teinture dylon, teindre ses converses, teindre du linge
Que choisir pour foncer ou vieillir du tissu ou du bois ?
Teignez-vous souvent du tissu? Découvrez comment faire une teinture naturelle avec des ingrédients naturels comme des fruits.
Come Tingere i Tessuti con il Tè. Tingendo i tessuti col tè, puoi cambiare l'aspetto della biancheria da cucina, delle magliette o di qualsiasi articolo in stoffa in modo semplice e senza spendere troppi soldi. Anche se è un metodo che non...
Fan de DIY et de nature, le tataki-zomé est fait pour vous ! Les éditions de saxe vous donnent les clés pour réussir cette impression végétale sur tissu.
Comment teindre du tissu avec du thé. La teinture au thé est une façon facile et peu couteuse de modifier la couleur d'un torchon, d'un t-shirt ou d'un autre article en tissu. Cette méthode ne change pas la couleur du tissu blanc de...
Eco Printing or Eco Dyeing on Fabric. How to make Eco Prints with leaves on silk chiffon and cotton fabric with an iron modifier.
Olin niin innoissani kun huomasi, että Taitoliitto on valinnut luonnonvärjäyksen vuoden 2022 käsityö teemaksi. Kun ensimmäisen kerran itse astuin kasvivärjäyksen maailmaan 5 vuotta sitten, olin täy…
Obtenir des tons jaune-orangés grâce à la teinture au curcuma frais ou en poudre.
4 Natural Dyes you can use without the need of a mordant. Most natural dyes really need a good mordanting, either aluminium based mordants, copper, ferrous sulfate or a tanning using a tannin rich plant material. Mordanting is important to improve the light- and was fastness of your textiles and it intensifies the colour outcome on your fabric. Some natural dyes have enough tannin to be light- and wash fast without the assistance of alum, or iron. These are called substantive
Aka Instant Wardrobe Transformer.
Obtenir des tons roses, jaunes et bruns grâce à la teinture végétale aux pelures d’oignon rouge.
Aujourd’hui, nous partageons avec vous tout nos contacts dans le petit monde de la teinture végétale et naturelle française !
Natural Dyeing Tutorial. Learn how to use red cabbage to obtain beautiful purples, greens and blues with organic cotton yarn.
Fan de DIY et de nature, le tataki-zomé est fait pour vous ! Les éditions de saxe vous donnent les clés pour réussir cette impression végétale sur tissu.
Three days - three shibori scarves. Click on any of the images to enlarge. Minnesota is known for many things: rivers and lakes, blizzards and tornadoes, the Twin Cities - not to mention the Twins baseball team - and a plethora of educational and cultural institutions. Thriving arts centers can be found even in the smallest of Minnesota towns, such as St. Peter, population 10,000, more or less. Entrance, Arts Center of Saint Peter. During a recent hot August week-end six students, working with textile artist Patricia Freiert, made magic at the Arts Center of St. Peter. Using shibori techniques, and white scarves as our blank canvasses, we created unique, colorful patterns through the alchemy of indigo dye, using nothing more sophisticated than needle and thread. Shibori is a resist dyeing technique, perfected in Japan, in which fabric is tied and shaped in deliberate designs and patterns. When the shaped cloth is submersed in a vat, dye is prevented from penetrating the tightly bound areas, which "resist" the dye. Patricia Freiert, whom we all called Pat, studied shibori extensively when living in Japan during an academic exchange program. A professor emerita of Classics at nearby Gustavus Adolphus College, she now works full-time as a fiber artist and sells her wonderful scarves in galleries nationwide and in the American Craft Council shows. Pat's focus on circles created with shibori gave the workshop a theme, as well as an insight into how technique interacts with design and motif. In an indication of her dedication to her students, Pat actually lugged her own indigo vat from her home for us, and had two additional vats available: black and gray, so we had a welcome, but not overwhelming, degree of choice for scarf color schemes. After settling into our basement workroom, and after brief introductions, we began with a clamped resist technique, or itajime. Itajime in progress. Itajime combines folding and clamping of fabric. We fan-folded our scarves lengthwise, then continued folding accordion-style into equilateral triangles (top left image, above.) Pat explained the folding sequence using paper, which was a good teaching technique. After folding, we sandwiched the fabric triangle between two matching Plexiglass discs, and clamped it all together with a standard C-clamp. Wooden discs are traditional, but they must be encased in plastic wrap, so that the dye color doesn't transfer to the wood - any residual pigment might discolor the next project for which the wooden discs are used. Plexiglass doesn't absorb the dye, so no wrapping is needed. After three minutes in the indigo, the fabric and clamp assembly was left to damp dry (in yellow bowl, above) and, when unfolded, revealed a "circle of circles" (drying rack, above image.) Itajime samples. Some of the samples above were dyed in a pale gray fiber-reactive dye before folding and clamping; hence the pretty tonal look. Robin watches as indigo oxidizes. Of course, itajime can be made using clamped square blocks too, as our classmate Robin demonstrated above with her lovely piece of white squares forming larger squares. The piece in the image above has a greenish cast - when fabrics are removed from the indigo they present as algae green; as the indigo takes up oxygen from the air the fabric transforms into the desired deep blue. This is one reason it's important to disturb the indigo as little as possible and keep the pot covered when not in use, to prevent oxygen from entering and weakening the vat. Next, we moved onto a technique new to me: hotaru, or firefly. Again, we fan-folded our scarves lengthwise, as for itajime, then continued folding to create triangular, rectangular or square bundles, as desired. We also made small cotton balls by wrapping thread tightly around cotton wadding. A pair of the cotton balls are positioned on opposite sides of the fabric bundle, with a small piece of paper or plastic wrap under each wad to act as a sort of washer. Finally, using a long doll-maker's needle - it looked like a stiletto - we stitched through the layers. All the way through the fabric and the wads, and then back again. Manipulating needle and thread through all the material was tough, and I finally ended up going through the "leaves" of the folded fabric a few at a time, trying to keep layers and cotton wads in alignment. One pair of cotton balls was enough for me, but different patterns can be created by using additional pairs. Hotaru, in progress. The left image above shows a gray-dyed folded scarf with a cotton wad on top (there's another wad on the back); the whole thing was stitched through and cinched tight. On the right in the image are cotton wads before and after dyeing; one is shown upside down to reveal how the spherical shape leads to a gradation in the penetration of the dye to the scarf. This results in the "fuzzy" edge that looks like the glow of a firefly. This technique was exasperating, but worth it. Linda and Pat unveil Linda's terrific hotaru scarf. Hotaru samples. I had pre-dyed my scarf in gray, then it went into a vat of luscious black; it's the scarf at the bottom left in the sample image above. These two techniques filled our first Friday evening of the three-part week-end workshop. Next day, when we were in the studio from 9 to 4, with a delicious lunch break at the nearby River Rock cafe, we move onto stitching and binding using a makiage stand. Pat elucidates a makiage sampler. Makiage combines stitching and binding; sometimes areas are capped too, a technique which essentially waterproofs an area, totally excluding any dye. First step was to tape down the scarf and draw a pattern, using a vanishing marker. Almost any shape can be depicted in shibori, but of course our theme was circles. Pat uses a compass to draw concentric circles. Once the pattern is drawn, the artist stitches along the lines with a single thread, using running stitches about 1/4" apart; evenness is not too critical. Pat gave us #4 milliner's needles, which worked well. When all outlines are stitched, the thread is gathered tightly, wrapped around three times, and tied off securely using the kamosage knot. I had that knot down by the end of the day; it's basically the same technique used in casting on in knitting. Circles stitched, cinched and knotted, ready to bind. Using the makiage stand, Pat wraps thread tightly around the cinched circles. Pat gave a demonstration on her maikage stand, and then we went to work. I used one of the itajime Plexiglass discs and a flat plastic template from home, used for marking my quilt tops. First, I taped down my fabric on the table, and calculated the spacing of my five circles. Design-wise, I like the contrast of rigid geometry with the randomness inherent in the dyeing process. Scarf taped and marked. Plexi and flat plastic templates; vanishing marking pen. After marking the circles with a special vanishing marker Pat obtained for us from Japan, I stitched the first circle clockwise, remembering that "the first stitch goes down and the last stitch ends up" - makes it easier to pull the thread to cinch the circle tight. Complete the circle by overlapping one stitch. Stitched circle - knot and thread both on right side of fabric. After stitching the inner circle, I left a bit of slack in the thread and stitched the outer circle - no need to tie off after the inner circle. I used cotton thread purchased at a shibori supplier in Arimatsu, but Pat recommends Cebelia crochet thread size 20, by DMC. The all cotton thread swells when wet, making the stitching and knots even tighter, for a successful resist process. Stitching the outer circle. Circles stitched. Class hard at work, stitching away. Circles, stitched, gathered and tied. Once my circles were all stitched, I cinched the threads and tied them off. Using a bobbin of the same thread, and the makiage stand, I wrapped the cinched bundles. The metal arm of the stand holds the knotted thread - Pat automatically replaces the end knot after every thread cut - while the artist "weaves" the fabric bundle between the bobbin and the thread held taut by the metal arm. By my fifth circle, I at least had a notional acquaintance with the technique. Metal arm of makiage stand holds knotted thread. Pat, ever cheerful and patient, assists student. Wrapped circle bundles and special vinyl. After wrapping the circles in thread, I capped the tips using rectangles of a special thin but tough and pliable vinyl Pat ordered from Japan. Lots of thread and lots of knots. The next step is to soak the scarves so they are thoroughly wet before entering the dye bath. This ensures better dye dispersal. After dyeing, the knots are carefully removed with a seam ripper. It's easiest to do this when the scarves are dry, but in a workshop setting the artist can't always wait. Pat prepared the dye activator while scarves soak in water. Robin patiently removes stitching from her dyed scarf. Hands are blue after removing the knots and stitches. Once all the thread is removed, the circles are revealed! My scarf of five circles is on the right in the image below. The all-white centers are where the vinyl capping prevented any dye from reaching the silk. A variety of techniques result in the varied motifs seen on the scarves to the left and in the center. Really, the possibilities are endless. Variations of makiage shibori circles on silk. The makiage work was the focal point of the day, but Pat also shared many other examples of stitched techniques from her extensive collection. We also learned a "quickie" shibori technique, called origami rings, using a cotton bandana square. The square is fan-folded into fourths, then folded into a packet, as shown below. Fold sequence, clockwise from top left. Our "squares" weren't perfectly square, so there was little "leftover" fabric to finesse. No matter. We squeezed and tied the corners, soaked the bandanas in water, then in they went into the indigo. And voila! White circles in a blue field. This simple project, which was a relief after the challenges of the makiage stand, gave instant gratification and might be a very good introduction to dyeing for grades 5-8, too. Left, folded and tied bandana. Right, rings in an indigo field. From Pat's collection; dyed but not unfolded. Pat explains another stitching technique. On the final morning of the workshop Pat introduced the futate and mame techniques - basically, tying fabric around small items such as beans (mame) or small container lids (futate). This concept is probably the most straight forward of the techniques we covered, and I was glad Pat introduced it on the last day, when it was a bit harder to remain as focused. When a bean or lid is covered with plastic wrap, or other waterproof material, before tying this is called capping, or boshi, and results in a completely white area where no dye penetrated at all. Scarf tied around jar lid and around a floral gem. Gem is capped in plastic wrap. The three days went by quickly and rarely have I worked alongside such a nice group of people. I am not smart enough to talk and work at the same time, so the lunch break on Saturday was the perfect way to relax and get to know one another a bit better. We were a varied group - a professor of social work, two retired nursing specialists, a weaver-spinner, one massage therapist and me, all united, though, by a thoughtful teacher and an eagerness to explore the possibilities of design on cloth. Tied and stitched circles on scarves. Our small, but select, group.
I've been looking at shibori (a Japanese form of dyeing fabric using indigo dye and done by tying knots twisting and wrapping the fabric) for ages and I finally had some free time to try it out. These are my first attempts and I love them! I just cut up scrap fabric that I had into squares to try out a few different techniques. You can honestly make anything, scarves, blankets, bibs, tshirts, wall art, cushions, sarongs, rugs, quilts; the list is as long as your imagination!
A sustentabilidade brasileira pode ser o futuro da moda. Afinal, marcas eco fashion elevam o lifestyle sustentável no cenário nacional.
The dry outer skins of onions can be used for coloring natural textile materials and easter eggs. Red onion skins create a different range of colors than yellow onions skins, so it's important to keep your dye sources separated. The process of achieving color from onion skins is one of the easiest sources of natural color, and is a great place to start if your just beginning with natural dying.
Nuances de violet bleu et vert obtenus grâce à la teinture au chou rouge.
Le Tataki Zomé, une technique d'impression de fleurs et de plantes venue du Japon. Découvrez comment personnaliser textiles et papeterie naturellement et facilement vous même. Tuto, matériel, exemples... Tout ce que vous devez savoir sur ce loisir créatif se trouve dans cet article.
Stoffe dipinte con la tecnica shibori, un antico metodo di tintura naturale giapponese, che unisce l'arte dell'origami a quello della tintura a mano.
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Un DIY pour vous initier au tataki zomé, technique d'impression végétale sur tissus avec Anna de l'Atelier du Vert d'Eau.
Obtenir des nuances de bleu clair et violet par extraction à froid de la teinture aux haricots noirs.
Fan de DIY et de nature, le tataki-zomé est fait pour vous ! Les éditions de saxe vous donnent les clés pour réussir cette impression végétale sur tissu.
Today marks HonestlyWTF’s four year anniversary. Four years! To celebrate, we’re revisiting the very first tutorial we ever featured on the site: shibori tie dye. Lauren and I first discovered shibori after discovering an old…
Lately I have had been reading everything I can get my hands on regarding shibori, the japanese art of creating texture and colour on cloth. There are an incredible variety of styles and techniques…
This is the question I get the most often: How can I make botanical colors last using natural methods?First of all, we have to define natural. Then, let’s define mordants. I will talk about metal salts, like alum, iron, etc., as well as binders, e.g. soy milk. I am also listing alternative processes, like indigo dyeing, tannins treatment and acid dyeing.To illustrate how different mordants influence color, I dyed a few swatches pre-treated with different natural substances. I used onion skins on cotton and on wool. Onions make a wonderful dye, they are easy to obtain and allow for much play when combined with mordants and binders.
Est-ce que tu es assis au bureau devant un ordinateur la plupart de la journée ? Et passes-tu tes soirées à jouer avec ton portable ? Si c’est le cas, la présence d’une douleur dans ton cou, ton dos et tes poignets peut être de plus en plus fréquente. La sédentarité est néfaste pour la santé : les muscles se raidissent et on observe à la fois des engourdissements et des picotements.
Colorful crafts FTW.
We are in the middle of a pretty intense heat wave over here in the Midwest, and boy is ever it hot hot hot. The humidity level reached the point of unbearable since this past week and that means ou
Teindre des textiles avec de l'oignon, du curcuma ou encore de la rhubarbe, c'est possible ! Et cela porte même un nom : la teinture végétale. Dans son très joli livre 'Teintures végétales, Carnet de recettes & cahier d'inspirations' (éd.Eyrolles), Aurélia Wolff nous dévoile tous les secrets de cet art ancestral. L'intérêt de cette discipline ? Donner un second souffle à des vêtements remisés au fond du placard ou à des écheveaux de laine, tissus de récup', tout en respectant notre santé et l'environnement. Découvrez ici comment teindre naturellement un textile avec... de l'avocat !
Teinture au curcuma La teinture au curcuma permet d'expérimenter une teinture 100% naturelle et écologique. Avec l'avocat et l'oignon, le curcuma est une des rares plantes qui n’a pas besoin de mordant pour accrocher à
Get ready for summer with these pink hand-dyed shibori cloth napkins. Have fun with experimenting with the amazing shibori technique.
Tutorial 3 ECO PRINTING BASICS Note that these are my current practices. In your own research and experiments, you may well discover other processes that work well for you. Take what you can respon…
Ou comment bien s’occuper de ses oignons J’aime l’oignon. Sous toutes ses formes. En tarte, chutney, soupe… Je le mets à toutes les sauces pour accommoder les plats. L’oignon est bon à manger et bon
Obtenir des nuances de bleu clair et violet par extraction à froid de la teinture aux haricots noirs.
