| volume 1, edition 2
WOW! I was quite surprised by the feedback I had from the first newsletter.
I had a ton of suggestions, emails, tips and inquiries. Everyone mentioned
that it was a great idea and long overdue. With your suggestions and encouragement,
we have expanded and hopefully improved this edition. You will see more
suggestions and ideas to brighten up your days as we welcome spring after
one very, very cold winter.
We are really excited about the heat transfer paper (Paro Paper) after
our very successful Heat Transfer + Fabric workshop in February with Lynne
Heller. The work that can be achieved is astonishing. There is an article
inside to share with you the possibilities and techniques for transferring
any image onto fabrics.
This edition also introduces a new feature of our newsletter. Along with
a product, we are also introducing a fabric for the season. We are going
to focus on our cottons this month. Sea Island and Egyptian cottons are
very luxurious fabrics. We have added a wide variety of weights to best
complement your needs.
Till next time, keep those ideas and suggestions coming.
Egyptian/Sea Island Cotton
As mentioned in the introduction, every edition of the G&S
News will include a focus on a particular fabric. This edition we take
a look at our Egyptian and Sea Island cotton. Perfect for making quilts,
shirts, skirts, blouses or dresses. The cotton is very fine and tightly
woven allowing for easy dyeing, painting, screening or achieving bright
clear prints for heat transfer. There is a small clipping attached inside
the newsletter for you to feel. All our cottons are classified as broadcloth.
This is a definition from the The Canadian Internet
Fashion and Design's Fabric Dictionary.
Fibre: Cotton and silk, and rayon. Very different than wool broadcloth.
Weave: Plain weave and in most cotton broadcloths made with a very
fine crosswise rib weave.
Characteristics: Originally indicated a cloth woven on a wide loom.
Very closely woven and in cotton, made from either carded or combed yarns.
The filling is heavier and has less twist. It is finer than poplin when
made with a crosswise rib and it is lustrous and soft with a good texture.
Thread count ranges from high quality 144 x 60 count down to 80 x 60.
Has a smooth finish. Maybe bleached, dyed, or printed; also is often mercerized.
Wears very well. If not of a high quality or treated it wrinkles very
Finest quality made from Egyptian or combed pima cotton - also Sea Island.
Uses: Shirts, dresses, particularly the tailored type in plain
colours, blouses, summer wear of all kinds.
As you can see we carry some of the best cotton broadcloths
around. I hope that you will be able to pick up some and experience the
difference beautiful cottons can make to all your finished products.
| ID #
|| Thread Count
|| Price / yd
|| Egyptian - 2 ply
|| 100 x 100
|| Sea Island - 2 ply
|| 100 x 100
|| Egyptian - 2 ply - Black
|| 100 x 100
|| Sea Island - 2 ply - Natural
|| 100 x 100
|| Indonesian Cotton
|| 138 x 72
|| Chinese Cotton - 7 colours *
|| 60 x 60
|| Egyptian Cotton - 1 ply
|| 100 x 100
|| Egyptian Cotton - 2 ply
|| 120 x 120
|| A - red
|| B - royal blue
|| C - black
|| F - yellow
|| I - fuchsia
|| R - purple
|| U - taupe
Note: T1003, T1004 & T1005 are no longer
till July 31/96 - 10% off all our cottons
- minimum 3 yards per selection
Photopol is Back!!!
After waiting a year and countless testing and retesting, we have our
non-toxic photo-emulsion for silk screening back in stock. This is the
only emulsion that we know that has all these features;
- designed for home use - no need for a vacuum exposing table
- quick exposing times (under 25 minutes) using a simple 150W plant
bulb (no black light required)
- 3 year shelf life
- ready to use without the need for a sensitizer - normally acetic acid
- washes up extremely well
- only requires two coats versus 4-6 for most others
- "cool" pink colour
The emulsion comes in three sizes
Quesions and Answers
Last Issue, we answered some of the more common questions for resisting.
This time we shall be concentrating on immersion dyeing .
Q: Why are my greens always turning out to be lime or citron
with Procion 'MX' dyes?
A: Procion 'MX' dyes are warm water dyes. The optimal temperature
to set them is 100F = 38C. The colours that requires more heat are turquoise
based colours (510, 811, 820, 500, 504). These colours require the temperature
to be at 125F = 51C.
If accuracy is important in multiple dye lots, use a thermometer to measure
temperature. For general home dyeing, the immersion dyeing recipe mentions
that you dissolve the dye in two liters of hot (tap) water. You subsequently
add 4-5 liters of cool water. When you dye turquoise based colours, you
add warm water instead of cool water.
Q: Which dye do I use for cotton, wool, silk, linen, rayon,
nylon, acetate, polyester, or ramie?
A: G&S carries two classes of dye for immersion dyeing,
fibre reactive (Procion 'MX') and acid (Country Classic). Procion 'MX'
will dye all natural fabrics, be it wool, silk, cotton, ramie, linen,
wood, or hemp. The dyes are activated by a mild alkaline (sodium carbonate)
which activates the bonding reaction with the fabric. Except for wool,
the activator is vinegar instead of sodium carbonate. Country Classic
is made specifically for wool, silk and nylon. We have had some success
on lycra, acetate, and spandex also. They are activated by the acid crystals
that are built into the dye.
Polyester does not dye with either product. There are no commercial dyes
on the market that will dye polyester safely or effectively. We usually
do not dye fabrics that contains 30% or more polyester. The results are
unpredictable and usually poor.
Q: What are all the chemicals used for?
A: The following are used with Procion 'MX'. Country Classic
only needs vinegar.
Sodium Carbonate: a mild alkaline used to activate Procion 'MX'
Urea: Used in direct application of Procion 'MX' dyes. It slows
down the dye reaction with the water, so that the dye solution can last
longer and become more level.
Ludigol: Used in direct application of Procion 'MX' dyes. It stops
migration of dyes during the setting process (steaming or bagging)
Sodium Sulphate (Glauber Salt): Used in place of regular salt.
It produces a much brighter (approx. 25%) colour for turquoise, br. yellow,
or fuchsia based colours.
Lissapol ND Soap: This is a non-ionic soap which helps repel dye
during the finishing rinse so that residual dye does not stain other areas.
Can also be used an excellent scouring soap or as a wetting agent for
dyeing wool or other fabrics that do not absorb moisture well.
Sodium Alginate: Neutral thickening agent developed from seaweed
and used for thickening the dye for direct applications.
Thiourea Dioxide (Thiox): Used to remove colour from natural fibres.
With hot tap water, Thiox is an excellent colour reducer for re-dyeing.
It may also be added to print pastes for discharge printing and is used
for bleaching natural wools to obtain clear colours in subsequent dyeing.
On Going Sales
Remember that the sale for silk scarves and books is over at the end
of April. Pick them up while supplies last!
Call for sizes and availability.
Our current workshop schedule
is almost completed. There will be a new one included in the next newsletter.
But in the meantime, these classes are still ongoing.
April 13 11-4pm
Intro to Dyeing $100.00
April 20 & 21st 11-5pm
Silk Painting $35.00
April 27 10-4pm
Last edition, Country Classic was so well received, that we have added
five more colours, for a total of 33. The new colours are Persimmon (#37),
Kiwi (#76), Lilac (#83), Raspberry (#82) and Spring Green (#70). Colour
charts unfortunately are still not ready. We have in the meantime, colour
photocopied our only chart. The colours are quite accurate. There is a
nominal $1.50 charge to cover the cost for the copy.
Tip of the Season
This edition's tip was provided by Theresa Walker of Pictou, N.S. She
will receive a $25.00 gift certificate for her contribution. Keep those
Theresa has an alternative to the traditional stretching method for silk
painting. Normally, one needs a frame that attaches the silk by suspension
hooks or push pins.
"The idea is to underlay a glass plate with white paper covering
the glass. Lay the silk flat on the glass plate. You then stretch it around
the edges of the glass with masking tape (see diagram). Then paint as
usual. The advantage of this method is that it enables you to rest your
hand on the table and glass plate while painting."
We have tested this method and had decent results. I find that free form
techniques (salting and basic blending) worked best. The silk also must
be stretched well or the image is distorted and hard to paint. The best
silk for this method is Habotai 8 - 12 mm. Crepe De Chine and other fabrics
that have a bit of stretch are not recommended.
Lynne Heller did a wonderful job with our Heat Transfer Plus Fabrics
workshop. She introduced to many for the first time this wonderful medium.
For those unfortunate to not have attended, I shall try to explain to
you how simple and what great opportunities are possible when you use
these papers.G&S News - April '96
Heat Transfer Paper is a special polymer plastic coated paper which can
accept oil based inks or pigments. That means you can draw (oil pastels,
crayons, permanent markers, pen ink) or photocopy directly onto the paper.
After the image is applied to the paper, you can then simple transfer
it to most fabrics, papers, wood, metal or smooth surfaced objects. The
image is set and fully washable.
Technology plays a great part in modern heat transfer. The advent of colour
photocopier machines allows one to reproduce any photo, object (2D &
3D), diagram, illustration, magazine picture, drawing, or computer image
onto the heat transfer papers. If your local copy place has the newer
Canon 700 or 800 series machines, they can even directly take computer
files from the most popular illustration and photo imaging programs.
The simplest use for this product is to transfer photos to T-shirts. Although
it has been done quite often at local T-shirt shops, there is so much
more that can be achieved. Imagine producing small images for your quilts,
pillows, and duvets.
Personalize clothing with your favorite logos, make your own individualized
mouse pads, change the look and feel of you photos by applying them to
different papers, the list is endless. This product was originally made
for fabric but the three example below only start to touch on the flexibility
of the product.
A few students from the class experimented with different fabrics, weaves,
colours and textures. All four variables can greatly change the feel of
One of the most interesting fabric was silk organza. The translucent nature
of the fabric allowed the image to be seen from both sides. This was also
a nice fabric to layer over existing images from other fabrics.
The woven patterns in silk jacquards worked with the transparent nature
of the transfers. It allowed the jacquard prints to subtlety appear through
the transfer, giving it a unique character.
Again using the transparent nature of the product, we were able to use
lighter coloured fabrics (blues, greens, greys, peaches, ivory) to slightly
tint the images which ever way. Skys appeared teal-like over off-white
cottons and clouds became a soft peach on peach coloured ramie.
The different textures of raw silk and silk corduroy also provided a softer
image when compared with the sharp clear prints that a smooth Egyptian/Sea
Island Cotton gave.
Have you ever wondered what your favorite photo could look like on hand
made paper? Recently a local photographer, Maylynn Quan, transferred some
wonderful photos on slightly textured white paper. The paper gave the
photos a much warmer and natural look. The textures even came through
the photo and gave the solid area much more depth. She matted and framed
Glass, Metal & Wood
Lynne Heller showed us during the workshop some wonderful samples with
metal sheet. The effect was amazing. The sheet was highly polished and
made it look like a mirror. Imagine what your mirrors, windows, could
be transformed into.
How to Transfer
Pre-heat iron for on low 'cotton' setting. Do not use steam. Place transfer
colour side DOWN on the garment. Press iron firmly in one area for 10
- 15 seconds. Move to another area and repeat till whole image has been
covered. USE TWO HANDS AND BODY PRESSURE WHEN PRESSING TO ACHIEVE MAXIMUM
PRESSURE. Immediately reheat entire surface with iron, being certain to
cover all edges and corners. Peel transfer from garment while HOT.