added pics

docs/assignments/week04.md

@@ -8,12 +8,12 @@
 **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.
 
-![]()*A love affair with lady Cabbage, Loes Bogers 2019*
+![]()*A love affair with red cabbage, Loes Bogers 2019*
 
 **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. 
 
-![]()*Bio-based inks, Loes Bogers 2019*
+![](../images/wk04_stains1.jpg)*Paper stains with homemade inks, Loes Bogers 2019*
 
 **Dying with bacteria**<br>
 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: 
@@ -60,7 +60,7 @@ Here's what I picked up from [Cecilia's lectureand slides](https://class.textile
 
 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>
+![](../images/wk04_skeins2.jpg)*Twisting and turning using the technique of Cecilia's nonna, Loes Bogers, 2019*<br>
 
 ### 1. Scour your vegetable fibres
 
@@ -105,7 +105,7 @@ We separated the fibres so everyone had 2-3 skeins of each fabric. We all picked
 
 ### 6. Documenting and archiving
 
-The basics of documenting color, things to mention and things to consider. 
+THis is the basic info to document my colors. I created 5 colors with my dye.
 
 **Dye stuff**
 
@@ -116,10 +116,10 @@ The basics of documenting color, things to mention and things to consider.
 **Recipe**
 
 * Amount : A little more than half the cabbage, finely chopped (it was a big one), 
-* Vehicle/solvent : Ethanol
+* Vehicle/solvent : Ethanol (when the cabbage looks bland and uniform in color but the water is dark, it's done!
 * Dyeing time : one hour, and some overnight
 * Binder : -
-* Stabilizer: Salt
+* Stabilizer: Salt (a tablespoon)	
 * Modifier 1: Acidic PH modifier, vinegar solution (125 ml on 300 ml tap water)
 * Modifier 2: Alkaline PH modifier, tap water
 * Modifier 3: Alkaline PH modifier, sodium carbonate (soda ash) dissolved in water (2 pinches on 300 ml hot water)
@@ -140,33 +140,38 @@ The basics of documenting color, things to mention and things to consider.
 
 I dyed my fibres for an hour in a pot that I kept simmering. I had to add more water because the pieces sticking out already started oxidizing. The color was initially a nice dark blue, that eventually turned a bit more toward purple/lilac tones.
 
-![]()*Dyeing the fibres, Loes Bogers, 2019*
+![](../images/wk04_choptodye.jpg)*From chopping to dyeing, Loes Bogers, 2019*
 
 ####A simple rinse turned into a modification
 
-I took the textiles out and rinsed them in lukewarm water. This turned the fibres baby blue instantly. The water here is a bit alkaline, so I basically already did my first modification by accident, just by rinsing the fibres. I rinsed one set of fibres and put them away to dry. I didn't rinse in water anymore after that, I just took the fibres out to let them dry without rinsing. Lady cabbage is very agile! I'm going to ask her if she will be my spirit dye stuff ;-)
+I took the textiles out and rinsed them in lukewarm water. This turned the fibres baby blue instantly. The water here is a bit alkaline, so I basically already did my first modification by accident, just by rinsing the fibres. I rinsed one set of fibres and put them away to dry. I didn't rinse in water anymore after that, I just took the fibres out to let them dry without rinsing. Cabbage is very agile! I'm going to ask her if she will be my spirit dye stuff ;-) Of course the down side is that this material is not color fast at all, so washing or color continuity is out of the question. But the effects are magical magical, pure alchemy. 
+
+![](../images/wk04_babyblues.jpg)*after a rinse in tap water, Loes Bogers, 2019*
 
 ####Modifying with soda ash (alkaline PH modifier)
 I made a solution from 2 pinches of soda ash in hot water. (Only 1 pinch had no effect on the color). I tested it on a piece of jersey that almost immediately lost nearly all it's color, turning into a very pale green. Again, I didn't rinse in water but took it straight from the dye. This is when I decided to leave the rest of the fibres overnight before modifying with an alkaline modifier again. 
 
-![]()*Soda ash is a bit too harsh on a one hour dye, Loes Bogers, 2019*
-
 ####Modifying with vinegar (acidic PH modifier)
 I also tried an acidic modifier on the one hour dyed pieces. For this I made a vinegar solution (125 ml to 300 ml water), which turned the one hour dye fibres into a nice pinkish lilac. Lots of mermaid effects because I can't help it. I just gave them a quick dip of a few seconds before taking them out again to prevent them from losing all their color. Magic!
 
+![](../images/wk04_pinks.jpg)*making pink at least for a little while...., Loes Bogers, 2019*
+
 ###Overnight dye
 The overnight dye turned the pieces beautifully dark (at first, purple-ish later). I took one set out of the dye and let it dry without rinsing. I dipped a sample in my soda solution from the day before, and this time I got a gorgeous turquoise/petrol color (my favourite!!!!) So I chopped the neutral set of fibres in half so I could make another alkaline modification here. B-e-a-u-tiful.
 
+![](../images/wk04_overnight.jpg)*the result of the overnight dye, Loes Bogers, 2019*
+
 ###Post-mordanting
 
 Cecilia mentioned that cabbage is known to lose its color. There's definitely no washing these fibres or its all gone. Even just time and air will make the colors duller. We tried some mordants to see if we could post-mordant the fibres dyed in cabbage. In theory you can bind colors better by post-mordanting, could be by spraying it with a mordant solution and ironing it a few times. Sadly, the mordants we had at hand (alum, and tannin from the tara tree) were too acidic and would definitely modify the beautiful hues I was trying to capture. Luckily I tested them with PH papers before dunking all my gorgeous babies in there.
 
-![]()*PH strips of the alum and tara tree solution: acidic, Loes Bogers, 2019*
+![](../images/wk04_postmordant.jpg)*PH strips of the alum and tara tree solution: acidic, Loes Bogers, 2019*
 
 ###Modifying with vinegar *again!*
 
 Waking up on Friday, I came down to see the beauties to notice that the unmodified dye and the alkaline modification (pink) had both changed, and were now very close to one another in color. So I thought I'd try a little something, and dipped a piece in vinegar (maybe a bit harsh, I forgot to dilute). It immediately turned bright fuchsia pink! Before it had stayed a little in the lilac/purple hues. I thought this was nice, another modification. So I chopped the earlier alkaline modification in half and dunked it in a vinegar solution, adding a nice pink set to the collection. Let's see if it stays!
 
+![](../images/wk04_pinkcollage.jpg)*After the second vinegar dip, loes bogers, 2019*
 
 
 
@@ -180,6 +185,8 @@ Ink follows similar process as dye. You have a vehicle, a binder and potentially
 
 **Additives**: salt | vinegar | minerals (to stabilize, intensify, modify, thicken and preserve). 
 
+![](../images/wk04_collections.jpg)<br>*our bacteria and inks, Loes Bogers, 2019*
+
 ###Regular inks: water-based
 
 1. Extract the color into water by boiling
@@ -204,6 +211,8 @@ What kind of oils and gels?
 
 Here are some experiments I made on aquarel paper. First I added lines of modifiers that I let dry, and then painted stripes of different inks on top. You can see how they all respond differently. 
 
+![](../images/wk04_colorcards.jpg)<br>*color cards with modifiers, Loes Bogers, 2019*
+
 From top to bottom in this order:  
 
 * Hibiscus | water
@@ -221,16 +230,13 @@ And from left to right:
 * Arabic gum
 * Copper liqueur
 
-![]()*Staining some paper with different inks and modifiers, Loes Bogers, 2019*
-
-
 I also drew some more freeform shapes using a wet-on-wet technique to play with the interactions between ink, modifiers and ethanol. Below you see hibiscus ink (bordeaux red) and turmeric (yellow), modified with copper in the top right, creating greens. I added some soda in the bottom left, it traveled quickly and left purple stains all over, beautiful. The blue-ish dots are made with some vinegar. 
 
-![]()*Free-form experiments with hibiscus and turmeric and modifiers, Loes Bogers, 2019*
+![](../images/wk04_stains2.jpg)<br>*Free-form experiments with hibiscus and turmeric and modifiers, Loes Bogers, 2019*
 
 And this drawing is lichens (the brownish tone), sprayed with copper using a toothbrush, leaving a light, minty green tone. while it was still wet I added some drops of the cabbage/vinegar ink to create some deep turquoize stains that traveled very beautifully too. 
 
-![]()*Free-form experiments with cabbage with vinegar, lichens & copper, Loes Bogers, 2019*
+![](../images/wk04_stains1.jpg)<br>*Free-form experiments with cabbage with vinegar, lichens & copper, Loes Bogers, 2019*
 
 
 
@@ -246,6 +252,8 @@ Sign in and out and clean up your dishes. Through away the water after.
 ###Meeting Serratia Marcensis
 We met Serratia Marcensis! A red/orange beauty that gives us pink (in acidic solutions) if you treat her well and feed her peanut butter. They used to keep a purple one too but sadly it died when the freezer broke over summer. You have to keep her alive by giving her new food every few days (replating). 
 
+![](../images/wk04_thebacteria.jpg)*Serratia Marcensis at the biolab, Loes Bogers, 2019*
+
 ###Growing media, or: what to feed Serratia
 Plate some growing media mixed with crunchy(!) peanut butter. Nuts and seeds can do wonders with some bacteria. We prepared these growing media: 
 
@@ -255,6 +263,8 @@ Plate some growing media mixed with crunchy(!) peanut butter. Nuts and seeds can
 * 250 ml of Vegitone (VA): jellifies into dark green jelly: 62.5 g/L and 1/2 tsp of peanut butter (it was old and chunky! Might not work well);
 * 500ml of Water & Peanut (WP), tap water with 1/2 tsp PB (or sterilized water, depending on local quality)
 
+![](../images/wk04_biolab.jpg)*Learning the biolab basics, Loes Bogers, 2019*
+
 *PH value of the growing media*
 As SM is a PH sensitive creature, it's good to know the PH value of the stuff you're working with (like I saw when rinsing my dyed cabbage fibres!). None of the foods are very alkaline, only the LB broth is a little more acidic. 
 
@@ -276,7 +286,7 @@ Bring the water in the pressure cooker to the boil and let them steam *under pre
 
 We each got a piece of silk that we folded or crumpled up to create patterns/symmetry in the dying pattern SM will create for us. Add a couple of stitches to keep it all together. We sterilize the substrate because otherwise you might be growing just about any bacteria that ever touched your silk. We want to constrain the growing to Serratia. Silk dyes really well, it's protein-based because it's an animal fibre. 
 
-![]()*My folding improvisation, Loes Bogers, 2019*
+![](../images/wk04_folding.gif)<br>*My folding improvisation, Loes Bogers, 2019*
 
 Put the fabrics in **glass petri dishes**, or in a heat-resistant **autoplate bag**. Again, stick some autokleeftape on to assess whether it sterilized correctly. Sterilize for at least 15 mins under pressure in the pressure cooker. 
 
@@ -305,6 +315,8 @@ Steps:
 	* date
 	* your name
 
+![](../images/wk04_sterilebubble.jpg)*Cecilia in her sterile bubble, Loes Bogers, 2019*
+
 
 ###Inoculating
 
@@ -312,7 +324,9 @@ Steps:
 * Grow bacteria directly on the fabric (what we're doing)
 * Extract the color and dying with that (will learn later)
 
-When growing directly on the fabric, you first soak the silk with a liquid growing medium - we used LB broth. Work in a sterile matter within the sterile bubble, similar to how we did the plating. No moving, no talking! Then you inoculate, or: add the bacteria to your sterile plates/fabrics. The steps: 
+When growing directly on the fabric, you first soak the silk with a liquid growing medium - we used LB broth. Work in a sterile matter within the sterile bubble, similar to how we did the plating. No moving, no talking! Then you inoculate, or: add the bacteria to your sterile plates/fabrics. 
+
+**The steps:**
 
 1. Keep the *inoculation loop* in the flame until it turns red to sterilize it. If the bacteria is grown in a liquid growth medium, like water, you can dilute it with sterile water and use a sterile spray or pipet.
 1. *Cool* the inoculation loop by dipping it into a bit of jelly where no bacteria is growing. 
@@ -325,6 +339,8 @@ When growing directly on the fabric, you first soak the silk with a liquid growi
 1. TBA
 1. TBA
 
+![](../images/wk04_inoculating.jpg)*Incoculating: putting the bacteria on their food plates, Loes Bogers, 2019*
+
 ###Keeping our bacteria alive
 
 TBA