PartGOODWILL 1 — Applying ART colourGUIDE to ­— cloththe essential teaching resource for craft, design and culture LIST OF CONTENTS

PRINTED, DYED AND PAINTED TEXTILES This title considers how colour and pattern can be applied to fabric after it has been constructed

LIST OF CONTENTS PART 3 - Looking at the images Introduction INDIA Bandhani AMERICA Watson and the shark, J.S. Copley JAPAN Woman’s kimono PART 1 - Applying colour to cloth JAPAN Woman and chrysanthemums, Kuniyoshi Traditional methods NIGERIA Adire-eleko cloth

Resist techniques ZAIRE Appliqué on cloth Tie and dye; batik; stencilling; ikat — dyeing TSIMSHIAN Button blanket before weaving; screen printing; SARAWAK Ikat cloth Repeat printing ENGLAND Tying warp threads, M. Restieaux Dyed textiles INDIA Cloth of Rengma Naga people Painted techniques INDIA Mughal painted cotton tent handing INDIA Palimpore (bed spread) Mixed methods FRANCE Robinson Crusoe, Toile de Jouy C.F.A. Voysey, Owl design British workshops ENGLAND Owl design, C.F.A. Voysey Public art commissions ENGLAND Blue Feather, P. Barron & D. Larcher ENGLAND Omega design, D Grant & A. Walton PART 2 - Suggested classroom activities ENGLAND Pashmina shawls, K. Blee Plunder or flattery? Fashionable cultures; ENGLAND Composite, Timney Fowler For easy navigation blue signals a link to a exploring colour; using colour; ENGLAND Ombré velvet scarf, A. Barrington relevant page. Click to follow the link. using dyes and resists ENGLAND Blob, V. Richards SCOTLAND Dyed silk velvet quilt, S. Keith Top right of every page is a link returning to SCOTLAND Shards, Starszakowna Glossary the LIST OF CONTENTS page. ENGLAND Indian embroidery factory, R. Howard

IRELAND Hooded crow meeting, N. Henley Click here for a full list of Goodwill Art titles. ENGLAND Interior installation, R. Aust

1 Series 8, Set 78 © The Goodwill Art Service Ltd Part 1 — Applying colour to cloth LIST OF CONTENTS

INTRODUCTION

In Britain today there are many different This is one of three Goodwill subjects attitudes to the design, production and exploring different aspects of textiles. consumption of printed textiles. The Constructed Textiles discusses how all outcome ranges from the primarily fabric, whether high-tech or traditional, functional to the purely decorative. is made by felting or bonding, weaving These widely differing approaches or knitting natural or synthetic fibres are dependant on the training and together using hand, power or digital background of the designers and tools. Sewn, Pieced and Embroidered makers and where they place the Textiles considers how, why and when emphasis in the relationship between scissors, needle and thread and sewing art, craft and industry. machines have been used to cut, re- assemble and make marks on fabric. These notes will help teachers to develop their pupils’ understanding of historical and contemporary cross- cultural practices in the application of colour and pattern to cloth.

Traditional tie and dye Widely produced in parts of Gujarat and Rajasthan in India, bandhani cloth is often sold in the markets with the knots uncut to prove authenticity.

2 Series 8, Set 78 © The Goodwill Art Service Ltd Part 1 — Applying colour to cloth LIST OF CONTENTS

Tie and dye Applying colour In tie and dye fabric is tied, bound, knotted, folded, plaited, clamped, sewn or stitched. to cloth The technique uses basic equipment but requires infinite skill, patience and experience TRADITIONAL METHODS to obtain the complex, delicate patterns that can be built up from repetition of simple motifs In some parts of the world long-established (see Introduction picture). techniques continue, either due to the strength of tradition or because fabrics have Batik been revived to help re-establish a national Derived from the Indonesian word for wax identity, or develop the tourist industry. Many writing, batik involves the application of hot wax new fabrics, dyes and production techniques to cloth as a resist (see left and illustration p.8). are available in the fashion-led west, yet each Only the unwaxed areas will accept the colour. fashion season ideas for designs for the catwalk Some batik makers choose brittle waxes that are generated by research into historical and crack and allow the dye to seep into the cloth ethnographical methods of applying colour to in a network of fine, spreading lines. Others cloth. Designers and manufacturers are not use more flexible wax that does not crack as it above copying — a market avid for the ‘ethnic’ dries and so resists the dye completely, giving look encourages such behaviour. But only a much sharper outline to patterned areas. designs are imitated: old production methods Natural forms used in batik Where wax is not readily available, suitable are usually too labour intensive. Cowrie shells dipped in wax form the alternatives are used. In Japan rice starch is simple repeat pattern for this batik. RESIST TECHNIQUES Before being dyed, the wax was slightly painted or stencilled delicately on to silk and cracked to allow a fine network of dyed cotton. In the Côte d’Ivoire, west Africa, cloth ‘The marriage of thirsty cloth and liquid colour [not lines to cover the surface. only] produces ornament on cloth but in it.’ (J. L. is smeared with rice starch paste and a comb Larsen, The Dyers’ Art, Van Nostrand Rheinhold) used to scrape patterns into the wet paste. resist dyeing as cloth making and embroidery. The Yoruba in Nigeria make a paste from the Every continent has ways of creating Symbolic meaning has often been attached to starch in the root of the cassava plant. In patterned fabric by preventing certain areas resist-dyed cloths, through their association China, bean curd resist is used to create blue of cloth from taking up the dye. The textiles with rites of passage. They are worn and and white patterns. of India, Japan, Indonesia, Central Asia and displayed at festivals and ceremonies marking West Africa are built as much on the arts of birth, initiation, marriage and death. 3 Series 8, Set 78 © The Goodwill Art Service Ltd Part 3 — Looking at the images LIST OF CONTENTS

12 Series 8, Set 78 © The Goodwill Art Service Ltd