Pre soak the fabric – I have bought fabric that is already prepared for dyeing and will soak this in a Soda Ash solution over night
Mix 3/4 cup Soda ash with 7 Litres water in a large bucket and stir until the soda has dissolved. Then add half the fabric and leave to soak.
Wring out the fabric and then spin in the washing machine to remove excess water. The fabric must remain wet for dyeing.
2. Mix the dye base for 1.5 metres fabric:
Put on the face mask, gloves and apron
Mix together in a large plastic jug:
4 cups warm water
3/4 cup urea
1 tbsp sodium alginate
Mix well with a whisk as the mixture blends and thickens. Divided the paste base into 4 glass jars.
3. Prepare the fabric
As I am experimenting at this stage I will cut the pre-soaked fabric and unsoaked fabric into 20cm squares and lay them across the prepared table.
4. Mixing the dyes
Face mask, gloves and apron on
Add 4 teaspoon of soda ash to the paste base and mix in well
Measure out 1/2 teaspoon of dye powder into a glass jar and add 1-2 teaspoons of water and mix to a paste – it is important not to add too much water and to mix the dye very well so that it has all been dissolved. Unmixed particles of dye will cause streaking on the fabric.
Repeat this process with the other 3 dye colours.
N.b. Once the dye has been mixed with the soda ash in the dye mixture the dye will have short shelf life – maximum 4 hours so my experiment will have to be completed in that time
Use a soak and unsoaked piece of fabric for each experiment. First label the fabric with:
S – soaked
US – unsoaked
Comments in log book
a. Lino print
b. Brush strokes – wide and fine
c. Water colour – spraying extra water on the fabric to see how the paste behaves
I have never used procion dyes before and have decided to dye and print my fabric for a range of jackets with an Asian ottoman theme.
Researching I have found some good tips for using dyes thickened with sodium alginate to paint or print onto fabric by Alyson Provax
Alyson Provax – printmaker and experimental dyer in Portland, Oregon. Her prints are available through Uprise Art, and her work will be shown in Variable States: Prints Now at Upfor Gallery in Portland this spring. Find her at alysonprovax.com
The V&A collection of children’s kaftans were worn by Ottoman princes who died in childhood. These luxurious kaftans were placed over the graves of the deceased children and preserved in the imperial tombs. In 1595 the nineteen younger sons of Sultan Murat III were executed on the orders of their half-brother Mehmet III on his succession. The killing of younger heirs of the sultanate evolved to prevent any struggling for succession (interesting that this is also practiced by male lions that kill the cubs when taking over a pride). This cruel practice was never repeated after 1595.
Weave and fabric construction
‘Lampas’ weave – 4:1 satin with a 1/3 twill. Silk warp and weft with a third element – a metallic silver wrapped white or yellow silk weft brocade. Loosely silver wrapped white silk yarns allows the white to show through the silver highlighting the metal – yellow yarn peeking through the sliver lends a gold hue to the resulting brocade. Fabric width: 66cm – 68.5cm
Predominantly white and red with touches of blue and yellow. Green was rarely used as there were no natural green dyes – green was produced by over dyeing yellow yarn with a blue dye. Red is used for the warp but never the weft – why?
Cintamani & Tiger stripes – Turkic, Central Asian origin.15thC
Stars & Crescents – Designs from Constantinople. 15th century
Florals: Pomegranate – single and sprays of, Ogival lattice, floral lattices, blossoms, pine cones, medallions – 16th century.
Undulating parallel lines – 17th century
Geometric design were still used in the 16th and 17th centuries
Pattern drawing for the children’s kaftan
Kaftan pattern pieces V&A clothworkers centre, London
Traditional Turkish Ottoman motifs are unique to the history of the Ottoman Empire and have been used to decorate many words of art and clothing including fabrics, tiles, ceramics, carpet and decorative arts since the 13th century reaching their zenith in the 16th century. The motif designs include stylised flower and fruits such as the carnation, hyacinth and tulip.
Embroidered textiles were an integral part of Ottoman daily life, used for home furnishings and clothing. Textiles played a role in daily activities and were used as gift-wrappings, room decorations, daily linens, and clothing. Embroidered textiles were also used for more ceremonial purposes, such as weddings, births, and circumcisions. Handmade textiles were symbols of status and illustrated not only the wealth of a woman’s family but also her skill as an embroiderer.
Red, blue, green, yellow, white, and black were the six colours used most frequently in Ottoman embroidery from the 17th to the mid-18th century.
The carnation symbolises spring, new birth, renewal and a marriage between earthly gardens and the flower filled fields of Paradise. The popularity of the carnation pattern originated during the 16th century from the ceramic workshops in Iznik. These workshops produced decorated ceramics and tiles for the Ottoman palaces and mosques. The carnation was grown in abundance in the countryside surrounding Iznik. The design was used widely on tiles, ceramic products such as plates, bowls and flagons, and also in the pattern design of fabulous clothing and home textiles.
A symbol of the strength and power of the Ottoman Empire and often found on fabric and clothing worn by the powerful.
A pattern of three circles in a triangular pattern and wavy lines, which derives from leopard and tiger pelts. This motif travelled west with the Turks from Central Asia and is one of the most common motifs. The tiger stripe design symbolises power, strength and manly courage and has been commonly used in the designs on the clothes of the Sultans. The three circles together symbolise Ottoman power and protection.