Theatre Design & Technology - Summer 1978 - 33

Dyeing and Painting Fabric with Fibre-Reactive Dyes
- - - - - - - - - - - - - b y Deborah M. Dryden
Most costumers familiar with basic dyeing procedures
have worked with union dyes, or what are commercially
known as Rit, Putnam, Tintex, Cushing's, etc. What is perhaps
not so well known is that there are several different types of
dyes available on the retail market, union dyes being only one
of those types. The significant feature of union dyestuffs (Rit,
Tintex, etc.) is that this type of dye contains small amounts of
most of the other types, creating a universal dye which is
quick, easy to use, and, relative to some other dye types,
inexpensive. For this reason this type of dye has become
exceedingly popular among home dyers and among theatre
costumers. Disadvantages arise, however, in the limitations
of color intensity available in a union dye and also the low
degree of washfastness of these dyes. Tights, shirts, and
other costume articles dyed in Rit need to be maintained in
cold water and mild soap in order to keep the color from
washing out. The necessity to use hot, or preferably boiling
water, can be a disadvantage to costumers who wish to dye
wools, silks, or do coldwater batik. It is for this reason that I
would like to describe one of the other types of dyes available
to the theatre dyer-the type called fibre-reactive dye.
These dyes have been on the market since 1956 and are
perhaps more common to the textile artist than the theatre
artist. Within recent years they have become most popular
among batikers because fi bre-reactive dyes are essentially a
cold-water dye (although they can be used most effectively
under higher temperatures). Fibre-reactive dyes are socalled because the dye molecule actually forms a bond with
the fibre during the dye process, thus creating a permanent
dye result. 0 n cotton, silk, and viscose rayon, this type of dye
achieves great brilliance of color and is very colorfast to
washing, drycleaning, and perspiration. The chemical assistants used in the dyebath are easily available (common salt
and washing soda) and no other special equipment is
needed. This makes it a potentially useful and handy dye for
theatre usage.
Fibre-reactive dyes are known under a variety of brand
names-ProGion (M series), Hi-Dye, Fibrec, Fabdec, Dylon,
Putnam Color Fast, Calcobond, Reactone-Geigy, Cibacron,
Remazol, Cavalite, etc. Although some may be packaged
differently, the properties of the dye should remain similar.

3. Measure out the correct amount of salt-dissolve in small
amount of hot water and add to the dyebath.
4. The addition of Calgon or water softener to the dyebath
encourages the chemical reaction of the dyes and the fibres,
and is therefore particularly recommended for hard-water
areas.
5. Wet out the fabric to be dyed and immerse in dye bath
solution. Stir for ten minutes. Remove fabric from dyebath.
6. Paste out the washing soda in small amount of hot water.
Add to the dyebath. (Never add chemicals to the dyebath
while fabric is still submerged.) Stir dyebath well and return
fabric to the bath. Dye for fifteen minutes, stirring occasionally.
7. Remove fabric from bath and rinse in cool water. Let fabric
dry slowly. This is most important! Fibre-reactives set as they
dry so do not force dry the fabric in a dryer. After fabric is
totally dry, rinse in cool water, then warm, then run through
the wash cycle with hot water and mild detergent in washing
machine to remove excess dye.
Note: These proportions are given for "medium" intensity. It is
important to run test swatches, varying amounts of dyestuff
until you reach desired color. Adding more salt may sometimes aid increasing the overall intensity and brightness of the
color.
As with other types of dye, it is exceedingly difficult to
obtain a true black. Best results can be obtained by making
your own black by combining 6 parts navy blue, 3 parts
scarlet, and 3 parts yellow. As with other dark, intense colors,
use more dyestuff than usual in order to achieve depth of
color desired.
Fibre-reactive dyes can also be sprayed onto the fabric
surface. Because this mixture is a dye, not a pigment, it is
easy to use with an airbrush, a Hudson sprayer, or Preval
unit. When the dye is sprayed on the surface, however, it does
not undergo the same setting process as in the dip dyebath.
Therefore, a slightly different solution is necessary in order to
fix and set fibre-reactive dyes when sprayed on the surface
of the fabric.
First, make up a quart of chemical stock solution. This'can
be stored indefi nitely.

Recipe for Fibre-Reactive Dyebath

Recipe for Chemical Water Stock Solution

Proportions for "medium" intensity: (2 yds. 36" fabric)
2 gallons water
1 tsp. dye
1 cup common salt per tsp. dye used
1 T bs. Calgon, or other water softener
2 Tbs. washing soda (soda ash)
1. Fill dyebath container (stainless steel, plastic trashcan, or
pan) with water. Make sure there is enough water to insure
ample room for the fabric to be dyed. Too cramped a space
results in uneven dyeing. Fibre-reactive dyes are at their most
efficient at 90-100 degrees Fahrenheit, although water can be
cooler for batik purposes.
2. Paste out the dye in a small amount of hot water, then add
to the dyebath.

1 tsp. Calgon, or other water softener
10 Tbs. Urea (available from dye suppliers,
chemical suppliers, or local gardening
store-it is a fertilizer)
2 cups hot water
2 cups cold water
Stir the Calgon and urea into the hot water-dissolve. Add
the cold water and shake well. To begin dyeing, mix the dye
powder with a small amount of the chemical water. Estimate
the quantity of chemical water needed for the project. Add the
dye solution to the chemical water and mix well. Test the color
for intensity and make any necessary adjustments. Before
spraying, add 4 teaspoons of baking soda (per quart of
chemical water) an.d 1 teaspoon of washing soda. Dissolve

This article is an excerpt from the forthcoming book Fabric Printing and Dyeing for the Theatre by Deborah M. Dryden, Drama Book Specialists.

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