Fabric printing project – preparation

I have been making Lino prints ready to experiment printing on fabric with procion dyes with inspiration from Ikat woven fabric and Ottoman textile design

I have used fabric paints in the past however as these are pigment based the prints are stiff and change the nature and drape of the fabric. Dyes are permanent and do not affect the hand.

Chemical ingredients

  • Soda Ash (Sodium Carbonate) – to fix the dye
  • Water
  • Urea –  increases the brightness and intensity of dyes
  • Sodium Alginate – to thicken the dye mixture to a print consistency
  • Procion dyes – I will start with 4 colours – magenta, royal blue and lemon yellow and black. With this selection I should be able to mix many different colours and tones.
  • Synthrasol – to remove any trace of dye in the final wash

Equipment

  • Safety: face mask, rubber gloves and heavy apron
  • Table – lined with cardboard and topped with a plastic cover
  • Large plastic jug
  • Large bucket
  • Plastic spoons
  • Wooden spoons
  • Glass jars to store the thickened dye
  • Paint brushes
  • Rollers
  • Lino prints
  • Prepared sticker for the fabric pieces
  • Log book
  • Camera
  1. 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

Experiments

Use a soak and unsoaked piece of fabric for each experiment. First label the fabric with:

  • S – soaked
  • US – unsoaked
  • Technique
  • Start time
  • Completion time
  • Comments in log book

Techniques

  • a. Lino print
  • b. Brush strokes – wide and fine
  • c. Water colour – spraying extra water on the fabric to see how the paste behaves
  • d. Stencilling
  • e. Printing with a range of shapes – leaves, pasta etc

Finishing

  1. Leave 1/3 fabric pieces on the table for 90 minutes before washing.
  2. Leave 1/3 fabric pieces on the table covered lightly with cling film for 4 hours before washing.
  3. Leave 1/3 fabric pieces on the table covered lightly with cling film over night for about 16 hours+ before washing.

Finally rinse out the fabric in cold water until the water runs clear and then wash with Synthrapol to remove any last traces of dye.

Questions

  • Does pre soaking the fabric make a difference to the final colour and design and colourfastness?
  • Which printing method is most effective?
  • Which colours look best with a white background?
  • Which colour combinations work?
  • Which techniques work well together?

References:

Books

How to dye your own fabric
Margo Price, Andrew Moore

 

 

Fabric dyeing project

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

Pattern design – thoughts

  • Lino cut printing
  • Free hand painting
  • Flowers – tulips, roses, hyacinths, carnations pomegranates
  • Blues and turquoise, maroon, purple and gold, orange and serene greens

 

  • Free machine embroidery
  • Simple jacket design – no darts or extra seams
  • Loose fitting, comfortable, elegant, individual, colourful, excellent

Materials and equipment

  • Procion dyes
  • Urea
  • Soda ash
  • Sodium alginate
  • Mask and gloves
  • Buckets and plastic jugs, spoons and cups, wooden spoon, lots of towels and cardboard to work on
  • Lino cuts, paint brushes
  • Fabrics: Cotton/viscose Ottoman rib Siberia natural, Barkweave cotton, Linen/cotton Manetti (Whaleys of Bradford)

Everything is ordered and will be ready to go by next week – watch this space…..

 

 

V&A 16th & 17th C Ottoman children’s kaftans

http://collections.vam.ac.uk/item/O85101/kaftan/

16th C Ottoman children’s kaftans V&A museum

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

Yarn colours

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?

Textile patterns

  • 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

Reference

PDF: Wearden J. The Royal Garments, fabric, design, tailoring.Ottoman kaftans from the Victoria and Albert Museum, London

16th century pattern symbolism

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.

www.idildergisi.com

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.

Carnation

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.

 

Tulip

 

Hyacinth

 

Tiger design
A symbol of the strength and power of the Ottoman Empire and often found on fabric and clothing worn by the powerful.
(Gürsu, 1998).
Cintemani design
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.