How to choose a fleece for handspinning

 Blog

Herdwick: cute, but not a fleece for beginners

Buying my first fleeces to process at home for handspinning was hugely exciting. I’d just been to my first meeting of the Mid-Essex Guild of Weavers, Spinners and Dyers and it happened that two of the members were having a fleece sale that day.

I was lucky to have two experienced guild members there to show me how to look over a raw fleece. They unrolled the fleeces and talked me through what I was looking at, pointed out some of the desirable qualities that hand spinners look for in a fleece. Those are attributes like crimp, softness, good lock structure, cleanliness (no straw, grass or poo, etc). More on that later.

The first fleeces I bought were a Hebridean, a Shetland and a Ryeland. Maybe I went a little overboard. It took a lot of work to get the fleeces scoured, dried and ready to spin. And even though I benefited from having some experts on hand to help choose my fleeces, if I were to do it all over again I would have done my homework first.

Before buying a fleece, I recommend reading up on different breeds and the characteristics of their fleece. There are about 60 sheep breeds in the UK alone and all their fleeces are a little different.

Some, like Cotswold, Teeswater, Lincoln, Leicester and Wensleydale–longwool breeds–have fleeces that are more hair-like, lustrous and require some experience to spin.

Then there are the Downs breeds–Southdowns, Oxfords, Hampshires, Dorsets for example–which have dense fleeces with short staple-lengths, but feature lots of crimp and bounce.

Fleece sale!

Then there are the many other breeds that are favourites of hand spinners, like the Shetland, Blue-faced Leicester, Cheviot, Manx Loaghtan and Jacob, which all have their own characteristics. There are also plenty of breeds which aren’t particular favourites of spinners, either because their fleece is too coarse or just not suitable for spinning.

So before jumping in and buying a fleece take a look at some of the books available like Fleece and Fiber Sourcebook or The Spinner’s Book of Fleece to get an idea of what you might like to spin as well as the huge choice available.

There are other questions you want to ask before diving in and buying 4-5 pounds of raw sheep fleece. Are you going to make a worsted or woollen yarn? It will be hard to spin a woollen yarn from a long wool, for example. Which fleeces will best suit your project? Do you want a coloured fleece? How important is softness in your project? Are you looking to create something durable or more lightweight?

What to look for in the fleece

Now that you’ve decided on a breed, what are you looking for when choosing the actual fleece?

Steve Kennett, vice chairman of the Association of Guilds of Weavers, Spinners & Dyers, visited my guild back in September to speak on how to pick out a fleece.

Steve unrolled one of the fleeces supplied by a member and gave a few pointers on picking a good one. It had a lovely staple length, beautiful crimp and was muck and VM-free. Steve held it up to demonstrate how the fleece should be nice and open—like a lace curtain.

Jacob lock from raw fleece. Nice staple length and crimp, no breakage or second cuts

You can see in the photo of the Jacob lock what I mean by crimp. It’s simply the little waves in the wool. Crimp makes wool easy to spin as it twists together and the crimp helps the wool lock together. The rule of thumb goes that the more crimp, the finer the wool. Merino, for example, can have 100 waves (crimps) per inch. Longwools have less crimp and often used by spinners to add texture and lustre to yarn.

Steve Kennett also said to look out for second cuts (short bits the shearer missed on the first pass) felting and second growth—ie when a sheep hasn’t been sheared and begins to grow a second fleece. He recommended taking off a lock of fleece, holding it firmly in one hand and giving it a good tug. If the lock is breaks avoid the fleece as it is brittle, will not be nice to spin and could result in weak yarn.

The best part of the fleece is going to be on the neck, front legs and back (between the shoulders). Fleece on the back is generally good. Fleece from the hind legs is generally coarser and kempy. Steve recommended being picky about fleeces and perhaps buying several, but only using the best bits.

I don’t know if I’d go to the lengths Steve does–buying many fleeces and throwing a lot of it away. If I were to go back in time, I’d probably have started with one fleece (Shetland) and made life easier for myself. If buying a whole fleece is intimidating, get a friend to share one with you.

Starting with a fleece instead of tops or roving is, I think, a great way to learn more about sheep breeds, fiber prep and spinning. Fleece you’ve scoured and prepared yourself is going to feel and spin differently from commercially processed fiber. Some of the women in my guild consider commercial prepared fiber to be “dead”, because they view it as flat and lacking crimp. I agree with that to a certain extent, however I have found that top or roving from smaller mills tends to retain some of the bounce and crimp.

Gotland sheep
Commercial top (l)
Raw fleece (r)

Still it’s an eye-opener when you compare commercially prepared roving with that you’ve cleaned and carded yourself. Take a look at this Gotland fiber. On the left, straight up commercial roving, on the right Gotland right off the sheep. Looks a lot different right? Doesn’t even look like it came from the same breed.

For more information on scouring fleece see these posts: Hot tips for scouring fleece or More hot tips on scouring fleece without soap.

Gift Ideas for the Fiberista

 Sally Williams

 Blog

Rachel suggested we put together a list of fun or useful gifts for the fiber fanatics in your life. Which is funny, because every year before Rachel’s birthday or Christmas I get an email from her husband asking for gift suggestions. In Rachel’s case I’m at an advantage, because we talk about our fiber plans daily, but putting this list together I’m at a disadvantage because nothing on this list is on the list I made for Rachel’s husband! My spinning Guild also has it’s year-end gift exchange in a couple of weeks, so it seems like there’s always an opportunity to buy (or make!) a well-received gift.

Here are some useful tools:

a ball winder

a ball winder with yardage counter

a yardage counter

a swift

Ball winders and swift

a niddy noddy. Make a custom-sized one on the cheap out of PVC.

small scissors

measuring tape

a wraps-per-inch gauge

blocking pins

a diz:

a hackle

a blending board

a dog comb or flick carder for preparing fleece

a few extra bobbins for their spinning wheel. These are always welcome, but be sure you know what kind of wheel your friend has—different manufacturers make different sizes and they’re not always interchangeable.

soap nuts

spinning wheel oil! I’m always having to depend on my fellow Guild members when my wheel starts whining during meetings, because I don’t have a small travel tube of it.

Does your friend weave? How about a travel loom, a pin loom or an inkle loom? There are plenty of instructions online on how to make a PVC inkle loom.

Inkle loom

Does your friend only spin wool or alpaca roving? Maybe a gift of cotton, flax, an interesting synthetic fiber, or silk hankies. Rachel and I have found that spinning different types of fibers really helps with our overall technique. A tip: if you give silk hankies, include a bottle of talcum powder. It smooths over the rough places in your hands and makes mawata spinning a breeze.

Does your friend have a drop spindle? A Turkish drop spindle? There are lots of beautiful hand-made spindles out there. Look on Etsy or search online for hand-crafted spindles.

Turkish spindle

Notions. I love giving and receiving buttons. I find they inspire new projects, and you can usually find designs for anyone’s favorite interests. Etsy is also a great place to find handmade notions and shawl pins, by artists local to your area or from around the world.

Locally crafted ceramic buttons made by beadfreaky that I found on Etsy

A salad spinner. These work great for getting the wet out of small batches of fiber. If you think your recipient will be confused, include a little unwashed fiber in the basket. Another tip: if your friend is in need of a salad spinner for, well, salad, definitely get her two! Thrift stores are a great place to find perfectly good second hand salad spinners for fiber processing.

Knitter’s graph paper. Great for charting things or keeping track of where you are in a pattern (ahem, Rachel). We happen to have a handy-sized Sheep Cabana version available in our brand new Etsy shop:

Sheep Cabana Knitter’s Graph Paper

Books. We are a bit on the fence about books. I like ones that are reference books, stitch dictionaries, and other how-to types.

If your friend really likes making socks, the latest sock-pattern book might be up his alley. I would check out his library first. Your friend’s Ravelry queue or Pinterest boards are also good places to check for favorite designers and designs. Some designers on Ravelry also give the option to gift patterns electronically, which is great. Support your indie designers!

There are some novelty books out there which non-knitters tend to give knitters. Coffee table books, if you will. If you’re tempted by something like that, ask yourself how many faux-taxidermy meerkats or rustic-modern crochet ponchos your friend is going to make. If it’s a resounding “That many!” then go for it. But still: if your friend has an e-reader, consider the e-version of the book.

One last idea is project bags and small notions cases. Lots of people make these, probably people you already know in your Instagram feed.

If I’ve left anything off this list, it’s because it’s on Rachel’s surprise list. However, as far as gift giving goes, if in the long run your recipient would rather have something useful than be surprised, just ask them what they might want! I find that that’s often the most appreciated gift of all.

More hot tips for scouring fleece–without soap

 Rachel Wolcott

 Blog

Soap nuts!

Have you heard of soap nuts? They’re the little glossy shells from the fruits of trees and shrubs of the Sapindus genus. They can be boiled in water to make a liquid soap or popped into a muslin bag and added to laundry. Even though they’re called soap nuts they’re not soap as is commonly known (lye plus fat). Soap nuts are lauded as a non-toxic and sustainable laundry alternative. Oh, and they’re a lot less expensive than commercial detergents.

So what does this have to do with scouring fleece? I started using soap nuts for my family’s laundry mainly because of their eco credentials, but also because they lack the heavy perfumes present in so many commercial detergents. Smelly detergents! Yuck! They worked incredibly well.

I also struggled to find an unscented, eco-friendly detergent to use on fleece and thought the fleece scouring solutions (like Power Scour) on the market to be on the expensive side. When it came to getting ready for a big fleece scouring session I thought, hey, why don’t I try the soap nut liquid on the fleece?

How did it go? Well, it worked.

I made up the soap nut solution–boil 50 grams of soap nuts in 2 litres of water for 10 minutes. Cool. Strain. (50g of soap nuts can make 12 litres soap.)

Bowmont fleece soaking in soap nut solution and hot water

I filled a bucket with very hot water, gently added about 250 ml (roughly 1 cup) soap nut solution and then added my fleece. Immediately I could see the water turing that milky brown colour you get when washing fleece. I let it sit for awhile before draining it and spinning it out in the washing machine.

Yes, I put wet fleece in my washing machine on the spin cycle. It’s the same technique Sally mentioned in her post on scouring fleece. Your fleece won’t felt. If you’re worried about smell you can clean your machine with white vinegar and baking soda. I didn’t have a smell problem.

The next step was to rinse the fleece in hot water. I had a very greasy fleece (Bowmont) and it felt sticky when I took it out of the washing machine. To address this stickiness I added a good dose of white vinegar to the hot water rinse. I figured hey, it won’t hurt the fleece, right? My theory was the acidic vinegar would help reduce the stickiness.

Bowmont fleece drying

When I added the vinegar the fleece fizzed and bloomed, opening up nicely. I let it sit for awhile before spinning it out in the washing machine and spreading it out on a sheet in the garden to dry. There’s no vinegary smell on the fleece either.

It occurred to me that I’d run this experiment on a relatively clean fleece–no muck, negligible VM. What about a muckier one? I found some fleece that needed a little more work, picked out the really gross stuff and soaked it in the soap nut solution and ran it through the same process in the washing machine and vinegar rinse.

Muckier fleece

This fleece is a 3/4 Southdown lamb and not nearly as greasy as the Bowmont. The soap nut and vinegar treatment worked really well.

Getting the dirt out! (3/4 Southdown fleece)

You get through a lot of water when washing fleece. I didn’t want to pour it down the drain and instead used it to water the garden. That’s another benefit of using soap nuts. Yes the water is a bit greasy and mucky, but there isn’t anything harmful to plants or the wider environment in it.

There is another way to wash a fleece without soap–the fermented suint method. Basically the method is: soak your fleece in rainwater until the suint (sheep sweat) ferments creating a kind of soap. I have not tried this method, but I’ve spoken to a few people who swear by it. Although apparently it’s better for low-lanolin fleeces and it’s even smellier than scouring fleece with soap.

Autumn Leaves and Contact Dyeing

 Sally Williams

 Uncategorized

Instructor’s sample of leaf contact dyeing

I had my first Natural Dyeing class at the Oregon College of Art and Craft last week. We started by walking the campus and collecting various autumn flora: fallen oak and maple leaves, pink-backed cherry leaves, fresh comfrey, spotted dying blackberry leaves, walnut hulls, tupelo, madrone and walnut leaves, Indian blood grass, and anything else that caught our eye. The ostensible purpose of this was to collect material to make our own contact dyed projects, but really it was to get us excited about natural dyeing. This time of year in the Pacific Northwest the ground is littered with dyestuffs, and the quick and easy method we learned yielded pattern as well as color.

Once we collected our leaves, we laid them out onto fabric or paper, and either rolled up our fabric tightly around a stick (or for added color, around a rusty iron nail) or accordion folded and clamped for a shibori effect. These packets are then simmered in a water bath for an hour, and then removed and unwrapped.

What I found most interesting about this technique is that there is really very little dye in individual leaves (for the most part tannic acids) but because of the wrapping or clamping, the color can’t migrate anywhere other than onto the fabric or paper. In other words, the opposite of leveling. In a lot of cases, the color transfer is more akin to printing— the fabric or paper is not really dyed per se, but stained or imprinted with the actual leaf color, giving pinks or greens which don’t exist as an actual dye. Our instructor cautioned us as much, saying that these colors will fade with washing or over time. That said, there definitely was dyeing of fabric around the periphery from the tannic acids, and also where the rusty nails provided an iron mordant.

Here is a leaf print where I had an iron plate clamped to the outside of my fabric packet:

Leaf print on silk noil with iron plate

And likewise wrapped around a large rusty nail:

Silk charmeuse leaf print wrapped around iron nail

Here is the difference of the dyestuffs on cellulose. For one, I didn’t get my packet wrapped tightly enough and the colors ran. For another, the yellows and greens remained printed while the tans of the tannic acids didn’t penetrate as much. I expect this to be a function of the density of the cellulose in paper form, and I would expect better tans on cotton yarn:

Wrapped leaf print on paper

This technique also led me to revisit my forays into dyeing with candy. I’d encountered poor results with a lot of candies that contained very little dye. So I tried some candy contact dyeing:

The candy melted pretty quickly, so it was hard to keep the fabric tight, but the dye migrated onto the fabric rather than into the dye pot. I can see some candy-related shibori in my future!

I’d also encountered some inexpensive pomegranates at the grocery store last week, and per Rachel’s last post I bought them for some seasonal dyeing. Pomegranates contain ellegic acid, which are yellow tannins, so I thought this would be a quick way to see what sort of coloring I could get from them:

This is one slice of pomegranate:

Folded and clamped pomegranate slice on silk charmeuse

And here is multiple slices and layers, with the rest of the pomegranate in the dye pot:

Folded and clamped pomegranate on silk noil, over some walnut hull spots

Tight wrapping and clamping is the key to good transfer, but whether you are preserving autumn leaves, testing dyestuff potential, or finding another use for seasonal candy, it’s such a quick and easy technique that it’s definitely worth trying.

Last of the summer dyes

 Rachel Wolcott

 Blog

Marigolds

Autumn has been a mellow affair. Trees are only starting to turn colour and drop leaves. Flowers continue to bloom and there is plenty of natural dye stuff still to be gathered. It’s time to get a basket and take a walk to find some dye stuff to try out now or over the winter.

Coreopsis

I’m drying dahlias, marigolds, calendula and coreopsis from my garden. Acorns and walnuts are both good for dyeing as are sumac leaves, rhubarb roots, carrot tops, willow leaves and bark, chrysanthemums and pine cones. Not all plants will give you color and some that do–especially berries–are not colourfast. Don’t waste your time dyeing with blackberries or beets, for example, because the colour will fade quickly.

Dahlias

Lichen is also an option, but not all lichens give a dye. Sally is planning an in depth post on lichen dyeing so I will just give a few pointers on lichen gathering and preparation. Do your homework before you go out to identify lichens that give a dye. If you’re not sure there is the bleach test. If the lichen turns red when treated with a drop of bleach it should give colour for dyeing. Here is a helpful link on lichen dyeing.

Personally I’ve had no luck with lichen. Any pointers are appreciated!

As Autumn becomes winter there won’t be as much dye stuff around. However ivy berries and leaves might be worth a try along with mahonia berries. And there is always the humble onion skin. It gives a beautiful golden color and is simple to find and use. Other household items that give color include pomegranates and avocados.

For those of you who need help identifying plants I suggest a book that has pictures and descriptions of plants local to you. As Sally found out it’s properly identifying plants and trees is pretty important.

I use River Cottage’s Hedgerow book for identification. Books like the Ashford Book of Dyeing and Jill Goodwin’s A Dyers’ Manual give a lot of information on what colors certain plants give and whether they are color fast.

One other project for the budding natural dyer is to grow your own dye plants. I’ve started madder this year, which I need to re-pot into a larger container. Other flowers like dahlias, marigolds and coreopsis have all given loads of lovely yellows and gold colors this year. They’re all easy to grow and inexpensive. If you have space you might also try woad, indigo, St John’s Wort and safflower. It’s easy to find seeds online or from another natural dyer.

The Science of Dyeing

 Sally Williams

 Blog

What is color? When I studied philosophy as an undergrad, it was always treated as a “secondary quality”, that is, something that’s not intrinsic to the nature of the thing itself. And while it’s true that how we see color is a subjective function of our eyes and processing in our brains, the colors of things is entirely dependent on the physical makeup of those things. When we see color, we are seeing into the atomic and subatomic nature of things. In other words, a tree is green in a forest even if no one’s around.

To understand how color works, you need a little quantum physics. This monograph on color chemistry is concise, well-written, and with a little patience, accessible even for people like me who have only high school level chemistry and physics. If you are at all interested in how dyeing works, it explains everything.

I’m also slogging through this one. It’s highly technical and I can only digest a few pages at a time, but it details all the general information in the first book. If you want more after reading The Chemical History of Color, then this is for you.

To very generally sum up, the visible spectrum that our eyes can detect takes place in a really small range of wavelengths, from red to violet. Everything of shorter wavelength then the red range is the infrared, and everything longer than the violet is the ultraviolet. How these wavelength are generated or influenced happens at the quantum level, with the interactions of the electrons within an atom or a molecule. The electrons need to be understood as waves, not particles as I learned in high school chemistry. There are four or five different models that explain wavelength production, depending on the arrangement of electrons in their shells around the nucleus, and how they combine, or don’t combine with other atoms. What’s neat about all of this is that our eyes are seeing what’s going on at the quantum level! (That’s my take on it. I can’t think of any good reason why humans spend so much time and effort changing the color of things, if not to influence the building blocks of the world itself.)

Natural dyeing shows us that there are some plants and insects that impart good, lasting color, and some that are fugitive. The beginning attempts at synthesizing these color compounds were all trial and error, but now computer modeling can predict what wavelengths a particular molecular configuration should yield, and how to bind it to a particular fiber. It should be noted that two things dyers care about, light-fastness and wash-fastness are two separate issues. Light-fastness depends on the ultra-violet spectrums’s influence, whereas wash-fastness depends on the type of bond with the fiber (for the most part). Ultraviolet wavelengths can greatly influence the visible spectrum. We see this when colors fade in the sunlight. This often comes into play in natural dyeing (with black beans and berries for example)…one of the advantages of synthetic dyes is that they’ve been designed to be less susceptible to this effect. Another advantage of synthetic dyes is their leveling ability, that is, to dye evenly. They’ve been designed to bond weakly with the fiber so that they can actually un-bond and re-bond, rather than strike all at once in a concentrated area. Some of the molecules used to produce color are quite large, especially in the blue range. This is why even when using an acid dye, there is still blue left in the dye bath even though it is fully exhausted. The color producing part of the molecule is so large that it will actually break off from the part that bonds to the fiber during the leveling process. One of the mysteries of indigo is how it’s able to produce a blue color out of a relatively small molecule (there are several theories).

Synthetic dyes are often described as brighter than their natural counterparts. This is because the synthetic dye molecule is emitting a vary narrow, specific wavelength, where a natural dyestuff, as a complex plant material, is emitting a broader range of wavelengths within that color band. Different mordants also affect the color in natural dyeing. The metals used in mordanting not only have the necessary number of electrons in their outer shells to form covalent bonds with the dyestuffs, but of themselves have different wavelength properties…precisely because of how the electrons are composed around the nucleus of the atom. (This website/app of the periodic table is great. It shows everything you might want to know about each element, down to the electron spins in each orbit.)

Color aside, to understand how dyeing works, you need chemistry: the chemistry of the fiber being dyed, and the chemistry of the dye. Here are two excellent blogs that explain the chemistry of synthetic dyeing in simple terms:

Gnomespun Yarns

Paula Burch’s All About Hand Dyeing

Again to sum up, there are different types of bonds that can be formed, and they depend entirely on what you are dyeing: the amino acid chains of proteins, or hydroxide chains of cellulose plant material, maybe a mixture of both in the case of synthetic fibers, (or none of these in the case of polyesters). Animal fibers have positively charged receptor sites, so ionic bonding occurs with acid dyes (and also some hydrogen bonding, which is like ionic bonding but smaller). Plant material’s OH hydroxide chains don’t have the positve charge sites that animal fibers do, so fiber reactive dyes are designed to form covalent bonds, which are very strong, in a basic, rather than acidic bath. Disperse dyes dye plastics at high temperatures and pressures, although there are disperse dyes available for the home dyer that work in the dryer. Direct dyes work through a force called substantivity, and they need to be rather large molecules in order for this force to work. Since they are so large they are not particularly wash fast, and the colors are often duller. They are generally used on plant fibers, and are a component of all-purpose dyes like Rit.

This post by Gnomespun Yarns does a good job explaining the difference between animal fibers and plant fibers, and how it affects dyeing. This one by Paula Burch does a good job explaining the different types of chemical bonds that are made with the various types of synthetic dyes. They are both well written, with nice diagrams, and really explain why it’s important to know the chemistry of what you’re trying to accomplish.

All of this is by way of the next blog post, which is about mordanting. The chemistry of natural dyeing is only very recently becoming well documented, and I’ve found that understanding the technology that succeeds it is the most straightforward way of getting to it’s precursor.

Hot Tips for Scouring Fleece

 Sally Williams

 Blog

Our last Guild meeting was all about scouring fleeces, presented by Cydne Pidgeon.

Tip #1: If you’re going to be scouring a whole fleece, place the fleece in a grocery basket that fits inside a large rectangular storage tub. You can fill your storage tub with hot soapy water and then lower the fleece in the basket. This way the fleece is always supported, even when lifting it back out to drain. You can have a second storage tub with hot rinse water at the ready. As a bonus, you can use your storage tubs for actually storing things when not in use.

Tip #2: Don’t rinse it yet! Spin all that hot soapy water out before you rinse it. Cydne was doing this demonstration outdoors, and she had one of these devices:

This is an electric spinner. The advantage over your top load washer’s spin cycle is that it can go up to 1800 rpm, so it can get all the water out very quickly. It also runs on 110V instead of household appliance 220V, so it’s easy to plug in outside with an extension cord. It has a drain spout on the bottom so you can catch the rinse water, which is advantageous if you have a septic system like I do, so you can divert that grey water out of the sewer and onto your flower beds instead. This nifty device can be purchased here.

Cydne passed around a lock of scoured, spun-out Rambouillet, and it was very clean and almost dry. Since all the soapy water has been removed, there’s only need for one rinse. She spun the fleece in the spinner again after the rinse water, and it was clean, unmatted in any way, and again, almost dry. Fabulous!

Tip#3: If you’re only scouring some locks inside a mesh bag in a smaller bucket, you can still spin between the wash and the rinse…just use a salad spinner. These are readily available at second hand stores, so you don’t have to share with your lettuces.

Tip #4: If you are scouring very fine fiber (like angora), mesh lingerie bags are usually not small enough mesh to keep the fiber in. Bridal veil material is very fine mesh, and you can easily sew up your own bag with a zipper on top.

It’s hot outside. Those fleeces will be cleaned and dried in no time.

Natural dyeing with cotton

 Rachel Wolcott

 Blog

left to right: onion skins, madder, indigo on organic cotton yarn

It’s funny what can get you off and running on a project. Dyeing cotton really wasn’t on my to-do list until I read an article in the Winter 2015 Spin Off where Dye-lishus premordanted cotton sliver was tested and reviewed. My first thought was, what’s the fuss with cotton that would make premordanted sliver desirable? Would it make dyeing easier?

One of the things the Dye-lishus premordanted cotton sliver apparently can do, which home mordanting can’t, is allow the fiber to take acid dyes, which are made for dyeing protein fiber (wool, silk, etc). Dye-lishus’s USP is: you can dye this fiber with anything–acid dye, food colouring, procion dyes–and it will stick.

However, my interest in mordanting my own cotton was stronger than my desire to try out the Dye-lishus fiber. Another day perhaps.

A quick internet search informed me that mordanting cotton for natural dyeing is a two- to three-step process, depending on the kind of cotton used. It’s not complicated. It’s not particularly labor intensive. It’s just one or two more steps than mordanting wool.

There are some important things you should know before mordanting and naturally dyeing cotton.

* Cotton is mordanted with tannic acid, then aluminium acetate. Those are different mordants than the ones used for wool. Both are available from natural dye suppliers.

* Depending on what kind of cotton you’re going to dye, you may want to scour the yarn or sliver. I washed my yarn in very hot water with soda crystals. If you’re using organic cotton, don’t bother with this step.

As with all aspects of natural dyeing–on cotton, wool or otherwise–there are many recipes. I used the simplest one I could find, which happened to be on the Wild Colours site. It has lots of information on natural dyes and mordants.

I used 10 percent of weight of goods (WOG). To mordant 100 grams of fiber and yarn, I used 10 grams of tannic acid and 10 grams of aluminium acetate. It’s worth getting a digital scale to weigh the mordants. Put a clean yogurt pot on the scale, zero it, then tip in your mordant.

Soak your fiber/yarn for a good hour before adding it to a dye pot in which you have dissolved 10 grams of tannic acid. You want there to be enough hot water to cover the fiber and give it a bit of room. No need to heat the pot, just leave it until you’re ready for the next step. I left mine overnight.

Repeat the process, but this time dissolve 10 grams of aluminium acetate and then add your wetted down fiber. Again, you need hot water to dissolve the aluminium acetate, but you don’t need to heat the pot. I left mine to soak overnight in a bucket.

When ready to dye the fiber, make sure to rinse it well to get out any mordant that hasn’t attached to the fiber. Do it now or it makes the fiber a bit chalky after dyeing. Otherwise make sure to rinse your fiber well after dyeing.

I dyed with madder and onion skins, because that’s what I had to hand. I soaked the madder root in hot water overnight. I used 50 percent WOG of madder. Onion skins are very generous in terms of dye yield. I used a few handfuls and that was plenty.

cotton yarn, madder dye bath

Give the madder about an hour to simmer. I strained the root into a jelly bag, which I then returned to the dye pot. It saves you having to pick out little bits of madder from the fiber and makes sure you’re getting your money’s worth from the dyestuff. I fished out the onionskins with a slotted spoon put them in the compost.

Once the fiber was in the dye pots I left them to simmer for about an hour. I then removed them from the heat and left them to cool.

Dye baths made with natural dye stuffs do not exhaust the way acid dye baths do. That means there will appear to be a lot of color left in the dye pot. With acid dyes, you know the dye bath is exhausted when the water is clear. That doesn’t happen with most natural dye stuffs.

madder on cotton sliver

top: cotton sliver, bottom: cotton yarn with onion skins

Rinse your fiber well and leave to dry.

Last, but not remotely least, cotton can be dyed naturally without any mordanting or pretreatment whatsoever. Just make an indigo vat, following Sal’s fabulous fruit vat instructions. Indigo is a substantive dye–like walnuts and lichen–and does not require any mordanting process. Just look at it. Beautiful!

Indigo on cotton yarn (top), wool (middle), sea cell (bottom)

Many ways with warps on a rigid heddle loom

 Rachel Wolcott

 Blog

Getting creative with warp yarns is a great way to make the most out of your rigid heddle loom. Using different coloured and textured yarns in the warp, ordering those yarns in a certain way or not at all will yield different, beautiful results without having to worry too much about pattern.

plain weave plaid

Let’s start with texture and colour. In this sample, I used two smooth yarns and two handspun boucle yarns in the warp. From right to left– black, magenta, then the lighter

boucle and the darker one. For the weft I used the four yarns in the same order to create this nubbly plaid-like sample. Simple to weave, but lots of potential as a cloth. I could easily weave something similar and turn it into a Chanel-style jacket.

Randomly placed many-coloured warp

Next up is a piece I wove

recently entirely out of handspun. The plan was to make the warp yarns the feature. I randomly wound the three colours of yarn—pink, purple, green— onto the warping board. On the weft I used a single colour—a grey mohair and wool handspun with a few dollops of green and yellow as a feature. What I like about how this piece turned out is the strong warp colours slightly muted by the greyish weft. Also the slight unevenness of the handspun give the whole piece a subtle speckled effect.

Choosing handspun or many colours of yarn in the warp is one way to use colour and texture in the warp to great effect. A variation on this theme is the multi-coloured warp. Instead of using a few different coloured yarns in the warp, wind on a neutral coloured warp, carefully remove it and then put it the dye pot and apply colour.

Dyed warp

In this sample, I used a commercial silk warp thread and dyed it with gold, purple, green and a little pink. Woven with a camel/silk handspun, with some saori-style accents, the warp still comes through, but this time with different colour pools.

Dyed warp, Saori-style accents

You could take this technique further and go for an ikat-style weave by tie dyeing the warp or even painting a design onto it, then threading the warp onto the loom. Another approach is to take some self-striping or variegated sock yarn and wind your warp so that the colours sit together. There’s a great description of that technique here.

log cabin weave

Log cabin weave is a rigid heddle loom classic. It’s simple, just alternating blocks of light and dark yarns (LDLDLDLD DLDLDLDL etc) in the warp and then weaving the same way. More about log cabin in my November post.

Using multi-coloured handspun or variegated sock yarns that have less contrast also create a nice effect. Check out this blog post on this variation on log cabin weave. I’ve also seen log cabin done with some saori-style embellishments that look fantastic.

One last technique that emphasizes warp is using the variable dent rigid heddle reed. It’s a reed that allows you to mix up the dent sizes in the reed to then use different weights of yarn. I haven’t tried out this tool myself, but apparently one of the effects you can achieve is a ribbed fabric.

All these techniques bring a lot of interest and texture without having to mess around with pick up sticks. Don’t get me wrong, pick up sticks are great, but don’t think you need to use them to get the most out of your rigid heddle loom.

Some resources for rigid heddle weaving:

Ravelry’s rigid heddle weaving group

Schacht spindle blog

Weavezine

The Indigo Fruit Vat: La Technique

 Sally Williams

 Blog

I recently took a class at the Oregon College of Art and Craft, on how to create a quick, environmentally friendly indigo fruit vat. This method was developed by Michel Garcia, a French chemist, botanist and natural dyer. This post is how to go about it. This other post tells you why it works.

The recipe is very simple: 1 part indigo, 2 parts pickling lime, 3 parts fructose, by weight. If you want to use powdered fructose, you just weigh all your ingredients out on a scale.

We used apple juice— cooked-down, mashed apples in water. Any sweet fruit will work, as will dates, or agave or honey, anything with fructose. The only thing not to use is citrus, which will change the Ph of the solution.

By volume, we filled the stockpots we were using about 1/4-1/3 full, then added warm tap water to about 2/3-3/4 full. From the approximate measurements, you can see that the fruit vat is very forgiving. The apple juice was hot and the tap water warm. A warm vat is desirable, but not over 140F, or the chemical reactions won’t take place. The amount of water is not important, other than to have enough space to dye under, because it must all be done below the surface.

Next the indigo is added. We used 20g of powdered indigo for our stockpot. Since indigo is insoluble, it’s hard to stir in without either agitating (i.e. adding oxygen) the pot quite a bit, or having it sit on the surface. To get around this, we put the indigo and some water in a small mason jar with marbles and shook that mixture around vigorously for a few minutes, essentially making a slurry. That was then carefully poured down the side of the pot, to again, minimize the amount of air being introduced into the vat. Any indigo left in the mason jar was swirled around with more water and added as before.

Then we added the pickling lime, also hydrated with some water, and again, carefully poured down the side of the pot. Since we used 20g of indigo, we used 40g of pickling lime.

Then everything was given a good stir. By this I mean creating a vortex in the center of the pot, but not so much to be adding air back in. Once a good swirl was going, we held our spoons still against the side of the pot and let everything swirl to the center. At this point any oxygen bubbles come to the surface in the center of the pot. This is called the “flower”, and if the vat is working properly it should be a deep blue. The vat itself will be a clear greenish-yellow, and it will form a skin on top.

Indigo fruit vat flower

We let the vats sit about an hour for the fruit solids to settle in the bottom of the pot, and for the reducing process to take place. However, out instructor dipped a piece of cloth into her vat about 5 minutes after she stirred hers, and it was already turning a light blue. It’s very fast!

As for the dyeing itself, it must be done below the surface of the liquid, to keep the oxygen out. The fiber should be wetted in warm water prior to dipping, again, to replace the air molecules in the fiber with water molecules. Dip gently down the side of the pot, and hold underneath for at least three minutes. YES WEAR GLOVES! Indigo doesn’t need a mordant, so you will dye your hands, too. During this time massage the fiber. This helps move the indigo into the fiber. As our instructor described it, “Indigo is a large, slow moving molecule. Give it some help.” Depending on what fiber is being dyed, it may be more or less tolerant of the alkaline solution it’s in. Cotton doesn’t mind, but silk and wool can be damaged from too long of contact— they can lose their luster. This is why traditionally cottons are dyed first, then silks, then wools. As the vat is used, it becomes less effective and also less alkaline. Because of the fiber structure of wool, it requires less of the indigo to achieve good color.

After your three minutes or so, bring the material out of the dye vat, and quickly hold it over another bowl to drip in. Any drips back into the vat also add air. Then you must expose the areas that you wanted dyed to the air, so that the indigo re-oxides and forms it’s electrostatic bond with the fiber. You will see it turn from yellow to green to blue, as this process happens. The rule of thumb is to have to material exposed to the air for at least as long as it was in the vat. If the material doesn’t oxidize, it hasn’t been dyed. The other rule of thumb is that at least three dips into the vat a required to achieve a good color. Each subsequent dip happens in the same way, with airing out in between.

Making sure to air out between the folds for good oxidation

The materials you have dyed will be lighter once they’ve dried, so it’s best to get it darker than the final result you want. Each dip in the vat adds another layer of indigo to the material, so it will be more colorfast than just one dip.

Once the color is to your liking, rinse the material and let dry. If it’s wool or silk, soak in a vinegar/water solution to return the Ph to the liking of the fiber, then soak in a mild soap and water, and rinse. Rinsing is only removing the indigo that didn’t bond to the fiber.

The indigo water that runs off from the dyed material in the vat has been oxidized, so don’t add it back to the vat.

Using an indigo vat can only happen for so long before it stops working. This is not because the indigo is used up, rather, it’s because each “dip” into the dye vat also re-introduces oxygen, so the indigo becomes unavailable again, and there’s not enough fructose left in the vat to get the chemical conversion going again. When you are done for the day, add more fructose to your vat, and you can check the Ph with a Ph test strip. It should be around 9-10. If it’s lower than that, add more pickling lime.

When you want to use your vat next, add more fructose, stir the vat again and let the flower come to the surface. It should be dark blue. If you’ve used the vat a few times and the flower is light blue, you will need to add more indigo.

If you want to dispose of your vat, whisking air (specifically the carbon dioxide in the air) in will turn the pickling lime into calcium carbonate, aka chalk. You can go ahead and water your plants with this. Maybe a nice indigo plant.