Indigo Sample Library WAV
Milan Kemezy
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The design system is a set of libraries for Figma, Sketch and Adobe XD, containing various assets, styles, components, and patterns. Тhe UI components allow you to create intricate user interfaces providing you with the flexibility to use various states and templates. To customize their appearance you may leverage the pre-made palettes, typographies, shadows, icons, and illustrations. And finally, with the provided collection of patterns, such as product details layouts, various forms, and pricing tables among others, you are able to streamline app design assuring the application of best practices in UI and interaction design.
Indigo.Design for Sketch offers not one but four library files to its users: one for each of the design languages we support - Material, Bootstrap, Fluent UI, and our very own Indigo. All four libraries support seamless switching between light and dark mode via the Indigo.Design plugin and work with any of the predefined or custom color palettes it provides. With this improvement, Sketch users are able to enjoy 100% native look and feel of their components and patterns for the design language of their choice.
Crafted from the ground-up to equip designers with a modern and easy-to-use arsenal of tools which allow them to design wireframes and apps, Adobe XD is one of the popular vector graphic design platforms in the market today. Along with wireframe features, designers can create hi-fidelity prototypes, collaborate across teams through the design process, configure animations and collect feedback.
To get feedback on your designs, use cloud.indigo.design to import the Sketch document and share it as an interactive prototype. This will allow your stakeholders to view your prototype on any device and give feedback via comments.
The App Builder module lets you design a single page application using a design file (Figma, Sketch or Adobe XD) as a starting point or create it from scratch. The App Builder includes a set of major features, enabling users to use real UI components, global theming, external data sources.
Once ready with the design of your application in Ignite UI App Builder, you can easily generate Angular, Blazor or Web Components code from it. The generated code can be directly uploaded to a repository in GitHub or downloaded locally as a file package. The components used in the generated application are powered by Ignite UI for Angular UI framework
The McCaw Library at the Seattle Asian Art Museum provides resources to visitors about works in our collection and in special exhibitions. During the run of Mood Indigo, the library features a number of titles about indigo, its processes, and methods of application. Because the McCaw Foundation Library is one of the few libraries in the region to focus specifically on Asian art, many of our resources are not available anywhere else in the Pacific Northwest.
Arimatsu shibori: a Japanese tradition of Indigo Dyeing by Bonnie F. Abiko
(Rochester, MI: Meadow Brook Art Gallery, Oakland University, 1995).
In the early 17th century, Shokuru Takeda settled in Arimatsu, a small town on the road to the capital city, Kyoto. There he created Arimmatxu shibori, the now-famous stunning indigo designs expressed on fabric using shibori dye-resist techniques. This book, written in English with many color pictures of this special fabric, tells engaging stories of how and where it came into being and influenced the development of Japanese textile design.
Designs of Chinese Indigo Batik by Pu Lu
(New York: Lee Publishers Group; Beijing, China: New World Press, 1981).
Indigo batik has a long history among the common people of China, particularly in the remote southwestern provinces of Guizhou and Yunnan. It has been an integral part of the social customs and folk art of the area. This book, written in English, details the methods, materials, and history of making Chinese indigo batik. It includes many images of designs used in creating these beautiful and socially significant pieces.
Genshi tennen no nuno = 原始天然の布 by Okamura Kichiemon
(Osaka, Japan: Sansai, 1981).
This elegant two-volume set includes a wide variety of fabric samples, many of them using indigo dye. The captions are written in Japanese. This book will fascinate both artists and scholars.
Jidai Resshu Kasuri = 時代裂集 絣
Peruse a wide selection of ikat textile samples, most of them using indigo dye. The stunning variety of designs is captivating: some are intricate and representational, while others are simple yet graceful. Japanese captions often are paired with English translations. This is a must-see!
Seattle Art Museum acknowledges that we are on the traditional homelands of the Duwamish and the customary territories of the Suquamish and Muckleshoot Peoples. As a cultural and educational institution, we honor our ongoing connection to these communities past, present, and future. We also acknowledge the urban Native peoples from many Nations who call Seattle their home.
PEAGENTS (Continued) Page 2
2. Potassium Hydroxide Stock Solution: Dissolve 100 g of KOV in
distilled water
3. Working Solution: Half an hour before use, mix 20 ml of the indigo-
carmine stock soluti on and 5 al of the potassium hydroxide
solution. On standing, the indigo-carire dye will change from
a deep red to lemon yellow and is then ready toive. Draw 4 ml plus
into the syringe, invert, rid of air bubles, and measure to exactly
4 nl.
PROCEDURE
A standard 300 ml B.O.. bottle is placed in a Pyrex or stainless steel
beaker so that the neck and stopper will be below& the overflow level and is filled
by means of a sample tube extending to Imhe bottom of the bottle. The water samples
should be below room temperature and allowed to run for 10 - 15 minutes.
Slowly withdraw the sample tube, leave the bottle in place and insertthe
tarp}of the syringe into' the bottle as far as possible below the water level., Add
4 Ad of the working indigocarmina reagent Replace the stopper without trapping
air and invert the bottle several times to mix. Place the bottle on a white surface
and estimate the oxygen from the -color according to the comparator or the above table.
1
L. S. Bchoff, N. F. Ingber and J0 H. Brady, "Colorimetric Determination of Low
Concentrations of Dissolved Oxygen in Water,," Anal., Chem. 2?, Ai01 (1955).
She promotes revivals of natural dyes worldwide and researches dyes in historical archives and recovered from shipwrecks. Her collections are held in major UK museums (indigo-dyed textiles from many countries in The Whitworth Art Gallery in Manchester; indigo and other natural dye samples, tools and textile examples from West Africa, Asia and elsewhere in the Department of Economic Botany at Kew, London; and textiles and related artefacts from the Arab World in Oxford's Pitt Rivers Museum).
I love working with students and in Feb 2019 returned to Lasalle College of the Arts in Singapore to be guest lecturer and artist for their first interdisciplinary week, which focused on the colour Blue. There is to be a play about Indigo in London later this year that I am involved in, and apart from the usual lectures I look forward to being keynote lecturer for a natural dye event being planned at Cardiff College School of Art and Design. I am currently preparing for a solo exhibition.
Travelling overland to India and Sri Lanka as a teenager opened my eyes to the richness of textiles and their colours. The first object I ever acquired (in an exchange for a pair of jeans) was an Afghan carpetbag dyed in reds and indigo. In my early twenties I worked and lived in the Arab world where I saw wonderful weaving and dyeing, and in Tunisia I was taught how to weave and use plant dyes by a French nurse who had spent most of her life in North Africa. I was a batik artist, using Procion dyes then, and once back in UK was elected a member of the Devon Guild of Craftsmen.
Indigo is unique in the way it behaves, there is no other natural dye like it. Dyeing with indigo is magical, due to its extraordinary chemistry. The potential of the textile techniques that go with it fascinate me, such as shibhori, batik, block-printing etc. It is a beautiful colour, reflecting the blue planet, and has an incredible history. I love the way it connects the disciplines as well as people, cultures and places across the globe.
There are so many places I loved, as I am a keen traveller. However, looking back - and given the tragedy that has happened since - the visits to Yemen were particularly fascinating, as was travelling in remote parts of southwest China just at the point when the region was opening up to the West. I was bowled over by Bhutan and love travelling in Buddhist countries, and also feel at home in India, especially Bengal and Bangladesh, where I have many friends and where the textiles are outstanding and the indigo story complex.
INDIGO SUTRA began with a dream shared with fellow indigo lover Amrita Mukerji. In 2000 we explored West Bengal in the footsteps of explorer and indigo planter Thomas Machell a century and a half earlier, seeking his former indigo factories and wondering if history could be reversed in a positive way.
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