Fiber Reactive Tie Dye for Beginners: Soda Ash, Curing and the Foundation
HiChroma: Tie Dye Demystified, Episode 1, Foundations. Brent lays out the four parts every good fiber reactive tie dye rests on: fiber, liquid, activation and cure. He covers why a shirt straight out of the package fails, how to scour blanks in a home washing machine, what Procion dyes are and how they bond to cotton, how strong to mix soda ash and how to apply it after the dye, and how to cure tie dye in an oven in about an hour and a half instead of waiting days. Then the washout, the spinner, the boil out, and an honest read of the finished trip style shirt, including what went wrong with the black. Jon Riley of Trip Team Tie Dye joins at the start.
Tie dye failures: what a failed shirt looks like (0:00)
Brent: Does this shirt look like a failure or a success? A lot of people love this shirt. It's got some really interesting muted colors. It's got some flow. It's a pretty cool shirt. But for me, this was a failure.
Let me show you one more example. I made this shirt last week. I spent probably a couple of hours tying it and a couple of hours dyeing it, and it's a failure. When you look at the white sections on this shirt, that was not my intention. Those should have been HiChroma colors. It's very frustrating. I lost an entire weekend on that shirt. And I know how it feels.
Why I rebuilt my tie dye process from scratch (0:35)
These are actually two of the first shirts I ever made with liquid dye. Really, two of the first shirts I ever made. The Tulip kit, and then I jumped right in. I made these in my kitchen with softened well water, a pre soaked shirt, no thickener, no chemicals, no additives, and I think they look pretty good.
I got into tie dye and got sucked way in, but I look at it as a game, because it's fun and it should be fun. Then I hit a wall. I was working so hard. I was adding so much stuff to high power dyes, Ludigol and Calsolene oil and this and that. How strong could I make it? And it failed miserably. I was going backwards. Then I saw these first two shirts, and I remember talking to Jon Riley and saying, Jon, these are the first two shirts I ever made. Look at them. What am I doing?
So I pulled the plug and rebuilt it from scratch. What we're doing here today is built on the backs of giants. The likes of Paul Kenney, Paula Burch, Mr. Tie Dye. They all worked to elevate this art form by publishing information to make it fun and easy. A lot of what we're seeing here today, my work and a lot of other artists' work, is built on their backs, and this is in that same spirit.
Today you realize everybody is doing it a different way. The Pariah Method was actually known to the older tie dyers who'd been around in the 80s. Several of them knew it, probably the guys who were at the Farm, some of the earliest purveyors of commercial tie dye, or tie dye at Grateful Dead shows. That's what they were doing. They wouldn't tell you any of this stuff, because nobody told anybody anything back then.
Meeting Jon Riley (2:16)
I always believe there's no growth without a little discomfort. A few years ago I heard Jon Riley was going to be at a festival doing a liquid dyeing workshop. I had talked with Jon a couple of times online, but we'd never met in person, and I said, you know what? It's like five hours away, I'll just drive and go meet this guy. I remember the seminar was trip style. I was doing a lot of irrigation at the time and being completely off balance, I was paralyzed. Anyway, I sparked it up with Jon and went to that seminar, and we've developed a pretty good relationship over the years. Jon's been fun, because we can talk about this stuff and I can challenge him, and it's really hard to change and to grow and to try something else. Jon's work was fantastic.
Jon Riley on the HiChroma Framework (3:07)
And funny enough, Jon is with us here today. Jon.
Jon: Hey, Brent. Thanks for having me out. I'm glad to be a part of this.
Brent: How have you found what we've been working on in this framework?
Jon: For me, when I started out listening to what Brent was suggesting, I was resistant. I was definitely resistant to changing things. I was happy with the results I was getting. But then the results Brent was getting with his experiments coaxed me into trying some of the things he was suggesting, and the results won me over. What I'm getting now is HiChroma color, the brightest, most vivid color, the detail, and the control over the piece is the big thing. I feel like I'm really in control. I feel like I'm driving the car. Every time I dye something, it's not an experiment anymore. I feel like I'm really creating something expressive.
Brent: It's been fun to watch. Jon's going to share some great stuff with us this series. We're excited to be here with you, and now we're going to show you the foundations of what all this is built on.
Welcome to HiChroma (4:19)
I'm Brent from Brother Brent's Dyes. Welcome to HiChroma, Demystifying Tie Dye. I've been doing tie dye for a little over four years. I've been completely addicted, completely taken over by it. It's changed my life. It's given me a quiet spot to really enjoy for myself and create. I've been working really hard over the last few years to understand how to make it do what I have in my brain, my vision for what I think is possible. For the last nine months, Jon Riley from Trip Team Tie Dye and I have been pushing the boundaries of understanding and refining everything that goes with it.
We thought about what to do with this great information we have. Rather than just keeping it and making our own tie dye improve and be HiChroma, we want to share it with you. It's based on the foundation of the predecessors who came before us, and we wanted to share that mentality, try to improve tie dye, raise awareness and understanding, and bring a lot of fun back into it. That way tie dye can continue to evolve and improve, in people's understanding of it and appreciation for it as art, because that's how we see it.
The four foundations of tie dye: fiber, liquid, activation, cure (5:33)
This is a working studio. It looks fantastic here today, but this is actually my garage. You're going to see us do unscripted experiments. I'm terrified. But we wanted to make sure you understand that we are real people, we are using this, we're still developing it, and I'm sure we're going to have some failures. What we want to make sure is that we hit that foundation for you, so you understand what's required from a basics perspective, and then we'll teach you some more advanced concepts.
It's fiber, it's liquid, it's activation and it's cure. If you're a baker, you know the best bakers in the world measure by weight, because it's not chance. If I make chocolate chip cookies with a pinch of this and a pinch of that, I might get it right once in a while, but I guarantee you it's not going to be consistent. So we're going to make that foundation consistent, because everything else is built on it. The science is solid, and we're going to show you exactly how to do it.
Why you should never tie dye a shirt straight out of the package (6:31)
The first step of that is fiber. When you pull a shirt out of the package, you can smell it, you can feel it. It's just not right. Shirts today, when they're manufactured, have all kinds of chemicals on them that help them cut it and store it. It's called sizing. If you ever pull a shirt out of the package and try to tie dye it, you're probably going to fail.
This is the foundation. If you're building a house, this is where it all starts, and it has to be perfect. So never pull a shirt out of the package and try to tie dye it. There are PFDs out there, prepared for dye. Maybe eight times out of ten it'll work, and two times it'll fail. So why take the chance?
That is the foundation, so I'm going to show you how to start with fiber. With fiber, what you want to do is remove every impurity that's in that shirt. You want that fiber happy and excited and clean and pure and ready to take on dye. There are a couple of different ways to do that. I'll give you a simple way everybody can do at home, and then I'll hint at some more advanced ways.
Best shirt for tie dye: pick one blank and stick with it (7:35)
The first thing is that every fiber is not the same. What I'm going to talk to you about is cotton. Here's a quick pro tip: do not change your blank, your fiber. Find out what works and stick with it. I lost six months trying to get something to work, thinking it was me or my chemistry, only to find out it was the shirt. It's important to keep those variables tight to create that foundation, because we're setting the controls for the rest, and these can't move.
There are a lot of different shirts out there. It's my belief that a shirt needs to feel as good as it looks, that the energy needs to continue through. So I'm particular, kind of a princess when it comes to t shirts, and I've tried them all. Right now it's the Tultex 290. A lot of people are using this shirt. You don't have to use it, but I know it works. Everybody's using it, and there's a reason, because it's a beautiful shirt. So I recommend trying it. Just try to stay constant. Don't change your shirt. It's a variable you don't want to move.
How to scour shirts for tie dye in a washing machine (8:36)
So I'm going to show you how to do this at home. The easiest way is in your washing machine. But there's one rule. Whatever that last wash is before you dye, there can't be anything in it. No fabric softener, no detergent. It needs to be pure. I learned that lesson as well. For some reason I used to do a last load that had soap in it, only to learn that was not a great idea. I was getting resist from the soap.
Most shirts, like these Tultex, you can get done in your washing machine. Load them in there, but don't overload it. Put it on a hot wash with your standard detergent. Blue Dawn works wonders for everything. Put a little blue Dawn in there and call it a day. You don't need to overcomplicate it. You don't need Synthrapol. You don't need the chemicals they're selling you on the market. Just give it a wash. Don't dry it, leave it in the washing machine. You want to do all of these on a hot cycle. Maybe add an extra rinse cycle, but it's got to be hot water.
The next step: leave it in there. You don't need to dry it. Put in a cup of soda ash, do a hot wash, and that'll fix most shirts. I personally don't dry my shirts after that. I don't want any contamination. I don't want any chance there's fabric softener in the dryer. So I don't even dry mine. I let them air dry, because I also want the feel to be right, and you can tell this fabric is ready to go.
Why we don't pre soak in soda ash (9:55)
Everything we're going to show you today is not pre soak. Pre soak is a great way to get started. It's very easy and very convenient. You put it in soda ash, soak it, dye it, and you don't have to deal with all of this. This is not that. We're going to take it a little more advanced. We're going to apply the soda ash later, and we'll tell you how, but we're not going to apply it before the dye.
What Procion dyes are and how fiber reactive dye bonds to cotton (10:18)
Well, let's talk about these dyes. Everything we're doing in modern tie dye is primarily based on Procion dyes. They were invented in the 50s by ICI, and they are commercial dyes made for textiles. If you go back and look at some of the information Paul Kenney put out, you'll see a lot of what even the Pariah Method was based on came from somebody going to these Procion commercial workshops and then applying it to tie dye. A lot of what I'm doing comes from that. I've done a lot of research and read those research articles, so we're just applying it in a different way.
So what is a Procion dye? A Procion dye is a commercially made dye specifically for natural fibers. Cotton is a natural fiber. Procion dyes do not stain the fabric. They bond with it. Molecularly, they form a covalent bond. So when you finish a tie dye, it's permanent. If you do it right, it's going to stay there. This is the science. It's binary: either the bond forms or it doesn't.
But sitting in here right now is all this dye. It's not bound. It's just floating in that fiber, and we need it to grab and become part of that fiber. How do you do that? You activate it. Again, it's fiber, liquid, activation, cure. Everything you see us do in this series is activating after the dye has been applied, introducing the soda ash with the dye at the same time, or after the dye is in the garment.
Why soda ash matters: how tie dye activation works (11:57)
All right. The dye's in here, it's not bonded. How do we make it form that covalent bond? We have to activate it. We talked about the process being fiber, liquid, activation and curing. So we're going to take this piece that has been dyed and has not been activated, and we're going to demystify activation. There's nothing to be scared about here. Soda ash is an alkali. When you add it to the fiber, it raises the pH. It makes those molecules move around, they get happy, they start dancing, and the Procion dye can come in and form that bond with the fiber.
How strong to mix soda ash for tie dye (12:15)
There are really only a couple of rules with soda ash in my framework. It can't be too weak, you can't be ginger with it, and it has to get where it needs to be. I also use warm soda ash.
Here's how I do soda ash. 200 ml of tap water. Well water doesn't matter. You're just raising pH, so the type of water doesn't matter. 200 ml of warm to hot tap water. This comes out of my tap at about 138 degrees, and I actually think it's warmer when I activate, so it's almost hot. It's not necessary, that's just my style. I feel like it gives you a bit more bite and sets it a lot quicker.
So, very simple: it cannot be weak. I've made that mistake. I've experimented. Weak soda ash will give you weak results. They'll look chalky. It won't be what you want. It will not be HiChroma. I do 50 ml of water to one tablespoon of soda ash. You really can't go too strong. If you go too strong, it'll still be particulate in here when we're done. But it's got to be strong. On a trip style like this I typically won't use 200 ml, but I might today just to show you it can't hurt.
All I do is take my 200 ml of hot water and a quarter cup of soda ash, and add the soda ash in. Just because it's me, I'll stir it up a little to make sure it doesn't clump. Sometimes it sits and clumps up, so give it a stir to keep it moving. You can use a spoon. I've got one of these, it just makes it easy. I want to make sure the soda ash is mixed with that water, and if you mix it long enough, it'll actually turn clear. And that's it. It's mixed up and ready to go.
Soda ash is caustic. Wear gloves. I should have eye protection on. You do not want this on your hands, and you certainly don't want it in your eyes. It's devastating. So please take precautions. If you get it on your skin, wash it off.
So we've got 200 ml of warm soda ash. This is just a dye bottle. I'm going to pour it in. Nothing to be scared of. You can see I didn't mix it enough, there's a little soda ash in the bottom. Not a big deal. It makes no difference.
Soda ash does not move dye (14:54)
So again, we've got strong soda ash, and we've got dye in here with the fiber. We need to activate it. And don't be shy. The soda ash is not going to change anything that's already happening in here. It's not going to move the dye. It's not going to muddle it. There is nothing the soda ash is going to do to change what's already in here. It's going to lock exactly what's in here in place.
My formula for dye, I'm dissolving things at the highest concentration I can before it starts to gloop out. The reason I use urea is it's what they call a hydrotrope. It helps the dye dissolve. Don't skimp on the soda ash. You see people do that. It's not pH, it's the concentration of sodium carbonate.
I did this experiment specifically for this section. This is a tapestry I purposely built to prove that soda ash does not move dye. If you look at my reel on this, you'll see there's all kinds of white, and there's still all kinds of white. It didn't get muddled. The dye didn't get moved. It locked everything in place. There's nothing to be afraid of. You cannot hurt it with soda ash. We have evidence. It's science.
How to apply soda ash to a tie dye (16:03)
So I'm just going to be aggressive with the soda ash. Here's the challenge: don't forget where you started, because sometimes you get so involved that you're like, which one did I do, which one didn't I do? You have to have some kind of system, certainly on this trip style. These are thick. There's a lot going on here, and we want to make sure we get the soda ash all the way to the center. The worst thing we can do right now is not give it enough soda ash, because it won't make it to the core, it won't lock in what's there, and it'll wash out.
So I'm going to start here at the top and give it a good strong dose until it tells me it doesn't want any more, and then maybe a little more just because. You can see how that's fully saturated. That one's done. It's glistening. You can put more on, but it's not really going to do anything. It's already to the center. Then I move on to the next. I tend to go from the top down, to make sure it's driving down the fiber. We'll talk about fluid dynamics in dyeing later, but it makes sure the soda ash makes it all the way to the core, runs down, and it's full.
That one I already did. I didn't remember, so I hit it again. You're not going to hurt it. It's not going to change anything that isn't already there, it's just going to lock it in. So don't fear it. Hit it hard. You want to fill them up, because there's a little air left in there, and you're going to fill that air with soda ash.
That's a key point too, and we'll talk about it when we're dyeing. If you over saturate these with dye, the soda ash won't have a way to get into the fiber. That's a very common mistake, and we'll teach you how to avoid it and how to read it.
So again, I'm just filling it up. That one I hit already, that one I already did, and I'm going to give it the one two. I used to fear this all the time. It was very foreign to me. I thought, why am I going to put all that liquid in there? Liquid's the enemy. Right now it's actually your friend. You can see it changes color just a little. You don't have to be afraid. Just cover it. I always like to see those colors pop out like that, and if we do it right, that's what you're going to see at the end. Look at that aqua in there. Beautiful. And these center sections. Again, you're not going to hurt it. The worst thing you can do is not give it enough soda ash.
How to cure tie dye with heat (18:45)
And that's it. That's activated. The soda ash is in there. But as we talked about, there's a thermal reaction happening. Temperature is a variable. We could let it sit there, but there's a catch: it's not fully bound yet. That's where the cure comes in. We talked about the fiber, the liquid, the activation, which we just did, and now we're going to cure it. Procion dyes cure that covalent bond through temperature. It's a thermal reaction. This is science.
That's why you see ice dyers wait 72 hours, or two days. At some point somebody knew the science, knew it was a thermal reaction, and knew you had to wait a long time if the temperature wasn't up. But because it's science, we can exploit that variable. I'm very impatient. I want to know what it looks like. I want to get it done. I don't want to wait two days, that's too long. I want to see what it did so I can figure out what to do with the next one.
So if you take that thermal variable, how do you speed it up? You add heat. It's science, it's part of the equation. Rather than waiting 72 hours, 36 hours, 24 hours, I'm going to show you how to cure this in an hour. That's really beneficial, because we all want that great dopamine. We want to see what's in there and know what's going on next. I have an oven here in my shop that we're going to use. You can add heat a variety of ways, but we need heat. By adding heat, we can take a reaction that would have taken 36 or 72 hours and condense it, speed it up, so we get those results really quick. It should be fun. I want to see what it is today.
Why a towel and a bag matter when you cure tie dye in the oven (20:34)
When you're tie dyeing and batching, you don't want any excess free flowing liquid, whether that's in the form of Pariah or extra dye. I use a towel for a couple of purposes. One, I'm going to dab it, pat it dry, just to pick up that excess, and I'm going to leave the towel on there. Loose liquid at this point in the process is really bad. It's going to give you bad results. It could cause hydrolysis, and you're not going to like the result. So we keep the towel in there so any runoff has somewhere to go.
The other thing it does is add a thermal buffer. We want the inside of the piece to reach 140 to 145 degrees and stay there for 30 minutes. If you put it in your oven at 180 degrees, your oven might hit 220. Who knows what it's going to hit. It's inconsistent. I've probed this, I've experimented with it, I've graphed it, and it's all over the place. So the towel also creates a thermal blanket.
There are all kinds of charts and graphs that say it takes 10 minutes or 5 minutes. Sure, in theory, in isolation. But think about it: we have a cake here. We need the inside temperature to rise, and there's really only one way to get there. You've got to give it a bunch of heat and you've got to give it some time. I've measured this. You could probably do it in an hour. I do an hour and a half, because I can wait an extra half hour, and in a pinch an hour is there.
So that's ready to go. We've activated it, and now we have to cure it. Simple. I put it in a grocery bag and tie it up. Now we're going to put it in our oven, at roughly 180 degrees, and let it cure, and we'll come back in an hour and a half and show you how to do a washout. We've got the fiber cleaned up, we've got the liquid in there, we've activated it and we've cured it. That is the foundation, and that's how you get great tie dye from a foundational perspective.
How to wash out tie dye (22:35)
This is what we've been waiting for. This is when we get to see what we made. If you're like me, you're impatient, and you want to know what it looks like as quickly as you can. This tie dye has been cured in the oven for an hour and a half, and now we get to see what's inside.
A couple of things to note, because we learned about the chemistry today. There is nothing we can do to this tie dye right now that's going to change what happened. The chemistry is set. The dye that was in there is inactive, because we heated it up to 150 degrees and it becomes inactive. There's no fixative to add after this point. It is set. We cannot hurt it. We can't make it better and we can't make it worse. Our job right now is to get everything that's left in here out, because there's a lot of dye that didn't bond.
If you're impatient like me, you want to know what it looks like right off the bat, so we're just going to untie this and clean it out. Sometimes this takes a while. This is a trip style. These are a lot of fun, because I use them to force creativity and force freedom, so I don't overthink it. They're also really good for fluid dynamics, for trying to understand what's happening inside. I use them for testing all the time because of those thick nubs.
We're almost there. You can already start to see some of that HiChroma come out, so we're starting to get a view. I'm thinking some things right now, but I'm going to keep them to myself, because it's not done yet and I can't make judgments. You cannot judge a tie dye when it's wet. I'm going to try to get as close as we can, though.
Using a spinner and a bucket washer for tie dye washout (24:50)
And we're done. This has been cured in the oven, and we're seeing some really pretty colors. I'm not going to get excited yet, because it's still wet. We can't judge it. I like to get the dye out of here as quickly as I can. Like we talked about, there's nothing I can do to hurt it and nothing I can do to help it.
I use a spinner. You don't have to have a spinner. Everything I'm going to show you with the buckets next, you can do at home. I use a spinner for a couple of reasons. One, I tie dye a lot, and it speeds up the process. You'll see how quickly I get the dye out. Two, these intricate ties are really tough on your arms and your tendons. Speaking from experience. I try to limit the strain on my body, because I want to do this for a long time, so I don't want to do all that wringing.
That's always a fun part, seeing it wet before we spin it, so I'm getting really excited. Black's a really tough color, and we're getting some strong blacks here. I see a couple of warning signs we'll teach you about, but overall I'm seeing a lot of really exciting stuff. But it's not done. So I'm going to put it in the spinner as it is, and we get to see a nice poof of dye come out. We're just waiting for the last bit of dye to come out, and then we'll see what we have.
It's always the fun part. You're going to cry or you're going to smile. Here we go. Here's what we're starting to see from this trip style. It's still wet and still dirty. I'd say maybe we're at 80% of what we're going to see. From here I'm going to give it a little extra rinse, because I'm impatient. To this point it has had no soap. Again, we come back to our blue Dawn. I have a bucket with just a little water, and I'm going to give it one more wash.
Very low tech. This is a bucket washer. You can get these on Amazon, and they've been around a long time. In a five gallon bucket it'll save your arms a lot of energy and speed the process up. It's just a big low tech agitator. Again, you don't have to use fancy tools. You could use a plunger if you wanted to. It just gives it a little agitation. And again, there's nothing we can do to destroy this dye. It is what it is. Then I'm going to rinse that out and give it another spin, because I want to get it closer to the final product.
At this point I'll probably turn it inside out so we can really see what the other side looks like. We do these inside out for a reason: it evens out the difference between the layers of fiber, smooths it out, so you really see what's happening on the other side. And that's it. We did our second spin, I sent a little more water through it just to force it along, and I'd say this is probably 85% clean. I see things on this shirt I like and things I don't like, and we'll come back and talk about that later. Still pretty cool. HiChroma black is a challenge, and we'll show you why later.
Boiling tie dye to remove unbound dye (28:17)
From here, again, there's nothing we can do to hurt it. All we want is to get all the dye in here that doesn't belong, that isn't bound, out, because there's no halfway in binding. The quickest way I do that is to boil these. The last thing I want when I give a shirt to a friend, or sell a shirt, or wear a shirt, is for it to fade or leach. I've seen this at shows: it rains, people walk around with dye running down them, and we don't want that to happen. So whatever is in here that doesn't belong, we're going to force out, and the quickest way to do that is by boiling it. I'm going to take this inside, show you how to boil it, and then we'll come back and show you the final product.
Final wash and drying tie dye (29:39)
So we just finished our 20 minute boil out, and we're starting to see some great colors. We're going to give it another spin to get the excess water out. Because I gave it a sink rinse, there will still be a little color in there, but for the most part it's going to be pretty clean. At this point I'd say it's about 95% of the final product. It's wet, so it isn't completely done, but we're starting to see what it's going to look like.
Really interesting stuff on here. We're working on black right now, so we'll see it dry and talk about some of what's going on here. We're also trying a new aqua on this one, so right during this filming we're experimenting as we go.
From here, all that's left is to put it in the washing machine. One more wash on hot with your standard detergent. You can use fabric softener, dry it and wear it. Just a little bit of advice: I personally never dry my garments completely. I usually do about two thirds, because I don't want them to shrink. They shouldn't shrink, but I also think a dryer is really tough on tie dye, that hot air. We boiled it, so everything else is pretty bulletproof. I just don't like dryers very much. So we're going to wash it, dry it, and come back and show you what it looks like.
Reading the finished shirt: black, white spots and too much dye (31:19)
So now we've got it out of the washer and dryer, and we're going to see the final result. Again, you really don't know until it's clean and dry. This is the shirt we made. As a reminder, this is a working studio. Everything you're going to see in this series is made on site, and we're playing open kimono. Some really, really good things here, and a few things I want to talk about. There's the front. Let's take a look at the back. Lots of interesting things.
Because this is a live working studio, I want to talk about a few areas on this shirt, because we're working on some very specific things. The first is black. Black is one of the most difficult colors. I'd say black and yellow are my most difficult colors. Black particularly, because if you look very closely, you're seeing a bunch of different shades of black.
And let's talk about these white sections. This was not under saturation. What's going on here is there was too much dye mass, too much liquid, everything in that section. There's so much fluid, it's moving around and it can't bind. It'll give you a false read where you think, well, I didn't give it enough black. Actually the problem is you gave it too much black. We'll talk about that later in the series.
We're working on some new colors. This aqua right here is something new we're working on. This is the first time we've used it, and it's good. I'd say we probably want to darken it up a bit, give it a bit more hue, but there's a lot to like on this shirt. The yellows are working real good, the reds, the blues. Not bad for doing it live with all of you. So what are we going to do with this? We're going to take these results and ask what the heck happened with the black. We'll probably do another one like it and try to refine those areas. But that's the shirt we made, and there you have it.
Next episode: irrigation tie dye (32:58)
We showed you the entire foundation of what we're going to work on the rest of this series. We talked about fiber, liquid, activation and curing, and we did it in an afternoon. It didn't take us days. We could be wearing that shirt tonight if we wanted to.
I'm really excited about next episode. I get to talk about irrigation. It's a form of tie dye I've spent a lot of time in, and I've learned a lot about it. I think you have to approach it a little differently than others, but I can tell you exactly how it works. It's quick, it's fun, you get that dopamine really quickly, and you get to create really fast. By the end of it, I think everybody can be making great tie dye in their sink at home. And we'll see you next episode.
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