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aalii is for the sensitive woman who values her traditions but is not bound by them.
Knowledge - this is what you will get here...
Do you know what techniques are used to make your dress so unique...
This is our small effort to make you understand the many printing and dying techniques used to get your dress to the way it is prepared for you.
Our list is not exhaustive now, but we are taking every effort to have this updated regularly. As we strongly believe that everyone should know what is special about their dress...
What we have for you is:
Shibori (Japanese form of tie-dye)
We also have links to video's that details the techniques in a better way...
KASUTI embroidery...
Kasuti is a classic embroidery technique predominantly employed in Karnataka, India. It is renowned for its elaborate beauty and is often used to craft a Kanchivaram.
Kasuti embroidery designs are not outlined before weaving but instead rely on counting the threads of the piece, this results in highly unique pieces that are one of a kind and not easily replicated.
The term "kasuti" is cited as being a combination of the words kai, meaning hand, and suti, denoting cotton.
The first kasuti designs were crafted during the reign of the Chalukya dynasty in sixth century India. The technique proved immensely popular and was eventually practiced by women all around the region of what is now Karnataka. In modern times, it remains an embroidery method used predominantly by women, especially those in the village of Dharwar.
Kasuti embroidery patterns come in a variety of shapes and styles. The most popular are towers, shells, and chariots. These designs are embroidered directly onto a saree or other piece of fabric and have become a trademark product of the Karnataka region.
The amount of time and effort that goes into kasuti is quite intensive. Everything is stitched by hand, without the use of outlines, patterns, or tracing. There are no knots used in kasuti, guaranteeing that both sides of the fabric look identical.
For more info, visit this link:
http://kasuti.blogspot.com/2006/05/history-of-kasuti-kasuti-is-technique.htmlVideo, to understand this technique better
Shibori. . . (Japanese Tie-Dye technique)
Shibori comes from the Japanese word shiboru, meaning ‘to wring, squeeze or press’. It refers to a variety of ways of embellishing textiles by shaping cloth and securing it before dyeing. Three terms for separate shibori methods have come into international usage: plangi, a Malay-lndonesian word for the process of gathering and binding cloth; bandhini, an Indian term for the same process; and tritik, a Malay-lndonesian word for stitch-resist. The special characteristic of shibori resist is a soft- or blurry-edged pattern. The effect is quite different from the sharp-edged resist obtained with stencil, paste and wax. With shibori the dyer works in concert with the materials, not in an effort to overcome their limitations, but to allow them full expression. And an element of the unexpected is always present.
Who practices this craft?
Shibori is practiced in the urban villages of Delhi, craft clusters of Rajasthan and Bhuj in Gujarat. Most artisans use the rope-tied technique of shibori wherein a rope is tied to a bundle of fabric.
What materials and tools are used in this craft?
Tools: Needles, Threads, Ropes and Dyeing pots;
What is the Craft process?
Design
As with any creative process, shibori begins with the conceptualization of the design. Though there are certain linear and non-linear patterns that form the basic motif of ashibori design, the process does provide the designer with an unlimited array of combinations within the basic framework.
StitchingThe next level of the process is stitching. With the marking done on the fabric, a running stitch (manually with needle and thread) is made along the design. At the two ends of the thread a small piece of cloth is attached that allow the thread to be pulled from both the ends, thus crushing the fabric.
TighteningTwo people are required, one holding the cloth, the other pulling the two ends of the thread in the opposite direction. The cloth along the thread gets compressed and a knot is then made to bind the cloth and not allow the color to seep into it (the area compressed by the knot) at the time of dyeing. The right amount of pressure is required to tie the knot as a lose loop that can allow the color to percolate into the knot where the color is not required. It is because the entire area on the fabric gets colored other than spot within the knot that the process is referred to as a stitch-resist dying technique.
DyeingWith the tightening done, the fabric is soaked in a mild soap solution for some time. Thereafter, it is dipped in a bath for dyeing. For preparing the bath, the material to liquid ratio (MLR) should be maintained in the region of 1:20. For example, 1 kg of fabric or yarn requires 20 l of water. A 5 per cent description refers to 50 g of color (or any other chemical) to be dissolved in 20 l of water for 1 kg of fabric or yarn. Apart from indigo, all the other colors are 'hot processes', that is, they require water to be mildly heated while the dyeing process is on. For all the colors the cloth/yarn is to be dyed for 45 minutes
Product categories made with Shibori
Cushions & Throws, Table, Linen, Stoles/Scarves, Bags
VIDEO'S:
Traditional craft - Part 1
Traditional craft - Part 2
Simple tutorial:
BATIK. . .
Batik is both an art and a craft.
The art of decorating cloth in this way, using wax and dye, has been practised for centuries. In Java, Indonesia, batik is part of an ancient tradition, and some of the finest batik cloth in the world is still made there. The word batik originates from the Javanese tikand means to dot.
To make a batik, selected areas of the cloth are blocked out by brushing or drawing hot wax over them, and the cloth is then dyed. The parts covered in wax resist the dye and remain the original colour. This process of waxing and dyeing can be repeated to create more elaborate and colourful designs. After the final dyeing the wax is removed and the cloth is ready for wearing or showing.
Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics.
Batik is historically the most expressive and subtle of the resist methods. The ever widening range of techniques available offers the artist the opportunity to explore a unique process in a flexible and exciting way.
Traditional colours in batik include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are most commonly available in indigo and brown.
KALAMKARI. . .
The name refers to a method of painting natural dyes onto cotton or silk fabric with a bamboo pen or kalam. The name kalamkari translates as pen (kalam) work (kari) in Hindi/Urdu, and was most likely derived from trade relationships between Persian and Indian merchants as early as the 10th century CE.
European merchants also had names for this type of fabric decoration: the Portugese called it pintado, the Dutch used the name sitz, and the British preferred chintz. The name kalamkari is used prominently today, and is synonymous with both painted and hand blockprinted textiles that incorporate natural vegetable/organically-derived dye stuffs
The themes are traditionally chosen from the Puranas or epics. These stories are depicted in the form of a series of horizontal panels with the narrative script running throughout. The distinctive temple wall hangings, chariot decorations and canopies of Srikalahasti typically feature Hindu stories, and the images are often identified with text in Telugu, the regional language. This specialization in figurative work continues today. The laborious process involved with each painting takes around 40 days; the designing takes about four days and the entire process of painting takes 30-35 days depending on the climatic conditions. Most of the raw materials are gathered from forests and processed by traditional methods.
The themes are traditionally chosen from the Puranas or epics. These stories are depicted in the form of a series of horizontal panels with the narrative script running throughout. The distinctive temple wall hangings, chariot decorations and canopies of Srikalahasti typically feature Hindu stories, and the images are often identified with text in Telugu, the regional language. This specialization in figurative work continues today. The laborious process involved with each painting takes around 40 days; the designing takes about four days and the entire process of painting takes 30-35 days depending on the climatic conditions. Most of the raw materials are gathered from forests and processed by traditional methods.
Who practices this craft?
Traditionally of Hindu castes, Kalamkari Paintings were traditionally made in a small temple-town called Kalahasti in the Chittoor district in Andhra Pradesh. The present generation of artists and students has recovered the tradition of Kalamkari Painting and are infusing the art with individual styles.
What materials and tools are used in this craft?
Tools: Charcoal pencil, tamarind twigs, pointed and round-tipped kalam (pen made of bamboo sticks);
Materials: Godha (unbleached cloth), rusted iron, alum, cow’s milk, cow dung, indigo, Alzarin, Anar, Rubia Cordifiolia, Pobbaku, Ventilago Madraspatana Gartan (Surudu Chekka), Myrobalan.
What is the Craft process?
Preparing the fabric
The cloth is washed to remove starch. Then, myrobalan paste is mixed with one liter of water and fresh buffalo milk. The cloth is loosely folded and slowly dipped into the solution. It is then soaked and pressed down with the hands. This type of pressing helps greater absorption. The cloth is removed, wrung, and opened out. The process is repeated again, but this time the twisting is done in the opposite direction to spread the fat content of the buffalo milk. The fat holds the colors on the surface and prevents color from spreading. Once all the pieces of cloth have been processed, they are spread out to dry in the sunlight.
The cloth is washed to remove starch. Then, myrobalan paste is mixed with one liter of water and fresh buffalo milk. The cloth is loosely folded and slowly dipped into the solution. It is then soaked and pressed down with the hands. This type of pressing helps greater absorption. The cloth is removed, wrung, and opened out. The process is repeated again, but this time the twisting is done in the opposite direction to spread the fat content of the buffalo milk. The fat holds the colors on the surface and prevents color from spreading. Once all the pieces of cloth have been processed, they are spread out to dry in the sunlight.
Drawing
The cloth is folded and pressed and straight lines are drawn in charcoal along the pressed creases, defining the decorative panel within which the main theme will be drawn. In outlining the main theme, the leading figures are sketched first, followed by the others. The charcoal drawing provides the basic layout. All details are subsequently filled in by pen.
The cloth is folded and pressed and straight lines are drawn in charcoal along the pressed creases, defining the decorative panel within which the main theme will be drawn. In outlining the main theme, the leading figures are sketched first, followed by the others. The charcoal drawing provides the basic layout. All details are subsequently filled in by pen.
Painting the outline
The cloth is placed onto a woolen blanket spread on a wooden table, which provides a smooth work surface and also absorbs color seeping through to the reverse side. The iron mordant is applied using the pointed kalam to make outline drawings and other details. The kalam with the broader tip is used for larger areas. The procedure followed is the same as for iron acetate. This operation has to be accomplished very skillfully so that there is no smudging of mordant.
The cloth is placed onto a woolen blanket spread on a wooden table, which provides a smooth work surface and also absorbs color seeping through to the reverse side. The iron mordant is applied using the pointed kalam to make outline drawings and other details. The kalam with the broader tip is used for larger areas. The procedure followed is the same as for iron acetate. This operation has to be accomplished very skillfully so that there is no smudging of mordant.
Cleaning:
The fabric is then taken to the river and held flat in the flowing water at either end with no overlapping fabric for five minutes. It is lifted out, shaken thoroughly, and dipped back into the water. By this time, the excess mordant has been swept away in the flowing river. The fabric is then squeezed. The dipping and squeezing procedure is repeated two to three times. All the impurities are removed.
The fabric is then taken to the river and held flat in the flowing water at either end with no overlapping fabric for five minutes. It is lifted out, shaken thoroughly, and dipped back into the water. By this time, the excess mordant has been swept away in the flowing river. The fabric is then squeezed. The dipping and squeezing procedure is repeated two to three times. All the impurities are removed.
Fixing
Prior to boiling, the fabric is opened out and inspected. If any spreading or blotching of iron or alum mordant is noticed, it is rectified by the application of raw lemon juice on the affected area. A large copper vessel is filled with sufficient water to soak the required quantity of cloth. Pobbaku (Narigama alta), as well as Powdered Chevalakudi (Rubia Cordifolia linn) and Suruduchakka (Ventilago madraspatana gartan) are mixed into the water. The cloth is slowly inserted into the boiling solution and delicately stirred. Once it has boiled over, the cloth is taken out, cooled with cold water, and rinsed again. After washing the cloth in the river, it is spread out for a few hours. At intervals water is sprinkled on it to keep it wet. It is squeezed and beaten on the stone to remove the fugitive colour, twice. It is then wrung out and dried. If a deeper shade of red is required, the process of myrobalan and alum application, washing in the river for removal of excess alum, boiling in madder and washing and drying in the river is repeated for a second time.
Prior to boiling, the fabric is opened out and inspected. If any spreading or blotching of iron or alum mordant is noticed, it is rectified by the application of raw lemon juice on the affected area. A large copper vessel is filled with sufficient water to soak the required quantity of cloth. Pobbaku (Narigama alta), as well as Powdered Chevalakudi (Rubia Cordifolia linn) and Suruduchakka (Ventilago madraspatana gartan) are mixed into the water. The cloth is slowly inserted into the boiling solution and delicately stirred. Once it has boiled over, the cloth is taken out, cooled with cold water, and rinsed again. After washing the cloth in the river, it is spread out for a few hours. At intervals water is sprinkled on it to keep it wet. It is squeezed and beaten on the stone to remove the fugitive colour, twice. It is then wrung out and dried. If a deeper shade of red is required, the process of myrobalan and alum application, washing in the river for removal of excess alum, boiling in madder and washing and drying in the river is repeated for a second time.
Bleaching
For bleaching purposes either sheep dung or cow dung is mixed into water in a clay pot. Sheep dung is more effective as it contains a higher proportion of sodium carbonate. The cloth is dipped in this solution, taken out, squeezed and kept aside over night. The following morning it is beaten, and washed in water. The fabric is exposed to the sun. This bleaching process continues for four to five days until the non-mordant portions become white.
For bleaching purposes either sheep dung or cow dung is mixed into water in a clay pot. Sheep dung is more effective as it contains a higher proportion of sodium carbonate. The cloth is dipped in this solution, taken out, squeezed and kept aside over night. The following morning it is beaten, and washed in water. The fabric is exposed to the sun. This bleaching process continues for four to five days until the non-mordant portions become white.
Painting
After the bleaching process, the cloth is dipped in a milk solution. This prevents the running of one dye color into other dyed areas of color. The yellow used may be the extract of either the myrobalan flower or pomegranate rind. It is applied with the round-tipped pen in the same way as in filling in the alum. After painting it yellow, the cloth is washed and dried. Surruduchakka, a basic brown color, is used to darken the shade of red from Pobbaku and Chevalikodi. The blue color is prepared with a solution of indigo mixed with a little alum. Blue is applied with a broad-tipped pen in the same manner as the alum. Painting red on blue yields violet, painting yellow on blue provides green. After the application of blue, the cloth is washed in the river as after boiling for Manjishta (madder). The excess blue is washed away and all the dirt is removed.
After the bleaching process, the cloth is dipped in a milk solution. This prevents the running of one dye color into other dyed areas of color. The yellow used may be the extract of either the myrobalan flower or pomegranate rind. It is applied with the round-tipped pen in the same way as in filling in the alum. After painting it yellow, the cloth is washed and dried. Surruduchakka, a basic brown color, is used to darken the shade of red from Pobbaku and Chevalikodi. The blue color is prepared with a solution of indigo mixed with a little alum. Blue is applied with a broad-tipped pen in the same manner as the alum. Painting red on blue yields violet, painting yellow on blue provides green. After the application of blue, the cloth is washed in the river as after boiling for Manjishta (madder). The excess blue is washed away and all the dirt is removed.
Information source: AIACA
The art of Kalamkari on Video
TIE-DYE. . .
Tie-dye is a process of resist dyeing textiles or clothing which is made from knit or woven fabric, usually cotton; typically using bright colors. It is a modern version of traditional dyeing methods used in many cultures throughout the world. "Tie-dye" can also describe the resulting pattern or an item which features this pattern.
There are many traditional variations of tie-dye around the world, each unique but basically Tie-dye is a way of creating patterns of color by folding, tying, stitching, crumpling or otherwise preparing the fabric to inhibit the flow of the dye into the folds of the fabric. The ties prevent the entire material from being dyed. Dye is then applied to only parts of the material. Designs are formed by applying different colors of dyes to different sections of the wet fabric. The pattern of the folds and where the colors are squirted determines the final design.
In India, the version of Tie-dye is commonly referred to as Bandhini dyeing.
Bandhani began about 5000 years ago, and is the oldest tie and dye tradition that is still practiced. It comes in a variety of designs, colors and motifs that are region-specific. Each district has its own distinct method of Bandhani which makes the pattern recognizable and gives it a different name.
The craftsmen from Rajasthan are easily recognized because they grow the nail of their little finger or wear a small metal ring with a point to facilitate the lifting of cloth for tying.
Who practices this craft in India?
Rajasthan: Jodhpur, Udaipur, Sikar, Jhunjhunu, Churu;
Gujarat: Jamnagar, Bhuj, Mandavi;
Uttar Pradesh: Farukabad.
Tying the Fabric
A clear thin sheet of plastic, which has been pierced with pin holes, is kept over this area of the fabric and, using fugitive colours, an imprint of the desired pattern is transferred onto the fabric. The craftsperson then pulls on a small area of the fabric where each is placed and winds thread tightly around the protruding cloth to form a knot or bhindi. The thread generally used is nylon thread. After tying the knots the fabric is thoroughly washed to remove the imprint.
Dyeing
The cloth is then dyed yellow, or another light color, for two minutes. During this process the small area beneath the thread resists the dye leaving a dot. This is usually carried out in several stages starting with a light color like yellow, then after tying some more knots a darker color is used and so on.
Finishing
After the last dyeing process has been completed the fabric is washed and if necessary, starched. After the fabric is dried, its folds are pulled apart in a particular way releasing the knots and revealing their pattern. The result is a usually deep colored cloth with dots of various colours forming a pattern.
VIDEO
Tie-dye technique:
CHAKRI design (video courtesy: Fashion Highlights / Langoors / EcoDye)
Tie-dye maple leaf design
Tie-dye technique:
CHAKRI design (video courtesy: Fashion Highlights / Langoors / EcoDye)
Tie-dye maple leaf design
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| Example of tie-dye T-shirts on display at a boutique... |
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