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Pandagirl’s Year in Review 2016

Pandagirl’s Year in Review 2016

I hope everyone had a nice holiday and are ready for the New Year.

It’s almost the end of 2016 and looking back on the things I’ve done, there seems to be a few themes.

I did a lot of natural dyeing.  Avocado skins, pits and the combo.

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Cochineal

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Alkanet/Logwood20160701_154915

logwood iron top wo bottom

Osagealkanet with iron

Madder

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Cutch, Rhubarb and Indigo

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Eco printing

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Resists

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Under the sea theme20160429_160634a_edited-1 20160526_155222

2nd Quarter challenge working with scraps – the former credit card case turned into an ear bud case.

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Then the cityscape with scraps.

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A scarflette with locks

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Ginkgo stitching

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Crochet piece felted and embellished with stitching

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Felting wit my grandsons

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Silk scraps into a free motion stitched vase

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3rd Quarter challenge adding dimension from Kristy Kun’s class

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Ruth’s Paper Lamination class

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Teri’s hat class

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Mini weaving wall hanging

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More work with scraps for a sewing machine case

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4th Quarter Challenge with embellishments for a coupon case.

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And blue booties for a shower

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Of course, there were also plenty of samples during the year including using the needle felting machine to felt some unfeltable fabrics.

A big thank you to Cathy Wycliff for her post on weaving and felting; my sister Carol Olson for sharing her new sheep with us;  Nada for sharing her workshop experience in Slovenia; Zara for her posts on Felting on a Trampoline and her Yak, Mongolian, Churro and Zwartables samples; Leonor for her soap tutorial and Terri Simon on sharing her projects from Kristy Kun’s class.

It was a great year for me in terms of learning new things and doing some recycling.  How was your 2016 year of fibers?

Happy New Year and Happy Felting in 2017!

 

 

 

Playing with Natural Dyes Part 2

Playing with Natural Dyes Part 2

I’ve been trying out different natural dyes using similar materials.  This time I tried alkanet roots and logwood with and without iron.

Here are the alkanet roots before preparation which took two days to get ready to use.

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The logwood also had to be prepared ahead of time.

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Again, I used mordanted corriedale and merino roving, mulberry silk, wool yarn, silk habotai and silk gauze as I did in my previous post  https://feltingandfiberstudio.com/2016/06/28/playing-with-natural-dyes-part-1/

According to some of the charts I saw on the colors to expect from the alkanet roots, it could be anything from gray to deep purple.  I had also read it was possible for blues or even red.  As you can see from the pot, there was a light purple tinge to the water. The dye liquor was definitely dark purple but then it was diluted with the water.

aklanet only pot

 

The result was a silver gray.  For all the experiments I leave the pot to cool overnight to get the most color.  This was a lot less than i expected, but its a pretty color.

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The next step was to add iron to the pot with another set of materials.

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The top picture is wet, the bottom is dry.  So, I now have silver and gold colors.

Next was the logwood. From all the pictures I’d seen and roving Cathy had dyed in Arkansas I thought I would get some type of purple.  It looked pale in the pot.

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So, I was surprised when it dried and it was more of a taupe color. But surprises are half the fun!  Then I added iron and did another batch.

logwood side by side logwood iron top wo bottom

The darker ones on the bottom are with the iron and its more of a charcoal color.

Again, these are all experiments and results can vary depending on water, temperature, etc.  While I had a little different expectations, I’m not unhappy with the results.  I can always overdye.

What have your experiences with natural dyeing been?

 

 

Combining Weaving and Felting by Fiber Artist Cathy Wycliff

Combining Weaving and Felting by Fiber Artist Cathy Wycliff

For many years I have been a lover of textiles, but I never wanted to knit or weave. Too fiddly….knit, purl, knit, purl. Or weave to a pattern but first figure out the sett, the epi. No, not me.

And then last year, I saw Meta vd Knijff’s small homespun weavings on felt on Flickr. Meta also uses natural dyes and paints and takes cool photographs as well. Meta is an artist in the Netherlands who I discovered on Flickr. So, back to the weavings on felt. I thought, hmmmm, if I could do that with weavings, then maybe I would like to weave. Then I discovered Saori weaving quite by accident, somewhere on the world wide web and subsequently took instruction.

I discovered that weaving doesn’t have to have patterns, that weaving can be creative and free, and what’s more–I could combine it with felt.

Over the period of a week or two, I made a bunch of small sample weaves, no plan in mind whatsoever. Then I grabbed some pre-felt I had in my stash, some homemade and some commercial. I fooled around placing the small weavings on pre-felt.

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Most of the weaving samples are cotton and/or wool, and all are woven on black thin cotton warp. There may be the odd novelty yarn thrown in there, since when I was weaving samples, I was not thinking about combining them with felt. I chose 3 samples to felt with: the largest is multi-colored, all cotton warp with all cotton weft. I chose a large bright turquoise commercial pre-felt batts called “Maori” from Opulent Fibers, which I recall being Corriedale. I used small pieces of the same prefect batt to cover parts of the all-cotton weaving.

The second largest piece was a weaving I made with mostly wool and some cotton weft. I used as pre-felt a piece I had cobbled together with my naturally dyed wool, half madder and half logwood. I did not use any wool wisps to cover parts of this weaving.

The last and smallest piece was a small sample weaving I made using partial wool, cotton and nylon weft on cotton warp. I placed the weave onto cider merino ( handmade by me) pre-felt–again no wool wisps to cover.

I felted all of them in the usual way but not rolling as long as normal because I had used pre-felt as the base. Besides, I was impatient to see how they turned out! All of them successfully felted, although I did use a bit of needle-felting to secure some areas, mostly with the largest all-cotton weaving. I think that will make a nice wall-hanging for someone who likes a lot of brightness in their decor. Unsure about the medium-sized one, perhaps a small wall-hanging or pillow-cover? And the third piece I have fashioned into a cuff with vintage buttons. The inside is soft as merino should be!

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Any weavers out there? You really don’t need a floor loom if you would like to get started weaving. You can even use a table loom, a pin-loom, or just hammer some nails into an old wooden photo frame, and you’ll be ready to weave and felt!

 

Thanks Cathy for yet another fiber technique to try!

Dyeing with Plants

Dyeing with Plants

Our guest artist today is Cathy Wycliff (Luvswool).  She shares her adventure into dyeing with plants.

Recently I went to the Ozark Mountains in Arkansas for a two-week artists’ retreat. My plan was to spend two whole weeks felting with some time out for photographing the natural beauty of this area (think NW Arkansas, closer to Tulsa OK than Little Rock, AR. ) I also contemplated doing some natural plant dyeing, but it was the wrong season for collecting some of the natural plant materials in the area, such as oak galls and walnut hulls. I ended up ordering some botanical material from The Woolery, which amazingly arrived two days later!

While awaiting delivery, I got going with natural pine needles from the huge pine tree growing in the backyard. I snipped about two dozen clusters and began boiling them, later adding the white wool (domestic 56’s). The ending color did not jump out and grab me, but still I was pleased with the natural beige color which the pine needles produced–and a bonus was that the smell was heavenly.

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Once my dyes arrived, I got to work rinsing and mordanting the wool (all of the wool I used was domestic 56’s from RH LINDSEY.) I began with madder, but this was quite a lengthy process of soaking the wool for over an hour, then mordanting the wool by cooking the alum and cream of tartar. Later when everything had cooled down, I then added the madder and wool.

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Each dye I used required this lengthy process, and unfortunately, I had only one usable pot. After the first wool was dyed in madder, I changed the composition by adding iron, which developed a deeper color of red/orange.

I continued with the logwood as above, also developing a second shade of purple by adding iron.

IMG_0522Overnight drying time was needed, and here you can see the pine, madder and logwood drying in the kitchen.

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I continued with osage, which achieved a golden color, not orange as is sometimes possible.

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Next you see the osage and deeper shade of logwood drying.

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Although I have done other kinds of dyeing previously–including indigo, food colors, acid dyes and even beets–natural plant dyeing is a whole new level of dyeing. I began thinking about the Native Americans and their use of natural plant dyes, as well as other very early ethnic groups around the world who had no other choices. And they didn’t even have gas stoves!

I was pleased with all of the results, which you can see here:

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Left front –pine needles; Left rear  — osage; middle two shades purple  (+ iron), Middle rear — osage, Right —  two shades madder (+ iron); Right front —  cutch

I am looking forward to additional dyeing this summer, and perhaps even growing some of my own dye plants.

Thanks Cathy!