Lesson Notes By Weeks and Term v3 - Senior Secondary 3
Tie and Dye and Printing
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Tie and Dye and Printing
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Subject: Tie And Dye Craft
Class: Senior Secondary 3
Term: 3rd Term
Week: 9
Theme: Reproduction Process
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Tie and Dye is a resist dyeing technique where portions of the fabric are tied, folded, pleated, or crumpled and then bound with string, rubber bands, or clamps to prevent dye penetration. This creates patterns when the fabric is immersed in dye. It is popular in Nigeria, notably with "Adire" textiles. Fabric Printing involves applying colour in specific patterns to the surface of a fabric, using methods like screen printing, block printing, or stencil printing. Unlike dyeing where the entire fabric is coloured, printing applies colour only where desired. Combining tie and dye with printing allows for layered, complex, and highly original designs.
This section provides a detailed explanation of the concepts, terms, and procedures necessary for teaching "Tie and Dye and Printing." This section outlines the pedagogical approach for the lesson.
Teacher Activities: Introduction (10 minutes): Introduce the topic "Tie and Dye and Printing" and its relevance in contemporary Nigerian fashion and textile art. Briefly review previous knowledge on tie-dye. Present the learning objectives for the week. Concept Explanation & Demonstration (30-40 minutes): Define and explain all key terms (Squeegee, Tjanting, Mesh, Submerge, Resist, Dye liquor, Mordant, Fixative, Design/Motif/Pattern, Screen frame, Photo emulsion, Transparency film). Use visual aids (pictures, actual tools) where possible. Demonstrate at least one tie-dye technique (e.g., banding or scrunching) on a small fabric swatch. Demonstrate how to prepare simple designs for screen printing, emphasizing contrast and clarity. Demonstrate the steps for preparing a screen printing frame and how to stretch mesh properly. (If a pre-made screen is available, focus on emulsion coating and exposure demonstration, showing a prepared transparency). If possible, demonstrate the coating of a screen with photo emulsion and explain the exposure process, using a pre-exposed screen to show the washed-out design. Demonstrate the actual printing process on a pre-dyed fabric, using a pre-prepared screen. Emphasize squeegee technique, alignment, and ink coverage. Practical Guidance & Supervision (Ongoing): Circulate among students, providing individual and group support during practical sessions. Correct techniques and offer alternative approaches. Ensure safety protocols are followed, especially with dyes and chemicals.
Facilitation of Critique (15-20 minutes): Guide the display session, encouraging positive and constructive feedback. Provide expert feedback on the finished works.
Student Activities: Active Participation in Discussions (10 minutes): Students define terms as prompted by the teacher. Ask questions for clarification. Practical Application - Tie and Dye (40-60 minutes): Students work in groups or individually to select and execute a chosen tie-dye technique on their provided fabric (which will later be printed upon). Students prepare their dye baths and submerge their fabric, ensuring proper dyeing. They will rinse and untie their fabrics under supervision.
Design Creation (30-40 minutes): Students sketch and refine their designs/motifs/patterns on paper, considering their tie-dyed fabric as the background. Students transfer their chosen design onto a transparency film using opaque markers or by printing. Screen Preparation & Exposure (40-60 minutes): (If constructing frames from scratch) Students participate in constructing simple wooden screen frames. Students assist in stretching and stapling mesh onto the frames, ensuring tautness. Students observe and participate in the coating of screens with photo emulsion and the exposure process, guided by the teacher. Students will participate in the washing out of their designs from the screen.
Fabric Printing (60-90 minutes): Using their pre-dyed fabrics and prepared screens, students will carefully position their screens and print their designs using squeegees and fabric inks. They will observe proper ink application and heat-setting procedures.
Display and Critique (15-20 minutes): Students prepare their finished tie-dyed and printed fabrics for display. They present their work to the class, explaining their creative process. Students offer constructive criticism to their peers.
Materials and Resources: Fabrics (cotton, calico) Dyes (cold-water reactive dyes), salt, soda ash, buckets, stirrers Strings, rubber bands, clamps, marbles, stones (for tying) Wooden planks, nails/screws, hammer/screwdriver (for screen frames) Screen printing mesh (nylon/polyester, 80-120 mesh count) Staple gun and staples Photo emulsion, sensitizer, scoop coater Transparency films, opaque markers/laser printer UV light source (exposure unit or strong lamp) Washout booth/sink, water hose/spray bottle Fabric printing inks (water-based textile inks) Squeegees Printing table/flat surface, spray adhesive/tape Iron/heat press (for curing prints) Examples of finished tie-dyed and printed fabrics Handouts with design inspirations and step-by-step guides. This section provides scaffolded questions and detailed solutions to reinforce understanding.
Question 1: Define the following terms as they relate to fabric decoration: a. Squeegee b. Mesh c. Tjanting d.
Submerge Solution 1: a.
Squeegee: A tool comprising a rubber blade set into a handle, specifically used in screen printing to press ink through the stencil openings onto the fabric evenly. Its effectiveness depends on correct angle and pressure application. b.
Mesh: The woven fabric, typically nylon or polyester, stretched tightly over a screen printing frame. It serves as the stencil base through which ink passes to create the printed design. The fineness of the mesh dictates the detail achievable in the print. c.
Tjanting: A traditional Indonesian tool, resembling a pen with a small copper reservoir and spout, used in Batik to apply molten wax onto fabric as a precise resist for dyeing. While primarily for Batik, it exemplifies a detailed resist technique relevant to broad fabric decoration. d.
Submerge: The act of completely immersing or dipping an object, such as fabric, into a liquid, like a dye bath, to ensure uniform saturation and colour absorption.
Question 2: Describe, in a step-by-step manner, how to tie/dye a fabric using the "Banding/Binding" technique.
Solution 2: The "Banding/Binding" tie-dye technique creates linear or concentric patterns.
1. Fabric Preparation: Wash and dry the fabric thoroughly to remove any sizing or impurities, ensuring it is ready to absorb dye.
2. Folding/Rolling: Lay the dry fabric flat.
You can either: Accordion Fold: Fold the fabric back and forth into pleats, similar to a fan.
Roll: Tightly roll the fabric lengthwise or widthwise into a cylindrical shape.
3. Binding: Once folded or rolled, tightly wrap rubber bands or string around the fabric at desired intervals. Ensure the bands/strings are very tight to create effective resist areas. The areas under the bindings will resist the dye.
4. Dyeing: Prepare the dye bath according to the dye manufacturer's instructions (dissolve dye, add salt, and fixative). Carefully submerge the tightly bound fabric completely into the dye bath.
5. Soaking & Agitation: Allow the fabric to soak for the recommended duration (e.g., 30-60 minutes), periodically agitating it gently to ensure even dye penetration in the exposed areas.
6. Rinsing: Remove the fabric from the dye bath and rinse it under cold running water until the water runs clear. Do not untie yet.
7. Untying & Final Rinse: Carefully cut or remove the rubber bands/strings. Unfold or unroll the fabric to reveal the pattern. Rinse the fabric again thoroughly to remove any loose dye.
8. Washing & Drying: Wash the fabric with a mild detergent and rinse again. Hang it to dry away from direct sunlight.
Question 3: Outline the key steps involved in producing a simple wooden screen printing frame and transferring a basic geometric design onto its mesh using photo emulsion.
Solution 3:
1. Frame Construction: Cut four wooden planks to the desired dimensions. Join them securely at the corners using wood glue and nails or screws to form a rigid, square or rectangular frame. Ensure the frame is stable and free from wobbles.
2. Mesh Attachment: Lay the screen printing mesh (e.g., 80-120 count) over the constructed wooden frame, ensuring it overlaps all edges. Starting from the middle of one side, staple the mesh to the frame. Then, move to the opposite side, pulling the mesh very taut before stapling. Repeat for the remaining two sides, ensuring consistent tension across the entire mesh. Trim any excess mesh.
3. Emulsion Coating: In a darkroom or under dim yellow safety light, pour a small amount of pre-sensitized photo emulsion onto one end of the mesh. Using a scoop coater or a clean, flat squeegee, apply a thin, even coat of emulsion to both sides of the mesh. Aim for a smooth, streak-free layer. Allow the screen to dry completely in a dark, dust-free environment (e.g., a drying cabinet) until it is bone dry.
4. Design Preparation: Create your basic geometric design (e.g., a repeating square or triangle) on a computer or by hand-drawing it with opaque black ink on a transparency film. The design must be completely opaque to photo emulsion onto one end of the mesh. Using a scoop coater or a clean, flat squeegee, apply a thin, even coat of emulsion to both sides of the mesh. Aim for a smooth, streak-free layer. Allow the screen to dry completely in a dark, dust-free environment (e.g., a drying cabinet) until it is bone dry.
4. Design Preparation: Create your basic geometric design (e.g., a repeating square or triangle) on a computer or by hand-drawing it with opaque black ink on a transparency film. The design must be completely opaque to block UV light.
5. Exposure: Place the dried, emulsion-coated screen on a flat, dark surface, emulsion-side up. Position the transparency film with your geometric design directly onto the emulsion, ensuring good contact. Place a heavy, clear glass pane on top of the transparency to hold it firmly against the screen. Expose the screen to a UV light source (e.g., exposure unit, strong halogen lamp) for a specific, pre-determined time.
6. Washout: Immediately after exposure, take the screen to a washout booth or sink. Gently spray both sides of the screen with water. The areas of emulsion that were covered by the opaque design (and therefore not exposed to UV light) will soften and wash away, revealing the open stencil of your geometric design. Continue rinsing until the design is clear and open.
7. Drying and Touch-ups: Allow the washed-out screen to dry completely. Inspect the stencil for any small pinholes or unwanted open areas and block them out using block-out fluid or masking tape. The screen is now ready for printing.
Question 4: A student has tie-dyed a fabric with a "spiral" pattern using yellow and blue dyes. Explain how they can integrate screen printing to add a "sun" motif to this fabric, ensuring the motif is visible and complements the existing tie-dye.
Solution 4: Integrating screen printing onto an already tie-dyed fabric requires careful planning of colour and placement to ensure the motif is visible and harmonises with the tie-dye pattern.
1. Fabric Preparation: Ensure the tie-dyed fabric with the yellow and blue spiral pattern is completely dry, clean, and ironed smooth. This prevents wrinkles from affecting the print.
2. Design & Colour Selection: Motif: The "sun" motif should be designed simply and boldly for clear printing.
Colour: Given the yellow and blue background, selecting a complementary or contrasting colour for the sun motif is crucial. White, black, a metallic gold, or even a strong red (if it doesn't clash) would stand out. For example, a crisp white would pop against the blue, and a bold black could outline the sun, adding definition. A metallic gold would add a touch of glamour.
3. Screen Preparation: Create the "sun" motif on a transparency film (as described in Solution 3, step 4). Prepare a screen printing frame with mesh and coat it with photo emulsion. Expose and wash out the "sun" motif onto the screen, creating the stencil. Ensure the screen is dry and pinhole-free.
4. Printing on Tie-dyed Fabric: Lay the tie-dyed fabric flat on a printing table. Secure it with spray adhesive or tape to prevent it from shifting during printing. Carefully position the prepared screen over the tie-dyed fabric. Consider the placement of the sun motif – perhaps in the center of a spiral, or strategically placed on a predominantly blue or yellow section for best contrast. Apply the chosen fabric ink (e.g., white, black, or metallic gold) to the screen. Using a squeegee, pull the ink across the design with firm, even pressure, ensuring it passes through the stencil onto the tie-dyed fabric below. Carefully lift the screen to reveal the printed sun motif integrated with the spiral pattern.
5. Curing/Heat-Setting: Allow the printed ink to air dry completely. Then, heat-set the fabric according to the ink manufacturer's instructions (e.g., ironing the reverse side, using a heat press). This ensures the printed design is permanent and wash-fast, complementing the already fixed tie-dye colours.
The skills and knowledge acquired in "Tie and Dye and Printing" have significant practical and economic relevance in Nigeria: Entrepreneurship and Fashion Industry: Students can leverage these skills to start their own small businesses creating unique textile products. They can design and produce bespoke tie-dyed and printed fabrics for clothing (e.g., unique Ankara or Adire-inspired garments, t-shirts, scarves), accessories (bags, hats), or home decor items (cushion covers, wall hangings). This directly contributes to the local economy and provides a source of income, fostering an entrepreneurial spirit among Nigerian youth. For example, a student could specialize in creating modern Adire designs combined with screen-printed motifs that appeal to contemporary fashion trends, much like renowned Nigerian textile artists and fashion brands.
Cultural Preservation and Innovation: Tie and dye (Adire, Ukara) and other resist methods are deeply embedded in Nigerian cultural heritage. Learning these techniques allows students to preserve traditional art forms while simultaneously innovating. They can experiment with modern designs and colour palettes, integrating contemporary patterns with classic resist methods. This ensures the continuity of cultural crafts and introduces them to new generations and markets, both locally and internationally. For instance, creating modern screen-printed overlays on traditional Adire patterns can give them a fresh appeal for younger Nigerian consumers. Community Development and Skills Acquisition: These crafts provide valuable vocational skills. Workshops on tie and dye and screen printing can be organized in communities, particularly for unemployed youth or women's groups, to empower them with marketable skills. This can lead to job creation, reduced poverty, and a boost in local craft industries. Students who master these skills can become trainers themselves, propagating the knowledge and creating a multiplier effect in community development initiatives across Nigeria.