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Resist dyeing shibori

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Erin Moore
Erin Moore

This document outlines an assignment for a resist dyeing project. Students are asked to create 8" x 8" samples demonstrating 6 specific resist dyeing techniques as well as a larger 12" x 18" pole-wrapping sample. Students must also create a final piece that is 36" x 72" incorporating at least two techniques with two layers of pattern. The final piece should be inspired by a photograph representing either a natural or built environment to guide choices of pattern, scale, color, and mood. A sketchbook assignment involves examining the mood and elements of the photographic reference and making abstract sketches exploring pattern layout and scale.

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Kathleen Hendrick ARST 2700 (Spring 2012) Assignment 5 Resist Dyeing One 8" x 8" sample of each of the following techniques: 1. Clamp Resist (Ita-Jime) 2. Pole-wrapping (Arashi) **make this sample larger - at least 12" x 18" 3. Spider Web (Kumo) 4. Wood Grain (Makume) 5. Teeth (Ori-nui) 6. Rust dyeing 7. Layered sample. Combine 2 or more techniques. One final piece, 36 x 72. This piece should use at least 2 of the techniques, although in some cases you can use two of the same, but layered. (For example, you may wish to use clamp-resist twice, but use two different sets of shapes.) Your final fabric should have at least two layers of pattern. Think about varying the scale and placement of your motifs. *You will be using a photograph as a reference for this project. Your image should come from either a natural or built environment. This photograph should help guide choices for pattern, scale, proportion, and color, as well as establish a mood for your piece. Resist samples and Final Due: Thursday, April 12 ---------------------------------------------------------------------------------------------------------------------------------------- Sketchbook Assignment 5.A 1) Find your photographic reference and examine it carefully. What mood is present? How does color contribute to the phyical and emotional environment? What relationships do you see between the objects and the space? Write down adjectives and phrases that express what you see and feel. ex.blurred through the rain homage to the ordinary 2) Make several sketches that examine the shapes/patterns in a very abstract way. Remember that these will be translated through the techniques that you learned, so keep it simple. Your sketches should forcus on scale and layout and should indicate how patterns (repeated shapes) will interact.
Kathleen Hendrick ARST 2700 (Spring 2012)

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Resist dyeing shibori

  • 1. Kathleen Hendrick ARST 2700 (Spring 2012) Assignment 5 Resist Dyeing One 8" x 8" sample of each of the following techniques: 1. Clamp Resist (Ita-Jime) 2. Pole-wrapping (Arashi) **make this sample larger - at least 12" x 18" 3. Spider Web (Kumo) 4. Wood Grain (Makume) 5. Teeth (Ori-nui) 6. Rust dyeing 7. Layered sample. Combine 2 or more techniques. One final piece, 36 x 72. This piece should use at least 2 of the techniques, although in some cases you can use two of the same, but layered. (For example, you may wish to use clamp-resist twice, but use two different sets of shapes.) Your final fabric should have at least two layers of pattern. Think about varying the scale and placement of your motifs. *You will be using a photograph as a reference for this project. Your image should come from either a natural or built environment. This photograph should help guide choices for pattern, scale, proportion, and color, as well as establish a mood for your piece. Resist samples and Final Due: Thursday, April 12 ---------------------------------------------------------------------------------------------------------------------------------------- Sketchbook Assignment 5.A 1) Find your photographic reference and examine it carefully. What mood is present? How does color contribute to the phyical and emotional environment? What relationships do you see between the objects and the space? Write down adjectives and phrases that express what you see and feel. ex.blurred through the rain homage to the ordinary 2) Make several sketches that examine the shapes/patterns in a very abstract way. Remember that these will be translated through the techniques that you learned, so keep it simple. Your sketches should forcus on scale and layout and should indicate how patterns (repeated shapes) will interact.
  • 2. Kathleen Hendrick ARST 2700 (Spring 2012)