It has been wonderful to get back together with my local artist group. We have all been completely vaccinated and have started our monthly meetings again. It is good to get out of the house, share our work and try out a few new techniques.
We recently tried some natural dyeing. Paula had a bunch of natural dyes and some earth pigments. This post is definitely not meant to be a tutorial because we didn’t follow any instructions, didn’t use any mordants and really just winged it. So the thread that I dyed is definitely not wash fast, color fast, light fast etc. I’m sure that there are specific ways we should have used each dye but we were just playing around.
Paula mixed up the various powders with water as well as coffee, tea, beets and avocado pits and skins. No mordants were added and we didn’t soak the fabric or thread beforehand except to get it wet. Before we arrived, she put some small strips of cotton fabric and some cheesecloth in the dyes to show us what the colors should look like.
So here are Paula’s control samples. If you click on the photo, you should be able to read the headings to see which colors are what. As you can see, some of the dyes worked better than others. But it was good to see what we could expect. Thanks Paula!
Then we put our threads in the different colors and left it for several hours. After that, we removed the threads, squeezed them out and put them in baggies to take home.
I did rinse the threads lightly when I got home. Except the indigo ones which I rinsed and rinsed and rinsed with little success in getting rid of the fugitive dye. I was pretty impressed with the colors that we achieved with so little effort. This is the 6 stranded DMC cotton. I didn’t keep track of the different dyes as it didn’t really matter to me and I wasn’t planning on repeating the process. The light blue one is Butterfly Pea and any of the really dark blue ones are indigo.
Here’s 8 Perle cotton.
And 12 Perle Cotton.
These are crochet cottons. I decided to try these as they are a similar weight to the 12 Perle cotton but significantly less expensive. I haven’t tried stitching with them yet. The really light one on the bottom left is dyed in beet. It definitely doesn’t dye very well without any mordants.
I also had this cotton yarn meant for weaving on hand so I dyed some of it too. It’s good for couching or laid work.
Here is the lace weight wool. The green in the upper right is from Matcha tea. It’s a lovely soft green. I’m always surprised how the wool and the cotton dyes so differently. I know that it does as I have dyed loads of threads but somehow it surprises me every time. 😉
I did dye one piece of fabric which is hemp canvas. I dunked it in the indigo and pulled it straight out. The indigo was very strong as you can tell from the darkness of the thread dyed in the indigo. We had a great time and I ended up with some fun colors.
Happy Independence Day to those readers in the US.
Silk thrums are gorgeous, jewel-like bits of temptation, rich in colour, shiny and sparkly, promising all sorts of lovely uses that will amaze everyone. Or not. Silk thrums are one part of the left overs from the sari silk industry. This is what can’t be woven on the loom and has to be cut off. I would like to see how saris are woven to understand the way the wastage is generated, it still puzzles me, but silk thrums are available in vast quantities to crafters all over the world. The problem with sari silk, and its a huge problem, is how the silk is dyed. There do not appear to be industry standards for colour fastness. Silk is a tricky fiber on a good day, so if dyers can’t determine dye acidity, water temperature, water hardness, or can’t properly degum the silk, the dye will run. I decided to try to use this characteristic of sari thrums to an advantage to see if there could be any benefit to be had.
I took a brilliant red thrum, trimmed the ribbon end and trimmed some silk fibers. The ribbon was soaked in hot water to leech out the dye. The colour saturation was evident as soon as the ribbon was in the jar. The water was totally red, but there is no way to do any metrics on this because the original silk was dyed with an unknown quantity of dye. All this is just a “see if this works” experiment. I snipped a tiny quantity of silk fiber, set it aside to mix with the wool roving I had chosen for dying.
I spun the rest of the silk threads into a single ply yarn. I’m taking a liberty in calling this a single ply, it is in fact a multiple thread yarn. The sari silk is made up of extremely fine thread. I respun those into a single thread with added twist. I can’t show them to you because my camera just can’t pickup the delicacy of those threads.
It was difficult to spin at first, because the fibers are nearly 36 inches long and tended to get tangled. I’ll try a different method next time, but it is possible to spin this into a reasonably nice yarn. The single yarn is plied against some of the merino top that is the basis of the dye bath test. I’ll use this later as part of the dye test.
When I plied the single merino wool with the single red silk they worked well together This is the most durable, hard to break fiber I have ever handled. Silk really is amazing.
I presoaked the remaining merino, drained, opened it along a mid-seam, sprinkled the snipped silk threads all along the centre. I then rolled the merino into a tube and wrapped it with the ribbon from the soak jar. This was set in an acid bath and topped up with the dye water from the soak jar. I use an oven to dye my wool. I cooked this for about two hours at 100C/220F. I expected a more vibrant red, not the pale orange, but this is an experiment, so expectations have to go on the back burner.
As shops, galleries and exhibitions start to reopen in England and I have quite a few sales & exhibitions coming up, I decided to make another picture based a local coastal bird. I’ve seen quite a few redshanks recently walking along the shoreline and haven’t done a redshank before so I think that would be interesting.
I start by making some prefelt for the back and tail feathers in a muted pewter and white tone, plus some firm felt I will use for the orange/red beak and legs. (I forgot to take a photo of these.)
I have a composition in mind and I make a quick sketch to get the shape, stance and size of the bird then lay out the bird’s body using a base of white merino tops and the prefelt feather shapes. There’s not much detail as I will needle felt this in later. I haven’t tried this before but I needle felt in some of the feather detail part way through wet felting then finish fulling the bird.
I’m not sure what I was thinking (if at all) as I’m not happy with the loopy-ness of the needle felting or the direction of some of the feathers. I park it for now and get on with the background. One of the many things I love about felting is that you can usually continue to work on it until you’re happy with the result.
Onto the background: I have bits and pieces of natural coloured prefelt that I cut into pebble shapes ready to form the beach. The redshanks I’ve seen recently have been walking close to the water’s edge, either in the water or on the pebbles. Thinking about the water experiments I did last year I lay out 2 layers of pewter-coloured merino for most of the picture with a white and rusty orange section where the wave and beach will sit. I put long strands of blue tops in two colours running horizontally to represent the light reflecting off the water. I leave a darker section near the top with some of the pewter wool laid at an angle as if there’s a small wave coming in there, though in the final picture you can’t see most of this because it’s behind the bird.
Next come the pebble pieces and finally the foreground wave, as it sits on top of both water and beach. I haven’t tried using mohair for wave crests before so I run a wiggle of mohair tops along the water’s edge and onto small sections of the sea as if small waves are cresting there. I’ve spent a lot of time looking at the water in my local sea / estuary so I know the colours and shapes well. The water is often choppy like this with small waves.
I wet felt the background then try out the bird body to see how they’re going to fit.
I needle felt the redshank’s body onto the background then add the legs and beak which I’ve cut from the red/orange felt. Then I add the eye and fiddle for a while until I’m happy with the bird.
The finished picture is about 50-55 cm square and will go into an oak veneer box frame that’s 64 x 64 cm. I took this photo in the evening, with electric light, so it’s a bit less yellow in reality.
As I didn’t take a lot of progress photos for my Redshank, I thought I’d add a few other things I’ve made recently. Like my felting friend Antje (who posted here recently) I took Judit Pocs’ milkweed pod workshop on 1 & 2 May. I direct dyed some 18 mic merino tops and some fine ponge silk for my pod.
It was a good workshop and I’m happy with the result. I got my dye ratios wrong which resulted in a lot of bleeding and dyed hands but thankfully it’s not a wearable so it shouldn’t now be a problem. I hope to use this silk pleating technique in future projects.
I realise the colours are very similar to the ‘hippy trippy’ Corriedale bag I was making when I last posted. It’s still work in progress but I’ve done some additional ink work on some of the silk patches and am part way through adding some stitching. I’m now adding some french knots in the rectangle near the top left. This combines some of the techniques I learned in Terri Berry’s bag class with some from Fiona Duthie’s Ink + Cloth workshop and my new venture into direct dyeing (using the Felting & Fiber Studio tutorial).
Previous picture on the left, current on the right.
As part of Fiona Duthie’s Paper + Fibre workshop I made a lamp shade (actually a sleeve that fits over a lamp). It’s interesting how the paper sections are barely visible when the lamp is off. I think I will make more lamps when I have time.
Finally, I’m making some smaller pictures to take the little beach hut gallery in Whitstable Harbour where I often sell my work. I’m in there from next Wednesday for 2 weeks. I’ve wet felted some mussel shells and am making backgrounds to set them into small box frames (without glass). They’re about 19 x 19 cm. Here’s one that’s nearly ready to go. The background is nuno felted with recycled silk and old curved lace. I just have to decide where to stitch the shell. What do you think?
When getting my materials together I was often frustrated that I could not get the colours I wanted. This was especially true of silk materials and you had to buy a large quantity to get only a small amount which could be expensive. It was not until my past time of trawling through Youtube videos that a came across the “colour your life, Rae Wollnough” episode. What a revelation. With a very simple process, I could dye not only silks but fibres too.
So I set about getting the materials I needed. Firstly the dyes themselves. I use EasiFix all-in-one protein dye. These dyes work on natural materials like silk and wool etc (I get these from Etsy). These dyes are fixed by heat so no need for a fixing agent. I use a mixture of silk but here I have used a ponge which has a lovely lustre.
The process is so simple. Cover your table in cling film and wet it with a spray bottle. Place your silk on top, here I have flattened the material out but you can get some nice effects if it’s scrunched too. Your silk must be wet as the colour spreads better and it will burn when heated if it is dry.
Next the fun bit. I use pipettes, brushes or simply pour the dye onto the silk.
Once I am happy with the dyeing I wrap the cling around the piece gently patting out as much air as possible. Once wrapped I pop it in the microwave. Only a couple of minutes does a small piece like this. Be mindful to follow the safety instructions of the dyes and only use equipment that is specific for dyeing and nothing you will use domestically.
Once heated I leave the piece to cool completely and it’s this that sets the dyes as well as the heat. This is the worst part of the whole process as I cannot wait to see the outcome. It is not an exact process but the results can be magical.
The piece is rinsed until the water runs clear and it’s done. You can re-dye if you are not happy or think it needs more.
The colour you can achieve are wonderful, the weaker the dye the paler the colour and you can achieve your own colours by mixing also.
The possibilities are endless and results are well worth the effort as little as it is.
The last time I posted here (in January) I described my plan to take various online felting classes. With all my sales and exhibitions cancelled or on hold I thought this would be a good way to keep me focused and motivated during our 3rd pandemic lockdown. Here’s the link in case you want to look back to January’s post.
This time I’m talking about my online learning since then, including how it has led me in some unexpected directions.
I was part-way through Teri Berry’s bag making class, which was great. I made my third bag, a backpack, and am very pleased with it. I’d definitely recommend Teri’s class. The instructions were clear and comprehensive and Teri was very responsive to my many questions, thoughts and comments. I learned a lot about bag making techniques, which is exactly what I was looking for.
Because two of the bags I made are large, relatively thick, and have to be fulled very hard, I admit bag-making was rather harder work than I’d anticipated. I rent a studio in an old industrial building that is largely unheated so maybe mid-winter isn’t the best time to be working so much heavy, cold, wet wool, but it’s a minor point. I had to use plastic gloves for the first time as my hands became so shredded and I often went home with sleeves wet to the armpit!
I’d planned to take 3 classes over January to March but was irresistibly drawn to a 4th: a 2-session live international felt-along by Aniko Boros (Baribon.Hu) learning to make her beautiful felted tulip pendant with pebble inclusions. Having signed up I realised it was going to be difficult to find the colourful 14 micron merino wool I needed. I only had white. I’ve never dyed my own wool before but I thought, why not have a go?
I already had some acid dyes so I started off with some 21 micron merino before going on to the finer and more expensive 14 micron. Then I tried silk hankies, Corriedale tops, mohair tops, silk fabric, alpaca & nylon …. nothing was safe. I had a blast. I had no idea how much fun dying would be.
Then it snowed and I thought ‘ooh, I could try snow dying’. That turned out to be great fun too. On the right are just a few of the snow dyed fabrics.
I had several colour choices of dyed 14 micron merino by the time Aniko’s workshop came around. The workshop itself was really interesting. A clear and detailed PDF was sent in advance and turned out to be very helpful on the first day when the sound or picture dropped out occasionally. It meant I could see what I needed to do next so was able to keep up. I’m pleased with my pendant (although I still have to add a fastener) including how the dyed wool worked, and feel I’ve learned techniques I will be able to use to make my own designs. Also, it led me into the entirely unexpected joy of dyeing.
In the meantime I’d started Fiona Duthie’s online class Ink + Cloth. We practiced adding ink at various stages of feltmaking with loads of potential for using these techniques in future projects.
Above are samples of adding dye / ink before felting (on silk fabric) and on prefelt
These are samples of ink added in different ways to finished nuno felt with cotton and two types of silk. I’d found an image in the V&A museum online catalogue (a fantastic resource) of an early 20th century furnishing fabric with this style of lollipop trees that I was thinking of using for the 1st quarter challenge …but that’s a story for another time.
At the end of this I decided to combine various things I’d learned: to dye my own Corriedale wool tops for a bag and maybe to decorate it with inked or dyed pieces. This is still work in progress as I am not completely happy with it. I decided to let it dry and have a think before doing the last bit of fulling. After I’d laid out the wool I dithered over whether to add silk and prefelt pieces or not as I quite liked the wool as it was. At the last minute I added all sorts of bits and pieces without properly thinking through the design. I fear it betrays its history. A colleague who saw me rinsing it at the studio casually commented it was very ‘hippie, trippy summer-of-love’ which is absolutely not the look I was going for! I will come back to it soon. I included the strap in the photo to give an idea of what it will look like finished.
Now I’m part way through another class with Fiona Duthie: Fibre + Paper. It’s a fascinating process of combining specialist paper with wool. We started by making lots of samples: paper and felt, paper relief, extreme paper relief and paper with prefelt.
Above are samples showing different amounts of paper felted into 21 micron merino wool and bottom right combines prefelt and paper. They feel lovely and there seems to be so much potential to use paper with felt in different ways.
This week I made a vessel with paper embedded into the surface. It’s not perfect: I got a bit over-confident near the end and tore some of the surface (you can just see it bottom left, between the two ribs). I’ve been interested in shell shapes for a couple of years so I shall enjoy making more 3D paper & felt shell-inspired objects.
In the coming week I will be trying out adding colour and surface designs with ink and paint plus making samples with some different papers. Fiona’s classes have been really enjoyable with excellent PDFs, photos and videos and lots of class interaction.
All the online classes I’ve taken have been great fun and very inspiring. They have given me lots of new skills and techniques that I will be able to use in my work. And they have definitely achieved my other objective: they have been really helpful in keeping me learning, focussed and motivated during what could otherwise have been quite a bleak time.
It seems a few of us have had the dying bug. I couldn’t find my green curls and I needed some for another little picture I wanted to do, so I decided to do 3 colours of green to give me some variety. I did them in large freezer bags so I would only need one pot. I know I could have done them in the microwave in the bags but I am not really fussy about microwave dying.
The curls I have already separated are small Blue Faced Leister curls, my favourites. I divided the curls into three bags and added some vinegar water and three different greens to them. I used Dharma acid dye 461 Avocado, Prochem 716 Moss, and Prochem 735 Shamrock.
I forgot to take a picture of the curls but you can see these bags haven’t been cooked because they look like white locks in a green liquid. The colours don’t look very different at this point. Makes you wonder if you have gone to a lot of fuss to make three bags of the same colour. Time will tell.
I didn’t want them to be sitting on the bottom of the pot because they might melt. To prevent that catastrophe I put some ramekins in the bottom of the pot to keep them up. Empty tuna cans would have worked too.
I cooked them at a low simmer for 30 min then checked them.
Two of them definitely needed more cooking so I popped them all back in for 15 min( I think, or maybe it was 30 min) and checked again.
The third one was clear. I decided to let them cool in the bags and only one had any colour left in it by then but it wasn’t much.
I rinsed them, spun them out in the salad spinner and put them out onto a wire rack to dry. and this is the final result; three different greens.
So had to get a good picture of the true colour. The top right and bottom left are the same curls but look so different as the sun came out from behind a cloud and the room brightened. Their true colour is between the two. I like the way the locks are not solid colours. It gives them more life and depth of colour.
Using bags in a pot of water is a great way to dye lots of different colours at once. It’s especially useful when you don’t want huge amounts of any one thing. Who hasn’t been tempted by those little bags of colour at a sale or in a store? They are usually expensive. This way you can make your own. It’s a great way to try making your own colours by mixing your dyes and you don’t have to commit to having a huge amount until you know you like the outcome. Use a permanent marker to write down your proportions of dye right on the bag so you can replicate the colour later.
So this happened at my house recently. When it snows, what do you do? Snow dye, of course!
Luckily, I had just gotten a bunch of silk scarves that needed dyeing. I put them in a large plastic tub with grates underneath to keep them above the muck that occurs with this process. The scarves were soaked in soda ash solution before I put them in the tub. I tried several methods of scrunching up the scarves so the dye would be unevenly applied, sort of a cheater’s shibori. This process is very serendipitous and if you want the colors to stay separate, use separate tubs.
Then I scooped up a bunch of snow and put that on top of the scarves.
Next I added fiber reactive dye powder (and a bit of acid dye). Sorry for the bad photo. I tried to keep the colors over where the two scarves were. Of course, it migrates where you aren’t expecting it. From left to right:
cerulean blue, turquoise, sapphire
antique gold, pewter
daffodil, purple haze (acid dye)
scarlet, cabernet, oxblood, fire engine (last three acid dye)
I always get excited to see what I have the next day. The snow melted overnight and I had already removed the scarves on the far right before I remembered to take a photo. You can see the dye in the bottom of the tub is very dark and that is why I use the screens. This process does waste dye powder and I think I over did it this time and used too much. But I don’t like a bunch of white in my scarves and I like deep, rich colors. That’s my excuse 😉
Then the rinsing and washing out of scarves happened. Followed by a lot of ironing. These never look very good until they are completely ironed. Then you can see the color changes, some of which are subtle.
There are two of each main color and I am showing these as they were in the tubs from left to right. I’m calling these two iris.
These are called Monet’s Garden.
These are a bit more golden then they show in the photos and I have named them Dawn Mist.
These two are from a combination of purple acid dye and yellow fiber reactive dye. I wasn’t sure if the acid dye would be strong enough but I really like these two, named Northern Lights.
The last two were mainly acid dye with one fiber reactive. I was a bit disappointed with these two but hubby says that he thinks some people will prefer solid colors. We shall see. I named these two garnet. I will be taking these to Bigfork Arts and Cultural Center to sell in their gift shop.
Which colors do you prefer? Have you tried snow or ice dyeing? Always fun to see the results!
After a long pause from felting to work on the Guild Library survey (why did no one tell me data analysis was so much fun?) with interruptions to torture incent unsuspecting flax plants, I am now back to working on the Mer’s. Shark Boy is coming along nicely but seems to be missing something… hair!! They will all need hair, but I want it to work with their tail colours too.
Well, I should have some locks or at least some bits of fleece that might work for long hair, because what Mer would not want long hair? All that floating along behind them in the water, looking flowy, and lustrous. Gorgeous tresses, getting in their eyes when they are hunting. ok maybe a braid might be better or another somewhat controlled hairstyle but long, defiantly.
I am imagining picking up bits of colour from the body may be a base of black or dark gray with streaks and accents of some of the body tones. Since Hair should be different than skin, I want to use a different fibre than the Corriedale I have used for the body. Something with a bit more body, (without the use of styling products or heavy conditioners).
In 2019 I picked up a couple of “Coarse” fleeces from the Wool Growers Co-op. Both are quite soft but are more towards a wavy hair than a fluffy crimpy type of sheep. Both are off white to light gray. I also have a reddish-brown Shetland fleece that might be interesting overdyed. I collected a sandwich zip lock bag of each from my stash and turned to the problem of changing their colour.
I need hair dye! Well, I have threatened my hair with that if it didn’t do something interesting as it’s progressing back to the “blond” I was born with. (Ann says it’s a shade of light gray, I claimed it’s just transforming to blond a very light shade of blond that I hope one day will be white) so I don’t have any hair die and none in greens and blues. Humm.
1 I don’t have any hair die
I do have some old Ritz dies in the basement but they are for dyeing medieval gowns so a bit too much for small samples of fleece. I have heard rumours that you can use food colouring to dye with. Yep, checked youtube, they seem to show only dyeing yarn but it should work with what you make yarn with! Ok, check the kitchen, no food colouring. I have a plan! Ask Glenn to pick some up on his way back from work! Thanks, Glenn.
So I had collected samples of the two coarse fleeces and a bit from one of the Icelandic. My final fibre to add was horsehair to give a bit more body. I have some dark and light tail hair but unfortunately, it was clumped together and tangled. I was able to extract some and got them laying parallel, held together with a bulldog clip.
Now what do I cook all this in. it’s a bit small for even my smallest pot. Hummm. I am not using the plastic organizer trays I was using for saucers on some of the outdoor plants. I wonder if they would go in the microwave? They don’t say that they don’t go in the microwave!
2-3 Plan B
I am likely too impatient but I soaked the fibres in warm water and vinegar to prep them for dying. I realized I could fit most of my samples in one organizer and left one sample in the other. I let it soak until the fibre seemed quite saturated and removed some of the excess water.
4-6 Soaking in water and vinegar
When I could not stand the wait any longer, I dripped in drops of strait blue die on one end of the containers.
7 Dye just sitting there
Well, that was disappointing. They just sat there, maybe I took out too much water. I think it needs a poke to inspire the die to migrate a bit. (One of the YouTube videos poked at their skeins in the dye bath) where did I put the spare take out wooden chopsticks? Found them! Why are they with the plastic straws? (maybe filed by the similarity of shape?) Poke, poke, stab, poke and the die is migrating along the top. Ok, let’s add some green and see if we can get a bit of migration and mingling. This is starting to sound quite social. I should put out cookies and make drinks! Again, green drips just sat there. Maybe a bit more water, AH! Yes, now it’s mingling better. More poking but not stirring and I have a nice blue-green, not the Prussian blue I was hoping for but it’s not the right base blue I suspect.
8-9 Poked with chopsticks then tipped the container to migrate the dye
Next, I dripped in some yellow to both samples and worked that in with more poking. Finally, I tipped the containers and got the unattached die to migrate towards the undyed parts. I assessed how it looked and deemed the blue was not quite what I wanted. Maybe a bit of red to get the blue a bit more towards purple would be better? Let’s try that on the samples with the darker one. A few drops! Oh, my! Red is an aggressive colour! Well, I’m not sure you would call that blue but it is investing. Let’s see what it looks like when it’s dry.
10 3 drops of red
11-13 Heating it up, then letting it cool
Now on to the microwave, let’s guess a minute at a time. Two minutes total gave a nice hot dyebath but still a lot of suspended die. I cooked both for 2 minutes covered with cling wrap and remembered to take the mettle bulldog clip off the horsehair before I stuck it in the microwave. Now let it sit covered until it cools down on the stove and see if I have suspended dye left in the wool.
14 one leaked but it did seem to have survived the microwave
Usually, I am much better at this patents thing, maybe I will go make some oolong tea. In addition, one of the last of the season’s butter tarts made by Ann. She is amazing and her butter tarts are Really good!
15-16 Oolong with one of the last tarts of 2020.
17 Cooling fibre on the stove
Enjoyed the Butter tart, drank most of the tea and worked on the computer….. Then went to drain and rinse the wool samples. Looking good!! I added some soap and re-rinsed, seems to have mostly stopped leaking blue.
18-19 Rinsing in the sink
So a light squeeze and draped over a chopstick and paper towel to dry.
20-21 set out to dry
Went back to the computer (played Rune scape) then back to the kitchen to check on the wool and start dinner (miso and ginger soup with shitake mushrooms, onion and noodles). The wool seems to have left a few spots on the paper towel but is looking very colourful.
22 a bit of staining on the underside of the paper towel
23-24 dyeing made me hunger for dinner
25-26 Dry and ready to use
It was interesting to see how little die the white horse tail hairs picked up. I may get better results by letting them simmer overnight in a die bath but there is a bit of colour and they may still work.
It has been years since I got a chance to dye anything and this was a lot of fun. I will have to keep an eye out for variegated grey fleeces in 2021 and consider doing some dyeing outdoors next spring. (Glenn does have that second forge but it might make the dye bath a bit too hot. So maybe I can use the barbeque.) Have fun and happy felting!
As you recall I was dying some silk lap for my cowl. They turned out well. Silk always looks so raggy after dying. I think it’s the squeezing out of the excess water. They look a little better dry after a little shake and stretch.
With the cowl being different colours of purple I think either the gold/orange or gold/ orange/purple.
I decided on the gold/orange/purple. the gold/ orange was to close the leaf fabric. I cut a small amount from one side of the lap.
I stretched the silk over the back of the cowl leaving enough on each end to cover the front.
I flipped it over and then cut up the leaves to decorate the ends. I put some on the underside( the silk side) and some on the top.
Then the other end
You saw above I had about 10 grams of silk. After stretching it out to get the amount of silk lap I wanted, I ended up cutting about 1/4 of it off the 2 ends.
I covered it up and gave it a good rubbing on both sides and rolled it up. Next up, the rolling. I am starting to feel like this is the never-ending cowl but I hope to show you it all finished in the next post. Before I can do that, I have to make some more masks, my mom wants a couple and some more pie making. And of course, today is Halloween. No trick or treating for the kids but the grandkids are having a haunted walk in the field. The grownups have as much fun setting it up as the kids will have running around in it.
With a few weeks until the Christmas markets, I finally got back to my cowl.
This is as far as I had gotten before I had to put it aside. It took me forever to get the silk wrapped around the template properly and as you can see I had to use painters tape to do it.
The first job today was to sew the center together. I used some nylon thread and large basting stitches so I can pull it out at the end.
I put some tape on the one end of the thread so it should be easy to find when it is finished.
Time to add the wool, 3 shades of purple.
The next thing should have been cutting up the yellow/orange/red prefelt into some leave and put them on the cowl. But that would too easy. I decided I wanted to put some silk on top of everything. I thought about some silk hankies but remembered I had a big bag of silk lap. Silk lap is similar to silk hankies but much bigger and many layers.
As you can see the silk is bright white. I will have to dye it. I am not sure what would be the best colour so I cut several strips of the lap to dye. I was thinking different shades of green but maybe copper or gold would be better. Maybe a combination s of all 3. What do you think?
First I had to find the end, easier said than done.
Even with many layers, it is still see-through.
Silk takes more preparation to dye than wool and other fibres. Silk is hard to get wet. I added a little dish soap to help the silk get wet. It will have to sit at least overnight to be properly wet so I can dye it. I will show you next week when it’s my turn to post again.
And a reminder about the holiday card exchange. You have until tomorrow night (Oct 24th at midnight) to sign up on the forum. holiday-card-exchange-2020 link If You have signed up chec the forum on the evening of the 25 to find out who your partner is.