@@ -119,7 +119,7 @@ I tested my basic square module with some materials from the waste stream at our
**Oh a potential winner!**
**the EVA foam (100/22) or Ethylene-vinyl acetate* - this is thermoformable hobby foam - a property that could be nice to explore later too - and it's alive! Even using plan rectangles it starts to curve a bit, and playing with directions, alternating between slotting the tabs in from the back or front already gives curves, and creates tubes shapes. Greaaaat!!!! It also feels very nice on the skin. It's a bit stinky to cut, and there's slight burning but I can try reduce it with the settings. The tabs do change shape a little when manipulating it, but it also adds a nice irregularity to the computational vibe I guess? I can live with it. It can stand some diffuse strain, but not tearing at one point.
**the EVA foam (100/22) or Ethylene-vinyl acetate* - this is thermoformable hobby foam - a property that could be nice to explore later too - and it's alive! Even using plan rectangles it starts to curve a bit, and playing with directions, alternating between slotting the tabs in from the back or front already gives curves, and creates tubes shapes. Greaaaat!!!! It also feels very nice on the skin. It's a bit stinky to cut, and there's slight burning but I can try reduce it with the settings. The tabs do change shape a little when manipulating it, but it also adds a nice irregularity to the computational vibe I guess? I can live with it. It can stand some diffuse strain, but not pulling hard at one point.
<br>
*Testing with EVA foam and loose felt, Loes Bogers*
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@@ -149,7 +149,7 @@ That step never came! I unintentionally started rotating the pieces, thereby acc
**Design tricks**
* Path finder > Outline to take out double lines (save yourself laser time!)
* Path finder > Outline to take out double lines. You save yourself laser time but it's also harder to select single shapes because they the logic of the lines changes. Only do with final files.
* Great way to make arrays that transform along the way (scaling and moving): in the menu bar: Effect - Distort & Transform - Transform tool. Also see [this tutorial](https://www.youtube.com/watch?v=bVQPzMRGwl0), by Project Lady (amazinggggg name btw) for further instructions on adding organic-looking warps after. Did not get to it for now but would be very interesting to play with.
<br>
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@@ -159,37 +159,38 @@ That step never came! I unintentionally started rotating the pieces, thereby acc
After assessing all my swatches carefully, I made some decisions for the next iteration.
1. use mathematical formula instead of intuition: 122% on y
2. no rounded corners because: zero waste
3. settled on design with 2x slots and 2x tabs (looks nicer without additional cuts that remain unused. I tried this with the pink foam already
4. made half modules for finishing seams
5. made nr 5 a square because difference impossible to see by eye
1. use mathematical formula instead of intuition: 122% on y
2. decided on no rounded corners because: zero waste
3. settled on design with 2x slots and 2x tabs (looks nicer without additional cuts that remain unused. I tried this with the pink foam already (see pics)
4. made half modules for finishing seams.
5. made nr 5 a square because difference impossible to see by eye
6. only using 1-8 so left out 9 and 10
7. scaled the size of the set so that the nr 5 is 40x40mm
for ease and speed of cutting and assembling an entire garment. The smalles piece looked beautiful but is very fragile and hard to assemble.
7. scaled the size of the set so that the nr 5 is 40x40mm
for ease and speed of cutting and assembling an entire garment. The smaller piece looked beautiful but is very fragile and hard to assemble.
8. increased slot size by 10% due to material thickness (will test first)
**Ordering material**
I ordered 4 metres of pink 2mm EVA foam (90cm width) to make sure I have enough for the jacket. In the future I would like to work only with leftovers generated in our lab however. We use these sheets for the vacuum thermoforming machine. We cut the big sheets into smaller ones that fit the size of the vacuum window but there's always a lot of waste that is offered as free material for students. We only had enough for testing at the moment though, not for an entire garment. I ordered at Marion Hoop Design's [Webshop](https://www.google.com/search?client=firefox-b-d&q=marion+hoop+design+foam+fuchsia). Boerenbonthal used to have it but it's gone out of their collection. Hoop is currently one of few retailers to stock this material.
![]()
*New modules, Loes Bogers*
**Ordering material**
I ordered 4 metres of pink 2mm EVA foam (90cm width) to make sure I have enough for the jacket. In the future I would like to work only with leftovers generated in our lab however. We use these sheets for the vacuum thermoforming machine. We cut the big sheets into smaller ones that fit the size of the vacuum window but there's always a lot of waste that is offered as free material for students. We only had enough for testing at the moment though, not for an entire garment. I ordered at Marion Hoop Design's [Webshop](https://www.google.com/search?client=firefox-b-d&q=marion+hoop+design+foam+fuchsia). Boerenbonthal used to have it but it's gone out of their collection. Hoop is currently one of few retailers to stock this material.
My design did not arrive on time! Mawwww, I didn't manage to finish on time but will catch up later. I cut up the material I had left and just started making shapes with it.
*A GIF overview of all the design steps for future reference*
## Making a plan for assembly... hmmm
I'm thinking of making a pink bomber jacket - or similar - because it has nice round shapes but still accentuates the smaller parts of the body like wrists and waist. So lots of curves and swerves. Let's see if I can manage.
I want to model somewhat intuitively, but als studying which parts of a bomber jacket increase, and where it decreases to create the right shape. Like the lower seam would get smaller, but bigger around the waist and again smaller near the collar. The sleeves go from pretty wide to narrow at the wrist.
I've tried to model my design onto a jacket pattern, but I don't think I will have a way to attach the sleeves to a body with the modules I have. They have to flow into one another somehow? Or I have to make special connection pieces for it? Hmmmm that wouldn't be so modular... I think I'll just take a plunge and go with what the material does, starting with the sleeves and see what comes out. Or I'll make a smaller garment that is less complex, like a hat, or a bra or chaps.
I was thinking of making a pink bomber jacket - or similar - because it has nice round shapes but still accentuates the smaller parts of the body like wrists and waist. So lots of curves and swerves. But I changed my mind and want to model somewhat intuitively, and explore what the material wants to do. So the design is yet to be decided.
## Test 3: hopefully final!
I redesigned again! Because realistically I don't use all the pieces when assembling. Number 1 is too small and fragile, and number 8 and 9 are so big that I don't like them. There's such a small difference between 4 and 5 that I keep mixing them up. Might as well loose a few then and reduce to 6 pieces. I can always add them back in if need be.
**Set orientation**
I was also using pieces in all directions, front, back, everything. I had to really choose and order and now every piece has one front and one top, and if it's rotated or turned, it won't work. The tabs are left and up, the slots bottom and right.
**Machine tricks and settings**
I also gave RGB red to the outline, leaving the inner cut lines black. I kept having issues with pieces flying away and this is just the best option in the end: separate inner and outer lines of the module over two layers that are cut separately, starting with the inner lines.
Settings in LaserWork:
*\> cut optimize > then tick *inside to outside, find cutting pot*, and *order of layer*.
* Speed 150, power 25
* Delete overlap with a tolerance up to 0.5 mm
**Zero waste?**
Not entirely, because of the fact that I have 6 pieces. I cannot nest them seamlessly. But it's pretty darn close. I made the cutfile to the width of the roll of my material: 90 cm.
Not entirely, because of the fact that I have 7 pieces. I cannot nest them seamlessly. But it's pretty darn close. I made the cutfile the size of the pieces that are pre-cut at my lab (for use in another machine). It comes on a roll of 90cm wide but that's much harder to keep flat, and also it won't be what I have in the future if I want to create more modules with waste materials.
This week I worked on defining my final project idea and started to getting used to the documentation process.
## Research
## Results
"Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
**Dyes**<br>
The students in the Amsterdam lab collaborated to make a shared repository of dyed fibres (yarns and swatches). We individually made an overview of dying with a particular material: I worked with CABBAGE and we all died several cottons, hemp, sugar cane, algae, silk, mohair, linen, felt, and cheesecloth.
> "Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
![]()*A love affair with lady Cabbage, Loes Bogers 2019*
## Useful links
**Inks**<br>
We made a range of inks based on the dye recipes (some modified, others not) and experimented with it on paper, using several modifiers.
And lastly, dyed a piece of silk using Serratia Marcensis grown and nurtured by Cecilia and her collaborators at the Biolab. We cooked the growing medium together, sterilized together and each dyed our own piece of silk:
## Code Example
![]()*Silk died with Serratia Marcensis, Loes Bogers 2019*
Use the three backticks to separate code.
## Dye, ink, pigment: a basic lexicon
```
// the setup function runs once when you press reset or power the board
void setup() {
// initialize digital pin LED_BUILTIN as an output.
pinMode(LED_BUILTIN, OUTPUT);
}
**What's what?**<br>
Here's what I picked up from [Cecilia's lectureand slides](https://class.textile-academy.org/classes/week04/), and her lab tutorial.
// the loop function runs over and over again forever
void loop() {
digitalWrite(LED_BUILTIN, HIGH); // turn the LED on (HIGH is the voltage level)
delay(1000); // wait for a second
digitalWrite(LED_BUILTIN, LOW); // turn the LED off by making the voltage LOW
delay(1000); // wait for a second
}
```
**Dye* is basically a liquid bath, its soluble in water, and goes into the fiber (which you pen up first by *scouring* them if you're dying plant fibres).
**Ink* is a more dense liquid, also soluble in water, also goes into the material.
**Pigment* is a powder, it's not soluble (in water) and goes onto the material
**The play and the actors**
## Gallery
**Vehicle/solvent*: the thing that gets the color out of your dye stuff! If only you could squeeze color out of everything you see, but no. If you want to dye textile, you're probably better off soaking your dye material in something it can release its color into. For example in water or ethanol (high percentage alcohol) - which we used for dyeing - or oil or gel.
**Binder*: in some cases, the color might need a bit of extra help to merge with the vehicle and prevent it from separating. A binder helps, such as arabic gum. For dying, more often referred to as *mordant*.
## Video
**Additive*: with salt, vinegar or minerals you can do extra bonus stuff! Like stabilize or even out the distribution of dye in the water and fibres (salt), intensify the color (mordants like alum, copper, iron), preserving, thickening, or modifying the color (magic!). You can modify for example PH sensitive dyes by adding more acidic modifiers (citric acid, vinegar), or more alkaline liquids (like soda ash dissolved in water, and sometimes tap water itself cam be alkaline, as I discovered.
### From Vimeo
**Mordants (or dye fixatives)*: are used as a bridge between the color you extract from the dye matter and the fibre. It's like the glue you need to keep them together. You can use iron liqueur, copper liqueur, alum powder (dissolved in hot water). Mordants can effect the shade of the dye too (soda for example is alkali). So keep this in mind. Mordants can be used before dying (pre-mordanting), it can be added to the dye bath itself (meta-mordanting, like Bela did with her Lichens), of after the bath (post-mordanting)x§
<p><ahref="https://vimeo.com/10048961">Sound Waves</a> from <ahref="https://vimeo.com/radarboy">George Gally (Radarboy)</a> on <ahref="https://vimeo.com">Vimeo</a>.</p>
**Recipes*: will give you starting points for ratios between all of the above, and the do's and don'ts. Start with a recipe, deviate widely and systematically! <3
### From Youtube
**Unbleached fibres*: are so hard to get! It's a pity because bleach is bad...
**Animal fibres*: get your protein! Like silk, wool, mohair, camel, alpaca, angora. These don't need to be scoured before dying, they tend to dye well in bright, deep colors. The protein binds well with mordant - which then bonds with the dye - and responds to acid and alkaline modifiers. Do not boil animal fibres! Keep them simmering at 80 degrees celcius. Do not shock them in cold water when rinsing.
## 3D Models
**Vegetable fibres*: get your cellulose! Cotton, jute, hemp, algae, linen, sugar cane etc. These need to be scoured to open up the fibres before dyeing. You can boil and shock these, they won't be bothered. Not all veg fibre is sustainable! e.g. viscose is a plant, but the processes used to create it are highly chemical.
**Scouring*: is done with scouring agents such as sodium ash (sodium carbonate/natrium carbonate). These are used to prepare vegetable fibres for dying, basically to clean them by removing all the waxes, pectins to makes the textile material hydrophilic or water absorbent.
by <ahref="https://sketchfab.com/francisbitontistudio?utm_medium=embed&utm_source=website&utm_campaign=share-popup"target="_blank"style="font-weight: bold; color: #1CAAD9;">Francis Bitonti Studio</a>
on <ahref="https://sketchfab.com?utm_medium=embed&utm_source=website&utm_campaign=share-popup"target="_blank"style="font-weight: bold; color: #1CAAD9;">Sketchfab</a>
</p>
</div>
**Stabilizers*: like salt, helps color distribute evenly in the water, and in the fibres you dye in it.
**Modifiers:* substances that change the hue of the dye. *PH modifiers* change color by changing the PH toward more acidic (vinegar, citric acid, alum), or more alkaline (sodium carbonate). *Metal modifiers* can also alter color: copper makes the hues more blue/green, whereas iron makes them duller/darker in tone.
##Dying process in steps
### 0. Make skeins
Prepare the yarn by twisting it 4 times around forearm and close it with a knot you will be able to undo. We did about 20 for each fibre. The yarn won't tangle as easily.
![]()*Twisting and turning using the technique of Cecilia's nonna, Loes Bogers, 2019*<br>
### 1. Scour your vegetable fibres
Soak them in hot water with 2 tablespoons of sodium carbonate for at least an hour to clean and open up the fibres.
### 2. Weigh the dry fibre
Do it, weigh it. Combine fibres cleverly: animal with animal, vegetable with vegetable. Animal fibre should never boil! So keep them separate and safe. Add up the numbers and calculate how much scouring agent and/or mordant you need.
### 3. Scouring (the vegetable fibre)
Add up the weight of each vegetable fibre that goes into one pot, and calculate the amount of scourin needed.
Our cottons, sugar cane, algae, hemp and linen went into another pot. We wrapped it all up in a cheescloth that we could then also dye.
The total was 520 grams of dry fibre to which we added 4 tablespoons of soda ash (sodium carbonate) for scouring (first dissolve in hot water, then add to pot). Cover the fibre with hot water and boil for at least an hour. The fabrics Cecilia brought (organic stretch jersey and cotton twill) were already pre-scoured with soda ash in a washing machine, so we only mordanted them.
### 4. Mordanting (all fibres)
*Vegetable fibres*
After an hour or scouring, we rinsed the vegetable fibres, filled the pot again and added the mordant. We added 10-15% of alum (60 grams dissolved in hot water) and let it boil for another hour.
*Animal fibres*
Our silks, mohair, felt and wool went into one pot. A total of 92 grams of fibre. We added 10-20% of the dry weight in alum (21 gr), that we first dissolved in hot water, and then added to the pot. 5 grams of cream of tartar was added to keep the wool shiny and soft (8%). Fill up the pot until the fibres are covered with hot water of 70-80% celcius.
Be sure to dissolve the mordant before adding it to the pot. Only THEN you add the fibres to the pot.
Simmer for at least an hour at 70-80 degrees Celcius. Keep an eye on the temperature with a thermometer.
Then take the fibres out and rinse in WARM water. **Animal fibres don't like to be shocked with cold water!**
### 5. Dyeing: each on their own now!
We separated the fibres so everyone had 2-3 skeins of each fabric. We all picked a dye material that we died all our fibres in and then modified in different ways. We worked with:
The basics of documenting color, things to mention and things to consider.
**Dye stuff**
* Name
* Origin
* Date
**Recipe**
* Quantities
* Time
* Vehicle
* Binder
* Stabilizer
* Modifier
* Thickener
**Catologueing**
* By color (the designer's brain)
* By dying material (the dyer's brain)
* Think of a logic
* A visual system
* Expressive, or systematic, or both
* Research different analytical models, besides mapping
##My love affair with cabbage
###1 hour dye
###To rinse or not to rinse...
###Modifying with vinegar (acidic PH modifier)
###Overnight dye
###Modifying with soda ash (alkaline PH modifier)
###Modifying with vinegar *again!*
###Post-mordanting
nope. Acid!
###Cataloging
<br><br>
##Inks
###Step one
###Step two
### Experiments
<Br><br>
##Bacterial dye
###Biolab basics
###Growing media, or: what to feed Serratia
###Sterilizing the food and the substrate
###Plating
###Inoculating
###Keeping our bacteria alive
### Letting our bacteria dye and die
<br><br><br><br><br><br><br>
>>>>>>> ADD THESE THROUGHOUT!
## Lecture notes
What are biochromes? Colors present in natural sources
###Context
Color is everywhere, sources of color are present in every environment. But we forgot how to use and extract pigments. this class is about understanding the materials and behaviors of the things around us, and the locality of it. The local water will have particular results, but that's the beauty of it. You will learn how to control the PH a little bit. Color is alive, it's full of symbolism but culturally dependent. We've used it since we lived in caves! 13-14 thousand years.
Newton's treatise on optics. Separating the color spectrum with a prism and analyses how color functions. Before this we mapped out colors as dots, with recipes. But newton created theory of color, analytical model, using the color wheel etc. Mapping colors is a whole challenge in itself. Different methods have been developed to catalogue color.
**What is color?**<br>
Wavelengths & frequency and how the human eye perceives it.
####Sources of color
*Organic*: (contains carbon):
* Plant
* Animal
* Organism
*Inorganic* (no carbon):<br>
* Minerals
### Inks
Soluble, dense, into material. Three components:
**vehicle* - what you use to suspend the pigment
* binder - e.g. arabic gum, acts like a glue between textile and ink
1.*Recipe*: quantities, time, vehicle, binder, stabilizer, modifier, thickener
1.*Catalogue*: by material, by colour
You can map colors schematically, but there's also value in expressive examples of ink, like drawings, blotches etc. This is a great reference: [*Make Ink* by Jason Logan](https://www.bol.com/nl/f/make-ink/9200000090031652/) Tips for documenting:
* Find the Latin and English name
* Mention (the form of the) raw material (e.g. chips or powder)
Mauve was the first synthetic pigment, discovered by accident. If you don't question the consequences you might poison people, like used to happen with arsenic dyes that was used to dye fabrics green. The fact that it's natural does NOT make it safe.
Dyes are not mentioned in tags inside clothing. Nobody is talking about it. Color is so important, what color are you wearing? How polluting is it? We often don't know. Water pollution is a serious consequence in the fashion industry, because it gets loaded with chemicals.
Bleaching is one of the most damaging processes for the environment.
### Fibres & Pigments
*Animal fibres*:<br>
wool, silk, angora, mohair, alpaca, camel. They host color really well.
*Natural fibres*:<br>
Cotton, linen, ramie, hemp, sisal, jute, viscose. These often need to be combined with tannins or other, to open up the fibres
so the mordent can bond better.
*Proces:*<br>
Different for animal and vegetable fibres:
1. Prepare the fibre, to open up the fibres (animal fibres)
**Mordants**<br>
Less toxic: alum (a mineral, brightens up the color), iron, copper (is great for blues and greens). They brighten the color. Alum is the best for people with allergies and also works very well.
With copper: wear gloves! Use copper pipes: hammer them first to break potential coating that is on it.
Iron: use rusty nails to make iron liquor. Iron is a mordant but also a color modifier. It saddens the color, makes it darker, more grayish. Adds a bit of yellowish tone.
**Modifiers**<br>
* Acidic: brighten up colors
* Alkaline: move more towards colder colors
* Copper: will give /blueish hue
* Iron: yellowish hue
###Natural Dyes
* Avocado
* Cabbage
* Onions
* And more
How do you know how concentrated your iron/copper liquors are? You can't, you need to compare it with a synthetic one.
###Bacterial Dyes
Bacteria are single-celled organisms and they're EVERYWHERE. There are different levels of biosafety. You cannot do everything in a home-brew lab, you'd need a different licence. So compounds are strikingly similar to the pigments found in plants.
Why bacteria? They make patterns! They're collaborators in creating visual patterns. There have been research papers etc published on this since the 80s, but the fashion industry never really voiced the fact that this has been an issue the industry was facing, so it's not been addressed and explored.
Reference: [the Bioshades Website](https://bioshades.bio/) you can download workbooks, and even facilitator's workbooks. text
They teach workshops worldwide with patented processes, to campaign for bacterial dyes and have debate about this with biologists, bio-scientists and people from the fashion industry.
##Inspiration (given by Cecilia)
* Natsay Audrey - Fabric Futures
* Victoria Geaney - with biotech lab
* Pili
* Karin Fleck - Textile lab Vienna > how can we upscale this to industrical level?
>Color is life; for a world without color appears to us as dead
>– Johannes Itten
##Safety
Don't use any utensils you use for dyeing also for eating or cooking after! You can chop stuff but once you are working with mordants etc etc you are definitely not going to put them in touch with your food tools.
