Mandalas

[tiedyejudy]

Your Mandalas are awesome, Christine!  Can you talk a little about your preference for rayon versus cotton?  I have tried several times to dye rayon garments, and was very unsatisfied with the results.  But obviously you have had great success with it, so I'm wondering if it was the type of rayon used in my garments that was my problem... or did you use another kind of dye?  I only have used Procion MX dyes.

Judy

[Dancing Barefoot]

I use rayon for my tapestries almost exclusively, unless I get a request for large item such as sheet or tablecloth. I find it takes the dye exceptionally well, and sets up a brightness you can't really get with most cottons. It folds crisply, wet or dry, and really holds the color even when hung in direct sunlight like a window. It takes about an hour to paint each piece, and takes some practice to know when its fully saturated to all layers. Soldium alginate in the dye mixture is necessary to achieve the crisp lines. Also, make sure to activate the fabric properly, use a pH tester for best results.

I also love making mandalas on silk scarves. By steaming it in the microwave its ready almost immediately, instead of overnight. The folding is a little more slippery, but it's much easier to tell when you've reached dye saturation. I use a bit more alginate in dye mixture for thicker dye.

The trick for getting the mandala pattern even all the way around, is to start by folding fabric into quarters, but when folding over again, to start from the outside ond fold one side over, turn it over and fold the other side down upon itself, and then again, so it's more like an accordian fold. Be careful to hold the fabric end when flipping over so the fold stays. I can take some pictures of that part this week when i start folding points, if you'd like. Although I'm not if it's possible to post pictures in my message.

[Kathy]

I also love making mandalas on silk scarves. By steaming it in the microwave its ready almost immediately, instead of overnight. The folding is a little more slippery, but it's much easier to tell when you've reached dye saturation. I use a bit more alginate in dye mixture for thicker dye.

I primarily work on silk myself and can't get enough of mandala's. Once I started thickening my dyes a little over a year ago I was amazed at the difference not just in control and subsequent crisper outcome, but also the increase in the vibrance of the colors.

If you don't mind my asking, how much alginate do you use per cup of chem. water? I have been using 1/2 tsp/cup with good results.

Also, I am curious about how damp your fabric is when you apply the dye.

And..off topic...I have a Maya too

Kathy

[Dancing Barefoot]

When mixing dye, I make a couple of gallons of a basic mix which contains, per gallon: 1/2 - 1 cup urea, 1/4 - 1/2 cup salt, and 1-2 tsp of sodium alginate. (sometimes more for silk, or dyeing solid areas of an item)

I start with a big wide mouth jar, add hot tap water, mix in the salt and urea first, then sprinkle the alginate on the top, trying to get it into one even layer, let it sit for about a minute, then shake the jar frequently for about 20 minutes and let it sit for at least an hour, shaking intermittently. I prefer to do this part at night before bed, then in the morning it's perfectly smooth. I shake it well, pour it through a strainer into a gallon jug and I'm ready to go. I usually make 2-3 gallons at a time, then add to jars and add the dye powder.

Tip: I sit the jar upside down, so if the alginate settles, it settles onto the cap, and you don't have to stick your hand into the jar to get it off the bottom.

3/4 - 1.5 cups solution per 1 tsp - 4 tbsp Procion MX Fiber-reactive dye

Let me know how this recipe works for you...add alginate 1/2 - 1tsp per gallon to desired consistency.

PS: I use sponge tip brushes to apply color evenly, so each color has its own brush.

[tiedyejudy]

The trick for getting the mandala pattern even all the way around, is to start by folding fabric into quarters, but when folding over again, to start from the outside ond fold one side over, turn it over and fold the other side down upon itself, and then again, so it's more like an accordian fold. Be careful to hold the fabric end when flipping over so the fold stays.

So, once you have accordion folded, do you then draw the petal and fold/tie it like Michael Fowler demonstrates in his DVD, or do you paint the petal shapes?  I would love to see pix of the process you use, and you should be able to post images directly to your post using the 'Img' tags provided.  Can't wait!

Judy

[Kathy]

then sprinkle the alginate on the top, trying to get it into one even layer, let it sit for about a minute, then shake the jar frequently for about 20 minutes and let it sit for at least an hour, shaking intermittently. I prefer to do this part at night before bed, then in the morning it's perfectly smooth. I shake it well, pour it through a strainer into a gallon jug and I'm ready to go. I usually make 2-3 gallons at a time, then add to jars and add the dye powder.

Tip: I sit the jar upside down, so if the alginate settles, it settles onto the cap, and you don't have to stick your hand into the jar to get it off the bottom.

It sounds like your putting in hard work to get the alginate blended in smoothly. A while back I learned a great tip from Steve via someone on the Dyerslist. Before you add you alginate to your chem. water, mix the alginate with isopropyl alchohol. Add just enough so it is the constistancy of wet sand. Then spoon this into your chem. water. I use a blender so I have the blender going and I plop alginate in bit by bit.

The alchohol serves to purpose...it seperates the alginate granules so that when they hit the water they don't clump like they normal do, leaving you with masses of alginate. 2nd, because the granules are "seperated" the absorb the water more efficiently thus your chem. water gets to your desired thickness more rapidly.(want to thank 2 chemists for this info...Paula Burch and Louis Wood[my dad ])

PS: I use sponge tip brushes to apply color evenly, so each color has its own brush.

Sounds like an interesting technique. Do you get that brush down into the folds to get into those layers?

I also have to say, those designs at the centers are so beautifully detailed.

Kathy

[Dancing Barefoot]

I love the tip about using alcohol with the alginate, I'm going to try that next time I mix colors.

As for making the designs: after folding the "points" I make the design, going from one side to the next, I draw simple lines that are then segmented with accordian folds and wrapped tightly with sinew. Each segment is a seperate area of color. Then I paint in, starting with the lightest color first, organizing the color to get the most contrast at the edges which highlights the design.

To get the dye into all the layers at the very tip, I use a small handled vise grip, rinsing it off between segments. As for the rest, it takes applying dye with the brushes and adding layers of color after it has absorbed. It is very time consuming, these pieces take at least an hour just to apply the dye. It takes practice to know how much dye to apply, and patience. This technique cannot be rushed.

I haven't seen Michael Fowler's video, so I can't really comment on how the procedures are similar or different. I'm guessing it's probably pretty similar.

[steve]

I haven't seen Michael Fowler's video, so I can't really comment on how the procedures are similar or different. I'm guessing it's probably pretty similar.

From what you have mentioned and from what I have seen of your work, your technique appears very similar to that outlined by Tom and Martine's Tie-dye video series and is quite different from Michael's.

Thanks for posting and sharing!

You will love the alcohol/alginate trick--it makes a tremendous difference!

Steve

[Dancing Barefoot]

Kathy wrote
"Also, I am curious about how damp your fabric is when you apply the dye."

I usually pre-fold, and fold fabric while slightly damp, and apply dye to slightly damp or dry fabric.

The dryer the fabric, the better able to fully saturate the fabric with color. Any present moisture will set up a "resist" to the dye absorption, creating "white space"