl the eggs in the color.

Try other dyes such as cranberry juice, grape juice, wine, and wrap the eggs in cabbage leaves.

The longer you leave the eggs in the water the better the results.

The eggs can be over dyed for more complex colors.

The eggs can be polished with some vegetable oil if you want a shine on them.

Surprise, Surprise!

MY NATURAL DYE RESEARCH

noreply@blogger.com (M. JOAN LINTAULT) — Thu, 21 Apr 2011 18:33:00 +0000

I can hardly remember why I became interested in natural dyes but it was certainly around 1960 when my father (who always knew what I wanted before I even realized it) gave me a booklet by Margaret S. Furry Assistant Textile Chemist, and Bess M. Viemont, Assistant Textile Specialist,  Division of Textiles and Clothing, Bureau of Home Economics, [USDA, misc. pub. 230], December 1935.

This publication was prepared by the Department of Agriculture for distribution to communities whose handicrafts provided extra income for rural families. It was fascinating for me because in the 1960’s there weren’t any dyes for home studio use except Rit, Aljo and Tintex. These weren't very fast or beautiful.

I actually learned to practice the use of natural dyes on wool when I was in the Peace Corps in Quinua, province of Huamanga, department of Ayacucho, Peru in 1963. The village was located in the second cordillera of the Andes. I was working on a program of Crafts Development. I really loved the color quality and no matter how or what was combined they always looked well together.

The village ladies showed me how to dye with walnuts, dahlia flowers and cochineal on wool. From that time I began a quest to learn about them.

On the road to Ayacucho and Quinua

Our house in Quinua on the Ayacucho/Quinua/Tingo Maria highroad.

I know that most of the dye knowledge was empirical and was handed down from one person to another. I believe that it is a world wide human resource subject to extinction as more and more people use chemical dyes.

Me in Quinua during the festival of the Virgen de Cocharcas

It all seemed so mysterious and I do love a mystery. So more than 30 years ago I began serious research to study natural dyes that are directly applied or used with various resists; wax resist, paste resist, shibori, and ikat. It was very important for me to see first hand and document the various processes by the original artisans. I needed to go to a country where natural dyes were still being used. So in 1979 I went to India.

INDIGO DYEING WOODBLOCK IMAGES FROM OLD SOURCES

noreply@blogger.com (M. JOAN LINTAULT) — Wed, 13 Apr 2011 16:04:00 +0000

There are several times during the process of dyeing indigo that are common to all cultures, dippping, wringing, stretching and airing out the fabric or yarn. Here are some images that depict these processes.

Dyeing with Indigo from a mural by Diego Rivera, 1924,

Ministry of Education, Mexico City.

Diego Rivera Mural, Aztec Dye and textile works.

A hikifuda is a handbill used in the Edo era (1603-1867) to advertise shops and products. A close-up shows a dyer dipping fabric into indigo that has been stretched on shinshi.

A close-up of this hikifuda shows craftsmen wringing fabric that has been dyed with indigo.

Wood block prints from unknown source.

BLOCK PRINTING IN INDIA

noreply@blogger.com (M. JOAN LINTAULT) — Mon, 31 Jan 2011 23:47:00 +0000

There are many block printing workshops in India. These are photos from various dye studios and workshops.

The tables are padded.

This frame is used to hold the dye. There is a bamboo rack inside that is covered with fabric it makes it easier to charge up the block with dye.

A block printed lungi.

A block printed sari.

TANAKA NAO DYE COLOR CHARTS

noreply@blogger.com (M. JOAN LINTAULT) — Sat, 22 Jan 2011 20:34:00 +0000

Sirius dye fabric sample card.

This is a dye originally made by Bayer

and now distributed by Dystar.

Syrius is a Direct dye for cellulose fibers.

Sirius color chart using both .5% and 3.0% dye strength
click to enlarge color chart.

Procion M dyestuff fabric sample card.

Procion M are cold water reactive dyes. They are commonly used in tie dye and other textile crafts. They are were originally made by ICI Organics. The brand name is now owned by Dystar, the patent on the dyes has expired, many manufacturers around the world now make them.

Procion M color chart using both .5% and 3.0% dye strength

click to enlarge color chart.

Natural dye color chart.

In these color samples on chirimen silk the following mordants were used from left to right, click to enlarge color chart.

Tin (suzu), ammonium acetate (arumi), sakusan do (acetic acid), chromium acetate,

potassium bichromate (juchrome), iron (tetsu).

The dyes used from top left to the bottom left are: shibuki (wild peach bark), enju (Japanese pagoda tree), Suo (sappanwood, Brazil wood), lac, fustic (Chlorophora tinctoria), quebracho tree (quebrachia), myroballun (ground nuts of the Terminalia chebula tree), rhamnus Japonicus (Japanese buckthorn), Logwood, catechu.

NATURAL DYES ON WOOL YARN

Left hand page, click to enlarge color chart.

Tin mordant: First row, left to right, top to bottom, Logwood, sappan wood (suo), lac, Japanese pagoda tree (enju), Japanese buckthorn rhamnus Japonicus, shibuki (wild peach bark), Paeonia (Kogane-zome), Unknown, damar (damarinto), gambir or katechu (katekyu), quebracho,

Aluminum acetate: Second row, top to bottom, Logwood, sappan wood (suo), lac, Japanese pagoda tree (enju), Japanese buckthorn rhamnus Japonicus, shibuki (wild peach bark), Paeonia (Kogane-zome), Unknown, damar (damarinto), gambir or katechu (katekyu), quebracho.

Chrome:Third row, top to bottom, Logwood, sappan wood (suo), lac, Japanese pagoda tree (enju), Japanese buckthorn rhamnus Japonicus, shibuki (wild peach bark), Paeonia (Kogane-zome), Myrobalan, damar (damarinto), gambir or katechu (katekyu), quebracho.

Iron: Fourth row, top to bottom, Logwood, sappan wood (suo), lac, Japanese pagoda tree (enju), Japanese buckthorn rhamnus Japonicus, shibuki (wild peach bark), Paeonia (Kogane-zome), Myrobalan, damar (damarinto), gambir or katechu (katekyu), quebracho.

　　　　　　　　　　　　　　　　　　　　

NATURAL DYES ON COTTON

The chart shows light, medium and heavy concentrations of dye.

Read the charts left to right and top to bottom, click to enlarge color chart.

Tin mordant: First row, Logwood, sappan wood (suo), Japanese pagoda tree (enju), Fustic (gereppu), shibuki (wild peach bark), Golden dye (Paeonia 'Kogane-zome), Myrobalan, Baikal Skullcap, tamarind, katechu, quebracho tree (quebrachia)

Aluminum acetate: Second row, Logwood, sappan wood (suo), lac (rakkudai), Japanese pagoda tree (enju), Buckthorn (kuroumemodoki), Fustic (gereppu), shibuki (wild peach bark), Golden dye (Paeonia 'Kogane-zome), Myrobalan, Baikal Skullcap, tamarind, katechu, quebracho tree (quebrachia).

Chrome: Third row, Logwood, sappan wood (suo), lac (rakkudai), Japanese pagoda tree (enju), Buckthorn (kuroumemodoki) , Fustic (gereppu), shibuki (wild peach bark), Golden dye (Paeonia 'Kogane-zome), Myrobalan, Baikal Skullcap, tamarind, katechu, quebracho tre.

Copper: Fourth row: Logwood, sappan wood (suo), Japanese pagoda tree (enju), Fustic (gereppu), shibuki (wild peach bark), Golden dye (Paeonia'Kogane-zome), Baikal Skullcap, tamarind, katechu, quebracho tree.

Iron: Fifth row: Logwood, sappan wood (suo), Japanese pagoda tree (enju), Fustic (gereppu), shibuki (wild peach bark), Golden dye (Paeonia 'Kogane-zome), Myrobalan, Gall nut (kibush), Baikal Skullcap, katechu (asenyaku), quebracho tree.

For information on how to extract natural dyes and the use of the different mordants used by Japanese dyers, please refer to my post on November 3, 2009. These charts were made by Tanaka Nao and are no longer available. I purchased these charts in 1985 when I was on a Fulbright research grant to study Kusaki-zome (Japanese grass and tree dyes). I post them here for all who are interested.

Tanaka Nao website a wonderful source for dyeing supplies, fabric, stencils, brushes, etc. Go visit when in Tokyo or Kyoto, Japan.

http://www.tanaka-nao.co.jp/, Tokyo and Kyoto, Japan, order by fax only
Tokyo Tel. 03 3400 4844, Fax 03 3400 4969

MAKING BLOCKS FOR FABRIC PRINTING IN INDIA

noreply@blogger.com (M. JOAN LINTAULT) — Thu, 18 Nov 2010 21:46:00 +0000

A BLOCK CARVING STUDIO IN RAJASTHAN, INDIA.

SAMPLE BOOK OF WOOD BLOCK DESIGNS.

SHOWING A CUSTOMER THE DESIGNS.

THE BLOCK IS LEVELED THEN A MIXTURE OF CHALK AND WATER IS SMEARED

ON THE SURFACE. THE BLOCKS ARE MADE OF SHEESHAM WOOD (INDIAN ROSEWOOD)

THEN THE DESIGN IS TRANSFERRED ONTO THE BLOCK BY PIERCING THE DESIGN
ON THE PAPER PATTERN INTO THE WOOD.

MARKS ON THE BLOCK OUTLINING THE PATTERN.

DRILLING HOLES IN THE BLOCK BEFORE CARVING.

USING COTTON WADDING IN THE BLOCK TO HOLD THE DYE.

PART 2 OF NIPPON HANDWEAVES IN KUSAKIZOME DYES BY AKIRA YAMAZAKI

noreply@blogger.com (M. JOAN LINTAULT) — Sat, 09 Oct 2010 20:06:00 +0000

Add caption

Gromwell, lithospermum erythrorhizon (murasaki)

Red from Saffron (benibana); yellow, gardenia
black of indigo, nut of the betel palm tree (binro)


Yellow is miscanthus tinctorus (kariyasu) and tumeric (ukon

Red from sappan wood (suoh) treated with ash.
and brown (tamakusu)

Red is sappan wood (suoh); yellow, tumeric

(ukon), blue and black are indigo (aizome)

Red is sappan wood (suoh); brown (tamakusu)

Indigo (ai)

Mountain peach bark (shibuki or yamamomo)

Natural brown cotton or tea colored cotton (chawata)

This loom was known as the cripple loom because when seated at the loom the weaver's feet were tied to the shafts.

NIPPON HANDWEAVES IN KUSAKIZOME DYES by Akira Yamazaki

noreply@blogger.com (M. JOAN LINTAULT) — Sat, 25 Sep 2010 03:36:00 +0000

I received this book as a gift in 1974. It is my treasured possession. Only 200 copies were printed in 1959, mine is No.194.

Asiatic dayflower (tsuukusa)

Saffron (benibana); madder (akane); gardenia (kuchinashi)

Fermented indigo (ai) balls

Sawtooth oak (kunugi)

Red (sappan wood); olive, mountain peach (shibuki);
black is betel nut palm (binro) and indigo (ai)

Brown dye is gardenia (kuchinashi);
red is sappan wood (suoh)

Gray is cranes bill geranium (gennoshoko);
red is sappan wood (suoh)

Maroon is sappan wood (suoh);
black dyed with indigo (ai) and
wild sumac (yama-urushi)


Ramie dyed with indigo (ai); tumeric (ukon), eulalia grass miscanthus tinctorus (kariyasu) for yellow; alder, mountain peach bark and plum (han, shibuki and ume) for brown

Plum (ume)

Auburn color, Rosa rugosa (hamanashi);
black is alder (han) with mountain peach (yamamono)

Gall (fushi or gobaishi); yellow (kuchinashi);
light purple machilus thunbergi (tamakusu)

Blue (ai); green (ai) and yellow,
eulalia grass miscanthus tinctorus (kariyasu)

Fermented indigo balls (aidama)

Yellow, gardenia (kuchinashi); red, sappan wood (suoh);
black, (shibuki, myrica rubia. mountain peach and
yamamomo, shibuki)

Pomegranate

To be continued....

TENUGUI Again

noreply@blogger.com (M. JOAN LINTAULT) — Mon, 20 Sep 2010 00:03:00 +0000

A Tenugui (手拭い) is a thin Japanese hand towel made of cotton. It is typically about 35 by 90 centimeters (1′ x 3′ )plain woven and is almost always printed with some pattern. Today towels made from terry cloth have replaced many of its use in the household. Tenugui has had a meandering history that includes ritual, practical and decorative uses. then more practically as a wrapping, business card, hand towel, bandage, or sweatband often worn around the head, most famously by samurai fighters. Many textile designers have designed tenugui because it offers an opportunity to use many textile techniques: shibori, screen printing, painting, block printing and batik.

BOOK ON TENUGUI

These towels are from the collection of Elaine Blythe

KAKEBUTON

noreply@blogger.com (M. JOAN LINTAULT) — Wed, 14 Apr 2010 13:20:00 +0000

Kakebuton is a japanese comforter. It is part of a futon set. Shikibuton is the under futon or mattress. Kakebuton is covered by a cover that can be very decorative. The older ones were usually dyed in indigo or pigments. The images are usually auspicious ones: pine trees for long life, bamboo, cranes, ducks, butterflies, chrysanthemums, and various flowers.

TENUGUI-Japanese Towels

noreply@blogger.com (M. JOAN LINTAULT) — Fri, 05 Mar 2010 20:49:00 +0000

A Tenugui is a thin cotton Japanese hand towel. It is typically about 35 by 90 centimeters in size, plain woven and is almost always printed or dyed with some pattern. Tenugui can be used for anything a washcloth, dishcloth, headband, souvenir or decoration. Towels made from terry cloth have replaced many of its use in the household. However tenugui is still popular as a souvenir, decoration and as a head covering in during festivals. In the past tenugui, was a fabric left uncolored but without patterns-- its functions of wiping, covering, and wrapping bodies or objects, remain the same as today.

The spread of the public baths accelerated the use of tenugui, which is when people began to pay increasingly more attention to its design and color. The Luxury Banning Act, changed the public demand from luxurious silk to more modest cotton, also spurred the cultivation of raw cotton throughout in Japan. Tenugui also became an advertising tool and soon appealed to performers and merchants, who started to distribute tenugui to customers and patrons with their own family emblems or trade names printed on it.

An ever increasing demand for tenugui jeopardized the dyeing processes of shibori and stencil dyeing, far exceeding its production capacity. The chusen method of dyeing was devised which ultimately improved and became a major dyeing method. Chusen dyeing is a technique where the same pattern appears on both sides of the fabric.

CARE OF KUSAKI-ZOME DYED FABRICS

noreply@blogger.com (M. JOAN LINTAULT) — Tue, 16 Feb 2010 19:47:00 +0000

STEAMING

Fabric that has been dyed with one of the direct dyeing techniques must be steamed. Heat and moisture complete the bond between dye and fiber. Steaming can be completed on small pieces of fabric by layering the fabric between pieces of newspaper so that no part of the fabric touches another part. The fabric and newspapers should be layered into a bundle and steamed on a rack in a large canning pot, or steamer. While steaming the bundle of fabric should not touch the sides of the pot or become moist in any way or staining will occur. The fabric should steam for about 45 minutes.

Rinse well in a good soap such as "Woolite" "Orvis Soap" or "Ivory Flakes". Do not rub or scrub the fabric but handle it gently at all times.

* From Cerulean Blue

DYE TESTS

Because natural dyes vary, it is important to test each batch of dye made, not only for color, but for light and wash fastness. The tests are quite easy to make and enable color differences to be judged and the reaction of the dyes to the different mordants and fibers.

Without having access to expensive machines the following information will be helpful for testing dyes.

COLOR TESTS

Cut small pieces of fabric about 1" x 2". Brush on or immerse in the dye, dry, brush on the mordant then steam. These small pieces should be kept as a record of the colors obtained from each dye batch. These tests can be taped to cards and marked with batch numbers, name of dye, mordant, number of dye applications, date, and source.

COLOR FASTNESS

The fastness or permanence of a dye is important. A dye must be fast to light, washing, and perspiration. The need for a particular kind of fastness depends on the use of the article to be dyed.

SIMPLE LIGHT TESTS
To test for light fastness, cut two 2 inch openings in each of two pieces of heavy cardboard. Tape a piece of dyed cloth to one and cover it with the other piece of cardboard so that the openings correspond. It is important that light come through the
fabric. Then place this in direct sunlight. After a week remove and compare the section
exposed to the sun with the covered portion. Then rate the piece.

Excellent..................no change of color.

Good......................no appreciable change of color.

Fair........................appreciable, but not objectionable change of color.

Poor.......................objectionable change of color.

WASH TESTS

To test for fastness to washing, braid a dyed sample of the fiber with a similar sample of undyed fiber. Then put the sample in a mild soap such as "Woolite" " Orvis Soap" or "Ivory Flakes" and tepid water. Natural dyes should not be washed vigorously but handled gently. Rinse well. If after rinsing, the water has no color in it the dye is rated as good, If there is color in the rinse water, the dye is rated fair, If the undyedyarn is stained with color, the dye is rated poor to washing.

CARE OF DYED FABRICS

Washing requires some care. Do not wash natural dyed fabrics in the washing machine. The fabric should be dry cleaned or hand washed carefully.

To wash use a mild soap such as "Woolite" "Orvis Soap" or "Ivory Flakes". Do not leave the fabric in water for along time. Do not rub or wring the fabric. Roll in a towel to remove the excess water or spin dry in the washing machine. Dry in the open air. Do not dry the wet fabric in the dryer or out in the sun.

ADDING THICKENER TO NATURAL DYES

noreply@blogger.com (M. JOAN LINTAULT) — Mon, 18 Jan 2010 17:52:00 +0000

THICKENER
When dyes are directly applied to fabric a thickener should be mixed into the dyes to keep them from wicking. Sodium alginate a gum derived from seaweed is generally used for this purpose.

The type of sodium alginate used depends on the fabric.

Type H is a high viscosity, low solids content thickener. This type produces a very thick solution from a small amount of alginate, and is usually used for cottons and heavier fabrics.

Type L is a low viscosity, high solids content thickener. This type requires more alginate to produce a thick solution, Type L is used when high definition is needed. It easily rinses out of light weight fine fabrics such as voile, chiffon, organdy, habotai and other light weight silks.

For cottons or medium weight fabrics

4 tsp (18 Grams) sodium alginate Type H

1 liter water

For silks or light weight fabrics

10 tsp (40 grams) sodium alginate type L

1 liter water

Slowly sprinkle sodium alginate over the water and mix in a blender until smooth. Let the mixture stand for at least 1 hour to thicken. Stir again. The thickened alginate can be stored in the refrigerator. This will make a stock solution that can be added to the dyes when necessary. The alginate can be thinned with water depending on the technique used.*
Dyes that will be sprayed through an air brush should be very thin. Dyes that will be painted should have a medium consistency. Dyes that will be screen printed must be fairly thick. If the alginate is too heavy it will not mix well with the dye.
Add 10% to 50% sodium alginate to the dye. Before adding the alginate some thought must be given to the type of fabric, dyestuff used, dye process, and how many applications of dye will be used. Too much alginate will act as a resist and the fabric will not absorb all the dye.

Logwood: For very thin fabric add 20% alginate to the dye.

For very heavy fabric use 25% to 30%.
Catechu: 15% alginate
Sappan wood, fustic, apple bark, peach bark: 10% alginate

If there are large color areas, then 20% alginate is used. If many applications of color will be applied then lower the amount of alginate added to the dye. After the 5th application use no more sodium alginate. Too much sodium alginate will not allow for any absorption of color or mordant.

Sodium alginate can also added to the mordant.

Alum: 0.5%

Iron: 20%

Copper 0.5%: 10% or Copper 2%: 15%

Tin: 10%

Chrome: 15%

APPLICATION OF KUSAKI-ZOME

noreply@blogger.com (M. JOAN LINTAULT) — Thu, 24 Dec 2009 17:48:00 +0000

FOR DIRECT APPLICATION KUSAKI-ZOME for batik, tie dye, stenciling, painting, and block printing

MAKING SOY MILK or GOJIRU

Before applying natural dye it is important to wash the fabric to remove all commercial sizing. In addition it is necessary to prepare the surface of the fabric. A mixture of soy bean milk and water brushed over the surface of the fabric, acts as a size. It helps to insure dye absorption, and prevents streaking. It also helps do keep dye from seeping under any resists. The fabric undergoes a structural change known as denaturation when brushed with soy bean milk. The protein in the milk is rendered insoluble and forms a permanent size on the fabric. This helps to reinforce the bond between the dye and the fiber.

Powdered soy milk from the health food store can be used. It can be mixed according to the directions on the package.

Whole milk can also be used in the proportions of 1 part milk to 4 parts water.

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TO MAKE SOY MILK

Measure by volume:

Dry soy beans........................500 cc. Add enough water to the soy beans to make 1 liter.

Allow them to soak at least 24 hours before using. After soaking, the beans will make about 800 cc. of softened beans. The softened beans may be refrigerated or frozen until needed. The frozen beans should be defrosted before using.

Add enough water to the softened beans to make 1 liter of beans. Liquify in a blender. Strain through a moistened cloth to remove the vegetable matter. Add 10% sodium alginate before applying to the fabric.

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Before applying the milk the fabric should be stretched tightly on a frame or with Japanese harite and shinshi (tenter hooks) Paint the milk on the front of the fabric. Turn the fabric over and wipe on the reverse side with a clean cloth or brush. The milk is only applied once. The fabric that has been treated with milk must be dried quickly. This can be done easily by brushing on the milk in the sun, placing a heater near the fabric, or turning up the heat in the room. A hair dryer works well for small pieces. If the milk is not dried quickly it has a tendency to sour on the fabric. It is not necessary to apply the milk to yarn or fabric that will be immersion dyed. If yarn will be directly dyed for ikat it will be necessary to paint on the milk while the yarn or fabric is stretched prior to painting or tying.

When the milk is dry, apply the dye on the fabric or yarn using a brush, stencil, or by painting.

When dried the dye can be applied again. This may repeated several times until the desired shade or color is obtained.

To change colors, different dyes may be applied one over the other or mixed together before using. To deepen the colors the mordant may be applied alternating between applications of color.

If the dye beads on the surface of the fabric or yarn, a drop of glycerine can be added to the dye, Glycerine breaks the surface tension of the fiber allowing the dye to soak in.

FOR IMMERSION DYEING

Yarn or fabric must be washed to remove all sizing, grease, spinning oil and and must be wetted-out before dyeing. Then the fabric may be tie dyed, or just immersed into the dye.

After the dye is extracted, the yarn or fabric is boiled in the dye bath for 15 to 20 minutes. After cooling down it is then placed in the mordant bath for 30 minutes and then washed in water. The dye liquor is heated once more. The mordant treated fibers are again placed in the same heated dye. This process of mordant, then dye can be repeated several times to get the desired color. When finished the yarn should remain in the dye until it cools. It is then removed and washed in clean water several times. After washing, the fiber is left to dry.

IMPORTANT POINTS FOR ALL DYES: FRESH, DRIED AND EXTRACTS.

noreply@blogger.com (M. JOAN LINTAULT) — Wed, 09 Dec 2009 00:00:00 +0000

Let the dye stand overnight to settle any remaining particles. Pour off and save the upper liquid and throw away the sediment.

The dye can be stored in the refrigerator. It should be covered with plastic wrap that is pushed down onto the surface of the dye, sealing air from the dye. Then the container should be capped. Since the dye is a natural substance it can become moldy if not used quickly. If mold should form on the surface of the dye, remove it carefully and test it. If the color remains satisfactory it can be used. The dyes can be stored in the freezer.

The life of the dye can be preserved by adding 20 to 50cc of phenol per 1 liter of dye.

If the dye has separated it might need additional boiling.

Extract and store all the dye that you will be using for one project at the same time. Natural dyes differ even though you might be using the same substance each time. Color from natural material varies. During the growing season there might have been more rain one month than another. One field might have more nutrients than another. All these factors affect the colors that would be obtained.

EXTRACTING THE DYE FOR KUSAKI-ZOME

noreply@blogger.com (M. JOAN LINTAULT) — Wed, 04 Nov 2009 02:34:00 +0000

DYE MATERIAL~EXTRACTION WATER BOIL TO STOCK SOLUTION

100 grams 1st...................700 cc..........300 cc. .....Total

of dried or

fresh dye 2nd.................700 cc...........300 cc. ..... 900 cc

material.

3rd..................700 cc...........300cc.

First Extraction

Mix the dye material with 700 cc. hot water. Boil until 300 cc. of the liquid remains. This will take about 20 minutes. Strain and save the liquid.

Second Extraction

Return the same dye material to the pot and add another 700 cc. of hot water. Boil until 300 cc. of the liquid remains. Strain and save the liquid. Return the dye material to the pot and add the hot water. Repeat these series of extractions until all of the color is removed from the dye material.

Leaves, grasses and flowers may only need 1 to 3 extractions. Flowers such as marigolds that are rich in color may be boiled 4-6 times. Bark may need 4-6, leaves 2 extractions, and wood 8-10 extractions.

Roots, wood and bark can be softened by soaking overnight. To extract the greatest amount of dye, the dye material may be boiled up to 10 times or more. The process may be repeated as long as the material yields color. To extract more of the dye, after the first or possibly the second extraction, the harder substances may be softened sufficiently to be mashed, ground in a blender, pounded with a hammer or with a mortar and pestle.

The dye from the 1st, 2nd, and 3rd extraction should be kept together. The 4th, 5th and 6th should be kept together and so on. After repeated extractions, the liquid will gradually become lighter and lighter as as more and more of the dye is removed. Sometimes the liquid from the second boil will yield the darkest extract. This is because the dyestuffs will have softened during the first boil.

The liquid from the 1st, 2nd and 3rd extraction will be used for the darkest color. The 4th, 5th, and 6th liquid for the medium color and the subsequent extractions for the lighter colors.

The extraction process will make a stock solution that can be used for both immersion and direct dyeing.

SAPPAN WOOD AND MADDER

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DYE EXTRACTION WATER BOIL TO TOTAL STOCK SOLUTION

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Sappan wood 1st......1500 cc.......400 cc.

Madder 2nd.....1500 cc........400 cc. to 1200 cc ..400cc

300 grams

3rd......1500 cc........400 cc.

After combining the liquids from the 1st, 2nd, and 3rd extraction. Add the total amount of liquid (1200 cc.) to a pot and reduce the liquid again by boiling to 400 cc. This will make a very concentrated stock solution.

TANNIN

Madder, sappan wood, and Brazil wood have similar coloring compounds. After treating the fabric with mordant, these dyes on cotton require the application of tannin to the fabric . Although cotton is in general very inert towards solutions of organic acids, it appears to possess considerable affinity for tannic acid, and will absorb it readily from its solutions.

If these dyes are combined with a high tannin bearing dye to make a new color, then tannin need not be used. Myroballan, sumac, gall, and fustic have high concentrations of tannin. In the mordanting of cotton for dyeing, 1 pound of pure tannic acid is equivalent to about 1 1/2 to 2 pound of gall-nuts, or 5 to 6 pounds of sumac leaves.

Tannic acid..........2% (1 gram)

Water.....................300 cc

As tannic acid is liable to suffer decomposition at the boil, giving rise to a brown color, it is not recommended to boil the mordant bath as the shade eventually obtained will be dulled. The tannin from this bath is not held on the fiber in an insoluble state. When the fiber is placed back into the dye some of the tannic acid passes back into the dye bath causing some loss of color. It is necessary to fix the tannin on the fiber by treating it again with the mordant.

INSECTS-Cochineal and lac

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DYE EXTRACTION WATER BOIL FOR 1/2 HOUR

MATERIAL

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100gm.Cochineal 1st.......500 cc...2 grams soda ash...400 cc.

total stock solution 800cc

2nd......600 cc..................-0-.........400 cc.

Strain after each boiling, combine the two liquids for a total of 800cc.

To the 800 cc of remaining dye add 4 cc acetic acid and 20 to 50% phenol (as a preservative).

Do not add sodium alginate to cochineal if this dye will be used for direct application.

The addition of the soda ash to the cochineal will make a strong thick color. Finally strain the dye through a bag made of synthetic fabric to remove the last particles and sediment.

APPLYING DYE FOR KUSAKI-ZOME

noreply@blogger.com (M. JOAN LINTAULT) — Tue, 03 Nov 2009 18:28:00 +0000

APPLYING THE DYE

Natural dyes can be applied to fiber in two ways:

1. Immersion dyeing: Immersing the yarn or fabric in the dye liquid. Natural dyes can be used for ikat, batik and tie-dye.

2. Direct application: Applying color to fabric or paper by painting, printing, stenciling, and any other method that involves directly applying color to yarn, fabric, or paper.

The dyes can be used straight, diluted with water or mixed together to make additional colors. For the deepest colors it is best to apply the dye in separate applications, drying after each application. For immersion dyeing it is not necessary to dry the yarn after each dip.

The amount of applications depend on the depth, hue and value of color wanted. The dye from the first extraction is usually a nice clear color. The colors from the other extractions are sometimes a little grey due to the release of tannin from bark, wood, leaves and other substances with a high tannin content.

TEREYA CAFE

noreply@blogger.com (M. JOAN LINTAULT) — Thu, 22 Oct 2009 02:30:00 +0000

If you go to Ushimado to see Teresa's indigo dye you can eat at Tereya Cafe owned by Teresa and Hiroshi Kobayashi in Ushimado, Kurashiki, Japan. Not only is this a popular coffee house but Teresa makes wonderful cakes, pies and food.

There are wonderful theme dinners, concerts and exhibitions at the cafe.

http://www.facebook.com/pages/Setouchi-shi-Okayama-Japan/Tereya-Cafe/120212699420

Full course meal in pumpkin created by a guest chef from Kakogawa. Live music by Natsukan, Okinawan jamisen and African drum duo.

Imamura san is a skilled Bosa Nova and Jazz guitarist who tours Japan all year long. This is the first time we have been able to schedule him.

Walnuts and maple syrup pie. Not too sweet and a crispy crust.

Someone ordered a birthday cake using Teresa's 'Depression Chocolate Cake' recipe for their grandfather with dietary restrictions. This is made with no butter, margarine or oil, no dairy and no eggs. What's in it? Everybody wants to know. Teresa uses whole wheat flour and beet sugar, good cocoa and mashed fruits. It really is delicious! It's a regular menu item and regular people order it all the time.

TERESA KOBAYASHI- INDIGO DYE

noreply@blogger.com (M. JOAN LINTAULT) — Fri, 16 Oct 2009 18:15:00 +0000

Teresa Kobayashi has her own indigo dye studio in Kurashiki, Okayama, Japan. It is called Dye House Tereya.

Teresa loves indigo as much as I do, as much as we all do!

Teresa Kobayashi explains her process in the following photos:

In order to get blue from indigo, which is a plant, you need a high alkaline, oxygen free atmosphere. These photos show one way of doing that; natural fermentation.
This is the ash used to make the alkaline solution.

This shows the indigo pot and alkiline solutions #1 and #2.
I put the ash into buckets and stir everyday for a few days. I make 4-5 solutions that range from ph30 to ph13 and are numbered, with #1 being the highest.

After stirring up the ash and water it gets real foamy.

Alkaline solution #1, with the highest ph level. The ash has all settled to the bottom and the liquid is pretty clear.

Here are my buckets of alkaline solution.

The beautifully, clear ash water.
When the ash water is ready I start by filling the pot to about 1/3 full with the medium ph level of ash water and stir in the composted indigo leaves. I gradually add more ash water until the pot is full and the indigo is ready to use. I keep it maintained throughout its period of use (up to 6 months) by adding more of the higher or lower ph level ash water as needed to keep it at it's ideal level.

Even though I have this really nice 100 year old, traditional 'Ohtani Yaki' woodfired indigo pot, I have to cover it with an old electric blanket......

and then insulate it with foam. I have to do this because I need to maintain a warm atmosphere for the fermentation. Traditionallly these pots were buried part way and then a platform was built around them that came level to it's lip. Coal, was used between the earth and the top of the platform. I don't do it that way for several reasons.

I dressed my pot in a burlap bag and creatively wrapped hemp cord around it. This is purely to hide that ugly insulation sheet.

Since the bottom is so narrow, it is very unstable, so we rigged up a nice tri-pod and tied it securely.

This is the composted indigo leaves. I buy this compost from an indigo grower who harvests the leaves and then composts them, for people like me to buy. It is filled with wonderful indigo bacteria.

Now, in order for me to be able to make use of that bacteria, which makes the blue color, I need to create an oxygen free vat. Here we go. First I sprinkle a little lime on to the composted leaves.

I also sprinkle lime on the inside of my pot. This helps to get rid of any weird germs or other bacteria that could be harmful to the indigo. This was the first time I used this particular pot and I had bought it at an antique store. Although it is a traditional pot made for indigo the last owners could have been using it as a goldfish bowl. It is over 100 years old. Did I say that all ready? I like this pot. It's kind of small, as they go. I have another, almost twice as big, now in the new studio.

Then, I start stomping on it. I was standing in those boots before I took the picture. I don't know why I chose such a small container....I normally use one that is easier to move around in. Pretty silly now that I'm looking at it. HA!

So then I mix the composted leaves with a little alkali solution and put it in my heated pot. I keep adding more solution everyday. In this shot the pot isn't even all the way filled up and it has already started to ferment. The iridescent film on the surface is oxidized bacteria

I filled the pot up to the top and the indigo got quiet. That color is just the tanin from the leaves, and the foam from the ash water. After a day it will be iridescent again.

The pot is fermenting nicely and I have started to stir it daily. In the early stages the color of the bubbles that surface are a pretty turqoise blue. That color and that greyish foam means that it is still not ready for dyeing.

Here, there is a good 'indigo flower' (the name of that cluster of bubbles), but the surrounding area is kind of cloudy, with some greyish bits of foamy bubbles floating around. Not ready yet.

It is not ready to be used properly yet, but it is fermenting well, so I want to test the color with a small fabric swatch.

When I first take it out is is a green color (you can only see it on the one edge where my finger was, I was slow with the shot) until it oxidizes and then it turns blue.

THE COLORS OF KUSAKI-ZOME

noreply@blogger.com (M. JOAN LINTAULT) — Sat, 03 Oct 2009 22:39:00 +0000

Kusaki-zome is Japanese for grass and tree dyes.

These are the various colors of kusaki-zome dyed on silk, kozo paper, wool fabric and yarn . These are some of the dye samples that I made in Japan.

I made a stencil and used rice paste as a resist to show the original fabric color. Some of the dye stuffs are pomegranite, lac, red cabbage, fustic, walnut, cochineal, peach leaves, logwood, and madder to name a few.

The samples show the different colors
that can be achieved using different mordants.

Kozo paper

GENERAL DIRECTIONS FOR KUSAKI-ZOME

noreply@blogger.com (M. JOAN LINTAULT) — Sun, 20 Sep 2009 00:15:00 +0000

COLLECTING MATERIALS

The dyes can be obtained from leaves, bark, hulls, fruit, berries, nuts, grasses, flowers, lichen, insects and minerals.

Most plants will yield some color when boiled and processed for dye. The question is whether those colors obtained are worth the effort. In most cases the resulting color will be pale yellow, beige or pink and have little strength.

The dye substances can be used fresh or may be dried. It is best to gather them when they are in the best state for collection as a dye plant. To obtain the best color results they should be used immediately after they are gathered. Leaves should be gathered in early summer when they are young; flowers just after coming to bloom before the sun has a chance to fade them; the whole plant when the flower is in bloom; fruit when well ripened and bruised, roots when the plant has died down in the fall; bark should be collected in the spring.

To store for future use, the green parts and flowers should be dried out of direct sunlight. Dried plants should be stored in a dark place.

GENERAL DIRECTIONS FOR MAKING EXTRACTS OF LEAVES, BARK, HULLS, ROOTS, GRASSES, FLOWERS, AND FRUIT.

The following instructions are general directions for the boiling down of fresh or dried leaves, bark, hulls, roots, grasses, flowers and fruit.

1. The amount of water and dye material added to the pot are standard and may be increased or decreased according to the color desired.

2. The larger pieces of bark, roots, twigs, hulls and grasses should be chopped into small pieces. If the pieces are too difficult to chop, they may be soaked overnight or chopped in a blender or mashed after they have been softened by boiling.

3. The dyes are extracted using heat and a series of repeated boiling . The number of extractions depend on the dye substance.

4. To boil, the specified amount of water is put into an enamel, stainless steel or glass pot. A copper, aluminum, or chipped enamel pot will affect the color of the dye. Pots made of these metals will react with the dyes and mordants.

5. To speed up the boiling process the dye material may be added to hot water.

6. Boil the dyes uncovered for the required amount of time.

7. The dyes may be stirred with glass rods, dowels, wooden or stainless steel spoons

8. When the dye has been completely extracted and the depth of color has been achieved by combining dye liquors. Strain the dye through a finely woven nylon or polyester cloth bag or a piece of nylon fabric lining a plastic colander. This will filter out any fine particles that might remain to stain the fabric. Do not strain through a metal sieve unless it is made of stainless steel. Do not strain through a cotton or natural fiber bag as the bag will absorb and weaken the dye.

RANRU AND BORO

noreply@blogger.com (M. JOAN LINTAULT) — Sat, 22 Aug 2009 18:16:00 +0000

Mottainai (もったいない, 勿体無い) is a Japanese term meaning "a sense of regret concerning waste when the intrinsic value of an object or resource is not properly utilized." It is originally a buddhist term that refers to the essence of things. It also applies to everything in the physical universe, suggesting that objects do not exist in isolation but are intrinsically linked to one
another.

Nai is a negation, and an expression of sadness over the repudiation of the ties linking all living and nonliving entities. It is also a concept that reestablishes such bonds and reasserts the importance of treating all animate and inanimate objects with great care. It can be understood as "What a waste", or the misuse of something that can be made valuable. It is finding the Buddha in the fabric.

It is similar to the concept of Gaia. Gaia is the Greek supreme goddess of Earth. The Gaia concept is an ecological hypothesis that the Earth is a self regulating complex interacting system that maintains everything, and that the climatic and biogeochemical conditions are interlocked.

The fabrics are pieced with no apparent pattern except for the aim of making a larger piece of cloth from the scraps.

They speak of decades of hardship in the home that made them. Each scrap sewn with care to cover damage incurred by use, giving it yet another life. They speak of an abhorrence of waste, of creatively making something new from something old, making something from leftovers.

The pieces are sewn together sometimes with sashiko stitches. These fabrics can be made of either cotton, hemp or a combination of both. and almost all of the pieces shown will be indigo dyed in solids, shibori, kasuri (ikat), or shima (stripe) patterns; many will have combinations of multiple patterns.

This concept was an important one for western quilters of previous centuries who creatively made something new from collages of pieces of cloth that were pieced together in specific patterns.

The Japanese used the cloth to mend holes, reinforce worn areas of sleeping futon or work clothes. The cloth is layered to increase warmth and durability. The cloths are used to make futon, cushion covers (zabuton), furoshiki, dust and floor rags. Created because of the need for mending cloth, it is an unplanned art form. They are what happens when design and composition are intuitive and what exists determines the possibilities.

The sheer variety of tones of indigo, the juxtaposition of pattern, the scale changes between patterns and patches, the free-form and meandering stitching, the random assortment of color combinations is very beautiful.

The images of boro and ranru are used with the permission of www.ichiroya.com

THE JAPANESE ART OF KUSAKIZOME

noreply@blogger.com (M. JOAN LINTAULT) — Thu, 20 Aug 2009 17:04:00 +0000

SOME HISTORICAL THOUGHTS

Because of climate, the growth of certain dye plants in India made available the raw ingredients necessary to print and paint bright colors on cotton. The availability of these dye plants, the time consuming processes to use these dyes on cloth and the dangers of travel before the 16th century made these dyes, fabrics and techniques relatively unknown in Europe prior to the 16th century.

In the West, the earliest recorded description of printed fabrics come from the Greek geographer Strabo (63 BC-20 AD). In the middle of the 17th century the Dutch and English, while trading in India, realized there would be a market for these printed textiles. They began to import them to Europe. By the end of the 17th century the popularity of these printed and painted fabrics, called chintz in the West, was well established.

In the East, during the Nara period (646-794 AD), the Japanese had became proficient in obtaining beautiful colors and patterns with simplified resist techniques using the same dyes. Much of their information on dyeing is thought to have come from India through China and Korea. The dyes and dyeing techniques brought by immigrants from Korea and China changed not only Japanese dress but introduced more colorful fabrics, as it did in the West 10 centuries later. The dyes affected the techniques used to pattern cloth and resulted in fabric that was typically Japanese.

Traditional Japanese resist dyeing techniques are the result of highly specialized craftsmen whose precision indicates that their skills were developed over a long period of time. The dye processes they used were time consuming, precise, tedious and labor intensive.

The Meiji restoration of 1867 brought reforms to Japan and contact with the West. Imported textile machines and synthetic dyes initiated changes and dye standards deteriorated. The dyeing techniques which do not lend themselves to mass production continue today mainly because of the Japanese appreciation of hand-crafted works. In Japan, the old dyes lacked a name to differentiate them from synthetic dyes. In 1958 Akira Yamazaki coined the term Kusaki-zome.

Kusaki-zome dyes may be applied to natural fabrics or yarn by immersion into a dye vat (batik or tie-dye) or by direct application (painting, printing or stenciling).

The kusaki-zome method of dyeing involves extracting the dyes from the dye material and making highly concentrated, stock solutions that can be stored in the refrigerator until needed.

The dyes can be purchased from dye companies, herb companies, the supermarket, grown in the garden or foraged in the fields. These dyes may be used on any natural fiber: cotton, linen, wool, silk, ramie, and viscose rayon. © M Joan Lintault

NATURAL INDIGO DYEING

noreply@blogger.com (M. JOAN LINTAULT) — Mon, 15 Sep 2008 15:32:00 +0000