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#batik fabric silk
hog-friend · 2 months ago
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How does one draw paisley
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rstextile · a year ago
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R.S.Textile Indian silk export firm headquartered in Bhagalpur, India. We deals in supply of fabrics, Raw silk saree,Linen saree,Stole,Dupatta,Suit,Cotton silk fabrics,Linen fabrics,Khadi/cotton,mask,Mekhla chador,Gichha saree/suit,Batik saree/suit
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mauvecatfic · a year ago
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Endless Summer: Vaanti clothing and fashion
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(I found this image online, but no credit as to who put it together. If anyone knows, please tell me and I’ll add it here. Otherwise, I’m sticking to official Pixelberry art.)
 “Clothes make the man. Naked people have little or no effect on society.” -Mark Twain.
In spite of the fact that, like Gilda Radner, my personal fashion sense is based on what doesn’t itch, I’ve always loved the theories and social implications behind clothes. And since my brain frequently takes a turn for the needlessly obsessive, I’ve been thinking about Vaanti fashion.
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Let’s start here. These outfits are presented as typical Vaanti clothing, and they sure look like they’re made of leaves, don’t they? The problem with that theory, though, is that leaves are a horribly impractical material for clothing. For one thing, they don’t allow for much evaporation – any perspiration would be trapped between the wearer’s skin and the leaves. That would be incredibly uncomfortable anywhere, but especially in a tropical climate. Prickly heat would explain Seraxa’s foul mood when she meets the Catalysts, I suppose... but no. Leaves would also be difficult to tailor and the female’s top seems to be very form-fitting. It wouldn’t be impossible to cut and sew leaves, but the edges would be uncomfortable against bare skin. Furthermore, how long would they last before they started to decompose? It’s possible that leaves might be used as camouflage – a tropical ghillie suit, if you will – but not for actual clothing. I think leaves might be used in other contexts (more about that later) but they wouldn’t be the primary material. (I think dried leaves and rushes would be used to make household furnishings – rugs and mats and so on – but I really want to limit the scope of this essay.) (You’re welcome.)
I think the outfits above are made of some kind of fabric. But what would that fabric be made from? All kinds of plants can be turned into fiber, but what would grow in a tropical climate? I think anything similar to cotton is unlikely since it’s very land- and labor-intensive to grow and harvest and spin. But there’s bamboo – it isn’t native to the Caribbean, but with all of La Huerta’s evolutionary weirdness, I’m going to make the case that some similar plant would grow there. Bamboo cloth (admittedly, it was usually coarse in texture until recently) has been made for centuries. There are different methods of processing and weaving it; the most common modern technique is to pulp the plant, and then extrude the goo into fibers, but that would be too much work for the Vaanti. However, if I imagine a plant similar to bamboo, but with a more fibrous core... yes, those fibers could be stripped, washed, and spun fairly easily. Bamboo cloth has been described as more breathable than cotton, and more stretchy, and I think the Vaanti outfits are made from something similar to bamboo. Let’s think of it as natural Lycra.
What else, though? Let’s consider Ximaedra’s dress.
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It seems lighter in texture, and the sleeves are slightly diaphanous. It’s very different from the typical Vaanti clothes I started off with, so I’ve decided that they’re made from another plant source. Maybe something like hemp, or possibly flax/linen? Sure, those are both possibilities. I also have a real-life example to show you: piña cloth.
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It’s from the Philippines, and it’s made from the fibers scraped from pineapple leaves. It’s light and breathable, and wonderfully suited for hot sticky climates.  It was highly prized years ago but it declined in popularity in the 20th century because cotton was cheaper and considered easier to work with. In the past few decades, though, it seems to be gaining popularity again, both as a point of national pride and because its production has a fairly low environmental impact. There are different grades of cloth – the most valuable is very light and airy, almost like a stiff cotton gauze. I think the Vaanti could come up with something similar. There’s also a heavier version, made when piña is combined with other plant fibers.
For an example of what this heavier cloth would be like, look at this lovely lady here.
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In the playthroughs where Grace was captured along with Diego, she reappears wearing this dress. What about the pattern on this cloth? Well, that’s easy. Either the spun threads were dyed before weaving, resulting in a type of plaid, or it’s some sort of batik or stamp printing process. With all the unknown plants growing on La Huerta, there must be some that are used for dyes. I think it’s likely that the Vaanti would use leather as well; since I needed something for the sabertooths to eat, I stuck some wild boars on La Huerta. (There’s more about the boars in what’s shaping up to be an even more ridiculously long-winded essay than this one.) Of course the Vaanti would use the hides as well as the meat, and I think warrior’s clothing could be made from that. Varyyn wears boots, and leather would be the logical material for them. I also think Seraxa would be likely to wear a sort of leather vest under her bone armor.
There’s one last type of fabric that I want to discuss, and that’s seen in the handfasting outfits.
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It’s clearly of a different texture than the other clothing shown. It’s glossy and drapes beautifully, almost like silk. Now, one of the things that makes silk so shiny is that the fibers have a shape that reflects light to a greater degree than you see in other fabrics. Since the fibers are also longer than most plant fibers, that leads to a smoother fabric. But I just couldn’t see the Vaanti bothering much with silkworms and unravelling cocoons, so I made up yet another kind of plant – a tree this time. In my stories, I’ve named the fabric used in the wedding clothes mirralt. It comes from a very tall tree with silvery bark and turquoise leaves, and the fibers are scraped from a layer just beneath the bark.
What about ornamentation, though? That’s one of the first things that every society develops, following right on clothing itself. Decorating ourselves is a fundamental human impulse, and why would the Vaanti be immune?
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If you look at Estela’s wedding dress, there’s some gorgeous detail around the bodice. It could be embroidery or ornamental braiding, or a combination. Her jewelry is also very elaborate, as is the collar (is it jeweled, or some kind of enamel work?) on the male handfasting outfit.
I said that I’d get back to leaves, and here they are. Scroll up and look at Ximaedra for a second. The long spikes behind her head certainly look like dried palm fronds or agave leaves, so that’s a possibility. There’s another possibility, though – the large collar she’s wearing could be made of gold, so maybe the ‘leaves’ are as well – maybe they’re thinly beaten gold, made to mimic the shape of leaves. The male Vaanti outfit at top features a necklace that sure looks like gold, and check out Estela’s arm bands... is there a source of gold or other precious metals on La Huerta? Well, probably. Varyyn’s crown has metal rings of some kind along the sides. It’s mentioned that the Vaanti scavenged materials from various shipwrecks, but it wouldn’t account for all metal found on the island so there must be some local source. There are gems as well, as seen in Estela’s necklace and the male handfasting outfit. I don’t think they’d use Vaanu crystals like the ones in Ximaedra’s necklace. There are significant tourmaline deposits in Brazil and other gemstones all through Central and South America, so I’ve decided that something similar to tourmaline is found on La Huerta; it’s a gemstone that can be found in many different colors. I don’t know enough about metalworking or gemology to go into any great detail about either so in my mental landscape, I’m simply presupposing their existence and trying to let it go.
And what about children’s clothing? I really don’t think they’d wear gender-specific outfits, probably either kilts or tunics for both boys and girls. And no, a little Vaanti girl would not be forced to wear a tiny bikini top if she didn’t want to. And if a Vaanti boy did want to, why not? But that touches on another piece I’m working on about Vaanti social hierarchies and gender expression, so I’ll stop there for now.
Now that I’ve babbled on this far about Vaanti clothing, what about their attitudes toward that clothing? I think, other than obvious symbols of status like the crowns and the masks, clothes are mainly appreciated for either their functionality or their beauty. I also don’t think there’s any particular taboo about nudity. I can’t see them bothering with special clothes for swimming, and why would they wear their day-to-day clothes into the ocean? So they swim in the nude, and they sleep in the nude because it’s still hot at night. I’m working on a story now that touches on Varyyn and Diego’s differing attitudes to nudity, which are inevitably based in culture.
And probably 95% of everything I just wrote would never find its way into an actual story… it’s just something I had to work through for my own satisfaction. So when I write about the Vaanti, I don’t think of them as being limited to just the green leafy outfits. I see them wearing long, pale dresses, or kilts or tunics made of brightly patterned cloth, and everyone wearing jewelry made of carved shells or jewels or whatever else strikes their fancy. I think Vaanti men put flowers in their hair when they’re in the mood. I think a Vaanti woman might shave her head – just on the sides, like Seraxa, or totally – if that’s what she feels like. It’s all good.
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jenniferdyes · 8 months ago
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These are the pieces from my last batik indigo dye session. I dyed them in synthetic indigo. I tried a few different fabrics. The first picture is quilting cotton (it’s the one yard piece. I plan to make a small whole cloth quilt with it). The second picture is a close up of light rayon and the last picture is light silk charmeuse. I’m pretty disappointed in the contrast but, hey, I learned some things. I need to get the wax to saturate through the fabric. I’ve done it before, it’s just been a while. I’ll get it yet. Also, it’s fall and I am always sad when winter hits here in Wisconsin but I LOVE the fall light in the afternoons. It’s almost worth the cold I know is coming. Almost. :) — view on Instagram https://ift.tt/3yYmSog
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mariaoverseas · 7 months ago
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Traditional Hand Batik Printed Fabric
www.mariaoverseas.com
We Maria Overseas Introduce Ourselves as Manufacturers and Exporters of All Kinds of Handloom Saree, Dress Materials, Dupatta, Stoles, Fabric, Scarves, Textiles, Home Decor, Home Textiles and Handicrafts Products from India.
#scarf #scarves #stolesandscarves #stoles #fabric #textiles #sarees #dressmaterials #linen #cotton #ikkat #silk #Ghichasilk #tussarsilk #mulberrysilk #pashminasilk #tablelinen #kitchenlinens #bathlinen #bedlinen #homeinterior #hometextiles #mariaoverseas #export #import #handloom #handmade #handicrafts #handwoven #cushion
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mermaidenmystic · a year ago
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Goddess of the Deep I & II ~ handmade quilts: fabric, batik lame, silk embroidery, ribbons, glass beads, hand dyed ribbon, fibers, Angelina fibers, specialty rayon and metallic threads ~ by contemporary American artist Debra Harry ~ http://www.debraharryartquilts.com
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interdimensionalvvitch · a year ago
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Muses (might adding more)
Unlike the flexibility of web browsers where I used another link for muses, this post will be counted as a one long post. Click on the “keep reading” tab to get info of the muses.
Here are the list of muse (mostly OCs) that I’ll use to roleplay as:
1. Drupadha Yudha
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Artist: kimakkun
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Artist: OrexisCluster
Age: 135 year old (Mainverse) / 72 year old (Oracle) Height: 1.98 m Weight: 95 kg Body Type: Mesomorph. Face: Squared jaw. Eyes: Brown with red concentration. Hair Type: Spikey (Mainverse) / Spikey with ponytail (Oracle) Hair Colour: Silver ash white. Accessories: Headband which usually came from batik fabric; a lion head emblem to tied his tunic; a stray batik fabric on the side of his pants; a pair of coppers armband with ancient kawi craved on it. Outfit: Crop top navy blue vest with yellow linings, with wide silk pants. Hair ref: Aegir’s hair from housamo with a combination of Tangaroa’s hair style. Beards and sideburns are casually trimmed. Other info: The tattoo on his left chest represent his tribe. Due to misinterpretation, Yudha is actually an orc. / Newman on Oracle / Half adeptus on Teyvat
Personality
Despite his look, nether in Mainverse or Oracle, Yudha is always easy to approach.
He’ll make friends with anyone who deem worthy of his time. A caring person
underneath the rough face and always put others first before himself, he will protect anyone who comes to him for protection. Although, there’ll be time when his moral compass is questioned.
Backstory
- Mainverse
Sekala and Niskala, The Seen Worlds and The Unseen Worlds has been in war for a long time without any of its residences aware of the war going on, thanks to The Seal of Razzlestaf that separate the worlds in two. Yudha was named Chandrakranta Yudha when he was taking care of his late friend’s son, Andrian who was the last bloodline of the family who keep The Seal of Razzlestaf working. 
Due the murder of Andrian’s family when he was 17, Yudha took care of Andrian who take the name of his father, Erik to hide the identity. For the last 5 years, Yudha took care of Andrian like his own son, that until Andrian fused himself with the seal to keep both worlds safe. After the loss of Andrian, Yudha decided to join the Drupadha, a group of an elite warrior in the world of Niskala. During his training, Yudha able to develop his magic, especially sinden magic where he uses singing to execute the magic. 
Not just magic, Yudha also train to wield magic weapon such as the kukris he got. When he put his magic flow to the kukris, the kukris will turn into a microphone and speaker where he could use his sinden magic in the combat field. He aced all of his training, thus gaining the Drupadha title on his name. He rarely used Chandrakranta thus he dropped the name making him Drupadha Yudha.
As a Drupadha, he able to worked both in Sekala and Niskala as the secret forces. When undercover in Sekala, Yudha was amazed with idol culture. For him, idols are like enchantress because they able to gather a mass of people to cheer for them. Yudha thought that he could do the same with his sinden magic, thus he tried to execute his theory by setting up a gig. His first gig was on a small café in the buzzling metropolis of Jakarta, people called him weird when he appears on the stage because of his ears but those people shut themselves after Yudha started to sing in ancient language of kawi. He also worked his magic to made his audiences feels a bliss from his song. There, he met with someone who reminds him with Andrian, who also shocked him because that person knows that Yudha used magic. Later, the guy introduce himself as Ryuu, a runaway from Niskala who found his place in Sekala as a theatre student. The two started a friendship and worked together in each gig. Yudha who found his place, graduate from the Drupadha early to join Ryuu as a duet.
- Oracle (For ref: Phantasy Star Online 2)
Yuda was a failed artificial Newman created by Luther The Fallen in the year 170 A.P whom later being taken care by Xion until 180 A.P. As a kid in the orphanage, he sometimes asked what it feels like to live under a real sky. He was amazed by ARKS who able to explore new planets, protecting the citizen when there’s a problem, just like any other kid would to their heroes. For him, being an ARKS is the coolest job he could have. He could feel another people photon through the air around him.
On the year 228 A.P, his ship was attacked by a hoard of D-arkers who was led by Dark Falz Apprentice. When he was evacuating, he could feel a surge of photon spiking on the city, he felt something that strangely almost the same as him. A couple months after the attacks, he decided to join ARKS. He took the name King because he thought that it was cool, which he kind of regret somehow. Due to his biology as a Newman, Yuda took the Force class where he could use the surge of photon for good.
10 years after he joined ARKS, he met with another Luther’s throwaway, Ash who recently joined with ARKS. Yuda believed that it was Ash’s photon he felt back on the ship invasion. Yuda quickly befriends with Ash, and for the first time, Xion appeared in front of him. Xion’s explanation of their conditions put Yuda on a shock, yet he knew that Xion had intention for the better future. From that point, Yuda started to take care of Ash as his own brother.
After Ash defeating The Profound Darkness, Yuda became Xiao’s assistance during the reformation of ARKS. His main work is to oversee Ash’s de-containment from the F-factors. He also helped with other works like administration and such.
When ARKS discover planet Earth, he worked by himself by joining the Mother Cluster, this made Ash went crazy with Yuda’s decision for an amount of time. As the member of Mother Cluster, Yuda worked under Phaleg who intrigued him the most. After the crisis on Earth is done, he oversees the operation for Ash to save Persona which later created Omega. Yuda didn’t take any part on any Omega’s conflict, he went to Omega once and it was enough for him.
Omega’s conflict brought Shiva to the surface. Yuda felt a massive surge of photon when The False Goddess appeared. He talked with Ash after Ash fought with Shiva and promised Ash that he will give any supports to Ash.
Shiva’s appearances put him in an intense study of The Profound Darkness and how they could deal with it, especially when Xiao went missing due to Shiva hijacked Mothership Xiao.
When Xiao revived, Yuda proposed to Xiao about his findings from his study. Although that the material is not completed, Yuda will do his best to put an end to Shiva.
- Genshin Impact (Name changed to Wáng Yóu Dá)
A botanist researcher who live in Liyue and conduct a research on The Chasm based on a rumor spreading there. Not much people know, he also a half adeptus which he tried to hide. On his research, he almost lost his life after trying to get sample to be studied on, thus gaining him a dendro vision. With his vision, he able to use the adeptus energy to help him during his other research.
He often spend his free time on Liyue harbor, most of the time at Wanmin restaurant. Beside doing research, he also help with Bubu pharmacy whenever they need additional help in making medicine. Even as an adeptus, he rather to live alongside the mortal. For the time being people never questions his behavior whenever he gone to his work, perhaps it’s caused by his adeptus energy.
Not much to be said about him except the fact that he used to be an adeptus who unable to do any sort of magical things until he got his vision. Most of his back story is still a work in progress.
2. Ryuu Els Luna
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Artist: Aielia
Age: 23 year old Height: 1.78 m Weight: 86 kg Body Type: Endomorph. Face: Sharp jaw. Eyes: Lime. Hair Type: Half-braided spikey hair Hair Colour: Grey with a hint of cyan gradient. Accessories: Armband, moon earrings. Outfit: Crop top navy blue hoodie with moon patterns. Often moving due to his magic flow through the fabric of his clothings. Wearing a white culotte pants with painting of oceans wave on the bottom. White boots, sometime a black flat jogging shoes  Hair ref: hair model from PSO2 Other info: A direct descendants of The Moon
Personality
More like a person who gonna analysing something around him. Actually a clumsy type, often get lost with direction. Easily happy with small little things.
Backstory
Came from a famous line of sorcerer in Niskala, Ryuu was unable to live a normal life. As a member of Els Luna family, he’d been shaped to be the overseer of the Lua Lumen family; although both families shared the same names. For short, Lua Lumen family came from Earth while Els Luna came from The Moon.
After the sacrifice of the last Lua Lumen did, The Moon was thrown into a mess. This, of course made the Els Luna lost their purpose. A perfect chance for Ryuu to escaped. He went to the Earth and fell in love with the dynamics of Sekala’s realm, although he needs to go back to Niskala’s realm or else his family will be thrown into chaos. 
Disguising as a normal witch from Niskala’s realm, he met with Yudha, a former Drupadha who served the Lua Lumen family. At first, he wanted to know what really happened with the last Lua Lumen, yet somehow he could sense that it was inappropriate of him to ask such a matter. Befriended with Yudha, he choose to be an artist rather than life as a royalty and such.
3. Kooji Morikawa
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Artist: PrinzFricorith
Age: 53 year old Height: 1.81 m Weight: 87 kg Body Type: Mesomorph. Face: Squared jaw. Eyes: Yellow. Hair Type: undercut Hair Colour: black. Accessories: eyepatch. Outfit: Yukata, sometime casual shirt.  Other info: The eye under the eyepatch is perfectly normal.
Personality
Bold, pushy. Weak against cute stuff and surprisingly a bubbly person. Although, he didn’t show it much to his underlings. 
Backstory
A Japanese yakuza who somehow got in the middle of Sekala and Niskala problem. He almost killed by his rival when he met Yudha who still grieving over the lost of Andrian. At first Kooji thought Yudha was someone his rival sent but he noticed something odd of the person. Yudha who quickly attacked the rivals, fell unconscious in front of Kooji.
As a token of gratitude, Kooji took care of the strange man, checking the stuff and learnt something about the weird parallel world. Once the man woke up, Kooji asked about what bothers the man. Yudha simply answered that he lost a son, which Kooji could relate to. The two talked with each other and became friends. Soon he told Yudha to go where he feels better the most.
Some time or later, the two would meet for a drink and talking. Kooji secretly ships Yudha and Ryuu because the two were like a chaotic comedy combo on his eyes. Though he often help them to resolve some stuff that require illegal some tweakings.
4. Ifrit
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A waiter and bodyguard of the Tokyo Casino run by the management of the Roppongi Tycoons. He was cheated in a game, and in order to pay off the outrageous debt he was saddled with, he works at the Tokyo Casino. As a summon he flares up quickly, is easily tricked, simple-minded and impulsive, an open book whose thoughts are written on his face right away, and terrible at dealing with tears. Naturally with a personality like that he is hopelessly unsuited for gambling, and still has not noticed he has been cheated. He constantly puts on a good showing in the school’s sports club, and he holds affection for his kouhai that are giving his all.
After being tricked back in Tokyo, he seeks for part-time jobs to repay his debt, this time as a hot-blooded drummer. His prideful physical abilities that once were the reason to be hunt down from his birthplace are far above that of a human. This time he decided to join band activities, his natural sense of rhythm lets him persevere until the end of the songs supporting his band members from the back. His helpful personality is unexpectedly suitable. However, rumors say that his loud voice plus the drums sound can break one’s eardrums.
5. Arataki Itto
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A descendant of the red oni clan in Inazuma, Arataki clan. He often spotted on Hanamizaka playing with kids and betting on their onikabuto, toys, candies, etc. or simply making a scene on Inazuma City by challenging the Tenryou Commission on a sumo duel, mostly on Kujou Sara. Despite all of that, he takes pride as an oni and will respect the challenge being thrown by other. On certain events, Itto almost die from an allergic reaction because of the pride he take with him when challenging a kitsune lady by eating a kitsune ramen, which consisted of soybeans that known to be deadly to oni.
From the inhabitants of the city, Arataki Itto is just another of troublemaker, yet somehow the people lowkey appreciate his appearance as an entertainment, mostly took a form in bulletin board across the city. 
6. Orobashi Umitatsu a.k.a Draken Solaris
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Artist: Milkentiddies
Age: 43 year old (1600 year old) Height: 1.9 m Weight: 90 kg Body Type: Mesomorph. Face: Squared jaw. Eyes: Blue with vertical pupils. Hair Type: shaggy + ponytail Hair Colour: greyish cyan. Accessories: round glasses. Outfit: Yukata Other info: Due to him being a reptilian, his hairy body resulted from his scales changing and he got two manhoods.
A vishap-people from Enkanomiya whose mission was to get control of the Watatsumi Island by pretending to be the Watatsumi Vassal. Due to him being an elemental being, he is able to control hydro element without the needs of vision. To make his disguised believable, he wears a fake vision on his chest.
During his inflirtation to Watatsumi, he met a child who was in need of help. Seeing a helpless child, he couldn’t help but feel more sympathetic towards mankind. It didn’t stop there, in fact he started to join the Sangonomiya samurai and become known as The Deep Wave of Watatsumi. 
After learning about celestia and what they might have done to Enkanomiya, Umitatsu’s mission has changed into bringing down Celestia to the ground. Ironically, he was granted a vision for his ambition alone. Despite being no use to a certain extend, the vision somehow helps him to do unexpected hydromancy.
8. Wagner
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Wagner is the main blacksmith in Mondstadt. He created Noelle's greatsword. While he is the owner of his blacksmith, the business name being Schulz's Blacksmith came when he had a bet with his apprentice, Schulz over who could drink the most. Wagner ended up losing and was forced to change the business name as a result. Sometime later, Lawrence's father, a merchant from Fontaine, had a drinking contest with Wagner. Not knowing about the infamy of the Lawrence Clan at the time, Lawrence's father would have to call his son Lawrence. Fortunately, Wagner was able to win; if he had lost, then he would have had to name his prized weapon "Pinky the Rabbit."
Wagner does not have a friendly personality, which Paimon and his apprentice Schulz take note of, the latter considering him to be curt. He is blunt and direct, having no time for idle chatter and is always seen fulfilling his clients' orders regardless of the weather. He claims that other smiths are there to make quick Mora, stating that he has no intention to give his blacksmith up to his family members, instead opting to pass his skills down to his apprentice.
Being the only blacksmith in Mondstadt, Wagner also takes immense pride in his skill and reputation. After he created various greatswords for Noelle to try, when she returned with them broken, he initially believed that she was unworthy of his swords, but quickly realized that she was far too strong for them, which was said to have nearly driven him into seclusion, but eventually created a sword she could use. While he is strict towards Schulz to ensure he will become a reputable blacksmith in the future, it is also implied he cares for him.
9. Cyrus
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Branch Master of the Adventurers' Guild in Mondstadt. His older sister Iris is also a member of the guild and his daughter Marjorie is the owner of a souvenir shop in the city. As the Branch Master, he is responsible for formulating the entrance exams for new adventurers. He even tell tall tales of adventuring as a recruitment tactic to draw in young people who would usually want to become members of the Knights of Favonius.
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hog-friend · 2 months ago
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So when I was a lil kid it was like a relatively common occurance that some parent would plan, like, idk what exactly to call them but like craft events? For the kids in the like, Secular Homeschooling Scene in our area; where there would be a specific project and we would all get together at a park or something and whatever parent organized it would hand out supplies and teach us how to do the thing. Sometimes it was like facilitated by like public nature center employees instead of parents. It was nice! i wouldn't call them workshops because the focus was usually more on a project that creatively utilized common skills & materials, and could be learned by children in like an hour, instead of teaching new skills--it would be like "lets make Winter Woodland Creature puppets" and there would be like instructions for a chickadee, a great horned owl and a squirrel made out of like. Idfk felt, hot glue, pipecleaners, etc; not, like, "learn to knit"
And FUCK if I don't want to do shit like that with my friends ;_; I'm doing a batik dyeing project right now and I keep thinking how it would be PERFECT for that kind of thing; you can do it with cheap materials and it doesn't take any specific fine-motor or brain/memory skills--just "paint wax on fabric"--and its SO fun and stimmy. I discovered that these cotton swab applicator dealies I have a ton of are perfect for applying the wax; I figured out a blend of beeswax, coconut oil & olive oil that's really easy to work with AND made it into candles w some jute twine and roz's empty weed jars so there's no need for external heating elements to keep the wax hot enough. I could order $3.30 silk bandanas from dharma trading co for everyone, and draw out(+prolly steal from online) example templates + design elements for folks to use or as an example of what kinds of designs work well in the medium so folks can draw their own. We would prolly just use kool-aid dye cuz its cheap and nonhazardous/v str8forward to use, and do individual dyebaths for each person in like a dollartree tupperware or something.
The only tricky parts are running water, time enough to dye and dry the fabric between layers, and a heatsource to boil a big ass pot of water to get all the wax out at the end, but none of those are too awful to plan for. We'd just do 2-color designs, kool aid on silk is pretty fast and kool aid is so cheap there's no issue w wasting dyestuff for a more concentrated bath that works faster; & silk dries real fast, so itd prolly only take like 45 minutes to an hour total to get the first color done and ready to put wax on which just means we pick our first colors at the very beginning and then choose/draft our templates while they're dyeing; and then we clean up & have snacks while the 2nd color is dyeing & the wax is boiling out. I would want to do it somewhere where there's at LEAST a spigot, like maybe a largish park, cuz like... Hauling out rinse water wouldn't be *that* bad, but it would be bad. Kool aid & the wax blend r both biodegradable and nontoxic so like disposal isn't too big an issue but I wouldn't want to do it too far away from a drain just cuz that's a lot of citric acid to dump in one spot & could still be Not Great for creatures/plants/groundwater ecosystem stuff. As for boiling water... Tbh I would totally just sacrifice a can of propane for this.
So that's like, around $5 per person in materials that can't be gotten for free in whatever way? Prolly like a 3-4 hour endeavor? That's hella doable. I bet i know/could come up with more similar types of projects (fairy dolls...) too, FUCK itd b SOOO cool to just travel with kits of craft projects to do together when I'm hanging out with two or more friends.
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sequinembroideries · a year ago
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The tie-dye production method is unique
The processing process is to fold and bind the fabric, or sew it, and then immerse it in a color paste for dyeing. The tied part is not put in the dye, and the other parts are the same. The old book vividly describes the ancients?crafting process of tie-dyeing:The main dyes come from the blue indigo solution of natural plants such as Isatis indigotica, Isatis indigotica, and Mugwort growing on Cangshan, especially Isatis indigo.
After drying, remove the valerian knot, pick up the 'pimple', iron it smoothly, and the part stitched by the thread will not be colored. It is a perennial herb with small pink flowers. Then the women will collar the cloth, sew on the pattern with meticulous handwork, and then send it to the tie-dyeing factory or various dyeing workshops. The tie-dye production method is unique. At the edge where the wax is attached, the dyed color also forms a penetrating appearance due to the penetration of the wax, and the color is from scratch Transitional effects. 
Tie-dye has a history of about 1500 years in China. Process characteristics overview Tie-dyeing is an ancient textile dyeing process in China. Dali calls it pimple flower cloth and pimple flower. If it is dyed, the knot will be solved. Printing can generally be regarded as partial dyeing. This is the unique charm of tie-dye. And peace and tolerance are more reflected in the tie-dye sky. The tighter and firmer the fabric is tied, the better the anti-dyeing effect. Tie-dye in the Tang Dynasty developed to its heyday, and the nobles wore twisted costumes and became fashionable. 
Tie-dye and digital digital art is a new art category under the product of information and digital age, reflecting a strong modern cultural atmosphere.. cap embroidery machine After soaking and dyeing to a certain degree, finally take it out and put it in clean water to rinse off the excess dye. If the alchemists continued to study chemistry and batik, they might be able to invent cameras.Summary of production process Tie-dyeing process is divided into two parts: tie-dye and dyeing. The earliest surviving object is the twisted printed silk from the Eastern Jin Dynasty. Tie-dyeing generally uses cotton white cloth or cotton-linen blended white cloth as raw materials. The Isatis root used for dyeing cloth is wild in the mountains. 
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script-a-world · 2 years ago
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How do you keep your world thematically consistent? Starting to have troubles implementing new ideas into my world in a way that is cohesive with the pre-existing structure I have
Tex: What’s your theme? If it’s set in Meiji-era Japan, to pick an example, you wouldn’t have cell phones, nor the people wearing togas (unless it was someone trying to be Extra™, especially since the Meiji-era occurred after Ancient Greece, and Europe-Japanese relations exist during this period - but I digress). Having a good handle on what your theme(s) is/are will naturally delineate boundaries for what type of ideas can even be implemented.
This is, unfortunately, where being good at research would be very helpful. Even if you’re not writing a historical whatsit novel, knowing the finer details of your source materials will guide you into ideas that are complementary to the ones you’ve already incorporated.
To continue the idea of a story set in Meiji-era Japan, knowing what details composed Japanese culture in general, but what historians define as “Meiji” (years, yes, but political events? Diplomatic ties with foreign powers? Inventions? Artistic movements?) is a strength rather than a weakness.
Meiji-era Japan saw their own Industrial Revolution, and with that came the dawn of the modern textile era. Cotton and particularly silk saw a sharp increase in production - and with automation comes more human capital available for invention. In this instance, that means a greater creativity in textile designs, especially since it was no longer restricted to locally-available quantities or time-restricted manufacturing methods.
As Japan adopted a mercantilist economic model during this era, that meant more exports - but what they were exporting weren’t raw goods, it was finished products. Remember that greater opportunity for creativity? This is where that came into play. Textiles, in this example, became another vehicle for art, and thus culture (this was Japan’s main export, something you can still see in many forms today).
Yūzen-dyed fabrics became popular in this era (The Japan Times). If we poke around a little, we can deconstruct this. Yūzen mimicked upper-class silk brocades by applying dyes with a stencil of rice paste, in a workaround of sumptuary laws - and also much cheaper than brocade!. It’s a resist-dyeing technique, too, of which there are several methods in Japan alone.
So what can we do with this information?
We have a source culture - Japan. We have a source era - late 1800s to early 1900s. We have a popular textile - silk. We have a popular method of decorating said textile - resist-dyeing with a rice paste.
All of these things are new avenues to find compatible ideas. We can progress yūzen fabric forward in time to the modern age, as it’s just a technique, and do things like… I don’t know, put Pikachu on a silk blouse. Both of these things are culturally Japanese. That’s one new idea.
The time period means we can look to other places during the same relative era. A Victorian hair wreath wouldn’t raise too many eyebrows, since it’s from the same time period, the UK and Japan had diplomatic relations (so a character’s knowledge of the custom could be bluffed), and Shintoism would provide a plausible reasoning for hair wreaths popped up without Victorian interaction - reinventing the wheel, so to speak. That’s a second new idea.
The textile medium opens up a great many things. Silk wallpaper is a thing, as are silk sutures (which would mean a jump in interior design and medical technologies, respectively). That’s the third and fourth new ideas.
The textile decoration method, though I’ve already discussed a particular usage of yūzen. Do you know what another similar method is? Batik. You stamp through the dye-resistant medium rather than leaving gaps to float dye to dye the fabric, but you could make up some intermediary points between the techniques to bridge the gap. What if some artisan discovered they could apply the rice paste and etch in designs, and then floated the fabric in dye? That’s a fifth idea.
By knowing the context of my example of a source material - Meiji-era Japan - and pulling something superficial from it - yūzen fabric - I’ve come up with five new ideas that are complementary to my sources:
Pikachu-decorated silk blouse
Hair wreaths
Silk wallpaper
Silk sutures
Yūzen-etched (rather than gap-leaving) designs
These are all consistent with my theme because they come from my theme, and only branch out by maybe one or two degrees in the variables I’ve described for each.
The question I have for you is this: are the themes that you’ve already picked complementary to each other? If your selection of themes have too much semantic distance between them, you’re going to struggle coming up with complementary ideas. In that case, figuring out which themes are your core ones, and which are your extraneous ones, will help you find new ideas when you set out to research the nuances of your core themes.
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mariaoverseas · 7 months ago
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All Over Hand Batik Printed Fabric
www.mariaoverseas.com
We Maria Overseas Introduce Ourselves as Manufacturers and Exporters of All Kinds of Handloom Saree, Dress Materials, Dupatta, Stoles, Fabric, Scarves, Textiles, Home Decor, Home Textiles and Handicrafts Products from India.
#scarf #scarves #stolesandscarves #stoles #fabric #textiles #sarees #dressmaterials #linen #cotton #ikkat #silk #Ghichasilk #tussarsilk #mulberrysilk #pashminasilk #tablelinen #kitchenlinens #bathlinen #bedlinen #homeinterior #hometextiles #mariaoverseas #export #import #handloom #handmade #handicrafts #handwoven #cushion
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reysim · 2 years ago
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Saturday, February 8 / 2020 Today was our walk through the historical and cultural centre of KL. Simon planned a route that had air conditioning placed strategically for short cool down breaks, so we weren't out in the heat (35C/95F) and humidity (99%) for too long. We started by taking an elevated train to Bandaraya station and walked through Little India while alleys of fabric shops were opening as we arrived. I spent time looking at potential purchases but nothing caught my fancy. The streets and storefronts were decorated with banana trees and other vegetation for the Thaipusam festival. By the time we reached the famous mosque (Masjid Jamek), it was open for the public to view after the call to prayer was over. Built at the confluence of two rivers, the mosque was small and simple with multiple prayer halls for men, women, and families. I covered my hair ahead of time before entering the mosque. There was a large church across from the mosque. Very harmonious! After leaving the mosque, we took a footbridge over the River of Life to Merdeka Square: the grassy field at the middle of the city. Here we saw several key buildings surrounding the field: the law courts, St Mary's Cathedral, the Royal Selangor Club, post office, museums, libraries, galleries, and lots of fountains. We eventually found the entrance to the National Textile Museum and toured their galleries tracing the unique aspects of silk, batik, and other Malaysian fabrics and techniques. Simon took lots of pictures for me. After crossing the River of Life again we went through the central market, where I bought some small gifts for friends back home. Instead of being a tropical outdoor market, this one was indoor and air conditioned, which I appreciated. Next we went into Chinatown, with its variety of temples: Buddhist, Hindu, Sikh, Confucius, and Taoist. We ended at Maharajalela station and caught the monorail back to our hotel. I was tired and over heated, so I had a nap! In the evening we went out for Indian food in the Brickfields area. Delicious flavours.
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pwlanier · 2 years ago
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Tunic China Yi, South Yunnan Province, Malipo County Cotton, silk; wax resist (batik), supplementary weft inlay (brocade) c. 1900 Cuff to cuff and collar to hem: 3' 8 1/4" x 4' 4 1/2" (112.4 x 133.4cm) Full-length, half-sleeved tunic shirt, slightly shorter in front than in back. Sleeves and square yoke at collar of wax resist (batik) indigo dyed tabby cotton fabric. Full length of front and upper back of supplementary waft inlay silk on tabby cotton.
The Roger Hollander Collection of 19th and early 20th century Chinese Minority textiles, clothing and costumes. Curated by Thomas Murray Ethnographica. Thomas Murray is an independent researcher, collector, lecturer and private dealer of Asian and Tribal art with an emphasis on Indonesian sculpture and textiles, as well as animistic art from other varied cultures.
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cooperhewitt · 3 years ago
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Innovating Printing
In his seminal 1976 book The Dyer’s Art, Jack Lenor Larsen wrote: “Without doubt one of the most successful combinations of innovation, craft and commerce in recent times has emanated from the various Tillett print studios.”
From the 1950s through the 1970s, the husband-and-wife team of Doris Doctorow (D.D.) and Leslie Tillett designed and printed custom yardage in their combined living and working space on Manhattan’s Upper East Side. Their technical innovations and intensive hand-production techniques often involved direct application of ink to cloth, giving and immediacy and uniqueness to everything they did.
Walnuts combines two Tillett innovations – the drag box and the cold wax system. The drag box was originally invented by Leslie’s father, George, who was also a textile printer, as a tool for creating vertical stripes. A box contains the ink, which is released in a controlled flow through a narrow slit at one end. The cold wax system is a mash-up of batik and screen printing. Leslie was inspired by ceramists, who used Mobilcer A, a cold liquid wax, as a resist against overglazes. The liquid could be applied through a conventional silk screen to fabrics to act as a resist against printing inks and pigments.
In Walnuts, drag-box stripes in grays and browns are revealed within the silhouettes of walnut shells, which are reserved on a black printed ground. The design was also printed on silk and used for men’s pocket squares.
  Susan Brown is Associate Curator in the Textiles department at Cooper Hewitt, Smithsonian Design Museum.
from Cooper Hewitt, Smithsonian Design Museum http://bit.ly/2V7brGF via IFTTT
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