GoWentGone
SHIBORI WORKSHOP WITH URBAN PLANT
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Our first workshop are dyeing a fabrics from natural materials and artificial dyeing colors, allowing everyone to join the activity and to learn how to create a piece of art through the adjoining assist of skillful artists. This is our knowhow and the best workshop of us. Nowaday we have many workshop for support and also create the special workshop to fit in other requirements.
The History of Fabric Dye (Juliette Donatelli) Imagine a world without color. A world without the little black dress, colorful sundresses or even the crisp white shirt. It’s hard to fathom our wardrobe without a bounty of shades. The ancient world was much more colorful than we might imagine. The first recorded mention of fabric dyeing dates back to 2600 BC. Originally, dyes were made with natural pigments mixed with water and oil used to decorate skin, jewelry and clothing. Those same dyes were also used for painting prehistoric caves, which emerged in places like El Castillo, Spain, some 40,000 years ago.
Today, 90% of clothing is dyed synthetically, and critics say you can tell the next season’s hit hue by the color of the rivers in China. Tragically, chemical dyeing can cause significant environmental degradation and harm to workers if not handled properly. Increasing interest in sustainable fashion has reawoken the art of natural dyeing.
A Look Back The most commonly used dyes in ancient times were found near their source, and so color often differentiated geographic location as well as class and custom. The colors were mixed from exotic plants, insects or sea life. For example, the word “crimson” is derived from kermes, the source of the dye - An insect found on oaks trees in the Mediterranean. Of all the colors in the ancient world, yellow was the most common color achieved from a number of plants. Other ancient colors like blue derived from indigo, a plant found in India and south east Asia. Indigo dyes fabric a rich blue color, and is unique because it doesn’t require a mordant for the color to stay. See, a natural dye needs what is called a “mordant” to stick—mordant meaning bite. Plants like indigo naturally have mordants, but without one, the color can easily fade over time. It’s the color purple that truly opens up history and provides the perfect insight into the history of fabric dyes—from its stance as a status symbol which intrigued the richest of leaders and often equaled its weight in gold, to opening the doors to synthetic dyeing around the world—purple is fascinating.
Way way back, Tyranian purple, as it was once called, was achieved only from crushing thousands of shells of a mollusk called Murex, found on the eastern coast of the Mediterranean. The color was mixed in what is now Lebanon and still to this day stands as the most expensive color to mix. When Alexander the Great conquered Persia in 331 BC, he first laid eyes upon robes dyed with purple, and due to its rarity and intensive process, purple was only available for the robes of kings and princes.
Enter: Synthetic Dye An English teenage chemist, William Perkin, was searching for a form of synthetic quinine—then an antimalaria medicine—that could be derived from coal tar. Quinine was the only medicine to cure malaria at the time, and came from the bark of the cinchona tree, found in South America. The bark was in short supply. English soldiers were dying from malaria in India, so Perkin was on a mission to discover an alternate cure. During one of his experiments, he noticed that his mixture of coal tar turned a rich purple color. He dipped a piece of silk into the mixture. Instantly, he knew he had stumbled upon something miraculous. Perkin called the dye color mauveine, or mauve. Because it didn’t run or fade, he saw marketing potential for the discovery and sent a fabric swatch off to dye houses. His mixture was an immediate success. Perkin left the Royal College of Chemistry in London (losing much of his credibility in the scientific community) and starting manufacturing synthetic dyes.
It is estimated that over 10,000 different dyes and pigments are used industrially and over 7 x 105 tons of synthetic dyes are annually produced worldwide. Once the English began manufacturing mauve, the Germans invested in a state of the art synthetic dye industry that supplied mills throughout Europe and North America. By World War I, Germany had become the world leader in synthetic dyes and supplied 90 percent of America’s textile industry. With Perkin’s discovery, the art of natural dyeing was virtually lost, as all efforts were placed in synthetic dyes.
InTech Science, in an article regarding the environmental dangers of synthetic dyes writes, “The textile industry consumes a substantial amount of water in its manufacturing processes used mainly in the dyeing and finishing operations of the plants. The wastewater from textile plants is classified as the most polluting of all the industrial sectors. The increased demand for textile products and the proportional increase in their production, and the use of synthetic dyes have together contributed to dye wastewater becoming one of the substantial sources of severe pollution problems in current times.”
In addition to the vast environmental dangers involved with working with synthetic dyes, there is also human risk involved. Synthetic dyes are hazardous and very dangerous for workers in the industry who inhale them as they produce product. In short, toxic chemicals are absorbed into the skin of workers when they come into prolonged contact with synthetic dye, and that dye is most easily absorbed into skin when a worker’s body is warm, when pores are open. The use of natural dyes would solve the problems associated with synthetic dyes, but for the shift to occur, society will need to band together—on behalf of fabric workers and on behalf of our planet— to demand a change in landscape.
URBAN PLANT
มังคุด MANGOSTEEN
หอมหัวใหญ ONION
ดาวเรือง MARIGOLD
SHIBORI
History In Japan, the earliest known example of cloth dyed with a shibori technique dates from the 8th century; it is among the goods donated by the Emperor Shomu to the Todai-ji in Nara. Until the 20th century, not many fabrics and dyes were in widespread use in Japan. The main fabrics were silk and hemp, and later cotton. The main dye was indigo and, to a lesser extent, madder and purple root. Shibori and other textile arts, such as tsutsugaki, were applied to all of these fabrics and dyes.
Techniques Ne-maki shibori here are an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for shibori, and each way results in very different patterns. Each method is used to achieve a certain result, but each method is also used to work in harmony with the type of cloth used. Therefore, the technique used in shibori depends not only on the desired pattern, but the characteristics of the cloth being dyed. Also, different techniques can be used in conjunction with one another to achieve even more elaborate results. Kanoko shibori Kanoko shibori is what is commonly thought of in the West as tie-dye. It involves binding certain sections of the cloth to achieve the desired pattern. Traditional shibori requires the use of thread for binding. The pattern achieved depends on how tightly the cloth is bound and where the cloth is bound. If random sections of the cloth are bound, the result will be a pattern of random circles. If the cloth is first folded then bound, the resulting circles will be in a pattern depending on the fold used. Miura shibori Miura shibori is also known as looped binding. It involves taking a hooked needle and plucking sections of the cloth. Then a thread is looped around each section twice. The thread is not knotted; tension is the only thing that holds the sections in place. The resulting dyed cloth is a water-like design. Because no knot is used, miura shibori is very easy to bind and unbind. Therefore, this technique is very often used. Kumo shibori Kumo shibori is a pleated and bound resist. This technique involves pleating sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This technique is very precise to produce this specific design. Nui shibori Fragment of a Kimono (Kosode) with Tie-dyeing (kanoko shibori) and silk and metallic thread embroidery, 17th century. Nui shibori includes stitched shibori. A simple running stitch is used on the cloth then pulled tight to gather the cloth. The thread must be pulled very tight to work, and a wooden dowel must often be used to pull it tight enough. Each thread is secured by knotting before being dyed. This technique allows for greater control of the pattern and greater variety of pattern, but it is much more time consuming. Arashi shibori Arashi shibori is also known as pole-wrapping shibori. The cloth is wrapped on a diagonal around a pole. Then the cloth is very tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. "Arashi" is the Japanese word for storm. The patterns are always on a diagonal in arashi shibori which suggest the driving rain of a heavy storm. Itajime shibori Itajime shibori is a shaped-resist technique. Traditionally, the cloth is sandwiched between two pieces of wood, which are held in place with string. More modern textile artists can be found using shapes cut from acrylic or plexiglass and holding the shapes with C-clamps. The shapes prevent the dye from penetrating the fabric they cover.
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A part of earnings was kept for another social charity to come. We used a part of our profit to others, for example; buying toys for children who suffered from cancer, supporting other charity organizations and street artists or even buying food for the homeless on the way back home. For us, giving is giving no matter how much it is.
มัดยอมมัดใจ สงใจใหเพื่อนไรบาน โครงการถุงยังชีพแกเพื่อนไรบาน "ไมมีใครอยากมาอยูตรงนี้หรอก ไมมีใครอยากมาอยูนอกบาน ไมมีบานโดยไมมีเหตุผลหรอก แตชีวิต ใหทางเลือกมาเพียงนอยนิด การมีชีวิตจึงตองอยู โดยไรบาน การหาวิธีเอาตัวรอดจึงเกิดขึ้น วิธีการใชชีวิตที่แตกตาง ขอเพียงการทำความเขาใจ และใหคา ในความเปน มนุษย" มัดยอม มัดใจครั้งนี้ Go Went Gone ขอใชโอกาสพิเศษใหผูทำกิจกรรมรวมเปน สวนหนึ่งในผูให รวมเปนยิ้มนอยๆที่จะรวมกันเปนยิ้มใหญ โดยการทำถุงผา มัดยอม เพื่อเปนถุงผาที่จะมอบใหคนไรบาน โดยเราสนับสนุนผา 1 ผืนใหเปนสื่อกลาง ใหผูรวมกิจกรรม “มัดยอมตามอำเภอใจ สงใจใหคนไรบาน” กิจกรรมวันแรกที่แตละคนจะมัดยอมชิโบริกัน 1 ผืน ซึ่งเปนผลงานที่จะนำไป ตอยอดเปนอะไรก็ได (ตุกตา, ถุงผา , ผาคลุมไหล , ผาพันคอ ฯลฯ) และเพิ่มเติม มัดยอมตามอำเภอใจอีก 1 ผืน แลวผาผืนนี้ ใหทุกคนแปลงเปนถุงผา หลังจากนั้น เราจะนำถุงผานี้เติมสิ่งของจำเปน จำพวกสบู ยาสีฟน ยาสามัญประจำบาน เสื้อผา นม ขนม เพื่อออกเดินทางแลวมอบใหคนไรบานที่เราพบระหวางทางอยางที่เรา เคยทำมาแลว แลว “มัดยอมตามอำเภอใจ สงใจใหคนไรบาน” จะกลายเปนยิ้มนอยๆของผูรวม กิจกรรม เปนจุดเริ่มตนของการแบงปนใหคนในสังคมไดยิ้มใหญๆ ขึ้นมาอีกหนึ่งยิ้ม