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Tag Archives: Resist dyeing
Stage 3 – A Larger Piece
Moving on from the wax resist and Vilene prints, today I worked on producing a larger piece of fabric with a repeat pattern using my plastic paper motif previously explored with the fabric paints. It will be good to compare the results of the two techniques.
Firstly a bit of an issue with the combined dye / print paste mixture. Obviously I had some left over from my previous printing so I expected to be able to pick them straight up again today and use them – keeping in mind that I thought they may have been slightly thick last time. They had solidified a little more in the tubs so I used some spare (clear) thickened paste – which for some reason had not thickened any more (wonder whether there is some kind of a reaction once the dyes have been added?) to dilute the colour and make it more useable. The first one looked pretty good and ready to go but as I went on down this route not all of them were working. With some colours, mainly the darker ones, I managed one partial pull before the thick dyes sort of rolled up into jelly strings and wouldn’t push through the mesh. They rolled along the surface of the screen like big globules. I could even pick them up with my fingers and not get any dye on me as they seemed to have a dryish skin / surface. Very, very odd. What should I do next?
I put a little dye paste in a tub and added chemical water to liquify it more, mixing very firmly as lumps were already forming. Once smooth I added more of the dye paste until I had got it the right consistency and colour. Then I tried printing again and it worked. The dyes were as good as first time round, in fact better because they flowed across the surface more easily than last time. I’m not sure what was happening but adding more chemical water and a bit of fresh paste to my premixed thickened dyes seemed to work. I’m sure there is some whizz out there who can explain the chemical reactions to me but at this stage I’m just glad I finally managed to print something.
Once my mixing problems were resolved I started with turquoise and reduced the ratio to print paste to get a lovely light colour to start laying down my background. Leaving the screen dirty I added more of this mix + a little more stronger turquoise. This gave me the couple of streaky areas you can see above. Didn’t like that so, from this point, I premixed every colour to get an even colour change without the streaks. Then I went a little darker again. To the original pale turquoise I added a smidge of red to get the light purple, then this was darkened. All up, the background consists of six colour mixes, all starting from turquoise.
The motifs used two different colour mixes – bright red with a tiny touch of black and ultramarine blue with a touch of black. I’m really looking forward to seeing the colours once the batching is complete.
The whole piece is around 1.5m x 70cm and was obviously worked damp on damp. This caused some ghosting as the screen was constantly being placed back down on top of other colours and picked up some of the dyes. Here I tried to minimise that effect but actually I think working in this manner almost guarantees you are going to get some of this happening. For my own interest and pleasure I’m going to do another piece and allow the screen to pick up whatever it wants and transfer it all over the cloth – not quite breakdown printing but still a more random effect that I’ve been trying for so far.
I’m learning that this seems to be the point when screen printing with dyes. If I continue down this route I’m going to get some lovely shapes happening but they are going to be a little fuzzy. However, what I love about the dyes is that they really do sink into the fabric and not just look like they are on the surface like the paints. Both methods have their place. Maybe I should dye print a base and overprint it with paints to get a design that seems to be an integral part of the fabric but with a sharp motif on top. Continue reading
Over the last week I’ve been preparing my chemicals & fabrics for screen printing with thickened dyes. The first challenge was the thickened dye paste. I mixed the DR33 to a paste with methylated spirits as recommended and then started adding the chemical water. Oops, a nasty curdled mess happened very quickly. Note: I might add that I was top of my year in school for making cheese sauce from a roux base and I’m pretty good at mayonnaise as well.
So the whole lot got thrown into the blender and whizzed until smooth. Actually no, it wasn’t smooth. It had turned into twice its volume and was pure white foam. I had to wait 24 hours until it settled which was about when this photo was taken. Just a few surface bubbles remained. It was then measured out into takeaway containers and dye was added.
I then started working out a couple of designs on Vilene interfacing as stencils. One just has some areas cut away whilst the second has some acrylic painted areas as a resist, plus some cut out areas (photo done before areas have been cut out).
I also made some repairs to the two cold wax screens I used previously. When washing them some areas of wax had come away so I re-applied it so I could compare a print using this method with my other samples.
This was my initial colour trial to see how the thickened dye travelled across the screen. On the left is the wet dye, photo immediately after application whilst still wet, and on the right is after batching. A lot of colour loss.
Again there has been quite significant colour loss resulting in the deep red turning more pink. With this method it is difficult to maintain crisp lines because I was working wet on wet – or damp on damp at least. My base yellow had to remain wet/damp so the soda ash would activate so you can see that the red lines have blurred and spread. After batching the thick calico I can see a huge difference between this and the fabric paint screen printing. The dyeing method is fully absorbed into the cloth and the colour has bled out a little. Quite a different result to the printing inks/paints.
I left the screen with the remainder of the red on it and overprinted a damp cool-yellow base in black.
Hmmm….OK. Interesting, I guess. The faint red ghosting has given a little depth to the piece I suppose. I’m not thrilled with it but that’s because my whole nature screams neat and precise so it’s not really my type of thing.
From here I moved to my cut Vilene stencil. The idea is to use a light colour first, reposition the screen and use a slightly darker or deeper colour and to keep on this way. Gradually the dyes saturate the Vilene and more colour comes through giving a variegated look to the print where the multiple colours have gradually worked their way into the fibre and finally out onto the cloth. Obviously the colour currently being worked with will fully fill the cut out motif area. The progressive results are below in the order the colours were applied. I didn’t get good coverage until right at the end and I think this was because my dyes were a little too thick so saturation took some time. I’m going to dilute the thickened paste for my next work.
I was interested to see if the design would disappear, be more lightly coloured or remain white (as I’m not sure how they colour an embossed design like this, so it may not take the dye). I feel that the pattern has enhanced the dyeing results and further down this post you can see where I have photographed the front and back of the final two prints to give an indication of the difference in effect.
The first piece, below left, was so boring that I repositioned the screen a little and overprinted with a tiny amount of orange hoping to cause a yellow shadow effect.
Finally I laid out a cool-yellow base and overprinted it with turquoise to make a variegated green. This one lost the most colour when washing out after batching and, just because I felt like it, I took a scourer and rubbed it to death to see just how much dye I could remove. Why? Purely for my own interest.
So far this has been a big learning experience, a lot of work and slightly unexpected results.