Tag: thermochromic

Scarves and other techniques

DINH HAI YEN on

Other than the white Cherry Blossom scarf, I also wanted to make 4 more. My concept was Oriental in general, and I want to represent the 5 elements – water (white), fire (red), plant (green), earth (yellow), metal (black). Also, all the objects found in each scarf are things that are very Oriental and special to specifically Asia – crane, lotus, koi fish, lantern and cherry blossom. For these 5 scarves, I used a variety of techniques to create 2D effects on fabric with minimal usage of 3D effect to maximise the feeling of fabric printing – bleaching, transfer printing, calligraphic painting, thermochromic painting, and velvet etching.

I. White Cherry Blossom scarf – calligraphic painting and resin casting

Details about the making of this scarf can be found here:

Final Project – Cherry Blossom – W.I.P

 

II. Black Koi fish Scarf – Bleaching

For this scarf, I used bleach as my paint because I realised that the effect from my previous bleaching experiment looks really cool and the colour is perfect to replicate koi fish. Thus I diluted the bleach and worked within 1 hour rush because the bleach works very fast and I had to work evenly. I then washed it thoroughly with soap and let it air dry.

 

III. Red Lotus scarf – Velvet etching

I wanted to recreate velvet etching on red velvet because it reminds me of red paper cut – a very Oriental and Asian thing. Thus I tried to paint lotus and leaves. I let it dry overnight then iron it. However, the velvet was polyester, thus it didn’t work and only left burn mark. Though it was not a success, it does create a nice effect that is subtle and elegant.

 

IV. Green Crane scarf – transfer printing

I photoshopped some crane PNG that I found online and printed reversed on TCT3.1. I then followed the instruction for heat press transfer printing on textile. At first it was quite a bit of a failure because the white base was not present, and the transparency was too strong. After some trials and errors and very long trimming, I managed to control the temperature and adjusted it to create nice effect for the cranes,

 

V. Yellow Lantern scarf – Thermochromic painting

While brainstorming on what to do for yellow, I thought that lanterns will go really well with this colour because of the typic “lantern in Mid-Autumn night” feel. I remembered that thermochromic ink can create the invisible effect and is available in red and blue, thus I thought that I could mix some purple for shading and paint them manually to recreate the scene of lantern shining bright then disappearing and fading away. Sadly, while painting the scarf, my phone was low on battery, thus I couldn’t take any photo of the W.I.P. But below are some close up of the details.

Exhibition during End of Semester show:

Final Project – Cherry Blossom samples

DINH HAI YEN on

For making the cherry blossom samples, I have used in total 7 techniques to replicate the cherry blossom flowers

  1. Resin casting
  2. Thermochromic painting
  3. Smocking
  4. Paper crepe folding
  5. Hot glue molding
  6. EVA foam shaping
  7. Plastic fusing

I. Resin casting

More details of resin casting process for the flower petals can be found here:

Resin – Experimentation and Final Project W.I.P

Fig.1, 2, 3, 4: Process of resin casting to make the cherry blossom petals – weighting, stirring and adding pigment, dropping and curing.

Fig.5, 6, 7: Cherry blossom resin petals and final result

II. Thermochromic painting:

I realised that red hue thermochromic paint is a really pretty colour which suits cherry blossom really well, thus I want to utilise its ‘invisible and disappearing’ properties to recreate the characteristic of cherry blossom flower – beautiful but fragile and ephemeral.

Fig. 8, 9, 10: Painting of cherry blossom flower using thermochromic paint: 1st layer – 2nd layer – crimson paint dot and flower disappearing because of heat to represent the blooming and withering flower.

 

III. Smocking

I used  a variety of pink and red colour felt for this technique, I cut out small little circle with diameter around 5cm, then I did a simple stitch around the circle edge, gathered them together at the center. I use the left over thread to create creases and it formed the 5 petals.

Fig. 11, 12, 13: Smocking process: Circle cutting, gathering and creasing, final sample

IV. Paper crepe folding

I also realised that the one material that closely resembles cherry blossom flower and petals is paper crepe  which is commonly used to make pompom flower. I simply squished and twisted the paper to create further imprints and then cut out petals

Fig. 14, 15, 16, 17, 18 ,19: Paper crepe petal process: stretching the paper, twisting to shape, release, folding and cutting, assembling petal and final sample

V. Hot glue molding

I happened to have this flower petal making mold because I was doing some baroque/roccocco decoration in the past. They are silicone mold for cake decoration, mainly used for fondue and hot chocolate shaping. My theory was: if it works for hot chololate, then hot glue should not be a problem. It was fairly simple to use: Squeeze the glue into the mold, apply firm pressure evenly and the form is done after the glue cools down (1 minute). Then with a bit of trimming and painting, the flower was done.

 

Fig. 20, 21, 22, 23, 24: Hot glue mold process: squeezing glue into the mold, applying even pressure, let the glue cool down, trimming, final painting and assemly

VI. EVA foam shaping

I have always been working with EVA foam because of its great characteristic: durability, versatility, heat manipulation reaction and surface smoothness when heat is applied. I used pink EVA foam and cut out petal shape. Usually I’d use heat gun to apply heat, but the petal was too small so I did not want to risk burning my finger while heating (also because I was lazy to set it up), thus I used my iron and high heat. I sandwiched the petal piece between wax paper, ran the iron on top and slowly pulling it away to start forming the shape. I used my thumb and index finger to create the bump and pinching.

 

Fig. 25, 26, 27, 28, 29, 30: EVA foam shaping process: cutting, trimming, ironing, shaping and assembly

VII. Plastic fusing

I used pink plastic bag and cut it into some parts for trial and errors. I layered them with the plain pink side facing outside. I sandwiched it between wax paper and applied the iron. The plastic fuses almost immediately so my first batch with 2 layers were more or less burnt with holes. The 2nd batch was 4 layers, worked well with no burning, but it was too thick and stiff, and it was too smooth. The last batch using 2 layers worked best because I was careful with timing, and then I just need to cut the shape of petals out.

Fig. 31, 32, 33, 34, 35, 36: Plastic fusing process – Ironing and cutting

As the final application of the samples, I photoshopped the sample into scarf templates that I found online to represent the rendering of the scarf if the samples were used (All with the exception of resin petals because I used that for the final scarf)

Fig. 37: Sample rendering onto scarf

Thermochromic ink

DINH HAI YEN on

Thermochromic ink reacts with heat. When heat is applied, the ink turns transparent. When cold air is applied, the ink reverts back to its original colour. For thermochromic ink making, we mixed 2-3 parts of Beta with 1 small spoon of the thermochromic powder then mix the mixture up. Then, we used silk screen and applied it to our fabric. The paint dries quickly and the thinner the layer, the faster it disappear when heat is applied.

Fig. 1, 2, 3, 4, 5: Mixing preparation – Beta, cups, wooden stick and mask to prevent breathing in the fine powder.

Fig. 6: Final product