Saturday, January 21, 2012

In Pursuit of Complex Cloth:
Complex Cloth Intensive Workshop
at Geelong Textile Fiber Forum

Tutor: Marie-Therese Wisniowski

Preamble
This blogspot exhibits many of my students outputs from a variety of workshops. There are one, two and five day workshops as well as workshops that have a different focus. Nevertheless, it always surprises me how much I learn from my students and how enthusiastic they are to learn and so for your convenience, I have listed the workshop posts below.

The University of Newcastle Multi-Media Course
The University of Newcastle (Newcastle and Ourimbah Campuses, NSW, Australia) 2008 to 2010.

One and Two Day Disperse Dye Workshops
Various Textile Groups (Australia) 2008 - 2011.

Five Day Workshop - In Pursuit of Complex Cloth
“Wrapt in Rocky” Textile Fibre Forum Conference (Rockhampton, Queensland, Australia) 29th June to 5th July 2008.

Five Day Workshop – In Pursuit of Complex Cloth
Orange Textile Fiber Forum (Orange, NSW, Australia) 19th to 25th April 2009.

Two Day Workshop - Deconstructed and Polychromatic Screen Printing
Beautiful Silks (Melbourne, Victoria, Australia) 20th to 21st March 2010.

Five Day Workshop – Disperse Dye and Transfer Printing
“Wrapt in Rocky” Biennial Textile Forum/Conference Program (Rockhampton, Queensland, Australia) 25th June to 1st July 2010.

Two Day Workshop – Improvisational Screen Printing
ATASDA (Sydney, NSW, Australia) 28th to 29th August 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day One)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day Two)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Advance Silk Screen Printing
Redcliffe City Art Gallery Redcliffe, Queensland, Australia) 10th April 2011.

One Day Workshop - In Pursuit of Complex Cloth
The Victorian Feltmakers Inc. (Melbourne, Victoria, Australia) 14th May 2011.

One Day Workshop - In Pursuit of Complex Cloth (Felted and Silk Fibers)
Victorian Feltmakers Inc (Melbourne, Victoria, Australia) 15th May 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
SDA (Minneapolis, Minnesota, USA) 13th to 17th June 2011.

Five Day Disperse Dye Master Class – Barbara Scott
Art Quill Studio (Arcadia Vale, NSW, Australia) 15th to 19th August 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
Fiber Arts Australia (Sydney, NSW, Australia) 26th September to 1st October 2011.

One Day Workshop – Improvisational Screen Printing
Newcastle Printmakers Workshop Inc. (Newcastle, NSW, Australia) 5th November 2011.

One Day Workshops – Low Relief Screen Printing
Various classes within Australia.

Two Day Workshop – Disperse Dye and Transfer Printing
ATASDA (Sydney, NSW, Australia) 23rd to 24th June 2012.

MSDS Demonstration at Zijdelings
(Tilburg, The Netherlands) October, 2012.

Five Day Workshop - Disperse Dye and Transfer Printing
Fibre Arts@Ballarat (Ballarat, Victoria, Australia) 6th to 12th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
EFTAG (Tuross Head, NSW, Australia) 13th to 14th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
Zijdelings Studio (Tilburg, The Netherlands) 9th to 10th October 2014.

PCA - Celebrating 50 Years in 2016
Art Quill Studio 2016 Workshop Program (Newcastle, Australia).

Image Dreamings: Basic Silk Screen Printing Workshop - Part I
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Image Dreamings: Basic Silk Screen Printing Workshop - Part II
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Improvisational Screen Printing Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Low Relief Screen Printing (LRSP) Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Art Quill Studio 2017 Workshop Program
2017 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Low Relief Screen Printing (LRSP)
2017 Art Quill Studio Workshop Program (Newcastle, Australia).


Complex Cloth Discharge Information (Color Removal)
After dyeing the cellulose and silk fabrics, the next step involved in creating complex cloth layered background imagery is the discharge process.

Discharge is the removal of a dyed color, unlike the addition of color that is achieved with dyes or paints.

To achieve such results, there are two different ways to chemically remove dye colour from fabric. One route is via oxidation - which in the most simplest definition, requires the addition of oxygen to a dye molecule; the other route is via reduction - which in the most simplest definition is the removal of oxygen from a dye molecule. The reduction process is more popular due to occupational health and safety reasons.


Occupational, Health and Safety Issues When Using Discharge Agents
Thiourea dioxide, formosul, bleach and Jacquard Discharge Paste are some of the chemicals that are used for removing or discharging dyes. All discharging agents create a chemical reaction that transforms and changes the dye molecule and therefore causes the lightening or color change of the fabric. The results can be unpredictable - but rewarding - and it is an exciting and inspirational approach to creating your own unique fabrics.

The most common discharge agent is household bleach. Its active ingredient is sodium hypochlorite and it uses the oxidation process to remove dyed color. (Please note that household bleach is a toxic chemical and it is extremely harsh on cloth fibres.) It is also more dangerous than “reductive” discharge chemicals. In general, the “reductive” discharge chemicals are less toxic than say, chlorine bleach. Nevertheless, they all produce sulfur dioxide, which has a particular pungent odour and so may be particularly dangerous for people who have a medical condition such as asthma.

It is very important to consult a Material Safety Data Sheet (MSDS), which is the information safety sheet provided by manufacturers, when working with any discharge chemicals. You can ask for a MSDS from your retailer on purchasing any product that may have health impacts.

Always wear protective clothing like gloves, respiratory protection and safety glasses when working with any discharge chemicals. If possible, conduct the process in a well-ventilated environment.

Thiourea dioxide and Jacquard Discharge Paste use the reductive process to remove dyed color. Thiourea dioxide is also known as formamidine sulfinic acid. Jacquard Discharge Paste apparently contains Rongalit ST, water, urea and ammonia. All of the reductive discharge chemicals require heat to activate the reaction; that is, heat is used to break the double bonds in the dye chemicals in order to invoke the discharge process.

The reduction process produces less fibre damage and so more reductive discharge agents are available in the marketplace.


Five-day Workshop Synopsis
In Pursuit of Complex Cloth: Complex Cloth Intensive
This workshop was organized by “The Australian Forum for Textile Arts”, 2009 Geelong Textile Fibre Forum Conference, Geelong, Victoria. The workshop was held in the Sinclaire Building at the Geelong Grammar School from the 27th September to 3rd October 2009.

Claire Roberts, Heather Eyers, Julie Howard, Kaye Cross, Lynda Ash, Nancy Ballesteros, Norma Long, Patricia Jones, Raihi Thomas, Rhonda Nadasdy, Robyn Faris and Robyn Bayliss attended the workshop. The workshop participants created unique and personal one-of-a-kind ArtCloth fabrics of great depth and complexity.

The five-day workshop was dedicated to exploring and mastering complex relationships on the cloth surface using “complex cloth” dyeing and printing layering techniques. Using a variety of printing tools, processes and color combinations, participants were introduced to the underlying principles of color (monochromatic and color), contrast, value, scale and texture employed in the creation of complex cloth using dyes, discharge media, fabric paints and foils to create the illusion of depth.

Exercises included immersion dyeing, overdyeing, low water immersion dyeing, resist, discharge (color removal), stamping, stenciling and foiling as well as the creation of tools.

The workshop also explored and encouraged the participants to think about the relationship and impact of the color and design processes via discussion and examples. Participants were encouraged to prepare themed ideas and images as it was possible to prepare some of these tools prior to the class.

Group Photo
Front row left to right: Rhonda Nadasdy, Marie-Therese Wisniowski.
Second row left to right: Kaye Cross, Patricia Jones, Lynda Ash.
Third row left to right: Norma Long, Robyn Faris, Julie Howard.
Fourth row left to right: Heather Eyres, Raihi Thomas.
Fifth row left to right: Robyn Bayliss, Claire Roberts and Nancy Ballesteros.


A Word about the Images
By the end of the weeklong workshop each participant created a work measuring approx. 1 x 1 meter/yard. The following works were dyed and over-dyed using various binding methods, discharged, foiled and printed using the multiple complex cloth layering techniques. Color and design principles were also studied during the weeklong program and effectively incorporated to create this final series of stunning works. Images below include some of the larger 1 x 1 meter works and some of the smaller 30 cm x 30 cm works.

Nancy Ballesteros’s value and depth study employing a complementary color study using dyeing techniques and fabric paints.

Rhonda Nadasdy’s value and depth exploration employing analogous color study using dyeing techniques, fabric paints, discharge and foil.

Robyn Bayliss’s value and depth study employing a complementary color study using dyeing techniques, discharge and fabric paints.

Raihi Thomas’s value and depth exploration employing analogous color study using dyeing techniques, fabric paints and discharge.

Claire Roberts’s value and depth exploration employing analogous colour study using dyeing techniques, fabric paints, discharge and foil on the left. Value and depth exploration employing complementary color study using dyeing techniques, fabric paints, discharge and foil on the right.

Lynda Ash’s value and depth exploration employing complementary color study using dyeing techniques, fabric paints and discharge.

Robyn Faris’s value and depth exploration employing complementary color study using dyeing techniques, fabric paints, discharge and foil.

Heather Eyres’s value and depth exploration employing complementary color study using dyeing techniques, fabric paints and discharge.

Patricia Jones’s value and depth exploration employing complementary color study using dyeing techniques, fabric paints, discharge and foil.

Julie Howard’s value and depth exploration employing complementary color study using dyeing techniques, fabric paints, discharge and foil.

Kaye Cross’s value and depth exploration employing analogous color study using dyeing techniques, fabric paints, discharge and foil.

Norma Long’s dyed and over-dyed fabric employing complementary colors.

Dyed and over-dyed fabrics using various binding methods and colors.

Dyed and over-dyed fabrics using various binding methods and analogous colors.

View of the workshop in progress.

This photo and the five photo's below show images of works created during the week long workshop program. The workshop display was viewed by the visiting public, other workshop attendees and tutors and the forum organizers.





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