ARTS(AB)401 Advanced Batik, Kathy Knippel, Summer I 2019
This course studies the techniques of wax resist Batik, paste resists, silk painting, and the tied and shaped resist processes of Shibori. The projects gradually increase in complexity and are designed to introduce and instruct the students on how to control the image-making process, by solving various color and design problems through the manipulation of the resists and dye bath sequences. In the immersion dyeing process, one color overlaps and affects the next color. The student is soon aware of certain color limitations in the sequence of gradually dyeing darker. Two systems for overcoming the limitations are introduced in the projects. One by direct dye applications of colors that would be cancelled. The second by saving areas under the wax and removing and replacing the wax perhaps several times during the wax and immersion dyeing process. Silk Painting techniques, the direct application of dyes with resists of outlines, and various textural techniques akin to watercolor will also be explored. Optional techniques of Shibori resist, include, Arashi pole wrapping, pleating, folding, sewing resists, and clamping can also be explored by those finishing the first projects or by more advanced students. Other textile techniques introduced to further embellish at least one of the dyed projects include, quilting, embroidery, beading, applique, or textile sculpture.
There is a studio fee of 120 Euro to cover all dyes, silk paints, wax, resists, dry cleaning, photocopies, ironing out paper, and various small materials. Students will purchase drawing supplies, silk scarves and fabrics, some watercolor brushes, beads, or other embellishments.
Introductory lecture, history and basic techniques with examples
1. PROJECT I: SILK PAINTING, DIRECT DYE APPLICATION
a. Planning of the first design, theme to be announced.
b. Preparing design to full size on paper, and transfer to fabric.
c. Proper stretching of the fabric on the frames for waxing.
d. Use and practice with the Tjanting tool on scrap fabric and paper.
e. Techniques for direct application of dyes on the fabric.
f. Production and completion of the first silk painting.
g. Wax removal.
2. PROJECT II: BATIK IMMERSION DYEING
a. A design in 3 or 4 analogous or related colors.
b. Planning the dyeing sequences from light to dark colors.
c. Transferring of design to fabric, and stretching on the waxing frame.
d. Waxing for the first color, further waxing experimentation for wax effects. Waxing in the negative.
e. Immersion dyeing techniques.
f. Repeat the steps until all the colors are achieved.
g. Wax removal.
3. PROJECT III: SECOND SILK PAINTINGO WITH ONE IMMERSION DYEING / OR SALT EFFECT
a. Planning of the design, and transfer to fabric.
b. Stretching of the fabric to frame.
c. Waxing and application of the direct dyes.
d. Immersion dyeing for background or other areas. Or options; Salt effect or watercolor effect.
e. Wax removal.
4. PROJECT IV: BATIK IMMERSION DYEING WITH COMPLEMENTARY COLORS
a. The Batik must be planned with 2 or even 3 complete removals of the wax.
b. Requirement, thorough planning of the dyeing sequence.
c. Step one, save under wax all white areas to be in the opposite color group (ex. cool colors).
d. Wax and immersion dye all the related colors in the fìrst group (ex. Warm colors)
e. Remove wax completely.
f. Step two, save under wax, all the colors to be saved from the first color group (ex. warm colors).
g. Wax and immersion dye all the related colors in the second color group (ex. cool colors).
h. Remove wax, finish batik.
5. PROJECT V: OPTIONAL, SHIBORI, TIED AND SHAPED RESIST
a. First a set of samples then a project.
b. Various tying methods.
c. Sewing and stitching.
d. Pleating and folding.
e. Clamp and template resist.
f. Polo wrapping Arashi shibori.
g. Discharge techniques.
6. PROJECT VI: FINAL PROJECT; BATIK WITH QUILTING OR OTHER EMBELLISHMENT
a. One of the above projects must be planned as a final project that includes either quilting, trapunto, applique, beading or sewing into a finished item such as a small quilt, wall panel, textile sculpture, cushion, bag, or clothing accessory.
a. To include all techniques and technical procedures for Batik and dyeing.
b. Design proposals and the steps for each project.
c. Personal textile designs.
d. Design resources and inspirations.
Methods of Instruction
3. Individual consultation with instructor.
4. Photos, slide samples, and other visual aids.
5. Student experience and laboratory work.
6. Group and individual evaluations and critiques.
7. Where applicable, field trips to exhibits, museums, and factories.
Methods of Evaluation
1. Instructor evaluation of completed projects.
2. Class discussions.
3. Individual student-teacher discussion and critique of completed projects.
4. Factors considered in evaluations
- Application of design principles
- Creativity in use of materials and techniques
- Craftsmanship in execution of projects
- Student effort and intensity of involvement and participation
- Ability to understand and evaluate Batik and resist dye techniques and creative possibilities.
20% OF YOUR GRADE WIL BE BASED ON CUMULATIVE WORK AND FINAL EXHIBITION
Your work will be evaluated based on your general progress, discipline, enthusiasm and involvement throughout the semester.
60% OF YOUR GRADE WILL BE BASED ON YOUR PROJECTS
20 % OF YOUR GRADE WILL BE BASED ON ATTENDANCE
Students in MFA, MA, and Post-Bac programs are expected to complete additional assignments and to produce work at a level appropriate for students in a graduate program. They are graded accordingly and, if they successfully complete all course requirements for graduate students, receive graduate-level credit for the course.
If you miss a class for whatever reason, it is your responsibility to attain any assignments as well as make up all missed in-class studio work. The specific policy for this class is as follows: half a letter grade for each unexcused absence after 1 absence. If you are late to class (after attendance has been taken) three times, it will constitute an absence. If you are excessively late, (30 minutes) it will be counted as an absence. Leaving early or not working throughout class time will constitute an absence.
Texts and References
There are no required texts for this course. The studio has numerous books and references available for student use and inspiration. These books and references are for use in the studio only, and are never allowed to be taken out of the studio. The student is asked to respect the books, treat them with care and return them to the library bookcase at the end of class.
Tuesday, May 21
Start working on first project design / technique: silk painting with wax resist. design proposals can be drawn smaller at first, then when selection is made, on the design to be used, the design will be drawn up to full size on paper. / transfer of design to the silk scarf. The prepared scarf is then mounted and stretched properly on a stretcher frame. A sample scarf has been set up for the class to practice on / Demonstration on how to set up for waxing and use of the special waxing tools. After demonstration the class will all try using the waxing tools on the practice fabric. When comfortable with waxing tool, work can start on their actual project.
Thursday, May 23
First the students practice on the testing fabric from waxing, until comfortable to apply dyes on their projects. The day will be spent working on this project. In between waiting for colors to dry, the students can start research on the design for the second Batik scarf. If some finish this project during the class, a demonstration on wax removal by ironing between paper. Final finishing the projects are dry cleaned.
Tuesday, May 28
Explanations of the techniques to be used and certain limitations as the colors will be achieved by immersion in a bath of dye in the traditional batik process. The project will use a larger long silk scarf, suitable for wearing so design considerations in this direction, colors limited to three or four related colors going from light tints to dark. For this the students need to think and proceed work in the negative. Design needs to be drawn to size on large paper and traced to the silk fabric, stretched and mounted as for the first.
Thursday, May 30
Tuesday, June 4
Thursday, June 6
Tuesday, June 11
Thursday, June 13
Tuesday, June 18
Thursday, June 20
CLASS FIELD TRIPS: Exact dates to be determined, but all will be done during class time.