I plan to use flowers, berries, concentrated vegetables, and other plants to tie-dye fabrics. The flowers that I will use will be native to Hawaii, for this will be more specific and teach me about relationships with the land close to home. I plan to start off with simple, absorbent fabrics like cotton. I will experiment tie-dye with samples, then tie-dye shirts, scarves, and possibly tote bags. I hope to tie-dye these things because they will be useful and sustainable. It will also possibly prevent me from buying unnecessary clothing with artificial coloring.
This project will be important to me because I want to better understand how and why over time, humans have moved away from natural processes and adapted artificial processes that involve chemicals that are detrimental to our health. I also want to explore a symbiotic relationship with the land. Without taking excess, I will be utilizing certain plants/flowers' properties and aesthetic traits. The Hawaiians lived off the land while still treating it with care and respect. I hope to do the same with this project. I also hope to learn some valuable characteristics of fruits, vegetables, and flowers.
Sunday, April 17, 2011
Process: Part 1 (Research)
The History of Hawaiian Tie-dye
Tapa cloth (a.k.a. kapa)
• Dying cloth was a secret; tradition ended in Hawaii decades ago
• Made from inner bark of paper mulberry (wauke)
• Soak, beat, dye using plants, animals, or minerals
• Ancient tapa makers used bark, roots, and fruits mainly
Traditional dye sources
• Turmeric tuber (ginger that grew in wet valleys): Y, O, gold
• Kukui tree: brown
• 'akala (native raspberry): lavenders, pinks
• fern leaves: R
• 'uki'uki (dianella lilly): B
• popolo (blak nightshade) & ma'o (cotton): G
• wana (sea urchin): lavender
interesting fact: Hawaiians named their dyes according to their source, not their color
• more unique and specific to the land
• when the tradition is passed down, people will remember what plants are used
• color is important, but plant itself is more important
Ancient/traditional dye methods
• "immersion and surface painting"
-immersion: when strips of tapa are dyed in cold or warm dyebath
• hot stones in dyebath
• repeated many times
• overlaying
• cord-snapping
• block printing for designs: bamboo stalks carved into patterns
Other Natural Dyes that I Could Use
• Ginger
• Aloe
• Wedelia
• Hibiscus
• Bixa
• Silver-dollar
• Tea, coffee, grape juice
• Pomegranate
• Plums
• Grapes (purple)
• Annatto (seed)
• Sunflower seed
• Spices: turmeric, paprika, chili powder, curry, saffron, shoyu
• Onion skins
• Beets
• Watercress
• Purple cabbage
• Carrot tops
Supplies needed
• Pots
• Bucket for rinsing
• Glass measuring cup
• Scale (optional)
• Stirring spoon; chopsticks
• Gloves
Procedure for Dying
• Cut/trim plant matter
• Soak in water (the longer, the better but not too long)
• Use same water to boil plants in
• Most plant colors can be extracted BELOW 180ºF (don't overcook, esp. with hibiscus blossoms and red ti leaves)
• Soak material before it enters dyebath (for even dyeing)
-Few hours ~ several days
• Boil water; stir continuous for first few minutes, then only occasionally
• Note: don't boil too much (because solution will dissolve → add water → more dilute)
• When finished, cool fabric in dyebath; rinse with water (optional: with some vinegar)
(I did not use any vinegar or other substances besides water)
• Dry material in shade
Tapa cloth (a.k.a. kapa)
• Dying cloth was a secret; tradition ended in Hawaii decades ago
• Made from inner bark of paper mulberry (wauke)
• Soak, beat, dye using plants, animals, or minerals
• Ancient tapa makers used bark, roots, and fruits mainly
Traditional dye sources
• Turmeric tuber (ginger that grew in wet valleys): Y, O, gold
• Kukui tree: brown
• 'akala (native raspberry): lavenders, pinks
• fern leaves: R
• 'uki'uki (dianella lilly): B
• popolo (blak nightshade) & ma'o (cotton): G
• wana (sea urchin): lavender
interesting fact: Hawaiians named their dyes according to their source, not their color
• more unique and specific to the land
• when the tradition is passed down, people will remember what plants are used
• color is important, but plant itself is more important
Ancient/traditional dye methods
• "immersion and surface painting"
-immersion: when strips of tapa are dyed in cold or warm dyebath
• hot stones in dyebath
• repeated many times
• overlaying
• cord-snapping
• block printing for designs: bamboo stalks carved into patterns
Other Natural Dyes that I Could Use
• Ginger
• Aloe
• Wedelia
• Hibiscus
• Bixa
• Silver-dollar
• Tea, coffee, grape juice
• Pomegranate
• Plums
• Grapes (purple)
• Annatto (seed)
• Sunflower seed
• Spices: turmeric, paprika, chili powder, curry, saffron, shoyu
• Onion skins
• Beets
• Watercress
• Purple cabbage
• Carrot tops
Supplies needed
• Pots
• Bucket for rinsing
• Glass measuring cup
• Scale (optional)
• Stirring spoon; chopsticks
• Gloves
Procedure for Dying
• Cut/trim plant matter
• Soak in water (the longer, the better but not too long)
• Use same water to boil plants in
• Most plant colors can be extracted BELOW 180ºF (don't overcook, esp. with hibiscus blossoms and red ti leaves)
• Soak material before it enters dyebath (for even dyeing)
-Few hours ~ several days
• Boil water; stir continuous for first few minutes, then only occasionally
• Note: don't boil too much (because solution will dissolve → add water → more dilute)
• When finished, cool fabric in dyebath; rinse with water (optional: with some vinegar)
(I did not use any vinegar or other substances besides water)
• Dry material in shade
Process: Part 2 (Collecting Plants and Fruits)
A problem that I encountered before starting this project was the difficulty of finding native plants. Ideally, I would have liked to have obtained a variety of plants that produce a range of dye colors. However, I realized that this was much harder than I expected because I don't know where these plants grow and it's not possible to take them out of their natural habitats. Therefore, instead, I called many florists in Honolulu that had the plants on my list. Most of the florists did not have the plants that I was looking for, however Le Flowers had red ginger plants that I was able to buy for a cheap price. I ended up buying only one plant because the flower bunch contained red and dark orange ginger as well as the leaves. I thought that I could use these different parts of the plant to yield different colors.
Other fruit that I used was blackberries. They were extremely dark, so I only used two while I boiled the first plants and cloth.
The other plants/substances that I used were just things that I had at home or that I got from my grandma's garden. Since I could not obtain the same plants that the Hawaiians used (due to scarcity and because they are not available,) I reverted to more common species.
Process: Part 3 (Preparing Plants & Fabric)
Red Ginger Scarf & Red Ginger Leaf Scarf
To prepare the red ginger for boiling, I cut the plant into smaller sections to ensure even dying. Since it came with many ants and bugs, I first washed the plant and then separated the ginger from the leaves. The leaves themselves are supposed to produce their own unique color, which is why I separated them from the ginger. I cut the leaves into smaller sections and then allowed them to soak for one full day in a glass bowl. At first, I was worried because the water that the leaves were soaking in did not begin changing until the next day. However, I learned to be patient and let nature run its own course. While the leaves were soaking, I boiled water (but kept the temperate well below 180º) in preparation for the red ginger.
The Hawaiian name for red ginger is 'Awapuhi-'ula'ula. It comes in various colors such as deep red/pink, bright orange, and white, and flowering section of the plant can grow up to ten feet tall. The red ginger is also native to southwest Pacific islands.
In the meantime, I prepared my fabric by cutting a straight section of soft cotton. This would become my scarf. I decided to make my first tie-dye object a scarf because a scarf takes up less material than a shirt or bag, and it would require less soaking/boiling time since there is less fabric. However, to make the design more interesting than just a plain color, I tied rubber bands to various places on the fabric.
Hibiscus (Tea) Scarf
Since I could not obtain a real hibiscus plant, I substituted red hibiscus tea and soaked the material for my other scarf in a glass jar over night. I boiled this water the same way I boiled the water for the red ginger. However, this time I put in the tea and then let it soak before I transferred the tea into the jar. Also, instead of using cotton, I used an off-white/cream-colored silk fabric. At first I was unsure of whether or not the silk would absorb the color enough. However, the scarf turned out well in the end. The color is very subtle and natural looking.
Aloe Scarf
Aloe, or Panini-'awa'awa in Hawaiian, is a part of the Lily family and is commonly grown in Hawaii. Most people recognize the aloe plant for its healing properties. Even the ancient Greeks and Romans used aloe. The aloe plant thrives best in sunny areas. It is thick with green, prickly leaves. However, the shade of green often depends on the individual plant, for some are darker than others. The inside of the plant has a sappy substance which is the green/yellowish liquid that is used for medicine and other purposes.
I obtained the aloe for my project from my grandma's garden. She has a garden of various plants, and one of the plants that she grows happens to be aloe. My grandma often cuts aloe when she is injured and uses it to heal her burns/cuts. I trimmed five to six medium-sized branches of the aloe plant and when I got home, I placed them in a bowl with water. I cut the pieces of aloe into smaller sections as well so that the sap would run more and so more color would be extracted.
When I went to take some of the aloe plant from my grandma's garden, I noticed a lizard. It was resting on one of the thick aloe leaves until it saw me and scurried away. I had also not realized this immediately, but when I went to search for the aloe plant in my grandma's backyard, I could hear and almost taste the silence. I could hear the sound of cars passing by and the conversation of the people next door, however I could also hear the sound of the lizard move and the faint wind that was blowing the trees. When I reached into the garden, my feet made contact with the dirt and I felt immersed in the environment although it was not totally secluded. I took part of the aloe by snipping a few of the thick leaves. I did feel slightly bad for disrupting the lizard and taking part of the plant, but I knew that the plant would grow back and I wasn't really hurting it.
Onion Skin Scarf
When most people think of natural tie dye sources, they usually think of dark red or purple plants or vegetables. However, many of the sources that I used to research natural tie dying said that onion skins are great sources of dye. They are supposed to produce yellow, orange, and green shades. I only used one onion and cut the bottom to make it easier to peel the skin off. The skin is extremely thin, so at first I was worried because I didn't think that so little skin could produce enough color. I soaked the skins for about half a day like the aloe and then prepared to bath to dye the cloth in.
To prepare the red ginger for boiling, I cut the plant into smaller sections to ensure even dying. Since it came with many ants and bugs, I first washed the plant and then separated the ginger from the leaves. The leaves themselves are supposed to produce their own unique color, which is why I separated them from the ginger. I cut the leaves into smaller sections and then allowed them to soak for one full day in a glass bowl. At first, I was worried because the water that the leaves were soaking in did not begin changing until the next day. However, I learned to be patient and let nature run its own course. While the leaves were soaking, I boiled water (but kept the temperate well below 180º) in preparation for the red ginger.
The Hawaiian name for red ginger is 'Awapuhi-'ula'ula. It comes in various colors such as deep red/pink, bright orange, and white, and flowering section of the plant can grow up to ten feet tall. The red ginger is also native to southwest Pacific islands.
In the meantime, I prepared my fabric by cutting a straight section of soft cotton. This would become my scarf. I decided to make my first tie-dye object a scarf because a scarf takes up less material than a shirt or bag, and it would require less soaking/boiling time since there is less fabric. However, to make the design more interesting than just a plain color, I tied rubber bands to various places on the fabric.
Hibiscus (Tea) Scarf
Since I could not obtain a real hibiscus plant, I substituted red hibiscus tea and soaked the material for my other scarf in a glass jar over night. I boiled this water the same way I boiled the water for the red ginger. However, this time I put in the tea and then let it soak before I transferred the tea into the jar. Also, instead of using cotton, I used an off-white/cream-colored silk fabric. At first I was unsure of whether or not the silk would absorb the color enough. However, the scarf turned out well in the end. The color is very subtle and natural looking.
Aloe Scarf
Aloe, or Panini-'awa'awa in Hawaiian, is a part of the Lily family and is commonly grown in Hawaii. Most people recognize the aloe plant for its healing properties. Even the ancient Greeks and Romans used aloe. The aloe plant thrives best in sunny areas. It is thick with green, prickly leaves. However, the shade of green often depends on the individual plant, for some are darker than others. The inside of the plant has a sappy substance which is the green/yellowish liquid that is used for medicine and other purposes.
I obtained the aloe for my project from my grandma's garden. She has a garden of various plants, and one of the plants that she grows happens to be aloe. My grandma often cuts aloe when she is injured and uses it to heal her burns/cuts. I trimmed five to six medium-sized branches of the aloe plant and when I got home, I placed them in a bowl with water. I cut the pieces of aloe into smaller sections as well so that the sap would run more and so more color would be extracted.
When I went to take some of the aloe plant from my grandma's garden, I noticed a lizard. It was resting on one of the thick aloe leaves until it saw me and scurried away. I had also not realized this immediately, but when I went to search for the aloe plant in my grandma's backyard, I could hear and almost taste the silence. I could hear the sound of cars passing by and the conversation of the people next door, however I could also hear the sound of the lizard move and the faint wind that was blowing the trees. When I reached into the garden, my feet made contact with the dirt and I felt immersed in the environment although it was not totally secluded. I took part of the aloe by snipping a few of the thick leaves. I did feel slightly bad for disrupting the lizard and taking part of the plant, but I knew that the plant would grow back and I wasn't really hurting it.
Onion Skin Scarf
When most people think of natural tie dye sources, they usually think of dark red or purple plants or vegetables. However, many of the sources that I used to research natural tie dying said that onion skins are great sources of dye. They are supposed to produce yellow, orange, and green shades. I only used one onion and cut the bottom to make it easier to peel the skin off. The skin is extremely thin, so at first I was worried because I didn't think that so little skin could produce enough color. I soaked the skins for about half a day like the aloe and then prepared to bath to dye the cloth in.
Process: Part 4 (Soaking & Boiling Plants)
Red Ginger Scarf
The boiling process was the most interesting part of this project because it did not turn out how I expected. The red ginger that I used was very red in color, yet my scarf came out more purple. I was also expecting the coloring to turn out much brighter than it did. However this was not the case. Although I was expecting different results, I was much happier with the way the scarf turned out. The bold, vibrant color of the red ginger plant did not similarly translate to the color that the plant produced. The end color was a lot milder and understated than the plant color. It looks natural and not at all like the artificial tie-dye people often use today. Through a piece of plant-dyed fabric alone, the simple and organic beauty of nature is obvious.
It was also surprising how the plant color transformed throughout the boiling process. Below, you can visual see how the dye bath color and plant pieces changed over time. The coloring was truly extracted from the plant.
Red Ginger Leaf Scarf
Hibiscus Tea Scarf
Aloe Scarf
I let the fabric soak in the aloe water for at least a full day. Unlike the other plants, the aloe did not turn cause the water to turn color too much.
After a day, I boiled the aloe and the fabric together and let the aloe soak with the fabric. I noticed a pattern. When plants boil, their colors turn dark and they also have a very distinct smell. 
Onion Skin Scarf
With the onion scarf, I did not boil the water. Instead, I let the fabric sit in the water with the onion skins for a little over a day. One of the reasons I did this was because onion skin is extremely delicate and thin; I was afraid that boiling it in water would deteriorate the skin. The soaking process took well over a day, and it was difficult for me to remain patient. However, luckily the water eventually turned yellow/orange and I was relieved. I also used a different fabric for the onion scarf. I had already experimented with cotton and silk, so this time I cut a different fabric. It is thin (like silk) and easily frays at the ends. I used this fabric because it seemed that the onion skins would produce a mild color, so I wanted to add another dimension to the scarf. This fabric has an interesting texture (with lines,) which is why I chose to use it.
The boiling process was the most interesting part of this project because it did not turn out how I expected. The red ginger that I used was very red in color, yet my scarf came out more purple. I was also expecting the coloring to turn out much brighter than it did. However this was not the case. Although I was expecting different results, I was much happier with the way the scarf turned out. The bold, vibrant color of the red ginger plant did not similarly translate to the color that the plant produced. The end color was a lot milder and understated than the plant color. It looks natural and not at all like the artificial tie-dye people often use today. Through a piece of plant-dyed fabric alone, the simple and organic beauty of nature is obvious.
It was also surprising how the plant color transformed throughout the boiling process. Below, you can visual see how the dye bath color and plant pieces changed over time. The coloring was truly extracted from the plant.
Red Ginger Leaf Scarf
Hibiscus Tea Scarf
Aloe Scarf
I let the fabric soak in the aloe water for at least a full day. Unlike the other plants, the aloe did not turn cause the water to turn color too much.
After a day, I boiled the aloe and the fabric together and let the aloe soak with the fabric. I noticed a pattern. When plants boil, their colors turn dark and they also have a very distinct smell. 
Onion Skin Scarf
With the onion scarf, I did not boil the water. Instead, I let the fabric sit in the water with the onion skins for a little over a day. One of the reasons I did this was because onion skin is extremely delicate and thin; I was afraid that boiling it in water would deteriorate the skin. The soaking process took well over a day, and it was difficult for me to remain patient. However, luckily the water eventually turned yellow/orange and I was relieved. I also used a different fabric for the onion scarf. I had already experimented with cotton and silk, so this time I cut a different fabric. It is thin (like silk) and easily frays at the ends. I used this fabric because it seemed that the onion skins would produce a mild color, so I wanted to add another dimension to the scarf. This fabric has an interesting texture (with lines,) which is why I chose to use it.
Process: Part 5 (Drying & Finishing Touches)
After the soaking process, I immersed each of these fabrics in a cold water bath and allowed them to dry. I then fringed the ends of one of the scarves to add character. The ancient Hawaiians and other cultures usually cut their fabric and made intricate designs with their clothing. This is one of the reasons why I chose to tie the ends of the scarf. Below are the final products! The aloe and red ginger scarves have white rings because I tied rubber bands to some areas (that works similar to wax resist.) Wax resist is very common in Batik tie-dyes.
Red Ginger Scarf
Red Ginger Leaf Scarf
Hibiscus (Tea) Scarf
Aloe Scarf
Although hard to see in the pictures, the aloe scarf has slight tinges of yellow, green, and brown.
Onion Skin Scarf
Unlike the other scarves, there are streaks/lines of yellow on this fabric. The dye is more spotted, possibly due to the difference in fabric and texture.
Here is a picture of all the scarves together:
Red Ginger Scarf
Red Ginger Leaf Scarf
Hibiscus (Tea) Scarf
Aloe Scarf
Although hard to see in the pictures, the aloe scarf has slight tinges of yellow, green, and brown.
Onion Skin Scarf
Unlike the other scarves, there are streaks/lines of yellow on this fabric. The dye is more spotted, possibly due to the difference in fabric and texture.
Here is a picture of all the scarves together:
Reflection: My Experience and What it Taught Me
Everything in nature has a purpose. I used things that I would normally have thrown away mindlessly (such as onion skins). In our society and culture sometimes it's hard to clearly see what the purpose in nature is. However, when I looked closer I realized that a big part of sustainability is exploring and utilizing nature without exploiting it.
The more I learned, the more I realized how much I didn't know.
The beauty of the natural world is subdued. In nature, there's a grace, quietness, and stillness that exists. It allows me to be reflective, yet this natural beauty and its characteristics are also infused into any piece that is made with nature. The soft colors in the cloth reflect the quietness and peace in nature. Nature is also the star in the cloth that I made--I used nothing but plant matter and water.
Nature is often times destructive, but it also has a soothing touch.
It's difficult to fight to urge to change the plant. There were times where I wanted the process to speed up and the results at certain points during the process were not what I expected. However, in the end I did not do anything to change the plant color.
Man often uses tools to try and destroy nature, but through this project I learned that it is possible for man and nature to have a symbiotic relationship. It is moral to use nature but not destroy it. Nature can be a tool if we allow it to.
Beauty also exists in nature. It is a key element of nature that has the ability to soothe us and make us happy. It's important to create through what is already provided. Trying to force or wish nature to do something that it's not meant to do is wrong. By creating synthetic processes and chemicals to produce the goods that we want, we are going against natural laws and disrupting the balance between us and the environment.
Patience.
We have slowly lost knowledge of our sources. It's important to question and explore how things come to be and where they originate from. It teaches us about ourselves and the environment.
Do not see everything as an obstacle.
The more I learned, the more I realized how much I didn't know.
The beauty of the natural world is subdued. In nature, there's a grace, quietness, and stillness that exists. It allows me to be reflective, yet this natural beauty and its characteristics are also infused into any piece that is made with nature. The soft colors in the cloth reflect the quietness and peace in nature. Nature is also the star in the cloth that I made--I used nothing but plant matter and water.
Nature is often times destructive, but it also has a soothing touch.
It's difficult to fight to urge to change the plant. There were times where I wanted the process to speed up and the results at certain points during the process were not what I expected. However, in the end I did not do anything to change the plant color.
Man often uses tools to try and destroy nature, but through this project I learned that it is possible for man and nature to have a symbiotic relationship. It is moral to use nature but not destroy it. Nature can be a tool if we allow it to.
Beauty also exists in nature. It is a key element of nature that has the ability to soothe us and make us happy. It's important to create through what is already provided. Trying to force or wish nature to do something that it's not meant to do is wrong. By creating synthetic processes and chemicals to produce the goods that we want, we are going against natural laws and disrupting the balance between us and the environment.
Patience.
We have slowly lost knowledge of our sources. It's important to question and explore how things come to be and where they originate from. It teaches us about ourselves and the environment.
Do not see everything as an obstacle.
Works Cited
Belfer, Nancy. Designing in Batik and Tie Dye. Worcester, MA: Davis Publications, 1972. Print.
This book is comprised of both realistic pictures and text. It focuses on three main topics: the history and original uses of the dye, techniques, and contemporary Batik designs/processes.
The book was published in almost four decades ago, so the "contemporary" processes that are mentioned may be slightly different from what they are now. However, I will not be focusing on contemporary processes as much as the old-fashioned techniques of tie-dye. The author, Nancy Belfer, is credible because she is professor of textile design in Buffalo, New York. The research is mainly factual information that is unbiased. In the historical content, the cultures of the people mentioned are respected. The pictures that accompany the text are helpful and provide real-life examples of the provided information.
The source does not directly relate to my topic like Hawaii Dye Plants and Dye Recipes does, yet it provides information about other cultures that often tie-dyed fabrics. This book focuses on the Batik methods. Even though this is the case, this source will be helpful to me because it traces the origins of tie-dye back to the ancient Chinese, Peruvians, Indians, Greek, and Japanese. The fact that all of these people developed their own variations of tie-dying suggests that tie-dying was a tradition that was practical, sustainable, and one that connected people directly to the land. It was universal; the concept was the same but the plants and materials that were used in each culture were specific to their geographical location.
Krohn-Ching, Val. Hawaii Dye Plants and Dye Recipes. Honolulu: University of Hawaii, 1980. Print.
This book contains brief information relating to specific dye sources and dye methods used in ancient Hawaii. It is also split into three other sections: natural dye sources, mordanting, and specific dye recipes of plants that are native to Hawaii. Along with background history and simple drawings of these plants, this source guides the reader so that the reader can make his/her own dye fabric.
Hawaii Dye Plants and Dye Recipes was published in 1980; although it is not very recent, the information about old Hawaiian history and specific plants are probably still accurate. The research that is presented in this book is objected. The majority of information consists of facts. The author, Val Frieling Krohn-Ching, is a weaving and textile design artist who has extensive expertise in the subject of plant dying.
This book is extremely helpful for both learning about a brief history of Hawaiian plant dyes and for understanding the necessary steps needed to successfully complete the dyeing process. The historical aspect of this source is a little too general in that it didn't go into full detail about traditional mineral and root sources. However, it has helped me to narrow my topic. I will most likely not use vegetable sources, besides beets, because the Hawaiians used mainly bark, fruits, and roots, and some flowers as their dye sources.
Meilach, Dona Z. Contemporary Batik and Tie-dye; Methods, Inspiration, Dyes,. New York: Crown, 1973. Print.
Contemporary Batik and Tie-dye is a detailed book that outlines old and new Batik and tie-dying techniques. It focuses on very specific methods such as resist processes, designing with wax, tools for other natural effects, the use of color, steps for mixing, and tie-dye and batik designs that are nature-inspired.
This source was published over forty years ago and is reliable because the author, Dona Meilach, is an expert in the topics of urban design, public art, historic preservation, and environmental education. Through multiple historic references to culture and geography, Meilach analyzes almost every aspect of Batik and tie-dye.
The realistic photographs help to depict different forms of tie-dye. The historic information about batik will be helpful because it explains how tradition/methods have spread to the Western world from other cultures such as the Chinese, Germans, and Japanese. Aside from this, I will also read the instructions on how to successfully tie-dye. I will need to note many variables such as the amount of water I add, temperature, length of dying time, etc.
This book is comprised of both realistic pictures and text. It focuses on three main topics: the history and original uses of the dye, techniques, and contemporary Batik designs/processes.
The book was published in almost four decades ago, so the "contemporary" processes that are mentioned may be slightly different from what they are now. However, I will not be focusing on contemporary processes as much as the old-fashioned techniques of tie-dye. The author, Nancy Belfer, is credible because she is professor of textile design in Buffalo, New York. The research is mainly factual information that is unbiased. In the historical content, the cultures of the people mentioned are respected. The pictures that accompany the text are helpful and provide real-life examples of the provided information.
The source does not directly relate to my topic like Hawaii Dye Plants and Dye Recipes does, yet it provides information about other cultures that often tie-dyed fabrics. This book focuses on the Batik methods. Even though this is the case, this source will be helpful to me because it traces the origins of tie-dye back to the ancient Chinese, Peruvians, Indians, Greek, and Japanese. The fact that all of these people developed their own variations of tie-dying suggests that tie-dying was a tradition that was practical, sustainable, and one that connected people directly to the land. It was universal; the concept was the same but the plants and materials that were used in each culture were specific to their geographical location.
Krohn-Ching, Val. Hawaii Dye Plants and Dye Recipes. Honolulu: University of Hawaii, 1980. Print.
This book contains brief information relating to specific dye sources and dye methods used in ancient Hawaii. It is also split into three other sections: natural dye sources, mordanting, and specific dye recipes of plants that are native to Hawaii. Along with background history and simple drawings of these plants, this source guides the reader so that the reader can make his/her own dye fabric.
Hawaii Dye Plants and Dye Recipes was published in 1980; although it is not very recent, the information about old Hawaiian history and specific plants are probably still accurate. The research that is presented in this book is objected. The majority of information consists of facts. The author, Val Frieling Krohn-Ching, is a weaving and textile design artist who has extensive expertise in the subject of plant dying.
This book is extremely helpful for both learning about a brief history of Hawaiian plant dyes and for understanding the necessary steps needed to successfully complete the dyeing process. The historical aspect of this source is a little too general in that it didn't go into full detail about traditional mineral and root sources. However, it has helped me to narrow my topic. I will most likely not use vegetable sources, besides beets, because the Hawaiians used mainly bark, fruits, and roots, and some flowers as their dye sources.
Meilach, Dona Z. Contemporary Batik and Tie-dye; Methods, Inspiration, Dyes,. New York: Crown, 1973. Print.
Contemporary Batik and Tie-dye is a detailed book that outlines old and new Batik and tie-dying techniques. It focuses on very specific methods such as resist processes, designing with wax, tools for other natural effects, the use of color, steps for mixing, and tie-dye and batik designs that are nature-inspired.
This source was published over forty years ago and is reliable because the author, Dona Meilach, is an expert in the topics of urban design, public art, historic preservation, and environmental education. Through multiple historic references to culture and geography, Meilach analyzes almost every aspect of Batik and tie-dye.
The realistic photographs help to depict different forms of tie-dye. The historic information about batik will be helpful because it explains how tradition/methods have spread to the Western world from other cultures such as the Chinese, Germans, and Japanese. Aside from this, I will also read the instructions on how to successfully tie-dye. I will need to note many variables such as the amount of water I add, temperature, length of dying time, etc.
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