Andrea Mowry and Color Confidence

 Blog

Last October I took a class from Andrea Mowry, of the popular “Fade” patterns on Ravelry, called “Color Confidence”. The class was paid for by a scholarship from my Guild, one of the great benefits of being a member. Her color change patterns are similar to an ombre, but instead of going from light to dark, they go from one color to another. My hope was to learn through her color combination techniques, ways to use various 4oz braids that we all seem to purchase without necessarily having any plan for. Her patterns primarily use the speckled, hand-painted yarns that are so popular right now, but there is a lot of handspun that also ends up being colorfully variegated, so my thought was that handspun would be a reasonable substitution.

Speckled commercial yarns; hand-dyed handspun yanrs

The first part of the class was learning how to do two-color brioche knitting, which is one of her favorite techniques. Although it involves brioche-specific stitch names, once you get the hang of it it’s fairly easy to see how it works, especially if you are using dissimilar colors. It also helped that Andrea was a good, patient teacher! If you think you might be interested in learning the brioche stitch, I would recommend actually taking a class. You will end up with a lightweight, two-sided fabric, with the background color having the effect of “muting” the foreground color.

Brioche stitch side A

Brioche stitch side B

The rest of the class focused on Andrea’s techniques for combining color, or in her words, “painting with yarn”. The first technique she discussed was the marled effect you can get by simply holding two strands of different yarn together and knitting. This look seems to go in and out of fashion, but it’s been very popular in Vogue Knitting for the past several years, and it is an interesting way to do optical blending. This is also easy to replicate with a two-ply barber pole handspun.

Vogue Knitting Late Winter 2017

She then discussed color pooling, and how she breaks up the occasional patches of color that can show up in odd places in your knitting. She is a big fan of using textured stitches, like garter stitch and lace patterns, to visually visually break up the pooling. We knit some samples of two yarns held together in garter stitch, and I chose a solid red and a red-with-lots-of-other-bits-of-color handspun, and I was surprised how much the garter stitch toned down all the other colors. Visually the swatch looked mostly red. After thinking about it, I shouldn’t have been so surprised: a yarn that’s 100% red combined with a yarn that’s 50% red will end up looking 75% red. Combining that with garter stitch, where you are basically seeing only every other row, and of course it will tone down the variegation dramatically.

We then talked about color value, or where a particular color falls on a greyscale. For colorwork such as Fair Isle or mosaic knitting, Andrea recommended having high contrast in value, otherwise the finished motif will look “muddy”. For her Fade technique she recommends using a low contrast in value. When considering whether the colors you like actually work together as far as value, she showed us that by taking a black-and-white picture of your fiber on your cell phone, you can easily see if you’ve got a high or low contrast, because the photo will take away the hue and leave only the value. When Andrea picks yarns for her Fade patterns, she is looking for a greyscale gradient.

Natural-dyed and ice-dyed yarns

The same yarns in greyscale

Finally, she discussed how she transitions from one color to the next. She recommends using yarn from the same dyer when you first start trying her patterns, because you will be able to find families of color combinations to help your Fade blend smoothly. If you are the dyer, so much the better! One of her techniques is to use the Fibonacci sequence to gradually decrease one color and increase the next color, rather than just dropping one color and starting the next.

An example of the Fibonacci sequence, Vogue Knitting Early Fall 2017

Reverse stockinette stitch will hide lines between color changes more easily than regular stockinette. Adding mohair or another fiber with halo will help blur or “fuzz out” color changes. And finally, you can always Fade into a neutral!

For me, the biggest tip was her advice, when choosing colors, to pick something that will look good with your skin tone at the part that’s going to be up by your face. That way your finished project will look good on you, and you will still have the freedom to experiment with colors that you wouldn’t normally think you can wear.

Taking this class really made me consider the role that stitch texture and the physical structure of the yarn being used plays in the perception of color, which I will definitely keep in mind for future projects. Added to that, Andrea was charming and generous with her knowledge: if you are a class-taking sort of person, I would certainly recommend her.

Knit your own adventure: swatching, gauge and EPS

 Rachel Wolcott

 Blog

When Tricia Holman visited my Guild to give a talk and workshop I didn’t think much of it. I knew Tricia carries on a knitting tradition begun by her aunt Elizabeth Zimmermann (EZ). What I couldn’t have known is how much my knitting would change as a result.

Tricia visited the Guild in February with piles of beautiful and creatively constructed garments and hats to discuss how her aunt’s approach to knitting influenced her own designs.

EZ, known as the grandmother of American knitting, is famous for her newsletters, a mathematical approach to knitting called Elizabeth’s Percentage System (EPS) and the “Surprise Jacket” patterns.

Tricia noted that EZ’s knitting was deeply influenced by European traditions and that she was an advocate of Continental-style knitting (picking instead of throwing the yarn). EZ did not like purling and opted for knitting in the round or garter stitch patterns like the surprise jackets that have become a favourite with knitters around the world. That’s something else niece and aunt share.

“I don’t like purling or sewing up. There are some who like it. What is so special about the surprise jacket is it’s really knitted origami,” said Tricia as she demonstrated how a single piece of knitted fabric could be folded into the surprise jacket. The guild members tittered in delight.

Swatching is not for dummies

If EZ wasn’t a fan of purling or sewing up she certainly was a fan of swatching and test knits. If you’ve seen her Knitting Workshop DVD there are some Sasha dolls on the set sporting little sweaters and hats. EZ herself is surrounded by balls of yarn and swatches.

That’s because for EZ gauge is everything. That and figuring out how to knit smarter—bending the knit to her vision instead of the other way around. Again her niece Tricia has taken her aunt’s what-if attitude. Through swatching and testing she has her own EZ-inspired designs.

Tricia had many sizes and variations of the surprise jacket on show—from “very large nephew” size to tiny ones modelled by teddy bears. They showed the jacket’s flexibility. Just change the number of stitches or the gauge to change the size.

little bear jacket

At the workshop Tricia had us do a teddy bear-sized surprise jacket. I’ve knit a surprise jacket before and I still screwed it up. But if you’re only working on a mini version, then it doesn’t matter so much when you need to start over. Also, you can learn the technique before you jump in to start the real thing.

Tricia’s other top tip was to make a swatch hat. Want to try out a new idea? Why not make a hat to see if it works. It’s a technique Tricia used for her own patterns including her Spiral Sweater.

Knitting for spinners

Tricia is a spinner and says, “I get lots of wool as a spinner and then you’re on your own with patterns. That’s where the Elizabeth Percentage System is great. I can’t answer how much wool you will need but if you’re a spinner you can always spin some more.”

The Percentage System is a calculation for sizing garments based on gauge and desired body circumference. “EPS” consists of a simple mathematical formula to determine how many stitches to cast on for a sweater, based on chest circumference and the assumption that sleeves and body are usually proportionate no matter what yarn or gauge is used.

Tricia’s message to spinners who knit was, you don’t need to follow patterns slavishly or be put off by sewing up (or even purling!). With a little imagination and some simple math you can easily make yourself a sweater that fits.

Choose your own knitting adventure

Cuff with peerie flowers

Many of EZ’s patterns are based on EPS and are sort of a choose your adventure approach to knitting. She gives you a map. You do the rest. It will all work out fine–if you swatch.

Knitting without a pattern had been out of the question for me, mainly because of lack of confidence, due to a longstanding laziness about swatching. I rarely swatched. I now realise that was dumb–especially for a spinner who knits.

After a couple of hours with Tricia I was raring to go. I busted out my EZ’s Knitting Workshop DVD, my copy of the Opinionated Knitter and some yarn that had been lingering in my stash way too long.

casting on the body

I cast on the body, did a little leaf fair isle pattern (more stash yarn!). Now I’ve done the body and a sleeve. Once I get another sleeve knitted then it will be time to dive into the yoke knitting. I love yoke sweaters and am excited for this step. Still thinking about what kind of pattern to use.

In anticipation of my next EPS knit, I’m spinning up some yarn for a Gansey. Now that I know I can choose my own knitting adventure based on the gauge of the yarn I’ve made, well the possibilities are endless! Yay.

But how much mordant do you really need?

 Sally Williams

 Blog

This is THE question, isn’t it? I think a lot of people, myself included, just start with a formula they find somewhere but don’t take the time to test it against other options. The good news is, I’ve done a test for you. I’ve done a mordant strength test with aluminum acetate previously; this is a mordant strength test with potassium aluminum sulfate, aka, alum mordant for protein fibers.

My underlying question in doing this experiment is how best to handle wool, alpaca and silk blend roving— how much heat, agitation, time and mordant gives the best result? And do I need to use cream of tartar (potassium bitartrate)? My preferred outcome will be good color uptake while still having a nice hand and easy spinability.

The first recipe I came across was from John and Margaret Cannon in Dye Plants and dyeing, which uses 18% WOF alum and 6% WOF cream of tartar. I started using it and had good results, but in my natural dye class we use 10-15% alum with no cream of tartar. I usually bring my mordant bath up to temperature (about 160-170F), turn off the heat, and let my fiber sit overnight. In class (where we generally use fabric samples, not yarn or roving) the fiber is at constant temperature for an hour (170F or so— not boiling, but steam coming off the water) and then removed and rinsed. The least amount of alum mordant I’ve seen used is from Jenny Dean, just 8%, but with 6% cream of tartar.

This experiment is my fairly best comparison of apples to apples to apples, starting at the low end of 8% alum, ending at the high end of 18%, and splitting the difference at 13%. All mordant strengths are tested with and without cream of tartar, and processed at heat (170F) for one hour, or brought up to heat and then turned off and let sit overnight, for a total of 12 different samples. Both wool, silk, wool/silk blends and a silk/plant fiber blend were sampled, in the form of fabric and also commercially prepared organic undyed yarn. All samples of the same mordant bath were processed together, and all samples were wetted out for at least an hour. In the end, ALL of the samples went into the SAME dyepot of 20% WOF cochineal, a good strong dyepot, with the hopes of disambiguation.

There were some interesting results!

Even before I mordanted anything, the visual difference between the alum with/alum without cream of tartar bath was obvious. With cream of tarar, the bath was clear. Without, it had a cloudy, milky look. This persisted after the fiber was removed from the mordant bath. The ph of each bath remained the same, about 3-4.

After I’d mordanted my samples, but before I’d dyed anything, I tested the hand, or feel, of all my samples— the common complaint about increased alum strength is that is can make the fibers feel “sticky”. With all of my wool samples, regardless of alum%, those without the cream of tartar felt coarser. The yarn especially felt sticky without cream of tartar. On the silk noil samples, the samples WITH cream of tartar at 8% mordant strength had a more noticeable yellow cast . The hand of the silk noil and habotai were not discernibly different, but the silk-faced plant blend and the wool/silk were definitely smoother/nicer with the 6% cream of tartar.

So what about the color? Take a look! These samples are all laid out in a 4×3 grid as follows:

8% 1hr, 8%/6% cream of tartar 1hr, 8% overnight, 8%/6% overnight

13% 1hr, 13%/6% 1hr, 13% overnight, 13%/6% overnight

18% 1hr, 18%/6% 1hr, 18% overnight, 18%/6% overnight

Silk/hemp blend— my “control”. In real life I’d use aluminum acetate to mordant this.

Silk habotai. The cream of tartar definitely helps the dye uptake, especially noticeable at the lowest strength mordant.

Silk noil. The unevenness of color I attribute to not enough wetting out time. In the future anything with silk will soak overnight.

This is a thin 60%silk/40% wool twill. I was surprised that I liked the 18%/6% 1hr mordant the best.

Medium weight wool challis. Not as great a difference between the 13% and 18% mordant strengths as on the silks.

Commercially prepared undyed organic merino yarn. I didn’t scour it, and I should have! I think the color uptake at all mordant strengths would have been much better. The 18% overnight skein is missing— I ran out of yarn.

Takeaways:

Its pretty clear that more mordant equals more dye uptake. This was a strong dyebath, with plenty of color left over (I dyed several more yards of fabric afterwards with the leftover bath). Between 13% and 18% the difference isn’t as stark as at 8%, so I might do an additional test at 15%WOF and see if I can see a big enough difference to merit the additional mordant.

It’s not so clear in the photos, but the samples mordanted on heat for one hour had a nicer, more even color than the ones brought up to temperature and then left to cool overnight. This surprised me. In the future I will probably keep on heat for one hour, then let cool naturally before removing the fiber. This has also dissuaded me from trying a recipe I found on the internet for mordanting in cold water!

I will definitely be wettting out silks overnight, and scour any fiber I haven’t already prepped myself. I will use cream of tartar, for both mordant uptake and nicer hand. The final test, of course, is a light-fast test. My hypothesis is that the higher mordant strength will be more fast.

Light-fast test in progress.

At this point I’m of the opinion that the prep work, from scouring through mordanting, is the key to nicely dyed fiber. The dye bath is basically proving how good a job I’ve done. A stronger dye bath won’t produce any more color than the amount of mordant bonded to the fiber. This test was done with cochineal, which won’t dye without some sort of mordant; if I was dyeing with something substantive like onion skin, the extra mordant strength may be unnecessary.

I hope this helps answer the question of how much mordant *you* really need: by all means, do your own experiments!

Small: three ways to make yarn without a spindle or wheel

 Rachel Wolcott

 Blog

Small

This post is part of our series about small things you can make with what you’ve got to hand. Projects don’t always have to be big, complicated and involve buying lots of new and possibly expensive materials.

Let’s start with yarn. Making yarn might seem daunting but the truth is there are lots of simple ways to make it. You don’t need any special equipment to make yarn. Just scissors and maybe some handcards.

sock becomes yarn

Rag yarn

Let’s start with some old socks. You know the ones where the heels and toes have worn out but the rest of the sock is fine and even made out of some warm fluffy material? Do you throw these away? Or make them into yarn?

Start at the cuff and cut a spiral around and around the sock, avoiding bits that are worn.

It knits up nicely

This yarn can be knit up, but unless you have lots of identical socks you’re not going to get tons of yarn from a pair. I would use this yarn for rag weaving. (future post!)

Obviously you can cut up any fabric and make it into yarn. There’s a cool Saori-made tool called a Sakiori cutter designed specifically to cut fabric into long strips for weaving.

Silk hankies

a dyed silk hanky

Silk hankies are squares made of cocoons that have been softened and then stretched onto a frame-layer upon layer. The hankies can be dyed and spun, but you can also use them for paper making or felting.

knitted silk hanky–no spinning

You can also knit straight from the hanky–no spinning! There are a lot of great youtube videos on silk hanky and silk cocoon uses. I’ve made a pinterest board showing some of them. Here’s a video on how to knit from the silk hankies–featuring a cat.

Silk hankies are cheaper than most silk you can buy to spin. You can even make your own. Here’s another helpful video if that’s something you’d like to try.

Finger-twisted ‘pencil’ roving

You don’t need to spin wool to make it into yarn. There are lots of roving-like (unspun) yarns on the market. Noro does one called Rainbow Roll. So does Alafoss an Icelandic yarn brand. It’s called Plotulopi. You can easily make your own using the finger twisting method or simply by pulling some combed wool through a diz.

I used my handcards to make some rolags which I then pulled out into a long, thin rope. You can knit right away, adding a little twist with your fingers as you go. Don’t worry if the yarn breaks. You can reattach it simply by twisting or rolling the two ends together with your fingers.

rolag rolled into a ball

Surface Design with Natural Dyes

 Sally Williams

 Blog

Rachel: “I found these cute block-printed throw pillows I want to make. How can I do that with natural dyes?”

I’m mostly a spinner and knitter, but in the natural dye classes that I attend at OCAC, there are a lot of people who focus on textiles. We’ve used a simple technique to get a lot of different results, and it’s really a lot of fun.

You will need the items you wish to print with: print blocks, stencils, potato stamps, paintbrushes, silkscreens, or anything else, and a few pieces of equipment: a blender, a steamer, an old bedsheet, and gum tragacanth. Gum tragacanth is a natural product that is most often used making fondant for cakes. Here it’s used as a “sticking” medium. What’s good about gum trag vs. other similar products is that it doesn’t interfere with or change the color of your dyestuff.

The technique: mix up some gum trag and water in a blender. Say, 1/4 C gum trag and twice a much water. You will hear and feel the mixture get thicker after about thirty seconds. If it’s too thick, add more water. If it still seems a little runny, let it sit for a bit, it thickens over time. Don’t mix more than you’ll need for your project at hand, because it only lasts about a day in the refrigerator. (Obviously it will be easier to judge once you’ve done it, but a little medium goes a long way.) You will want it thick enough to adhere to your stamps, but not so thick that you lose definition. If you’re silkscreening, you’ll want the thickness of silkscreen ink. Make some practice stamps before you commit to your fabric!

Mordant Printing

You can mix a mordant into your gum trag mixture. We used very small amounts of copper and iron, and a slightly less small amount of alum during our classes.

Gum trag with mordants

Here is a thread spool print with copper mordant:

Here I’ve printed on a silk scarf previously dipped in indigo with alum, using a feather for my print:

Here I’ve used an iron mordant on silk noil, again with feathers. I used an old paintbrush to apply the mordant mixture:

Discharge Printing

You can mix and acid or a base into your medium to discharge color on an already dyed piece.

Gum trag with soda ash

Here I tried using soda ash to shift the color on a pisolithus mushroom-dyed piece of silk:

Here I’ve used tartaric acid to discharge the logwood dye on silk organza:

You can do combinations of these techniques:

Discharging with a print block

And printing with an iron mordant

How to set your prints:

Lay out your dried fabric on an old cloth in a single layer, fold extra cloth over, and roll up, jelly roll style so that it will fit in your steamer basket. You want STEAM ONLY! Take care that the water is not getting into the bottom of the basket, and place a towel or piece of felt on top underneath the lid to keep condensed water from dripping back down. Make sure you’ve got steam going before placing your jelly roll in the steamer basket. Steam ten minutes, and remove carefully. Let cool until it’s comfortable to handle, then unroll.

Jelly roll in steamer basket

Wash your steamed fabric in warm, soapy water to get the gum trag residue out. It still contains mordant, discharge or dye, and if the excess isn’t washed out it will go into your dye pot and change the result.

Here are some results after dyeing our prints. The yellow is from onion skins, the pink from Brazilwood, and the orange a combo of both.

Here are my feathers. You can see that the gum trag wasn’t washed out completely by the extra dark muddiness around the onion skin feathers.

I decided to after-mordant the whole piece in alum, and not only did that get rid of the excess print fuzz, it changed the color of everything. It’s a bit 1970’s decor now, but I think it will still make a nice pillow:

For the discharge printing, you don’t necessarily have to steam the piece before washing. Here’s a sample of logwood on silk that I discharged by painting the back of a leaf with gum trag and citric acid, and then simply washing when I liked the result. It made a nice multi-colored effect:

I steamed my Ph-shifted fabric, and once I washed it out it ended up being merely discharged. I think I would have had better results if I’d washed it out as with the leaf print:

And here is a piece of silk crepe de chine that I silkscreened with alum and then dyed in Osage orange:

So, to answer your question Rachel, you have a lot of options. You can make a mordant print on unmordanted fabric. You can make a (different) mordant print on mordanted fabric. I didn’t include any photos, but you can mix natural dye extracts with your gum trag and print directly that way, with color. You can discharge already-dyed fabric. And you can do combinations of these techniques. You’ll no doubt have noticed that all these examples are on silk, but many of my classmates used this same technique on cellulose fibers.

There is also the option of surface design using natural pigments, which I’ll cover in my next post.

Weave to wear: Make a dressy jacket (part one)

 Rachel Wolcott

 Blog

Finished cloth

Sal tells me I need to take more notes while I work. It’s because when she asks me for measurements and quantities I used for a project I usually don’t have a good answer.

Recently I finished weaving a length of fabric to make a dressy jacket and although I didn’t make any notes I’m going to put down some thoughts, tips and tricks here. This way Sal will have no excuse not to get started on her Chanel-style jacket. She’s going to weave and sew it for her next guild challenge which is all about tweed. It needs to be done by February. No pressure Sal!! 😉

Pick a commercial sewing pattern: If you are new to sewing or simply new to sewing with handwoven, don’t pick a pattern that’s overly complicated. Keep it simple. I picked NewLook 6351. The jacket is comprised of two sleeves, four front pieces, two back pieces and a facing piece. If you are using a thick piece of cloth, you need to think about how your seams are going to work and whether you will need a lining. That could be tricky to do with a thick piece of cloth.

Jacket Pattern by New Look

Make a muslin: A muslin is a trial run of your garment that can be adjusted for fit. I use muslin cloth–a creamy coloured cotton–when I’m making dresses or trousers, because when you spend a lot of time making your own garments, you want it to fit. Check out the Tilly & the Buttons site for everything you need to know about muslin (toile) making.

I’ve never had a garment that I haven’t had to adjust. There is some great information about adjusting patterns on the Colette blog and Sewalongs. You don’t want to spend time weaving cloth and then sewing it only to have something that doesn’t fit. If you need help making alterations on the muslin, I would ask an experienced sewist for help.

Once you have your muslin completed and fitted, hold onto it. This is now your pattern.

You might want to try a sample garment in fabric in a similar in weight to your handwoven. Make your mistakes on the sample, not on your handwoven.

Direct warp

Do the math: The New Look jacket pattern calls for about 1.3 meters of 150cm wide fabric. I have a 80 cm (32 inch) loom and therefore I decided to weave 3 meters of cloth. I put a 4 meter warp (I wanted about 60cm extra warp for wastage) on the loom using a 50/10cm dent reed (12.5 dents per inch). I used almost the entire width –400 dents. Four meters multiplied by 400 dents equals 1600 meters of warp yarn.

I was far less precise with the warp meterage. My idea was to use stash yarn and luckily I had plenty.

I’d estimate I used 700 meters of yarn in the warp (3 picks per cm x 300cm x 80 cm/100). I used different yarn weights and even some roving in there, plus a bunch of my handspun bouclé, so that’s very much a ballpark figure.

How does your planned warp look?

Sample and warp: Before I dressed the loom, I made some cardboard squares to test out colour combinations. This was a quick and easy way to see how the colours and yarns I picked out looked together. I wanted to see the warp colour sequence and get a feel for how the yarns worked together.

The next step was to dress the loom (i.e. warp it) which I did using the direct warping method.

Once thing I wish I hadn’t done was use boucle in the warp. BAD IDEA. It stuck and snapped and was a total nightmare. Avoid!

Weave: Weave, weave and weave. I didn’t follow a pattern and just went with by colour and texture. I used this project to do some stash busting. Very gratifying.

add some weft

Finish your cloth: Once you’ve woven your little heart out, remove the cloth from the loom. Give it a gentle wash in some hand hot water and a small amount of gentle soap. Rinse then carefully squeeze out the water. Do not wring your fabric. Remove excess water by rolling your cloth in a towel. Hang out on the line to dry.

Part two: Cutting your cloth. Coming soon. Once I do it.

How simple dye techniques can help bust your stash

 Rachel Wolcott

 Blog

This is the story of how a ball of pink mohair yarn, a bit of acid dye and a microwave helped me transform some long-forgotten yarn into exactly what I needed to knit the sweater I want.

Like many knitters, I have a lot of yarn bought in a fit of love at first sight, only to linger in a box for a few years. I keep telling myself it will all get used. Eventually.

When I was given a ball of hot pink mohair yarn last weekend, I thought: yes, I can use that and I think I have some yarn to go with it.

Turns out I had quite a few odd balls of mohair in my stash–green, grey, blue and light pink. I found this pattern on Ravelry and thought, that’s the one.

Belarus, by Kaffe Fassett

This pattern calls for nine colours. I had five–hot pink, light pink, green, grey and blue. My options were change the colour scheme set out in the pattern or dye the grey yarn I had to create four more colours.

Here I made some assumptions. The first was that the fiber content of the grey mohair would take the acid dye. It’s mohair, silk, nylon, polyester and metallic. I also assumed I could get good colours over-dyeing the pale grey yarn.

Selection of mohair yarn from my stash

Luckily those assumptions turned out to be correct . However if you want to dye commercial yarn in a colour that might not look nice over-dyed… I would definitely test first. Also make sure to check the fiber content of the yarn. Protein fibers–silk, wool–dye the best with acid dyes. Some synthetics take acid dyes too. Cottons and other plantern-based fibers (bamboo, hemp, linen etc) require different dyes completely.

Once I planned out which colours I was going to dye my grey yarn, I got out my microwave (one I use for dyeing), a scale, a ball winder, some glass jars, the dyes and some vinegar.

1. Thinking I wasn’t going to need a full 25g of yarn for every colour, I divided two balls into four using my ball winder and scale. I ended up with four balls roughly 12-13g each. It’s critical not to wind the yarn too tight or the dye won’t penetrate into the yarn closer to the centre of the ball.

2. Soak the yarn in warm water and a bit of white vinegar. Easy does it. You don’t want the yarn to felt or get into a knotted mess.

3. Get your dyes out and prepare them. For small quantities of yarn you will need very little dye powder. I probably used about 1g of dye per 12g ball I dyed. Put the dye in some warm water, stir and add a little vinegar.

I used Ashford’s purple and black dyes to get the purple and dark grey colours. For the wine colour I used Jacquard dyes’ russet and a very little Ashford navy blue. For the red I used Jacquard’s fire red.

Put the yarn in the dye. Make sure it’s not too crammed in there otherwise the yarn will dye unevenly.

Put the jar in the microwave for 2-3 minutes on high. Let it sit for 5 minutes or so, then give it another 2-3 minute blast. Let it sit and cool. If you haven’t overdone it on the dye, the water should be clear and the dye bath exhausted.

4. Carefully rinse the cooled yarn and squeeze out the excess liquid. Now let it dry.

I’m pleased with my results. The grey yarn took the dye nicely and the colours are close to the ones used in the sample. Sure they are not identical, but that isn’t an issue for me.

Nine colours ready to knit

Next yarn to be over dyed: the balls and balls of yellow wool my mother gave me a few years ago. Yellow really isn’t my colour, but I’m pretty sure I can make them into something I will like.

Sewing a simple garment with handwoven fabric

 Rachel Wolcott

 Blog

Whenever I show my mom one of my weaving projects she asks the same question: “is it a table runner?” The question sets my teeth on edge. Long and relatively narrow woven fabric could be mistaken for a table runner, but as my friend Sarah Howard has demonstrated many times over with a little imagination it can be so much more.

Saori weaving books show many of quick and creative ways to use handwoven to make simple garments. If you are looking for a tailored garment these aren’t for you. Take a look at what Sarah does.

What I like about these saori projects is their simplicity. You don’t need to be a whizz with the sewing machine and you don’t even need a pattern. What you do need is a tape measure and a pair of scissors (or a rotary cutter) a ballpoint needle for your sewing machine and maybe some iron-on woven interfacing. Ballpoint needs are used for sewing jersey fabrics and work great on handwoven. Definitely use one.

I wanted to make the draping collar vest in the Beginners’ Saori Clothing Design book. The book is very clear that these garments are designed for the average Japanese woman—5′ 2″ (157 cm) and 120 lbs (54 kg). The draping collar vest “pattern” calls for fabric 40 cm (15 3/4 in) wide x 172 cm (1.88 yards) long. That piece is then cut into three–2 x 54 cm, 1 x 64 cm– two pieces of equal length and one longer piece which becomes the collar.

For my vest adjustments had to be made. I measured my back–from the neck to the top of my butt and from my shoulder to the top of my waist to get ballpark measurements for width and length. Keep in mind your woven fabric will shrink when you finish it. Whatever your measurements are, add on some more to account for shrinking.

I made my fabric about 50 cm (19 3/4 in) wide and ended up being 211 cm (2.3 yards). That was plenty. After washing the fabric by hand in hot water and a little soap I was ready to go.

First step was to figure out how long to make my pieces. I subtracted 172 (length of suggested fabric) from 211 (length of my fabric). That gave me 39 cm which I divided by three to get 13 cm. To increase the size of the original pattern, I added 13 cm to each piece, which gave me two pieces at 67 cm and one at 77 cm.

Now for the cutting. Saori weaving books suggests sewing two lines across the fabric and then cutting between the pieces. This is to minimise fraying. Remember the old saying measure twice, cut once? Definitely follow that rule when working with handwoven. In the photo below I’ve mapped out where I want to sew with a trail of pins.

pins in a line to follow for sewing.

I sewed to lines and then cut between them using a rotary cutter. Scissors are fine.

cutting between the lines

The next step is adding a hem on to the tops of all three pieces. I simply rolled the fabric over, pinned it and then sewed.

pinning and sewing the hems

Once the hems are sewn, lay out the three pieces of fabric right side up. The longer piece is in the middle, lining them up at the bottom and overlapping them slightly. Pin into place.

lay out fabric right side up, sew on the right side

On the right side, sew 5 cm from the shoulder to the arm hole, leave however much you want for an arm hole (about 25-30 cm) and then sew the rest of the seam. Repeat on the other side. Flip over and make a small hem on along the bottom (on the wrong side). I ironed on a small strip of interfacing and then did a zigzag over it.

Et voila!

Finished garment

How To Cheat at Yarn Samples

 Sally Williams

 Blog

I’m a half-hearted swatcher at best. And I’m lazy. If I have a very specific project in mind then I’ll sample and swatch to make sure the colors, gauge and finished knit sample are what I want. But I will also admit to buying pretty dyed braids solely because I’m intrigued by the color combinations…and I will just sit and admire them without a plan to best showcase them. I hate doing spinning swatches with these braids, in part because I only have 4oz in that colorway, and if I don’t like the result I end up with less finished product once I come up with something I do like.

I bought these three braids last year, thinking they went together color-wise. I’m sure I could make a Knitty möbius shawl, or I could send them through the drum carder a little and they would blend together nicely. But I bought these braids because the colors are placed together as they are, and I’m interested in how plying can bring out the best (or not) in a finished yarn.

What to do with these braids?

I had an idea: if I treat each braid as a macro single, I can get a reasonable idea of how any sort of finished yarn would look. It’s not a complete replacement for making sample yarn, but it gives a fair idea of how the end result will read. I simply put some twist into the roving and away I went. Here’s the roving on the left, plied onto itself:

Two-ply

All the white in that braid really shows up. It’s kind of busy. Here it is as a two-ply with the alpaca braid in the center of the first photo:

Two-ply with alpaca braid

This isn’t displeasing to me. The alpaca definitely cuts down on all the white.

Here are the three braids plied together in a three-ply:

Three braids…

…three-ply

Now that I look at them like this, I can see that the sea-foam blue in the mostly-green braid really doesn’t look good to me with the other colors. What are you doing there, sea-foam?! The good news is, I haven’t spun any yarn yet.

Here are some more options, plying with white Shetland roving from my sheep:

Two-ply

three ply

I like the two-ply, I think the three-ply has too much white. However, with the right project it could be nice.

Some more options, with a natural brown ply:

Two-ply with brown

Three-ply with brown

Three-ply with alpaca and brown

I think if the brown roving was a little richer in color it would look fabulous. I could either over-dye that brown roving, or actually clean and card the lovely brown fleece from Charlie that’s sitting in the barn.

Here’s what I finally ended up with, and the good news for me is that it might enable me to start in on a project that I’ve had in mind for a while. I split the difference between the brown and the white roving, and tried a white with red-tipped Shetland lambswool fleece that I bought:

Brown and white heathered roving

Two-ply

Three-ply with heathered roving and alpaca

I really like this. The bright colors pop without being too garish. I think it will be a pretty, interesting yarn that I will be excited about spinning and knitting with.

Now for the green braid that didn’t actually go with the other two. I sort of assumed I’d ply it with black:

Two-ply with charocal

But that sea-foam is still a problem to me!

Two-ply with cyan

Again, the white parts just really stand out in a clunky way for me.

Here we have plied with a natural-colored merino blend:

Blended colored merino roving

Two-ply

I like this better than plied with the dark colors, which surprises me. If I’d been spinning to swatch I don’t think I’d have even bothered to try this. The other thing I like about this technique is that I can get an idea of how the barber-pole striping might look.

I also like this option, plied with a yak/silk blend:

Two-ply with yak/silk

For me, this is the winner. This might motivate me to spin up some Blue-the-goat mohair and do a boucle with this. In any event, I’m excited about this braid again, instead of feeling vaguely guilty that I haven’t done anything with it.

Update: here is that green braid actually spun up with the yak/silk. As I was playing it I felt disappointed in the result, but once I skeined it, it really loosks just like my quick sample, except much, much nicer:

Here is La Technique:

Add twist (in the same direction) to your “singles”. Hold them together, then turn them back around each other in the opposite direction until you have a nice ply. It took me just a little practice to get the hang of it, and now I can make mock-ups of all kinds of yarns. I’m pretty excited about this, because now I can make decisions without making any commitments.

Carding by hand–la technique

 Rachel Wolcott

 Blog

Millet’s Woman Carding Wool

“The purpose of the carding process is to align, thoroughly, all the fibres and to spread them evenly across the carders. This process is essential for the production of a woollen thread and is often employed in preparation for a semi-woollen and semi-worsted yarn.”

—Eileen Chadwick, The Craft of Handspinning

Why use handcards when you can use a drumcarder? Handcards are easily portable and great for blending colours. They are also perfect to make rolags, which are, I believe, the best preparation for longdraw woollen spinning.

Gradient of natural colours. Carded by hand

I like my handcards, especially for making rolags. Yes I could use my drumcarder, but for a recent project where I wanted to achieve a gradient effect for a woollen yarn, I stuck with my handcards. Rolags seemed like the way to go for a nice woollen yarn. Carding up rolags is not particularly time consuming once you get the hang of it. You will quickly get a feel for how many rolags you need to spin a bobbin of singles.

Here’s a short video of me demonstrating how I card.

I’m not saying this is the way. It’s the way I was taught by an experienced guild member and reflects the technique Chadwick described in her book.

A couple of tips for handcarding success:

Don’t overload your cards with fiber. Handcards aren’t designed to take big quantities. Go for 5-10 grams at a time.
Easy does it, don’t grind your cards together.
Don’t worry that all the fiber doesn’t transfer from one card to another. It’s not supposed to.
If your forearms get sore, you’re doing it wrong. Stroke one card gently over the other.
Check out Eileen Chadwick’s carding how to: pages 33-37 of The Craft of Handspinning.
finished project!

Fun with Cochineal

 Sally Williams

 Blog

After indigo, I bought a cochineal dyeing kit which contained the bugs, several mordants and some vague instructions. (I say the instructions were vague, but really they gave several options as far as time vs. temperature in mordanting. It’s one of those things that once you know what’s going on makes perfect sense.)

Rachel and I did a test run when she was here last April (Sheep Cabana retreat: dye as much stuff as possible in 48 hours), and here is what we came up with:

Cooking and straining some cochineal bugs

We started with 4oz of dried cochineal (which is a lot), cooked them for about an hour and then strained the liquid into the dye pot. I saved the used bugs for later. Then we mordanted our wool. We used some white Shetland and some grey mohair locks, and mordanted with both alum and tin, by simmering our fiber in each mordant bath for about an hour. I would say that our mordanting pots weren’t large enough, because the tin-mordanted wool definitely felted.

The dye pot, onion bag of mohair locks on top

We could have used a bigger pot.

Viola!

Here are the results, from top clockwise: tin mordanted wool, alum mordanted wool, alum mordanted mohair, iron after-mordanted wool, iron after-mordanted mohair.

Rachel left, and after a couple of months I got out the leftover cochineal bugs again and tried some more dyeing. (Those bugs sat on my patio in that plastic container, above, the whole time, ignored. I had no issues with them rotting or anything else unpleasant.) I re-simmered the bugs and left them sit overnight in the pot, and strained the bugs out in the morning. Then I did a series of successive dyeing on 50g each of alum and copper-mordanted wool:

Top, alum mordant
Bottom, copper mordant

I heated the cochineal dye pot, added the mordanted wool and let it sit out on the patio here either all day or overnight. The total hands-on time was probably 1/2 hour.

Here it is spun up:

Successive alum mordant, left to right, with copper mordant wound into a cake far right. The orange is the immediately adjacent cochineal overdyed with weld.

I’ve been taking some natural dyeing classes at the Oregon College of Art and Craft, and one of the neat things we did was dye with cochineal with no metal mordants. Instead we used 25% WOF of cochineal, 10% WOF powdered gallnuts (Gallic acid) and 10%WOF citric acid, all in the dye pot at once. Hot tip: we ground up the cochineal bugs and a little water with a mortar and pestle. No soaking required.

We simmered wool and silk noil for an hour and got these lovely colors. The cochineal strikes the wool and silk differently!

Shibori cochineal on wool

Left, wool, right, silk noil

These are nice colors on their own, but I also wanted to experiment with this dyeing method as a base color. Here is the same fabric overdyed with indigo. One of the very interesting things about cochineal is that the color will shift from red to blue, depending on Ph. The middle samples are overdyed with indigo (about Ph 12) and rinsed, the far right are the same, but rinsed in a white vinegar solution (about Ph 3).

Cochineal overdyed with indigo

I also tried some after-mordanting, with iron, copper and alum mordants:

Left, iron after-mordant
Middle, copper after-mordant
Right, alum after-mordant

There is really a lot you can do with these little bugs, and a huge range of color, depending on what techniques you use. In other words, fun!