Llena tú verano de color y diseños con un taller de shibori, a manos de la diseñadora y artista textil Beatrice Klotz. Este encuentro con la creatividad es organizado por
10 shibori techniques to try out and build on
Three days - three shibori scarves. Click on any of the images to enlarge. Minnesota is known for many things: rivers and lakes, blizzards and tornadoes, the Twin Cities - not to mention the Twins baseball team - and a plethora of educational and cultural institutions. Thriving arts centers can be found even in the smallest of Minnesota towns, such as St. Peter, population 10,000, more or less. Entrance, Arts Center of Saint Peter. During a recent hot August week-end six students, working with textile artist Patricia Freiert, made magic at the Arts Center of St. Peter. Using shibori techniques, and white scarves as our blank canvasses, we created unique, colorful patterns through the alchemy of indigo dye, using nothing more sophisticated than needle and thread. Shibori is a resist dyeing technique, perfected in Japan, in which fabric is tied and shaped in deliberate designs and patterns. When the shaped cloth is submersed in a vat, dye is prevented from penetrating the tightly bound areas, which "resist" the dye. Patricia Freiert, whom we all called Pat, studied shibori extensively when living in Japan during an academic exchange program. A professor emerita of Classics at nearby Gustavus Adolphus College, she now works full-time as a fiber artist and sells her wonderful scarves in galleries nationwide and in the American Craft Council shows. Pat's focus on circles created with shibori gave the workshop a theme, as well as an insight into how technique interacts with design and motif. In an indication of her dedication to her students, Pat actually lugged her own indigo vat from her home for us, and had two additional vats available: black and gray, so we had a welcome, but not overwhelming, degree of choice for scarf color schemes. After settling into our basement workroom, and after brief introductions, we began with a clamped resist technique, or itajime. Itajime in progress. Itajime combines folding and clamping of fabric. We fan-folded our scarves lengthwise, then continued folding accordion-style into equilateral triangles (top left image, above.) Pat explained the folding sequence using paper, which was a good teaching technique. After folding, we sandwiched the fabric triangle between two matching Plexiglass discs, and clamped it all together with a standard C-clamp. Wooden discs are traditional, but they must be encased in plastic wrap, so that the dye color doesn't transfer to the wood - any residual pigment might discolor the next project for which the wooden discs are used. Plexiglass doesn't absorb the dye, so no wrapping is needed. After three minutes in the indigo, the fabric and clamp assembly was left to damp dry (in yellow bowl, above) and, when unfolded, revealed a "circle of circles" (drying rack, above image.) Itajime samples. Some of the samples above were dyed in a pale gray fiber-reactive dye before folding and clamping; hence the pretty tonal look. Robin watches as indigo oxidizes. Of course, itajime can be made using clamped square blocks too, as our classmate Robin demonstrated above with her lovely piece of white squares forming larger squares. The piece in the image above has a greenish cast - when fabrics are removed from the indigo they present as algae green; as the indigo takes up oxygen from the air the fabric transforms into the desired deep blue. This is one reason it's important to disturb the indigo as little as possible and keep the pot covered when not in use, to prevent oxygen from entering and weakening the vat. Next, we moved onto a technique new to me: hotaru, or firefly. Again, we fan-folded our scarves lengthwise, as for itajime, then continued folding to create triangular, rectangular or square bundles, as desired. We also made small cotton balls by wrapping thread tightly around cotton wadding. A pair of the cotton balls are positioned on opposite sides of the fabric bundle, with a small piece of paper or plastic wrap under each wad to act as a sort of washer. Finally, using a long doll-maker's needle - it looked like a stiletto - we stitched through the layers. All the way through the fabric and the wads, and then back again. Manipulating needle and thread through all the material was tough, and I finally ended up going through the "leaves" of the folded fabric a few at a time, trying to keep layers and cotton wads in alignment. One pair of cotton balls was enough for me, but different patterns can be created by using additional pairs. Hotaru, in progress. The left image above shows a gray-dyed folded scarf with a cotton wad on top (there's another wad on the back); the whole thing was stitched through and cinched tight. On the right in the image are cotton wads before and after dyeing; one is shown upside down to reveal how the spherical shape leads to a gradation in the penetration of the dye to the scarf. This results in the "fuzzy" edge that looks like the glow of a firefly. This technique was exasperating, but worth it. Linda and Pat unveil Linda's terrific hotaru scarf. Hotaru samples. I had pre-dyed my scarf in gray, then it went into a vat of luscious black; it's the scarf at the bottom left in the sample image above. These two techniques filled our first Friday evening of the three-part week-end workshop. Next day, when we were in the studio from 9 to 4, with a delicious lunch break at the nearby River Rock cafe, we move onto stitching and binding using a makiage stand. Pat elucidates a makiage sampler. Makiage combines stitching and binding; sometimes areas are capped too, a technique which essentially waterproofs an area, totally excluding any dye. First step was to tape down the scarf and draw a pattern, using a vanishing marker. Almost any shape can be depicted in shibori, but of course our theme was circles. Pat uses a compass to draw concentric circles. Once the pattern is drawn, the artist stitches along the lines with a single thread, using running stitches about 1/4" apart; evenness is not too critical. Pat gave us #4 milliner's needles, which worked well. When all outlines are stitched, the thread is gathered tightly, wrapped around three times, and tied off securely using the kamosage knot. I had that knot down by the end of the day; it's basically the same technique used in casting on in knitting. Circles stitched, cinched and knotted, ready to bind. Using the makiage stand, Pat wraps thread tightly around the cinched circles. Pat gave a demonstration on her maikage stand, and then we went to work. I used one of the itajime Plexiglass discs and a flat plastic template from home, used for marking my quilt tops. First, I taped down my fabric on the table, and calculated the spacing of my five circles. Design-wise, I like the contrast of rigid geometry with the randomness inherent in the dyeing process. Scarf taped and marked. Plexi and flat plastic templates; vanishing marking pen. After marking the circles with a special vanishing marker Pat obtained for us from Japan, I stitched the first circle clockwise, remembering that "the first stitch goes down and the last stitch ends up" - makes it easier to pull the thread to cinch the circle tight. Complete the circle by overlapping one stitch. Stitched circle - knot and thread both on right side of fabric. After stitching the inner circle, I left a bit of slack in the thread and stitched the outer circle - no need to tie off after the inner circle. I used cotton thread purchased at a shibori supplier in Arimatsu, but Pat recommends Cebelia crochet thread size 20, by DMC. The all cotton thread swells when wet, making the stitching and knots even tighter, for a successful resist process. Stitching the outer circle. Circles stitched. Class hard at work, stitching away. Circles, stitched, gathered and tied. Once my circles were all stitched, I cinched the threads and tied them off. Using a bobbin of the same thread, and the makiage stand, I wrapped the cinched bundles. The metal arm of the stand holds the knotted thread - Pat automatically replaces the end knot after every thread cut - while the artist "weaves" the fabric bundle between the bobbin and the thread held taut by the metal arm. By my fifth circle, I at least had a notional acquaintance with the technique. Metal arm of makiage stand holds knotted thread. Pat, ever cheerful and patient, assists student. Wrapped circle bundles and special vinyl. After wrapping the circles in thread, I capped the tips using rectangles of a special thin but tough and pliable vinyl Pat ordered from Japan. Lots of thread and lots of knots. The next step is to soak the scarves so they are thoroughly wet before entering the dye bath. This ensures better dye dispersal. After dyeing, the knots are carefully removed with a seam ripper. It's easiest to do this when the scarves are dry, but in a workshop setting the artist can't always wait. Pat prepared the dye activator while scarves soak in water. Robin patiently removes stitching from her dyed scarf. Hands are blue after removing the knots and stitches. Once all the thread is removed, the circles are revealed! My scarf of five circles is on the right in the image below. The all-white centers are where the vinyl capping prevented any dye from reaching the silk. A variety of techniques result in the varied motifs seen on the scarves to the left and in the center. Really, the possibilities are endless. Variations of makiage shibori circles on silk. The makiage work was the focal point of the day, but Pat also shared many other examples of stitched techniques from her extensive collection. We also learned a "quickie" shibori technique, called origami rings, using a cotton bandana square. The square is fan-folded into fourths, then folded into a packet, as shown below. Fold sequence, clockwise from top left. Our "squares" weren't perfectly square, so there was little "leftover" fabric to finesse. No matter. We squeezed and tied the corners, soaked the bandanas in water, then in they went into the indigo. And voila! White circles in a blue field. This simple project, which was a relief after the challenges of the makiage stand, gave instant gratification and might be a very good introduction to dyeing for grades 5-8, too. Left, folded and tied bandana. Right, rings in an indigo field. From Pat's collection; dyed but not unfolded. Pat explains another stitching technique. On the final morning of the workshop Pat introduced the futate and mame techniques - basically, tying fabric around small items such as beans (mame) or small container lids (futate). This concept is probably the most straight forward of the techniques we covered, and I was glad Pat introduced it on the last day, when it was a bit harder to remain as focused. When a bean or lid is covered with plastic wrap, or other waterproof material, before tying this is called capping, or boshi, and results in a completely white area where no dye penetrated at all. Scarf tied around jar lid and around a floral gem. Gem is capped in plastic wrap. The three days went by quickly and rarely have I worked alongside such a nice group of people. I am not smart enough to talk and work at the same time, so the lunch break on Saturday was the perfect way to relax and get to know one another a bit better. We were a varied group - a professor of social work, two retired nursing specialists, a weaver-spinner, one massage therapist and me, all united, though, by a thoughtful teacher and an eagerness to explore the possibilities of design on cloth. Tied and stitched circles on scarves. Our small, but select, group.
Continua el Programa de Capacitación Integral con Enfoque Local, Agroecológico y Sustentable dirigido a artesanos y diseñadores textiles chilenos con el módulo de Shibori con Índigo FONDART 2018
stitched and gathered calico
In my last post I spoke about stars aligning and this order of events was one example. While in Sydney, it was on the list to visit Koskela out in Rosebury. I had seen it in many design post, pinterest and print media. I needed to see this Nirvana myself. Koskela itself is another post - but while their I instagrammed Megan Morton's door to her School saying I was too shy to knock. Well bowl me over, she contacted me and said that next time to knock and she would answer! How could I resist such an offer from one of my design doyenne's! I have admired this women from afar and now I was going to meet her. Not only that but I also saw that the incredibly talented and super nice Joanna Fowles was doing a Shibori class while I would be visiting. Oh my stars... they were all in a line. I booked and look at the magic that happened. (I also managed to drag my banker friend Kath along - she was skeptical but ended up LOVING it - and making the scarf-o-the-day) Shibori is a Japanese term for several methods of dyeing cloth with a pattern by binding, stitching, folding, twisting, compressing it, or capping. It's a complex and beautiful process that yields amazing end results that are literally infinite. Variables come from your resisting techniques as well as time spent 'dyeing' the products. Results also differ depending on the type of fabric used. It's just lovely. The indigo turns the cloth an amazing shade of green until it's exposed to air, then changes to a shade of blue The speed shiborist - Sophie I loved meeting some amazingly talented individuals as well the pure joy I get from making things with my own two hands. It's one time when I can honestly say that I don't think of anything else but what I'm doing. That's a treat in my busy world. The most insane Lamingtons from Flour and Stone Joanna is a shibori whizz who has the patience of a saint with an abundance of talent. I had first seen her featured here by The Design Files. What made this day even better was that Megan and her right-hand-main lady Sophie the Stylist also did the course. It was very amusing to witness Sophie's manic style of 'shiboring'. Her energy was infectious and by the end none of us wanted the day to end and we were shiboring anything we could get our hands on! It was with a heavy design heart that it ended. Many many thank-you's to Megan Morton and her team. If you do get a chance to do a class - any class of Megan's, then DO IT. You will come out a better person.
Lynda here again. One of the techniques I wanted try in Cheryl Rezendes' Fabric Surface Design book was using Dye-Na-Flow with folding techniques or shibori. She called the chapter Fold and Color. I've tried these techniques with Indigo dye, but never with Dye-Na-Flow. So here we go. I folded the fabric the following three ways: flag, accordian, and jelly roll. Below is the flag fold. After folding it and securing with rubber bands, I used pipettes to drop three different Dye-Na-Flow colors on the fabric. You can find directions for flag folding and the other folds on the web. Her book has illustrations for these and other folds. Once I was happy with the colors I let the pieces sit for 24 hours or until they were dry. Once dry, I opened them up and ironed them for three minutes on the back side of the fabric. And here are my results. Flag Fold Accordion Fold Jelly Roll Fold My favorite of the three was the jelly roll. Using Dye-Na-Flow was easy. This would be a fun project for kids using bandanas or tshirts. I must admit, my Indigo dye pieces were much more impressive. However, this was easy and fast. I will redo this project again with different colors. These came out a bit brighter than I would have liked them. Dye-Na-Flow is a great product to quickly add background color to fabric. I also love using it with sun printing. Be sure and stop back by in June when we'll spend the whole month blogging about different ways to sun print. Do you use Dye-Na-Flow? I'd love to hear your favorite ways to play with it.
Felices con los primeros de Cursos de Tintes Naturales vía "streaming" en The Dyer's House! Nada que envidiarles a nuestros cursos presenciales!
Well, it's Week 2 (see here for Week 1) of my complex cloth project and I decided what to do with two of my fabrics for a second step. Being so inspired by Itchiku Kubota's kimono work, I wanted to work shibori into at least some of my cloths. Two of them stood out as good candidates. The brightly colored orange/pink one because it was a little brighter than I wanted it to be and the blue one - both weren't really that interesting and could do with some spicing up before I started printing, stamping, sewing, etc. There are many shibori tying methods. For these two, I decided to do ne-maki, ori-nui, and arashi. Materials: *marbles or small stones *nylon upholstery thread *needle *PVC pipe - I'm using a small amount of fabric, so I used a smaller diameter pipe. The size of pipe will change how it turns out, so experiment. *waxed linen string or artificial sinew (available from leather goods stores or on-line art supply companies) Soak the fabric in a solution of 1/2 cup soda ash to 1 gallon water for about 20 minutes. Orange/Pink Cloth This is the cloth after I finished with the shaving cream dyeing last week: First, I tied lots of small marbles into the fabric for ne-maki. Put a small piece of the fabric around a marble or small stone and tie below it very tightly with strong upholstery thread or artificial sinew. The plan here is to get a ring - it didn't quite work this time, but that's the plan. After every several wraps, pull tightly on the thread. Tie in a tight double knot when finished. What you are doing is making a resist - the thread will resist the dye and keep it from reaching the fabric underneath. I also added two rows of ori-nui. To do this, use a running stitch of doubled strong upholstery thread and sew very small stitches in a long line. Make several (at least 4) of these lines parallel to each other. Leave about a three inch tail of thread at each end. Pull the threads (all threads of one row at once) and gather them up as tightly as you possibly can. Tie them together in a knot next to the fabric. Again, you're making a resist - hopefully the fabric will be so tightly gathered that dye will not be able to reach the inner portions. I then put the fabric on a rack over a tub and began to paint the dye on. The main reason for doing this instead of dipping the fabric into the dye is to limit how much dye gets onto the fabric and soaks into the areas you want to be resisted. To make ne-maki and ori-nui work well, you need to paint close to the resist but not right up to it, letting the fabric wick it up further. I didn't do that this time - mostly trying to be fancy and get double rings from the ne-maki and a darker trail from the ori-nui! Sometimes it works, sometimes it doesn't. This time it didn't work out as I planned, but it turned out very interesting. I painted the rest of the fabric with a much wider brush. Oh - I used Safari Gray if anyone's wondering. When the dye is in place, put the fabric in a seal-able plastic bag and leave for 12 to 24 hours. Be careful that any parts you don't want dyed aren't sitting in a pool of the dye. Rinse, cut out the thread (very small scissors and a seam ripper work well), rinse again and wash. This piece is a lot more interesting now! It'll be fun to continue with for the next layers. Blue Cloth For this piece, I decided to do an arashi fold. Arashi means "storm" - it often looks like wind driven sheets of rain. There are lots of different variations, depending on how you twist and tie the fabric and the size of pipe or pole you wrap the fabric around. This is the piece after last week: First I twisted the fabric diagonally (you can also do this horizontally or vertically) and wrapped it around a piece of pvc pipe. I tied it into place with artificial sinew, and then squished it together as closely as I could and wrapped it again in a back and forth pattern. I painted darker blue and a purple in stripes (again on a rack over a tub) and put it into a seal-able plastic bag. Again, much more interesting! Next week I'm using discharge methods to take dye off the fabric in certain places. There are a couple of good products to do this with. And until then I'll be pondering again on what my next steps will be! Happy Creating! Deborah
Hoy a pedido de muchas seguidoras vamos a enseñar una de las tecnicas Shibori. Como muchas sabran esta tecnica lo usan los japoneses para teñir tela con motivos abstactos. Haciendo que la tela se…
I had high hopes for this, and I'm sure that one day, it will make a great addition to my quilt. First, I need to figure out a way of removing those dratted nails from the fabric without ripping it, or shredding my fingers in the process! Elizabeth, x.
Naturelle, anti-gaspi, facile à faire... la teinture végétale a plus d'un avantage. Découvrez ici comment teindre vous même vos textiles naturellement. - Il y a quelques jours, j'ai eu l'impression que je ne parlais plus trop de slow life par ici. C'est une idée qui m'a traversé l'esprit alors que j'étais en train de faire carrément autre chose et donc j'ai peu pris le temps d'y réfléchir. Même si je n'estampille pas les articles comme étant slow,
And now, we're up to some 3D folding. Roll your square piece intoc a tube. And clamp it between those corner pieces from the hardware store: Interesting.... there must be more ways to fold 3D, will think about it.
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和紙の上に染められる同じものが一つもない模様。おりぞめ染伝人(山本俊樹)のレポート。
Obtenir des tons jaune-orangés grâce à la teinture au curcuma frais ou en poudre.
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Naturelle, anti-gaspi, facile à faire... la teinture végétale a plus d'un avantage. Découvrez ici comment teindre vous même vos textiles naturellement. - Il y a quelques jours, j'ai eu l'impression que je ne parlais plus trop de slow life par ici. C'est une idée qui m'a traversé l'esprit alors que j'étais en train de faire carrément autre chose et donc j'ai peu pris le temps d'y réfléchir. Même si je n'estampille pas les articles comme étant slow,
Se puede aplicar en manteles, servilletas, fundas y hasta cortinas. El proceso de origen japonés es simple y permite renovar los espacios de la casa. Cómo aplicarlo para darle un toque original a los espacios de la casa
Using the amazing shapes found in nature and a new way of eco printing, capture intricate details. Resist Method of Eco Printing allows many possibilities
Leave it to dear friend and celebrated photographer Andrea Gentl, and natural dyer and textile designer Cara Marie Piazza, to show us how utterly dreamy wilted, decaying and dead flowers can be. With Andrea behind the lens and Cara sharing design tricks of the trade, the two recently joined forces to create this stunning natural dye […]
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El shibori es una técnica japonesa que usa tinturas para crear estampados, ¡aprende los pasos básicos aquí!
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¡Los colores que nos brinda la naturaleza son infinitos! Aquí te comparto la receta para teñir con el tinte natural del hueso de aguacate, verás que resulta una gama maravillosa para bordar nuestra…
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The Blog Categories Dyeing tutorials foraging herbs gardening Older Posts > EXPLORE POSTS BY topic Dyeing Tutorials Foraging Herbs Gardening
blog su tintura naturale, ecoprinting, shibori, corsi, filati e tessuti naturali
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Desde que mi amigo y colega Ramón A. me hizo un curso de tintes naturales, adaptado a mis necesidades y exigencias, no me lo puedo sacar de la cabeza, me quedé muy enganchado. la teoría ya la había estudiado, conocía el procedimiento, pero nunca pensé que fuese a tener algo tan atrayente, que nublase mi mente y en ocasiones no me dejase pensar con claridad. Estos últimos meses he estado investigando, tiñendo y jugando a extraer color de materias orgánicas comunes (helechos, zanahorias…) o específicas (rubia tinctorum, retama…), además de plantar un mini jardín de plantas tintoreas en la huerta de mi amiga Sabela, esto ya os lo contaré con más detalle que la naturaleza es muy caprichosa y comencé a plantar con la primavera muy avanzada, a modo de avance tengo la intención de plantar Isatis Tinctoria (hierba pastel), Phytolacca Americana, Tagetes, Reseda Luteola (gualda), Carthamus tinctorius (cártamo) y Equinacea, una variedad de plantas que el resultado en color sería un círculo cromático casi completo. Todas estas plantas son fácilmente adaptables al clima gallego, según me he informado, a mi favor tengo que decir que no es la primera vez que me transformo en granjero último modelo (y además también tuve una granja en Facebook, supongo que eso no cuenta…) Cada día que pasa controlo mejor todo el procedimiento, que en esencia no es complicado pero hay que tener ciertos factores en cuenta. He estado tiñendo Seda (habotai 8) y Lana Merino a 1 y 2 cabos, probando (post-)mordientes no tóxicos, ni contaminantes y tomando muchos apuntes! por ahora solo he probado con fibras proteicas y tengo pendiente meterme con las celulósicas (algodón y lino). Gracias a mis lecturas incansables sobre el tema, me he acercado al ECO_PRINT, por supuesto también lo he probado, y si los tintes son fascinantes, esta técnica es BRUTAL, y los resultados inesperados pero controlables! alguna gente le atribuye la invención de esta técnica a INDIA FLINT (artista textil, escritora y experta en tintes naturales) pero ella misma en su libro ECO COLOUR, dice que no ha inventado nada, que es una técnica que ya existía y que por ejemplo se utilizaba para teñir huevos de pascua, ella solo lo adaptó al textil! recomiendo la lectura del libro de INDIA FLINT, sobretodo si te interesan los tintes naturales, es un manual no muy teórico pero si práctico. Como siempre nuestro amigo Pinterest me ha ayudado a conocer el trabajo de otras personas que también han sentido fascinación por este mundo tan apasionante de los tintes naturales y he creado este tablero como una mini guía de recursos. Ahora estoy más centrado en la producción para la venta de productos con tintes naturales, haciendo pruebas piloto, desarrollando el concepto, planificando la producción… packaging, etiquetas y un largo etcétera, lo que más me sorprende es que de nuevo desee producir algo para su venta, lo había olvidado hace unos años cuando me centré en la formación como medio de vida, ya no me acordaba de la sensación tan maravillosa que produce crear algo de 0.