EAD 425
BOUND AND STITCH RESIST
RESEARCH ASSIGNMENT
PREPARED BY: BACHELOR OF ART AND DESIGN (HONS) FASHION
DESIGN
AD246
NAME : NUR ADELIN MIFTAH BINTI NORDING
ID NUMBER : 2014912647
LECTURER : DR. MOHD AZHAR BIN SAMIN
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Resist-dyeing is a widely used method of applying colours or patterns to fabric. A substance that is impervious to the dye blocks its access to certain areas of the fabric, while other parts are free to take up the dye colour. Tie-dyeing involves pinching areas of cloth and tying them tightly with thread before dyeing. Removal of the thread reveals small circular marks in the original fabric colour. In applied of resist-dyeing, the pattern is marked on the cloth with a substance such as paste or wax. After dyeing and removal of the resist substance, the pattern is revealed in the original fabric colour. This process can be repeated for a several times.
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EAD 425
BOUND AND STITCH RESIST
RESEARCH ASSIGNMENT
PREPARED BY: BACHELOR OF ART AND DESIGN (HONS) FASHION
DESIGN
AD
NAME : NUR ADELIN MIFTAH BINTI NORDING
ID NUMBER : 2014912647
LECTURER : DR. MOHD AZHAR BIN SAMIN
EAD 425
BOUND AND STITCH RESIST
RESEARCH ASSIGNMENTS
PREPARED BY: BACHELOR OF ART AND DESIGN (HONS) FASHION
DESIGN
AD
NAME : MOHD NOOR FAELIHIN BIN MD SANIF
ID NUMBER : 2014596197
LECTURER : DR. MOHD AZHAR BIN SAMIN
RESIST-DYED TEXTILES
Resist-dyeing is a widely used method of applying colours or patterns to fabric. A substance that is impervious to the dye blocks its access to certain areas of the fabric, while other parts are free to take up the dye colour. Tie-dyeing involves pinching areas of cloth and tying them tightly with thread before dyeing. Removal of the thread reveals small circular marks in the original fabric colour. In applied of resist-dyeing, the pattern is marked on the cloth with a substance such as paste or wax. After dyeing and removal of the resist substance, the pattern is revealed in the original fabric colour. This process can be repeated for a several times. TIE-DYE This technique is used extensively in India, where it is known as ‘bandhani’ from which we get the word ‘bandanna’ –a silk neckcloth that was originally tie-dyed. Various methods are used to mark out a pattern on the fabric before tying. In one of the most traditional methods, now used less frequently, the dampened fabric is placed over a pattern block of raised pins. The cloth is pinched between the thumb and index finger at each point and tied with waxed thread. Another way is to block-print the design of dots using a medium that washes out in water, such as soot or red ochre. Sometimes a thin sheet of plastic pierced by holes is placed over the fabric and the fugitive solution spread over it. This leaves a pattern of small dots on the fabric. It is also possible to roughly mark out the pattern and tie by eye. The ties are often not removed before the cloth is sold, to show that it has been hand-dyed and not mechanically printed. A tie-dying method called ‘lehariya’ used in India for turban cloths. Fine cloth such as muslin is folded corcertina-fashion and tied tightly at intervals. It is dipped quickly in dye of a pale colour. Some areas and then unrolled and the process is repeated with progressively darker dyes, to build up a range of colours in stripes. ‘Kasuri’ which is also known by the Indonesian term as ‘ikat’ takes a different approach and requires extreme accuracy. It is the unwoven warp or weft yarns that are tied and dyed so when cloth is woven the pattern emerges from the pre-dyed threads. In India, highly valued double ikats called ‘patola’ in which both warp and weft are dyed, are woven in silk. APPLIED RESIST This technique is called ‘tsutsugaki’ in Japan where rice paste is used as the resist, and ‘batik’ in Java where wax is used. Originally the hot wax was applied with a shaped strip of bamboo, but in the 17th^ century the invention of the ‘canting’ as pronounced janting using a copper crucible with spouts of different sizes as meant that the wax could more easily be applied in continuous lines of varying thicknesses, thus improving the fineness of the patterns that could be attempted. The earliest batiks were monochrome patterns against an indigo background, but multi- coloured ones were produced from the 18th^ century onwards using methods learnt from expert Muslim dyers in India. Typical patterns represented ancient symbolic designs in complex, symmetrical, intertwining layouts and reflected the social class of the owner through their level
of intricacy. Some of the ceremonial garments produced and decorated in this way are amongst the most superb examples of textile ornamentation known. In India, beeswax resist was used for part of the fabric colouring process in the production of chintz. Pouncing was used to transfer the pattern in charcoal onto the cotton cloth; a porous bag of loose charcoal powder called a ‘pounce’ was dusted over a design pricked out onto paper. Then the hot wax was drawn on with a reed pen, following the charcoal guidelines. The textile workers were largely low-caste Hindi family groups, each family skilled in a separate stage of the complex chintz-making process and working in their own small craft workshops.
1. JAPAN BOUND AND STITCH RESIST SHIBORI Shibori is a Japanese term of methods of dyeing cloth by binding, stitching, folding, twisting and compressing. In Japan, the earliest known example of cloth dyed with the Shibori technique back to the 8th^ century where indigo was the main dye used. We were immediately inspired by this fascinating technique, its history and beauty. After much research, we decided to tackle 3 techniques of Shibori dyeing with an Indigo Tie Dye Kit, a few old white shirts and scarves and several household items.
ARASHI : Diagonal Pole Wrap KUMO Kumo is a twist and bind resist technique. The technique involves wrapping sections of the cloth over a found object such as a small stones or pebbles. Then the cloth is bound in very close sections with rubber bands. The result is a very specific circular spider-like design. The Kumo appears frequently in the ukiyo-e wood-block prints of the Edo period during 1603-1868. The Artisans have expanded the array of kumo techniques by varying the amount of binding used to resist the fabric which is pulled and gathered into hornlike units. The basic binding is applied from the bottom of the unit to the top, then down to the bottom before moving on to the next unit. The result is a pattern of radiating lines against the reserved white ground. Kumo shibori can be tied by hand or with the help of a tool known as kikai gumo. Artisans improved upon the laborious hand technique by developing a simple tool that hooks a point on a cloth and pulls it into a cone shape while a thread is mechanically wound around it. The cloth has to be hooked and held by hand, but the winding goes very fast and evenly thus making it possible to create a small spider pattern regularly over all the cloth at a very reasonable cost.
Kumo ITAJIME The Itajime is a shape-resist-technique. The cloth is folded like an accordion and sandwiched between two pieces of wood or any flat shaped object, which are held in place with string or rubber bands. The shapes prevent the dye from penetrating the fabric they cover and give an endless variety of patterns depending on the fold, binding object and placement of rubber bands. MIURA Known as looped binding and for Muira shibori they use a loosely twisted medium-fine cotton thread wound on its own ball. The cloth is plucked with a hook then a thread is looped around the portion twice, hence the name. No knotting is done. The tying thread holds the entire bound portion of the cloth by tension. The greater ease in tying and untying makes this process cheaper to produce. Since binding in this process is not knotted but only looped twice, it results in a soft watermark design such a look that is very characteristic. Miura has been used abundantly in combination with other techniques thereby successfully enlarging the visual vocabulary of the process. The name “Miura” is believed to have come from one doctor Miura, who came to the
2. INDONESIA BOUND AND STITCH RESIST
JUMPUT IKAT
It was known as Jumputan. Jumputan is a fabric that belongs to the brocade family of textiles using tie and dye technique, to create certain motif from plain fabric. The first thing is sewing and bundling certain parts of fabric, and then dye it using favorites color. In progress, jumputan making technique knew Jumputan usually made from silk and has motifs on all over the fabric, for examples bintik sembilan (nine dots), bintik tujuh (seven dots), bintik lima (five dots), kembang janur, cuncung/terong (eggplant), bintang lima (five-stars) and bintik-bintik (multi-dots). One set of Jumputan usually consist of upper and lower part also a scarf with single colour theme. TRITIK Tritik is the technique that is stitched into the cloth usually using strong pineapple thread that will not break when pulled tight or these days, plastic to gather the cloth. Tritik patterns are typically linear as the cloth is compressed along the line of stitching thus forming a resist and preventing the dye from seeping in. Tritik resembles small droplets of water running around a single line. Borders of many pelangi selendangs or shoulder wraps are decorated in this way. A less common method of dying borders was brought to Indonesia from South India. Its involved folding the area not to be dyed and clamping it firmly between two boards, then dipping the border into the dye bath. Tritik Design
3. AFRICAN BOUND AND STITCH RESIST
Detail of indigo resist dyed cotton, Ibadan, Nigeria 1960s. Indigo resist dyed cotton, Ibadan, Nigeria 1960s.
Stitch resist The term adire alabare is used when sewing has been used as a means to resist the dye. If the sewing has been done with raffia then it would be a form of adire oniko. Both machine sewing and hand sewing could be used to produce patterns. Although adire cloths were usually made by women the cloths that used a sewing machine were made by men. Detail of indigo resist dyed cotton, Indigo resist dyed cotton, Ibadan, Nigeria 1960s
4. INDIA BOUND AND STITCH RESIST BANDHANI
by yogi who has renounced the world, yellow, which stands for spring and black and maroon, used for mourning. Bandhni material is sold folded and with the knots tied. One has to pull the folds apart for the knots to open. The payment is made according to the number of dots in the pattern. An intricate design in a sari would have approximately 75000 dots. What is essential in bandhni is the minute and skillful manipulation of the fingers for tying, extensive knowledge of color schemes and skill in dyeing materials. It takes several years for a craftsman to perfect his skill. Bandhni saris and dupattas are available at most shops all over India but to get the authentic material, it is advisable to buy it from Rajasthan or Gujarat or their emporiums outlets in major cities around India. Bandhani techniques
CHUNARI
Chunari is a special technique of fabric dyeing practiced in Rajasthan. It involves a combination of the tie-and-dye process and direct printing. The patterns are created by preventing specific portions of the cloth being affected by the dye. The fabric is prepared for the dying process by dipping it in water containing equal parts of castor oil and saline earth. The fabric is repeatedly soaked in the solution and dried for about 10 to 15 times, and finally washed with clean water. Wooden blocks containing designs are prepared. The designs are lined with nails. These wooden blocks are pressed against the fabric causing an imprint of designs to be created in a raised form due to the nails. The portions of the fabric, that stand out due to the nails, are tied with a string into knots and coated with a paste that prevents the percolation of a dye. The knots are removed after the fabric is dyed. The non-dyed portions created by the knots form the desired patterns on the cloth. The dyes are prepared from natural substances. A solution of buttermilk and turmeric is used for producing yellow color. A mixture of indigo and turmeric gives green color. By soaking the cloth in a solution containing alum, indigo and turmeric for 3 days red color is imparted on it. There are variations in this technique. In a particular style called ‘bhilwai,’ designs representing birds, animals and other motifs are created in pink, yellow and green shades set against a sober maroon or bright red background. In the ‘baran’ style, geometric patterns consisting of sets of small triangles and squares are created. The ‘beldar’ style consists of patterns made by flowing lines. The ‘sikari’ patterns, the most reputed of the lot, contains images of horses, tigers, elephants and humans. Chundri
5. MALAYSIA BOUND AND STITCH
Pelangi cloth was the simplest textile product among the three local Malays resists techniques but still have its speciality. Pelangi is Malay word which means 'rainbow' referring to the rainbow which has many colours. The production starts with a piece of empty cloth that been tied and bounded either in small or large portions according to the patterns which is determines by the fibre thread to avoid from being absorbed by the dye.
On the other hand the Tritik was a subtler technique in the production of Pelangi cloth that had existed and been practiced around Southeast Asia including the Malay Peninsular since long ago. It is a tack sewing technique or running stitches on the cloth surface then is tightly bounded. This technique will create a colourless effect in the motive and the design of the Pelangi cloth. This technique is also commonly used when it is combined with tie technique before being dipped into dye. The cloth that has been sewed and tied might be dipped once or is immersed several times to produce a colourful Pelangi cloth. This textile is specified as batik although the process is without the usage of wax. This is because patterns resulted through this technique leave behind the tritik effect the form of small flowers that same as in wax batik effect. The technique to produce a Pelangi cloth is an advanced technique from the ikat. The ikat or tied technique which is normally a thread tied process before being dyed in the weaving process. Meanwhile this Pelangi technique needs a white based cloth, thread and dyestuff.