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.

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!

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 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!

Daffodils, St David’s day & Welsh cakes

 Rachel Wolcott

 Blog

Welsh cakes

It’s St. David’s day, the day commemorating Wales’ patron saint. It’s a day for daffodils and making welsh cakes, which are a sort of scone/pancake hybrid and delicious.

Today I embarked on some St David’s day-inspired craft activities–dyeing with daffodils and heather–and made a batch of Welsh cakes. The cakes are all but eaten and I have some dye results to share.

I was inspired by an article in YarnMaker to use daffodils as dye stuff. The sample in the article was a lot more yellow than what I’ve been able to achieve. However, I’m sure if I used more flowers I would have gotten a stronger colour. Still I like this pale yellow.

Here in England the daffodils have been out for a few weeks and there are many more to come. Anyone who has waited all winter to get out and gather some fresh dye stuff, daffodils are a great place to start I used 6-8 small blossoms for the dye stock and mordanted my Norfolk Horn yarn with alum and cream of tartar. The dye stock was a vivid yellow but it took quite some time for the colour to strike. I’m going to try this again with a greater quantity of flowers.

Daffodils, alum/cream of tartar mordant

Winter-flowering heather is a hearty if tiny blossom that gives orange/brown to grey and brown/grey colours. It’s another option for those looking for fresh dye stuff in the winter months. Heather is associated more with Scotland than Wales, but I’ve used some handspun Llanwenog to keep the Welsh theme going.

Heather and a few mahonia berries

I used a few handfuls of white heather blossoms in my dye pot and after awhile a orange/brown colour appeared.

The first sample (bottom) here is with the alum/cream of tartar mordant which to my eye has made a light rusty brown. (It’s not easy to see in the photo).

Top: heather, iron mod
Mid: heather, copper mod
Bot: heather, alum/cream of tartar mordant

The second sample (middle) was from the same dyepot to which I added copper sulphate as a modifier. To me this sample is somewhere between a yellow, a pale green and a brown, depending on the light and what colours it sits next to. It doesn’t look like much, but I love it’s subtlety.

The final sample (top) is again from the same dyepot with iron added as a modifier. I see a pale blue/grey. I love how these three sample look together. I can envision using this palette in a weaving project or perhaps a sweater or wrap.

Spring time is still a few weeks away, but more dyestuff is popping out of the hedgerows and flower beds everyday. It’s been warm here and I’ve seen gorse for a few weeks now and the first broom flowers have started to appear. Gorse gives a yellow and its smell is unbelievable–think pineapples and coconut. Broom should also give yellow with alum and a green with copper.

Warm weather means that sunny spots other flowers are growing. Keep your eyes open for calendula. There’s also leftovers to gather. I pocketed a few handfuls of Mahonia berries the other day. Allegedly they give some colour. There are also ivy berries and acorns.

How to choose a fleece for handspinning

 Rachel Wolcott

 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.

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.