can anyone tell me if it's possible to include pictures from my computer in posts, and if it is, how I do it?
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
The history of indigo dyeing in Japan
The word "indigo" originally refers to a dye from India. Indigo can be obtained from a variety of plants including indigofera, storobilanthes and polygonum. In Japan polygonum or tade, is used in the natural indigo dye process. The oldest evidence of indigo dyeing in Japan dates back to the 10th century. In Japanese, indigo dyeing is known as ai-zome.
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
With love, from Finland
- Jeshurun Tiger
R Ranson wrote:Is the blue that spirulina makes a kind of substance that can cling to the individual fibres? Is it a dye in the sense that once it bonds with the cloth it's water and light fast?
Even better, would you be interested in doing an experiment and showing us how it's done?
With love, from Finland
- Jeshurun Tiger
With love, from Finland
- Jeshurun Tiger
1. my projects
1. my projects
INDIGO SUTRA celebrates Indigo, the world's oldest, most widely used and unique dyestuff, and the only natural blue dye. It takes its very name from 'India'.
Indigo, grown and used for millennia in the Subcontinent, was also a major export. It almost died out in the later 19th and early 20th century, due to peasant revolts against forced cultivation and the discovery of synthetic indigo in Germany. One aspect of Indigo's fascinating story is its role in Gandhi's road to Independence.
There is a widespread upsurge of interest in indigo, both in India and worldwide. The time is ripe to revive its cultivation and manufacture in Northern India and elsewhere. A soil enriching plant, it also has medicinal and insect repellent properties along with a host of other environmental benefits.
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
Woad can be harvested, for the first time, after the leaves reach about six inches in length, or the rosette is over eight inches in diameter. The first harvest frequently contains the highest concentration of possible indigo.
Daniel Schneider wrote:Hej hej!
How neat to see this page online again! Sarah's the 'young woman from Canada' that I learned the more effective extraction method I described up above from, and she really knows her stuff. Oh dear, now I'm going to read her newer pieces instead of packing , like I should be doing...
Daniel Schneider wrote:Hej Hej!
In our woad project we tried a number of different techniques, some much more successful than others: I thought I'd start with the simplest modern one, and then, in another post describe a more complicated extraction process, and then I can get into some of the more oldy-timey techniques .
The most common technique used today is actually basically the same as one commonly used with indigo, except that it starts off with extracting the dye chemicals from the plant matter rather than just buying powdered dyestuff. You harvest your leaves, wash them in cold water, shred them into 4-5cm (about 2 inches)pieces, and then cover them with 80 degree Celsius water for 10 min. After the 10 minutes, cool the liquid down to 50-55C as quickly as possible (we used a cold water bath with running water in), and then take out the leaves, squeezing them to get out as much of the liquid as possible. Then add enough lye (we used homemade wood-ash lye, which was about pH13) bring the pH of the dyebath up to at least 9. I've read that calcium carbonate can also be used, but I've never tried it myself, so I can't say for sure- I have to say, I have some doubts, as its pH is much lower than lye, and I'm not so sure that it would raise the pH of the bath enough...
anyway, after the dyebath's ph is raised, it needs to be aerated. We did this a couple of ways. If it was early in the day, and I was feeling all muscular-like, I'd just pour it back and forth between two kettles. ...
Either way, what we were looking for was for the dyebath to turn from tea-coloured to a yellowish-green, then blue, and then back to a darker green.
Daniel Schneider wrote:This colour change is easiest to see in the foam that forms on top during the aerating process Once we had the green foam, we added sodium hydrosulphite, let it sit, covered, for 20-40 minutes, till the dyebath turned a light yellow, and we were ready to go.
r ranson wrote:
Um, mine is still deep green after 7 hours. I think I've done something wrong.
And I see now that it's the sodium hydrosulphite I'm missing. The instructions I was following didn't have anything like that. Possibly because your post talks about dyeing right away and the other instructions were for making a woad dye powder?
I don't know what's wrong with my brain but dyeing isn't sinking in. I can get the theory, but the practice makes my brain go flat. I guess I need to try it more to build up my confidence.
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
Daniel Schneider wrote:Hej, hej!
r ranson wrote:
Um, mine is still deep green after 7 hours. I think I've done something wrong.
And I see now that it's the sodium hydrosulphite I'm missing. The instructions I was following didn't have anything like that. Possibly because your post talks about dyeing right away and the other instructions were for making a woad dye powder?
I don't know what's wrong with my brain but dyeing isn't sinking in. I can get the theory, but the practice makes my brain go flat. I guess I need to try it more to build up my confidence.
Yes, for making dye powder, you'd leave things at the step before the hydrosulphite, and start the settling/ washing process. For dyeing, the solutiong needs to be "reduced", which means taking the oxygen out of the solution, which makes the indigoferin (the active dyestuff in indigo, woad, and Japanese knotweed) water soluble, so it can enter the fibers of the fabric/yarn/unspun fibers. That's what the hydros is for: it somehow pulls the oxygen out of the dyebath and lets the dye penetrate the fibers, then when the stuff being dyed it taken out and aired, the dye molecules oxidise, and become non water soluble again.
And don't feel bad about having trouble getting your head around this stuff; dyeing with the indigoferin dyes from the plant state is arguably the most complicated plant-based dyeing there is. Back in the days before chemical dyes were invented, good woad and indigo dyers were considered the elite of the dyeing trade.
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
Yield
... 1 kilo of leaves will produce between 1 gram to 4 grams of pigment. The yield depends on the soil, how well the plants were fed, and how warm the summer was. 1 gram of woad will dye about 20 grams of fibre. ...
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
Now working as a teacher, Vũ was asked to put together a fashion curriculum which would give students some sense of social issues. Her research into ethical fashion pointed to an emerging global trend: Using artisan and handmade elements in contemporary product designs. The more she saw, she says, the more she came to believe that Vietnam should be leading the world in artisan-focused design. “In the middle of Hanoi capital, in the Old Quarter, you see people making things: Making stamps, weaving, handmade paper-makers: We were already doing it—but without knowing it.”
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
We are dyers, working primarily in indigo. We’re a small two-man operation—all design and execution are done by R. Nemo Hill and Julio M. Perea in our studio on Long Island. As a palette, we use an unusually wide array of all-natural fibers—both knit and woven—including linen, cotton, wool, bamboo, cashmere, and a variety of raw and refined silks. Combining the tools of traditional Shibori in non-traditional ways with other techniques including color resist and an elaborate system of over-dyeing, we create unique wearable art from luxuriously comfortable fabrics that delight both hand and eye.
Indigo is a unique material which demands a great deal of patience to work with, a patience amply rewarded with a color that is alive to the eye—its blues of an infinite variety and a startling depth. As artists we remain dedicated not only to the mastery of proven methods, but also open to those spontaneous explorations of tool and technique that define the very nature of the creative spirit. In keeping with that spirit, all of our work is one-of-a-kind, each scarf or shawl an unrepeatable experience. In a world grown increasingly virtual and rubber-stamped, we remain committed to an art that is hands-on and sensually alert to each magic moment of the process.
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
"We're all just walking each other home." -Ram Dass
"Be a lamp, or a lifeboat, or a ladder."-Rumi
"It's all one song!" -Neil Young
What are you saying? I thought you said that Santa gave you that. And this tiny ad:
Sepper Program: Theme Weeks
https://permies.com/wiki/249013/Sepper-Program-Theme-Weeks
|