On Christmas Eve my family went sledding on a snow, icy hill in New Hampshire. My sister Denise captured these beautiful images of Queen Anne’s Lace encased in ice after an ice storm.
You can see the seed heads at the tops of the plant stalks, still standing despite the weather. Here are a couple close-ups:
If you read my post about the tannin-iron-madder experiment, you may have noticed that I divided the original dyebath in half. I didn’t explain why at the time. My rationale was this: I worried that the iron would affect the subsequent colors I got from the exhausted dyebath.
For the rest of the experiment, I prepared small pieces of cotton cloth with three different treatments, which I’ll describe below.
You can read my original post here for a description of how I made the madder dyebath and prepared the fiber.
Usually when I’m extracting madder roots, I use calcium carbonate and soda ash to make the water mineral-rich and alkaline. The soda ash is inspired by a comment by Rita Buchanan in A Weaver’s Garden that “the pigment alizarin dissolves better in alkaline solutions.” In Jim Liles’ recipe for “Amish Madder Purple” he directs you to use calcium or chalk in the dyebath (though he specifies calcium acetate). He doesn’t mention pH, so for that sample I didn’t mess with the pH (which was 7). Continue reading “More Madder on Cotton”
I have often joked that using black walnut hulls on white wool is perhaps not the best use of my time. Black walnut hulls make various lovely shades of brown, but there are plenty of brown sheep.
Dyeing cotton brown, on the other hand, makes sense. There are naturally brown cottons, but they are not commonplace. Sally Fox has spent many years breeding naturally colored cottons in a range of beautiful colors, which you can see for sale here. However, most of the cotton that’s available at the moment is white.
Using the same heavy cotton twill samples that I used for the tannin-iron-madder and tannin-copper-weld experiment, I ran some samples with black walnut hulls. I should note that black walnut itself is a source of tannin, so the tannin step at the beginning was probably redundant. However, for this series of experiments, I treated the whole piece of cloth with tannin originally before I cut it up for samples. Continue reading “Tannin and Black Walnut on Cotton”
As I mentioned in my last post, tannin is an important component when dyeing cotton. The same week that I ran my tannin-iron-madder experiment, I also made this lovely color with a tannin-copper-weld sequence:
Way back in December, around the time of the winter solstice, I ran some dyeing experiments with heavy cotton twill cloth. I have had some frustrations with cotton over the years, some of which I’ve documented here on this blog. On cotton yarns and cloth, I often get colors that are much lighter than I want, or a different shade than I was expecting.
Nevertheless, there are some colors and techniques that have always intrigued me. So in December I tried a recipe for “Amish Madder Purple” from Jim Liles’ book The Art and Craft of Natural Dyeing.
Cotton, like other plant-derived fibers, is primarily composed of cellulose. Cellulose is harder to dye with natural dyes than protein fibers. Protein fibers come from animals, for example: wool from sheep, mohair from Angora goats, alpaca from alpacas, llama from llamas, and angora from rabbits. Plant fibers can come from a wide range of sources, such as cotton, linen (from flax), hemp, and ramie (from a type of nettle). Continue reading “Tannin, Iron and Madder on Cotton”
Back in the fall of 2016, I was registered for a class on 18th and 19th century handwoven textiles with Marjie Thompson. Each of us in the workshop was going to set up a loom ahead of time with a specific pattern. We’d bring our looms to the workshop and, during the weekend, we would all go around and weave a sample on each person’s loom. By the end of the weekend we would have lots of samples of different patterns. I was very excited. (12/31/2023 Edited: Once in a while I get an email inquiring about this Leisey Star pattern. Here are a few links to get you connected with Marjie Thompson and her publications if you’re looking for more information. Library Thing, Complex Weavers, and NEWS Instructors bio. Here’s a link to a PDF with several drafts of Leisey’s patterns by the inimitable and beloved late Ute Bargmann).
I got my draft in the mail. A draft is the plan for a weaving project that tells you how to set up your loom to weave that particular design. I wound the warp, threaded my loom, organized the tie-up, wove a sample, and then got sick. I wasn’t able to attend the actual workshop.
The pattern I was given is called Leisey Star. The weave structure is known as “Star Work.” My specific pattern came from the manuscript of Henry Leisey in the collection of the Landis Valley Farm Museum in Lancaster, PA. I was excited to get this pattern because Landis Valley was one of the first places that I bought fiber flax seed from years ago, through their heirloom seed project. Continue reading “Weaving Star Work”
Here’s another reflection on the fascinating intricacies of plant-insect relationships.
Way back in April, I was prepping some beds to plant woad at our Amethyst Brook community garden plot. I noticed this egg case on a hyssop plant:
I was pretty sure it was a praying mantis egg case. Several year ago, a parent in my class at school brought us a praying mantis egg case to observe. She told us to leave it in a glass jar in the garden shed all winter. In the spring when it started to warm up, we brought the jar into the classroom. Continue reading “Praying Mantis Egg Cases”
One of the things I love about dyeing with plants is that plants are amazing and awe-inspiring in so many other ways, too. First of all, they create their own food from energy from the sun, and provide all of us oxygen-breathers and plant-consumers with life and sustenance. For that alone I am so grateful. And that’s just the tip of the iceberg of amazing things about plants!
They are an integral part of complex inter-relationships that are not always obvious at my human eye level. I catch glimpses of some of these sometimes while I walk in the fields and woods, or when I garden. It makes me realize how much I don’t know about the intricate network of relationships between plants, animals, and microorganisms that are going on around me all the time. Continue reading “Goldenrod Ball Galls”
In this post I will describe more details about the dyebaths we made at the Inside-Outside Conference in Keene on October 21st. We ran four dyebaths with madder root, marigolds, weld, and orange cosmos. As usual when I am running or leading an event, I didn’t get any photos. Hopefully the notes provided here will be useful even if they are lacking in visual information.
First of all, the fiber we were dyeing was woolen yarn. We dyed four skeins, each of which was 4 oz. I had pre-mordanted the skeins many weeks earlier with aluminum sulfate at a rate of 2 Tbsp. per 8 oz. (2 skeins could fit in a pot). The skeins had dried in the meanwhile, and had been soaked in water on the day of the workshop to “wet them out”, i.e. make sure they were thoroughly wet before dyeing. Continue reading “Inside-Outside Part Two”
On October 21st, 2017 I presented a workshop on growing and using dye plants with kids at the Inside-Outside Conference in Keene, NH. The conference was a collaboration of several local organizations, including Antioch University New England, the Monadnock Region Placed-Based Education Committee, the Harris Center for Conservation Education, the Caterpillar Lab, Symonds Elementary School (where the conference was held), and the Keene School District. The theme was “Promising Practices in Nature- and Place-Based Elementary Education.” You can view the brochure by clicking this link Inside Outside 091817.
The audience was K-6 educators from a variety of educational settings. I don’t mention this very often on this blog, but I actually am a teacher! I co-teach in a combined first and second grade at the Common School in Amherst, MA, where I’ve been working since 2004. Most of the time, I am in the classroom doing all the usual academic things: reading, writing, word study, math, science, social studies, arts and crafts. I do fiber and dye projects with kids when I can, and the rest of the time I squeeze it in on weekends and vacations. Continue reading “Inside-Outside”
