I’ve recently discovered the joys of sprinkle dyeing, where the dyeing process is reduced to 1) soak yarn at required pH, 2) dump powder dye directly on yarn, 3) fix dye as necessary. No solutions, no mixing, no syringing. I can actually clean up in less than five minutes after sprinkle dyeing, ideal for a busy schedule, dangerous as I am now drowning in very lurid sock yarns with no time to knit socks.
While roaming around Pinterest one day, I saw some interesting looking fabric that had been dyed using a technique known as ‘ice dyeing’. The name sounds a lot more glamorous and complicated than the technique actually is. All you do is dump a load of ice on your fabric, put powder dye on the ice and wait but, for such an easy technique, the patterns it produces are actually very interesting.
While discovering that Procion MX dyes are very happy to dye wools, I came across something else that gave me pause for thought. Although there’s not a wealth of information on using Procion MX dyes with acid, most of the advice that is out there says you need to steam or heat the fibre after applying the dye.
For acid dyes, heating the dyebath is standard practice to help fix the dyes. Fibre reactive dyes, like Procion MX, don’t require this, which is definitely an advantage when trying to do large bits of tie-dying. The standard advice when working with fibre reactive dyes on cellulose fibres and silks is to do your dyeing, then leave your fibre damp with the dye on it for at least a good few hours, closer to 24, if you want strong colours.
As I tend to like very intense, saturated colours, I tend to err on the side of giving the dye a longer reaction time. For some short-sighted reason, I’d always assumed that there was some kind of degradation of the Procion dyes at higher temperatures, hence leaving them to react at ‘room temperature’ but seeing as steaming the wool lately with Procion dyes had worked just fine, that obviously couldn’t be the case.
Was there really a way to go speed up Procion dyeing so I didn’t have to wait so long to see what wonderful mess I’d made?
A common theme of frustration since I’ve started dyeing has been how difficult it can be to get good, informative resources on the hows and whys of certain dyeing techniques. For most other techniques, I have a series of ‘go to’ reference books which I can consult to at least have some idea of what I’m doing but I’ve yet to find something similar for dyeing. Fellow dyers, what is your favourite literature on the subject?
I’d seen in a few places that Procion MX dyes could in fact to be used to dye wools, as well as cellulous fibres and silk. The only thing you needed to change to use Procion MX dyes with wool is that, instead of using an alkaline dye bath with soda ash, you needed something acidic instead.
There was some ambiguity in the sources I’d read as to whether the wool could be left in the dye to react just at room temperature or required steaming, so I thought I’d give up reading and just see what results I’d get for myself.
I’m going to be participating in Spinzilla this year, which is a global event where the sole goal is to spin as much yarn as possible. Of course there’s plenty of silly events to be enjoyed too, like photo challenges, and the general, good social atmosphere to be enjoyed with these big events. Spinzilla will be running 3 – 9th October this year and registration is still open until the end of September if you want to join in!
I very much doubt I’ll be winning any competitions for most spun but I thought it’d be good to get a bit of practice in before the start of Spinzilla. Plus, this poor silk top has been sat, half-spun, for far too long. I’ve even got a pattern picked and needles prepped for the final yarn…
When you first start dyeing, there’s an overwhelming range of colours to choose from. As well as thinking about what kind of materials you want to be dyeing, whether you are going to need any auxiliary chemicals for the techniques you want to use, you need to think about what set of dyes you’re going to use to get you started.
Now this is all a lot easier if you have an infinite budget and the cupboard space to match. You can just buy a bit of everything to try. Some suppliers offer ‘starter kits’ as well, with smaller amounts of a range of different dyes to get started. Many dyers will tell you though that all you need is a small select palette and you can mix the rest. So is it really worth investing in a big range of different dyes?
Murdering skeins is a bit of a hobby of mine. I’m not sure where I developed quite such an aptitude for transforming beautiful bundles of fibre into Eldritch horrors of the knitted world but it’s about the least useful skill a crafter can have.
Sometimes it has been clumsiness or underestimating quite what a disastrous effect travelling can have on your supplies. Sometimes it has been my notorious impatience with wanting to dive into a new project. Other times, I swear I simply turn my back and when I turn around, I’m greeted with a sight that invokes the more colourful regions of the English language.
Sod’s Law for Crafters says that, no matter how big your stash, you still will never have the right material for the project at hand. Having recently started weaving, that saying is more true than ever. All of my non-acrylic yarns are committed to projects and I don’t have quite the volume of silk I’d need for a decent sized warp.
That meant it was time to indulge myself in a bit of ‘necessity’ shopping. Shopping for weaving threads is quite an experience, particularly as a UK resident. ‘wc’, ‘nm’, ‘cc’ are all units you might see, as well as various fractions, weight per length and often, a complete absence of any useful information.
When it comes to colours, I like a palate that could be described as ‘bright and bold’ or, if you were feeling less complimentary, lurid. Typically, I use acid dyes for silk and wool, partly out of habit, partly because I don’t generally spin plant fibres, so haven’t needed to dye them. However, I’ve had a few people now say that if you want the boldest, brightest colours for silks, then it’s Procion MX dyes you need to use.
Procion MX dyes are a type of fibre reactive dye and as they are out of patent, a lot of different manufacturers now make them. There are a few kinds of Procion dyes, but the MX part of the name refers to the cold reactive dyes that are ideal for dyeing silks, cottons and even wood. Probably the biggest distinction between them and acid dyes is that with Procion MX dyes, you don’t need to heat the dye to get it to fix. You also generally dye at alkaline pHs with them too. (It is possible to use them at acidic pHs on silk but that’s not what I’ll be worrying about here.)
New dyes means new stock solutions, so I started by making up about 5 % dye solutions in a range of different colours. One advantage of acid dyes is they keep very well so you can make up your stock solutions and keep them hanging around in a cupboard until you next need them. Procion MX dyes are not so stable; if you don’t add any acid/alkaline to them, the solutions will last about a week but as soon as you add the soda ash, the dyes start to react much more quickly and will only last a few hours.
The stereotypical, historical image of the embroiderer is a refined young lady, sat at her frame, serenely rearranging threads to make beautiful artwork. The work is delicate, yet meticulously done, with no lapses in patience or temperament, all whilst wearing her Sunday best.
The reality of the crafter is distinctly less dignified. Dye up the kitchen walls, fridge and floor, needles in fingers and blood pooling on your whitework. Swearing. Frayed threads, wonky cutting and holes in places they were supposed to go. More swearing. Half-done projects abandoned to the back of cupboard, claims of never making a stitch again and of course, lots more swearing.
I think the myth of making things always being fun and relaxing is actually one of the things beginners can find off-putting. Unless you know how many hours of practice and learning it really takes to produce a fantastic piece, it can be really disheartening to have spent hours struggling with seams only to find you haven’t caught the raw edges properly or inconsistencies in your tension when knitting have resulted in a scarf that best resembles jelly.
For the most part, I really do love creating new projects. Daydreaming about colours, calculating up seam allowances, finally getting stuck in with the stitching. However, there are some projects that just seem to go wrong at every corner and the only joys in finishing the thing so you don’t have to look at it again.
After the exciting delivery of some new Kemtex colours and picking up some new ideas at Wonderwool, I have been eagerly awaiting the chance to dye some more silk. I normally paint the silk in a relatively random fashion but I wanted to try something a little more sensible and to have a go at making some colour gradients.
I spent the morning remaking all my old dye stock solutions and making up my new colours as well. Previously, I had been using white vinegar as my fixing agent but I wanted to try using citric acid and adding some urea. The purpose of urea is to increase the solubility of the dyes (therefore allowing you to make higher concentrations) for brighter, more intense colours as well as helping to keep the fibre moist, particularly during the fixing stage.
It was while making up the dye stock solutions that I made a mistake I wouldn’t realise until much later… I made up approximately 5 % dye solutions, added the citric acid and the same amount of what I thought was urea, as recommended in the Kemtex instructions. I’ve heard a lot of people saying they use 2 % concentration dyes for painting and 1 % for immersion dyeing but I have never found concentrations that low give me quite the colour I wanted, hence the higher concentrations.
Counterintuitively enough, most chemical dyes are actually not very water soluble. Certain dyes, Kemtex Black for example, are notorious for being difficult to fully dissolve. This is problematic because unless you want to start filtering your solutions, undissolved dye means you have no idea what the concentration of your solution is and makes it difficult to get predictable, repeatable results as well. I’ll talk a bit more about the chemistry of all this later but back to playing with colour…
I gave the silk a rinse in cool water before I left it to soak overnight in water with a lot of citric acid added. The silk I have isn’t pre-treated and the previous batches have been really clean so I didn’t worry about scouring it thoroughly. I made sure the silk was relatively dry before I start applying the dye, as I didn’t want any additional dilution of the dyes.
After the poor results with the black from my last set of silk dyeing, I was keen to see if the combination of citric acid and more concentrated solutions would fix this, so I started with some pure black in the corner trying to work through dark to light purples before going to magenta/pink at the end.