Synopsis/Краткий обзор

About the Contact Dyeing.

Moving On.

The natural dyeing technique that results in realistic “portraits” of leaves and other parts of the plants sourced for the dyes is indeed a very popular surface design approach.

I would call it quite an intuitive way of using natural materials. Today many dyers who have acquired the technique of “Portraying Leaves” either learnt the basic skills at a workshop, or are self-taught experimentalists.

Hence, it is fair to assume that there is more than one trusted way to achieve credible results.Considering such a vast number of those who favor the technique of realistic natural prints above other methods of surface design along the fact that it is an innovative technique used for textile and fashion design, (except maybe the fact that contact dyeing was/is widely used for Easter eggs decoration in some cultures) an initial comparative analysis of different methods of this natural dyeing technique seems to be an interesting and up-to-date idea.

The method I use for “leaves portraits” I developed based on my knowledge of textile technologies and called it the Contact Dyeing, as this term corresponds to the technological side of the deal. My method resulted from my practical experimenting as I was seeking optimal conditions for getting colors of high quality, bright, diverse, and color and wash fast.

Now, as my Contact Dyeing method is established, I can conclude that one of the most critical points of a method used to get prints from contact extraction of natural dye is the Time Factor, that is the time of fermentation.

In other words, the conditions of the dyeing process can be set up in such a way, that in order to get better prints the longer fermentation time is required either without heat treatment (no-pot), or after cooking/steaming (after-the pot time, before unfolding the fabric). In this case a really short fermentation time can result in development of poor and indistinct prints/colors. The color- and wash fastness of the dyed fabric, at that, remains uncertain.

This method is very popular and widely used. I know many dyers who favor this method. Although it keeps you busy for longer time and definitely requires patience to wait for the results. But the thrill of unexpected results multiplied by the reward at the end in case of a successful outcome, definitely makes this approach alluring and magnetic for many.

In case of the Contact Dyeing the longer fermentation after-the pot time may affect and almost ruin the brightness of the colors and blur the prints.

The faster release of the fabric from the pot and the plant stuff, determines brightness of the colors and vividness of the prints. The results prove to be highly color- and wash fast.

My further research curiosity rests in field of diversifying of the color palette obtainable through Contact Dyeing, while wash fastness is always high on the agenda.

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ИТОГИ ПЕРВОГО ЭТАПА

НОВЫЙ ЭТАП

Метод натурального крашения, в результате которого на текстиле или бумаге возможно образование реалистичных отпечатков растений, из которых экстрагировался краситель, в последние годы получил огромную популярность.

Многим хорошо известен традиционный способ декорирования Пасхальных яиц с помощью листиков петрушки или смородины.

В последние годы подобный метод крашения широко используется в колорировании текстиля и в дизайне. Интерес к новаторским методикам натурального крашения растет как среди аматоров, так и среди художников-профессионалов.

Многие овладевают новыми приемами крашения на мастер-классах или семинарах. Есть те, кто идет путем экспериментаторства и добивается значительных успехов.

Все это заставляет предполагать существование на сегодняшний день многообразия подходов и приемов, позволяющих получать интересные эффекты при контактной экстракции на поверхности текстиля и других материалов. Отсюда, закономерным представляется вопрос проведения начального сравнительного анализа современных приемов и методов контактной экстракции натуральных красителей.

Свой метод контактной экстракции я разрабатывала экспериментальным путем, опираясь на знания текстильных технологий и определила термином Контактное крашение, что отвечает сути процесса. Этот метод позволяет получать невероятно четкие и яркие отпечатки частей растений, которые использовались для экстракции красителя; одновременно с этим обеспечивается прочность и стойкость окраскок.

Мой метод сложился за несколько лет. Сегодня я с достаточной долей уверенности могу сказать, что одной из ключевых характеристик контактной экстракции является фактор Времени, т.е. продолжительность процесса ферментации растительного материала в контакте с поверхностью текстиля.

Процесс крашения можно построить таким образом, что для получения наиболее качественных окрасок будет требоваться наиболее длительное время ферментации, как при холодном методе (без термообработки), так и после термообработки (тем или другим способом). В этом случае, чем кратковременнее период контакта ткани с растительным материалом, тем менее внятными и четкими могут быть полученные эффекты; стойкость и прочность окраски при таком методе остается в значительной степени неясной.

Однако, этот метод достаточно популярен и широко используется. Я знакома с очень многими красильщиками, которые без устали применяют такой подход, будучи влекомыми элементом неожиданности и непредсказуемости конечного результата. Механизм такого процесса требует значительных затрат времени и, разумеется, терпения от практикующих. Однако, азарт и повод от души порадоваться в случае интересных результатов крашения, безусловно, делают такой метод притягательным для многих.

Что касается моего метода Контактного крашения, более длительный период ферментации растительного материала на поверхности текстиля, воздействует на яркость и характер окрасок губительным образом, подавляя красочность и цветность.

Чем скорее ткань освобождается от растительного материала, тем ярче и красочнее оказываются получаемые окраски. При этом, качество и прочность окрасок достигается достаточно высокое.

В настоящее время мои практические усилия направлены на определение оптимальных условий получение наиболее разнообразной цветовой палитры посредством Контактного крашения; при этом, высокое качество окрасок, их стойкость и прочность всегда стоят во главе ула.

03classnat

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16 responses to “Synopsis/Краткий обзор

  • Yvette Dopheide

    great that you make the differences clear and mention the eco printing as a different but also great method.
    i admire your science thinking and was so disappointed not being able to attend you

  • arlee

    I get great results “cooking” ie fully immersed in a just simmering pot for an hour, then immediately unwrapping—the longer i have left things, the muddier the colours

    • theimportanceofprocrastination

      Exactly the same logic I noticed when I was first attempting to get polychrome picture. Finally I realized that the sooner you let contact with oxygen the fatter the chance of obtaining bright colors, and v.v. the longer you let the time after the cooking without “breathing”, the more dull colors you get. So, I say now ‘let the fabric breathe!’ So, I believe it is anaerobic bacterial flora which starts forming when the fabric is kept wet and folded with plant material “eats out” the color replacing it with its waste products the color of which is more of the earthy shades…

  • Ginny Huber

    love the print..and am ongoingly impressed by your research and dedication , Elena!

  • Evgenia Komarova

    Спасибо, Елена! Очень интересно и познавательно! Последователь Евгения. 🙂

  • wendyfe

    I do agree, Elena, that it is not always an advantage to leave your contact-dyed bundles resting in the pot, or out of it, after heat-processing. I almost always unwrap my bundles shortly after, or even immediately after processing. If I am dissatisfied with the print, I print it a second or third time with fresh plants. Just my experience so far…but long-resting bundles also make great prints, I know. Thank you for sharing your lovely work and carefully-explained research.

  • Virginia Jaquez

    Hi Elena, your work is beautiful! I’m a little confused on this contact dying.

    In your article, you mention “In other words, the conditions of the dyeing process can be set up in such a way, that in order to get better prints the longer fermentation time is required either without heat treatment (no-pot), or after cooking/steaming (after-the pot time, before unfolding the fabric). In this case a really short fermentation time can result in development of poor and indistinct prints/colors. The color- and wash fastness of the dyed fabric, at that, remains uncertain.” From this paragragh, I’d like to ask you the following questions…
    What do you use to create the fermentation?
    How long do you ferment the fabric?
    What do you ferment it in? Glass? Metal pot?
    How long do you cook/steam and in what is the metal of the pot?

    And then you mention this…
    “The faster release of the fabric from the pot and the plant stuff, determines brightness of the colors and vividness of the prints. The results prove to be highly color- and wash fast.”
    Is the release of the fabric from the pot after it has been boiled or steamed? If so, how long did you boil? If you boiled it, did you wait until the fabric cooled down and then released the fabric from being bundled up or did you unbundle it as soon as it came out of the hot water?

    I hope you don’t mind me asking you these questions; this is all new to me and would love to learn more about it.

    Thank you. I look forward to your response.

    Virginia

    • theimportanceofprocrastination

      Dear Virginia,

      Thank you for your interest and comment!

      In the first paragraph you quoted I summarized the basics of the methods widely known as “ecoprint”.
      This method requires inter alia the factors which you named in your questions regarding this paragraph. In reply to these questions I can say that “ecoprint” is not the method that I am an expert in. There are well knows instructors/teachers who can better answer those questions in general.

      As far as my “contact dyeing” method I base it on different factors and for the best results the whole thing requires the faster release both from the pot and from the plant stuff. As for the heat treatment it can be either steaming or boiling; time is about 1,2h. I try to open it as soon as the temperature allows; I use heatproof gloves as well.

      I’d be happy to have you at my workshop or seminar.
      Thank you once again!

      Elena

  • marisa rossi

    thank you Elena for writing your experience and point of view. Your print is really beautiful.

  • morgen

    Your work is wonderful Elena and I enjoyed very much hearing about your view on contact dye printing! thank you.

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