Resist dye: Natural dyeing experimentation and development

This week’s natural dye workshop focussed on resist dyeing techniques and approaches, helping to create a range of experimental swatches and discover more about this organic, natural, sustainable process. As a group we also had the task of bringing in different materials and ingredients to try and create natural dyes from. These collectively included: beetroot, bay leaves, avocado, spinach, carrots and an assortment of winter berries. Due to the nature of some of the complexities and lengths of the natural dyeing process of some of these materials, for example the avocadoes needing to boil for a number of hours, some of the colour outcomes weren’t their maximum vibrancy and capacity. However, this only helped to create a wider, more varied and tonal array of final colour schemes that I can then look to use as inspiration in the future. 

As you can see above one of our first tasks was to split off into teams, researching the different resist dye techniques we would later go onto use. We were also tasked to prepare the dye baths, following the guidance booklet given to start the boiling process. My team was specifically in charge of the Batik research, as you can see in the mind map above, and creating the carrot dye bath. Following on from this we had the task of presenting and sharing our resist dye technique to the rest of the class, enabling us to have the necessary prior knowledge to be able to use the three different resist dye techniques later in the workshop. Progressing on from this initial introduction to the other resit dye techniques, I can now look to continue my research into the different resit dye techniques in my own time. Helping to deepen my knowledge and understanding on these incredible approaches and techniques within the field of natural dyeing.

 

I personally really enjoyed the process of preparing the baths and directly observing the changes that were created through the boiling process, as illustrated above. Particularly being amazed and inspired by the paterns, colours and textures of the boiling process, for example the in the photo of the spinach above. Featuring very vibrant,vivid colours, plenty of texture and markmaking opportunities and detail an texture within the bubbles that emerged from within the diced spinach leaves.

 

I now feel that I could go onto use these some of these boiling process photos to help inspire possible patterns, colour schemes and abstract shapes that I could integrate into future work. This concept of natural material having changes physically and visually is one that could also link back to some of my projects concepts, for example how nature is being altered and sometimes destroyed by human activities and interference (climate crisis stongly higfhlighted in my initial research using 'True Cost' documentary). Alternatively, I could even look to scan some of these visuals of the natural dyeing preparation process and integrate them into much more modern digital applications like Photoshop and illustrator. From here I could look to further develop my work, possible extending to designing and developing possible fabric patterns. This would not only show my development of work, but will also create a juxtaposition between the natural, traditional process of natural dyeing, in comparison to the more modern applications I could use to create further work. This juxtaposition could then link back to how the natural dyeing process has a very distinct nature of a fairly unpredictable, random outcomes which can’t always be too specified and planned prior to the dyeing process, due to the multi aspect nature of the process. Displaying therefore, how different an outcome can be to what you expect initially, for better or worse when using these processes. Alternatively, this juxtaposition could link to how dramatically different our environment and climate might be if we don’t choose to, as a society, become more sustainable and environmentally friendly. For example by simple taking up practices like natural dyeing with its sustainable benefits. Helping my work to begin to link back to some of my project key concepts and themes.

Above you can see my initial trials with my teams given the Batik resist dye approach. Batik is a technique I'd previously used and practiced, so I was aware of the tjantings unpredictable nature and how it creates fluid, sometimes erratic and blotchy effects. However I grew to be fond of the texture, abstract nature and fluidity this embodied, allowing me to take inspiration from these patterns and details when created future work and designs. I could even look to scan these patterns in and develop them digitally within applications like Photoshop, allowing me to merge natural and traditional techniques with modern approaches, again creating this juxtaposition within my project. Linking back to not just the unpredictability of the Batik technique and natural dyeing as a whole, but also the unpredictable nature of the future and prospects for our environment and world if we don’t get a hold of the increasing climate crisis. Alternatively, this juxtaposition could link to how dramatically different our environment and climate might be if we don’t choose to, as a society, become more sustainable and environmentally friendly. This could be began by simple taking up practices like natural dyeing, alongside all its sustainable benefits. Helping my work to begin to link back to some of my project key concepts and themes. 

Within this initial trial process my team had a realisation when removing our Batik swatches from our beetroot dye baths, discovering and noticing that a lot of the wax that we previously applied, as a resist, had melted and disintegrated from our fabrics. We concluded that this must’ve been due to us submerging them, in the then, hot baths, allowing the wax to melt and not perform its resisting qualities. This slight misjudgement only goes to display and show the importance of us trialling our processes before creating our final swatches, allowing factors like this to be highlighted and resolved prior. We then went onto remove the baths from the hot tracks, enabling us to be able to create our resist outcomes. I personally then went onto use the previously unsuccessful swatches as a base to work back into within my other dye processes, as illustrated below. 

 

Lastly, I looked into the possibilities of using Batik on different mediums and surfaces, such as watercolour paper, and directly painting onto my medium to allow for much more control and precision. An outcome anaesthetic I really enjoy, with its integrated texture, pattern and detail opportunities that I can now look to use to inspire work in the further. This method of directly painting onto your material or medium is one that allows for much more textual opportunities too. This is due to being able to use a variety of applications and instruments to apply your natural dye. For example I really love my integration of texture and detail I generated from the dry brush technique I used alongside my natural dyes. This is a method and technique I therefore look to further develop and integrate into future work. Finally, this element of precision and control from painting directly onto your material or medium, alongside the unpredictability of applying the Batik wax resist, again creates juxtaposition that could be linked to many different elements and concepts within my project, as mentioned previously.

I personally really love the contrast and juxtaposition between these two swatches colour schemes and colour ways.  Something I can definitely look to inspire future work concepts and colour schemes, as well as creating this key element of juxtaposition within my project which links back to various concepts and themes integrated into my project as a whole.

Above you can see some of my Tie-dye swatches that I created in my workshop, embodying plenty of pattern, texture and colour schemes I could look to use as inspiration for future work and designs. Alternatively, I could look to scan some of these patterns and textures in and manipulate them digitally, creating this previously mentioned juxtaposition between modern and traditional techniques. Alongside all the concepts this juxtaposition could link to within my wider project and theme. Such as the unpredictability within the natural drying process, the uncertain future of our environment and world around us with the increasing climate crisis. similarly it could link back to how dramatically different our world may become, depending on whether we are able to address, acknowledge and put into place methods and approaches to lessen the destructive nature linked to this phenomenon.

 

The Tie-dyeing process also created a number of by-products I could look to integrate and use within future work. These included the banding, and string ties used to fasten and resist that I could now look to use for example in embroidery. I could also look to use some of the newsprint, used to display, dry and present my swatches, for collages and backgrounds. This method of using and consuming by products from my dyeing process could enable me to produce less waste within my creative process, becoming as a designer and artist more environmentally friendly and sustainable. Something I hold great importance and look to develop throughout my creative process.

Final resist approach I trialled was the Shibori dye resist, a technique I'd previously shied away from and not trialled due to its known complexity, multi concept and unpredictable nature. Initially, I really struggled to create any definition and variation within my patterns, due to being unable to create enough tension and strength within my camping approach. However looking back in reflection, although some of my swatches weren’t the most defined and technically accurate, I feel deeply inspired by the texture and definition created within the geometric folding and fabric manipulation techniques. One I can try and harness and preserve by choosing not to iron and fix any of these swatches, emphasising their texture and patterns. This is therefore something I will look to inspire possible patterns and fabric manipulation techniques I integrate within my future project work and designs.

I then went on to discover and start using a slightly different technique within the Shibori dyeing resist method of applying my natural dye directly onto my bundles using a pipette, rather than submerging in the natural dye baths. In turn this created much more defined and technically accurate outcomes, which I can also look to source inspiration from. As well as providing me a method and trick I can look to take advantage of if I ever wish to redo and reuse my Shibori approach.

Structures and models above display my trials of forming different structures and shapes using the Batik wax to strengthen, solidify and hold my forms. Overall, the wax as a material to strengthen and hold these forms was an approach that worked very well. Enabling me to create these free holding forms from a previously flimsy and non-structured material. Therefore, a technique and approach I can look to call upon and use in future work, if I ever want to strengthen and form abstract shapes in possible garments and designs. This process of adding strengthening and solidifying materials to fabrics is one that I could further research, allowing me to discover other materials to wax that I could use to create similar effects in the future.

 

Lastly, by integrating some of these abstract free holding forms to my designs, I could begin to link back to some artists and designers such as Rick Owen and Gareth Pugh, who also integrate abstract, distinctive and innovative form to silhouettes to their designs and garments. Therefore, allowing my work to begin to link back to some designers who use similar approaches, concepts and ascetics. 

Final sample collections displayed in possible colour, texture and detail schemes and themes. Not only allowing myself to visualise how these samples could be displayed collectively, for example in garments or collections, but to also play around with aspects of juxtaposition and contrast between the ascetics and schemes within my samples individually. This juxtaposition again lending itself to link to not just the unpredictability of time process, but the need to make changes towards the climate crisis. This contrast and juxtaposition could also be displayed in my conscious choice to model and display my swatches against natural, organic, white surfaces and textures. This was a personal, intentional choice to not just highlight my swatches, but also create this very clear contrast to truly highlight all the detail and texture within my samples to their full ability.

 Overall, I’m not just very pleased with my outcomes in my natural dyeing workshop, but also their ability to link to practices and approaches used by artists and designers I've researched previously(Kathryn Davey). I too feel I could take a lot of inspiration from the work I’ve created here to develop my work further in the future. Whether this is simply: taking colour scheme, pattern and detail inspiration, looking at finding different ways I can manipulate, fold and resist my fabrics to create further outcomes and effects, or simply different materials I can use as resists in the future. 

In consideration however, if I was to choose to use this process for example in my final piece, I may choose to only add elements of it within my work and not totally rely upon the process. Purely due to its unpredictability and slightly random nature in its results it creates. Alternatively, I could look to integrate some of the methods of manipulating and folding my fabrics, or resist methods of producing pattern and texture to inspire elements within my final designs. This concept of resist and restricting dye could also link back to some of my key concepts and themes within my project too(many from my initial research using 'True Cost' documentary). For example some of societies ability to resist and ignore the true scale and emergency within the climate crisis and the need to get a hold and control over it. Similarly, the resist and restriction concept could also link back to how restricted and limited we may find ourselves in the future, if we fail to as a society, address these issues and concepts sooner rather than later.

By developing and using some of the aspects, techniques and approaches within this workshop in the future it allows a level of connectivity and development to be displayed and evident throughout my work. Link back to previous artist, designers I've researched previously. As well as again creating opportunities to generate the link back to this juxtaposition within the process, and how this could relate and correspond to different concepts in my own project. Possibly choosing to further highlight these in the future by integrating modern techniques and processes alongside this natural method of dyeing (scanning elements in and manipulating them digitally), further displaying and illustrating this relationship.