Sometimes simplicity is best. After my last batch of dyeing, I’ve been trying to work through various colours to create a ‘palette’ to be able to spin from. The nice thing about dyeing top for spinning rather than dyeing a skein of wool directly is that this still leaves a huge number of possibilities for colour blending and mixing at different stages of the process.
Kiel is a charming city in the north of Germany, only about an hour and half from Denmark, with plenty of beautiful waterfronts. Maybe inspired by the slightly… brisk weather during the winter though, it also seems to be home to a surprising amount of spinning, weaving and wooly goodness.
Oh how I’ve missed splashing around with colours and silks. It has been far too long since I’ve had fun playing with dyes, partly out of fear of destroying my deposit for my overly white apartment. The colour scheme for most of the paint isn’t even magnolia, beige or cream, it’s brilliant white and therefore completely unforgiving on all things dirt or dye related… If anyone would like to preempt my future problems and has any advice on removing dyes from surface where it is not supposed to be, please offer away!
When I knew I’d be going to Seoul, I was really hoping to find a chasu course, and learn a little in particular about the silk embroideries with their dazzling colour schemes, or maybe some bojagi, the traditional wrapping clothes that are often worked in silk, or light gauzy fabrics in a patchwork style. Unfortunately, there was nothing available I could fit into my trip, but I did stumble across a maedeup class instead.
Cross the river from Harts Fabrics in Santa Cruz and you’ll come across a very appropriately named shop, Yarn Shop Santa Cruz. No prizes for guessing what they sell a lot of. Lots of lovely, snuggly, squishy wool.
Many, many moons ago, at Wonderwool 2016, I ended up with a lovely gradiented silk brick from Hilltop Cloud that has been in a partially spun state for far too long.
After trying some ice dyeing and really enjoying the results, I though I’d give a try to a combination of speckle dyeing and painting. Normally I tend to dye fibre to spin but it’s a little bit hard to maintain defined spots of colour in the spinning process, plus, while handspun definitely has it charms, there’s a lot to be said for the near perfect regularity of mill-spun yarn.
A trip to California wouldn’t be complete without following some of its legendary coastlines and dropping into a yarn shop or two on the way. In the quaint, picturesque little city of Carmel-by-the-Sea, is the aptly named, Knitting by the Sea. Maybe knitware and sand aren’t a combination that instantly springs to mind, but this lovely yarn shop will soon have you convinced.
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?
