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rice paste resist

Report from Covelo

by Kit on August 28, 2010

in Indigo,Inspiration,Katazome,Process

Back from my adventure in Covelo: the katazome workshop with John Marshall. The road to Covelo, CA follows the Eel River, officially Wild and Scenic. A wonderful place to swim too!

Eel River

Eel River, on the way in and out of Covelo, CA

Classes take place in John’s home/studio, a restored flour mill. The dates on the facade are 1888-1914-1999. The name of the gorgeous pink flowers escapes me.

ye olde mill

The Mill

A few insights:  Yes, I have been making my rice paste too thick, and the raw paste too dry. Revelation: golf balls and dough-nuts are unnecessary. I really like this! Here, the raw paste is ready to steam.

rice paste ready to steam

Rice past resist ready to steam.

I have been working with freeze-dried indigo this summer, and it was great to observe the preparation of the vat and then the re-heating of the vat the next day. Here are pictures from our indigo experience.

Introducing the freeze-dried “instant” indigo to the vat:

indigo going in

Adding indigo to the vat of body temp water

Here are two ways of skimming the oxidized bubbles, “aibana” or indigo blossoms, from the top of the vat, which is necessary unless you want the dark spots of bloom on your work.

skimming the top with cloth

skimming method 1

skimming method 2

skimming method 2

Using the 2nd method is great — you can then dry the bubbles and use them as indigo pigments along with the soymilk.

attaching cloth to frame

attaching cloth to frame

Ready to dip the cloth.  (That’s my Covelo house-mate Eva Pietzcker, an artist from Berlin who makes gorgeous woodblock prints in the Japanese tradition.) John has a rope and pulley system, used primarily for larger pieces of work which need the larger ceramic vat (which you can see behind John). These containers are from China and were originally designed to hold soy sauce.

ready to dip

ready to dip

In goes the cloth … count to three … pull it out and over the outside edge of the vat to drip. You want to avoid introducing oxygen. John’s rule of thumb: the rice paste resist can withstand three brief dips, then must hang to dry before further dunking. If you want it darker repeat that until you achieve the depth of color desired. Observe the paste — you want to stop before it starts to break down.

into the blue

into the blue

See the lovely dark green which will turn blue as it oxidizes …

dark green turns to blue with oxidation

dark green turns to blue with oxidation

Afternoon break most days featured home-made shaved ice! John has a lovely Japanese cast-iron hand-crank machine with gears – the ice sits vice-grip-like in the machine on top of a flat blade. A hand crank turns the blade and the shaved ice falls into the bowl below. We tried it with powdered green Japanese tea and sugar syrup on top; and with home-made blackberry sauce! Yum! I was too absorbed in the experience to take a picture, but found this short video on YouTube that features a similar type of machine.

The hot dry air in Covelo is perfect for working outside, stretching fabric between uprights of the Wisteria arbor.

arbor and yard

arbor and yard

placing shinshi

placing shinshi

Oh, and I must not forget Nutmeg, the cat.

Nutmeg the cat

Nutmeg

Many fine experiences to reflect upon over the clouds of Colorado and beyond!

clouds

clouds above Colorado

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Pasting rabbits

by Kit on June 2, 2010

in Katazome,Process,animal motif

I’ve postponed the indigo awhile again, as cooler weather has returned. Meanwhile, I got busy this week pasting my new rabbits-greens-moon stencil on 100% off-white linen from a local fabric outlet, S. R. Harris.  It’s funny how every mammal I depict reminds me of my well-fed cat, Lester (in body if not in ears). I have a tendency to make my paste too thick/dry, and have been making an effort to overcome this. This batch felt just right.

pasted stencil

pasted, close up, before removing the stencil from the cloth

These will make lovely runners and hangings! I’m imagining the colors I might use…

pasted and stretched rice paste resist

after pasting, the cloth is re-stretched to dry the paste

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Pinks and blues

by Kit on May 2, 2010

in Katazome,Natural dye,Process

Last week the Crab Apple blossoms burst open all around our neighborhood, including the front yard. They come in shades of white to pink to fuschia. It’s the most beautiful time of spring. This year, everything seems to be blooming simultaneously — tulips,  crab apples, lilacs. Even the peony buds are starting to emerge!

Crab Apple blossoms

Crab Apple blossoms

shore blossoms

shore blossoms

Meanwhile, in the basement, I tried an experiment with some 12 oz. cotton duck (canvas) that I had on hand. I pre-washed it, sized it with soy, pasted it with my minnow pattern, and dyed it with indigo pigment using the JIZOMEBAKE, or ground-dyeing-brush, which I normally use just for the soybean milk sizing. Here you see the pigment mixed with soybean milk, the brush in water, and the mortar and pestle that holds my indigo pigment. When I need indigo, I add a bit of water to the dish, measure out a little of the liquid and mix it with the soybean milk in a different bowl for dyeing. That way none of the pigment is wasted. It just dries in the bowl.

indigo dye paint, indigo pigment, JIZOMEBAKE

indigo dye paint, indigo pigment, jizomebake

I mixed a dark indigo – applying 3 coats to ensure even coverage. I plan to sew this into a cover for a rolling cart that I will bring to art fairs this summer. I’ll be participating in Art at St. Kate’s on July 11th, and Loring Park Art Festival on August 7 and 8.

minnows on canvas

minnows on canvas; still pasted; 3 coats of ingigo pigment

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Blue Moons and dots

March 28, 2010 Katazome

It’s nearly full moon. I will savor three full moons this month — the two touchable blue moons I bought from Shibori Girl’s shop (one moon, one bookmark) plus the one bright moon in the sky. Along with my moons, Glennis gave me 3 design stencils for kanoko shibori” that she brought back from Japan. [...]

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Curing, soaking, frosty garden

January 31, 2010 Katazome

While preparing my stencil-dyed cloth for a soak in the tub this a.m., I noticed this frosty vision superimposed on the back yard. The fabric has been curing for about a week, hanging from the ceiling near a radiator. The backside shows the raised texture created by contrast between the dried rice paste resist and [...]

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On the work table

November 13, 2009 Bird motif

I’ve always enjoyed working with cotton velveteen. So this week, I started some experiments using katazome techniques. Intending to make crushed velveteen from a smooth piece of cotton velveteen, I dipped a piece in left-over soybean milk sizing, squeezed it out, carefully crushing it, and then hung it on the line to dry. When the [...]

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Pasting a pattern on washi; stencil surgery

August 25, 2009 Katazome

Yesterday I had more than enough rice paste resist so decided to paste my new Meadow Rue pattern on two large pieces of 70% kozo (washi) Moriki paper from Wet Paint Art. I have wanted to make folded paper blinds for a room in our house, and this paper is the perfect size. The pasting [...]

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Mystery solved: the nuances of sweet rice flour

August 23, 2009 Katazome

This summer my rice paste has been much easier to mash right out of the steamer, and I had wondered if my senses were fooling me or if in fact there was some hidden reason it felt that way. Last spring I bought some Thai glutinous rice flour at a local grocery that I thought [...]

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More layers, a non-traditional approach

August 21, 2009 Katazome

I am using katazome tools and materials in a non-traditional way with this piece. I have added paste and and dye layers, approaching it a bit like a painting but more backward and indirect. It will get 3 or possibly 4 more layers before I set it aside. In the beginning I drew out the [...]

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Variations on a theme

August 14, 2009 Katazome

I’ve been working on several wall hangings simultaneously this week. Two make use of stencils I’ve used for pillow designs. I feel they will work better on the wall. I’ve added imagery below each bird portrait to lengthen the format, using stencils representing singular elements — water, grass, trees. Below they’ve been pasted. I under-dyed [...]

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