INSPIRATION


22


Ombré effects can be bold or very subtle – try closely related tonal colours for the most delicate results. Allow the sinamay to dry fully between dips, or the colours will bleed into one another and muddy the gradient.


23


Painting with a brush allows much finer control than dipping and is useful for strengthening or extending a gradient.


24


The dye for painting should be stronger than for bucket or jar dyeing, ...


Tip!


Colours that are close to each other on the colour wheel – yellow over green,


for instance – will deepen and enrich without dramatically shifting hue. Colours further apart will push towards brown or grey, depending on the pigments involved.


25


...but not so concentrated that the undissolved particles are visible as a chalky residue.


26


A dye that is too strong will sit on the surface rather than bonding with the fibres, and the excess will come off on your hands.


27


Work on damp sinamay with a wet towel underneath. This helps the dye spread evenly and prevents hard edges.


28


Use the right brush: a full juicy brush that holds plenty of liquid works much better than a fine or dry one.


29


To soften an edge further, paint over it with clean water only. For a crisper edge, paint directly onto dry sinamay.


74 | the hat magazine #110


30


Make sure to paint both sides of the sinamay to get even coverage.


31


Let each layer dry before the next. Once that first pass is fixed, the next layer – a second colour, or a deepening of the same one – can be applied.


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