Category: The Summer of Madder (Study)

Posted in logwood, Natural Dyes, The Summer of Madder (Study)

something other than red

Posted on by arlee

Admittedly, i have had some ‘fails” with the madder pot, resulting in a plethora of bad browns, pallid oranges and wth-is-thats 🙂 (Old mold, fridge scum, baby puke, baby shit, dog puke, dog….well, you get the picture.) Part of my problem is that i hesitate to throw away the dye bath, even when the colour left is a ghosty sad mud, with obviously not a lot of actual dyestuff left. Mordants and modifiers can only do so much magic too before it’s pointless with the colour left, and a person can have only so many decanted baths stored that more than likely will not be used again!

Madder is substantive though, which means most of the colour bonds hard with the fabric, (and requires no mordant really) which also means that even though i’m using the weaker resulting fabrics, any overdye has to be a rather heavy WOF.  I don’t need any more oranges, so rather than going with an easy dye like osage, i went with an easy dye like logwood, HA, with a post mordant/modifier dip of iron for lightfastness.

WONDERFUL purples and mottlings!

These may not be “suitable” for the project garment, even though they are part madder, but as narrow splash splices, i might get away with a teeny bit of it.

 

 

Posted in Days of Honey, embrilting, in progress, Madder, mordants and modifiers, Natural Dyes, Naturally dyed threads, The Summer of Madder (Study)

embroidery finished on pocket!

Posted on by arlee

I just have to add some beading, and a bit of vintage lace (also madder dyed 🙂 ), a top band and then can move on to other parts of the garment.

I think it’s wonderful that all shades on this, except for the greens, are from various mordants and modifiers with madder on cotton (background), and wool, silk and cotton threads.

I *like* getting madder!

Posted in "OPINIONATION", FybreSpace the shop, Madder, Natural Dyes, Naturally dyed threads, The Summer of Madder (Study)

sharing the bounty

Posted on by arlee

Though i could probably make several garments from the fabrics and threads created so far, during the Summer Madder Project, i’ve decided to add some to the shop.

All of these have been properly prepped, premordanted and dyed according to well researched practices, and historically accurate methods. NO BEETS< NO BLACK BEANS<NO FUGITIVE “DYES!!!!!!!!!!! I haven’t cut any corners just so i can make some coin, as i intend to use bits in my own work–and why short myself?! All of course, are natural fibres, in various weights of silk and cotton, as are the threads. All have been well rinsed after, and because they are done correctly to begin with, there should be no bleeding. Your methods of care may influence the colour, but not out of the ordinary. (Even synthetics can fade…) All natural dyes should be treated with care ie, minimal sun exposure (you can wear it once in awhile at a sunny festival, but not everyday), proper wash handling, which means hand washed with a NEUTRAL soap (Dawn Original dish soap, believe it or not, is perfect, and is what i use), and storage in a closed drawer, closet or box. This all being said, if you are adding it to your stash to use in art textiles, rather than wearables, well, most of that doesn’t apply, except for the sun exposure. Nobody hangs a painting where sun will hit it, and neither will you with your art, will you? 🙂

Posted in mordants and modifiers, Natural Dyes, The Summer of Madder (Study)

madder stash—and more “boring” madder notes :)

Posted on by arlee

The pile so far for the Summer Madder Project project:

Cottons, silks, threads, and trims in wool, silk and cotton, these are the grist for the garment i am creating from this summer of study.

I’m glad i started with a small “canvas” in choosing one of the pockets to start with, as it has led to a lot of note taking and sketching for other components of the garment. I decided too that some areas can be pieced together first, and then “worked”, and others will be worked independently, with “cross-overs” to integrate the whole. I’m also thinking this could become quite an ornate piece of wearable art, and that it may extend past the summer, because of the amount of handwork. That’s okay though: i didn’t set myself a deadline, just a strategy to both keep myself busy after what i consider to be a long dry spell creatively speaking, and to learn more about natural dyes and all the science and mysteries of them.

 

Even though madder is a substantive dye, meaning it doesn’t have to have mordants, i’ve been experimenting with different premordants with it: celluloses need tannin and alum, or the dye just doesn’t attach properly,   Proteins accept dyes much easier but with other dyes that aren’t substantive, usually they require at least alum. In my experience though, mordants are crucial to getting deeper colours: one can only use so many pale peaches and pinks! I premordant everything now, as it not only influences the colour, it also helps more in lightfastness.

Though we do have hard water from our taps, when i use madder, i always add a Tums (calcium carbonate), and a 1/2 tsp of soda ash to shift it to more reds than yellows/oranges/browns. It doesn’t always work, though my track record says most of the time it does 🙂 (Madder, weld, logwood and brazilwood need hard water, all other dyes do best in soft.)

Next up is some tests with rhubarb leaf mordant. The one we have in the Back40 is massive this year, so it’s perfectly willing to give up some material. I’ve used rhubarb *root* before as a dye, and had a gorgeous, rich, glowing green gold from it, but haven’t tried it as a mordant, because i have so little of it. Unless some house in the neighbourhood with a patch of it is sold and slated to be torn down, i can’t get more either!

And now i need to make some good greens for leaves and vines! I tested some of the rhubarb root dyed cotton embroidery thread i have, and love the rich greens i got with an iron mordant:

I’m going to try comfrey, also from in my garden, but will have to do some lightfast tests, as i can’t find much info online. It gets a page in Jenny Dean’s “Wild Color” book, but alas, no real mention of lightfastness, so i’d rather be safe than sorry. If it doesn’t work, well, at least it becomes a fab compost/fertilizer for the tomato plants!

 

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As i was digging through drawers yesterday, i found one labelled “hibiscus”. OMG. I was SO thrilled when i did this waaay back,, but now look at it! I have since learned that most plant materials that are composed chemically with anthocyanins are NOT lightfast, which is why the damn beets, black beans, red cabbage and berries that so many wax ecstatic about DO NOT LAST. (In that link, scroll down to the “Anthocyanins” notes.)

Posted in embrilting, in progress, The Summer of Madder (Study)

looking rosey

Posted on by arlee

I do love this detail.

 

They were a bit naked without the leaves, so dipping into the stash, i found a bit more of my naturally dyed greens.

Of course, as it so often happens when one falls in love with something, the supplies run out….  I have very limited quantities of these wools, because i “never use them”—-HA! Fortunately, i found a small ball undyed, so guess what i’m doing today? (Yes, i hear you groaning “oh fer…more damn madder dyeing….”) AND i have to dye more greens as well, as *that* part of the stash is also very low.

Posted in in progress, Madder, mordants and modifiers, privet, The Summer of Madder (Study)

pocketing the difference

Posted on by arlee

A happy start on the first pocket. To see how it’s progressing, scroll down!!!

Ahhhh, the different shades of madder! These are all cotton, and reasoning that pockets should be strong and capacious, i chose not to add silk to this, though i suppose with the method of construction, it would have been supported by the interlining. (The yellow “anchoring” machine stitch will be removed.)

The threads are silk, and wool. (The greens are from privet berries, on silk.) Because this, as i mentioned before, will have to be hand washed due to natural dye Ph sensitivity, i’m not being shy about using different fibre types together.

(Colours are truer in first photo–another reason i *usually* shoot in my sunny south facing studio between 2 and 4 PM, rather than the AM, like today 🙂 )

The figures looked kind of floaty, so i added a curve below, a cupping earth if you will, and my favourite hexes/honeycombs/cells. And beads are coming, because, well, beads, and for awhile now i have wanted to add a bit of bling with naturals 🙂

I thought this was still kind of flat looking, so dimensional roses will added at the edges, another motif i can carry across the whole garment.

At first i thought i would do my usual embroidered, then appliqued pieces above, (maybe too much dimension for this???) but stumbled across this from 2012:

Never finished, but certainly an inspiration for this project! I do have some chunkier wool to dye, along with some already done, so maybe i will have enough.

There’s a finely worked narrow band of antique lace  and a chunk of vintage as well, and i’m hoping i can integrate those as well.

I don’t want anything saccharine sweet, but it might work. I’m going to have to add a solid band across the top also, as i forgot that gathering it a bit is going to distort the figures! The second pocket will be similar, but not identical–nothing says they have to match.

 

Posted in Collision: the work begins, embrilting, The Summer of Madder (Study)

gonna rock some pockets

Posted on by arlee

Most women’s garments just don’t have pockets, or real, decent pockets. I’m tired of jeans with fake ones (a cop-out “detail” at its worst–who’s looking at me that cares if it looks like a pocket if it isn’t????????), tired of ones that are too small, or so small and deep that you can’t get anything in, but if you do, you can’t get it back out, ones that don’t lie flat, ones that twist, ones that are placed too high, too low or impossible to find behind your back, and pockets that quickly develop holes.

I have SO many ideas for this Summer Madder Project garment, too many maybe, or maybe enough that there could be a couple of pieces! As things go in, (some delicate vintage lace now! and more threads!) and things come out of the madder pot (hopefully, an even deeper red), i thought one best start somewhere, so pockets, pockets it is. I want capacious, generous baggy pockets, suitable for gathering leaves, stuffing monies in and snacks, carrying lost journals, lost kittens, injured birds, rocks, whatever: pockets should be able to comfortably CARRY things. That’s their function, truly. And if these don’t work as pockets, then they become small bags!

I’ve used similar little figures before, but since i plan on using them scattered around, the above are newly “designed” ones, along with 4 others not shown. Previous incarnation of the originals is here. (There will be other motifs as well, but these are a good start.)

Since this project when done will have to be washed by hand (due to natural dye Ph considerations), i’m not hesitating to mix silk/wool, wool, silk, and cotton threads, and fabrics in silk and cotton. The range of colours is more enticing on all the different fibres than using just cellulose or just protein fabrics and threads. The original plan was to create a “top” from a Tina Givens pattern, and i’m still going to use that (minus the ruffle, and lengthened a bit), but given that most of my embroidery is done with a flannel backing, this is going to have to be lined somehow, to hide the flannel and protect the reverse of the stitches. That means it’s a bit “heavier” than normal summer wear, but given that our nights here in the summer are a lot cooler than elsewhere, due to our altitude, that’s perfectly acceptable. I will however be using a thinner flannel than normal. I *could* use a finer cotton as a backing, but then the effect that stitching on a backing like flannel is lost–and that’s what my work is about, that added little dimension and depth. That’s why, for years, i’ve called it “embrilting” 🙂

As i’ve thought of the stitching itself, i’ve also come to the decision that more dimension will be “needed” as well, to personalize this to me. I might be going overboard, but time and effort will tell!

 

Posted in Madder, mordants and modifiers, Natural Dyes, The Summer of Madder (Study)

seeing red

Posted on by arlee

Oh so close to disaster! My brain must have done a fancy flip of some sort, because on Saturday i was bemoaning to Greyman, that i couldn’t seem to get the madder pot to 140C. He most emphatically with gestures and other well chosen words reminded me that boiling point of water is 120C, and WHY WOULD I WANT IT THAT HOT????? Oh BUGGER…that’s the Fahrenheit temp, the Celsius should be 60!!!!!!!!!!!! I whipped the pot off the burner just as it reached 70C, and fortunately the short time at that temp doesn’t seem to have hurt the results too much. (Too high a temp with madder, and you destroy the reds, and get browns only.)

On a side note,  the Greyman puts up with a lot in the dye department–after all, he *almost* accepts when he comes home at suppertime that this is spaghetti and sauce……   🙂

I greatly increased the WOF this time, reasoning that hoarding the darn stuff is pointless–ya bought it for using: USE IT!!!!! Recommended WOF for madder is 35-100% after all. It’s not worth cheaping out: you can’t add another egg to a cake after it’s already baked. (Yeah yeah, one can overdye, but why add another step and more dye material?)

And of course, while the above photo makes it look EXACTLY like what i desire most in madder, fabrics always dry lighter, whether a synthetic dye or a natural.

Wet:

Dry:

The resultant colour is much better, though still not quite as deep as i’d like–and note too, while it’s almost impossible to get even results on large pieces(above, actually folded in half, and around  20×34″), i obviously need a much larger pot for movement so i don’t have such conspicuous squish marks 🙂 Still, i kind of like the effect! I’m pretty much sticking to cotton too, as getting madder red on silk is a LOT of different steps and chemicals, some of which i’m not sure i’d like to do/use at this time. Getting this depth of red though on cellulose is rather special too so, though i want the red that Kate Bowles got on hers, and have informed her via Instagram that from now on that coveted shade is “Kate Bowles Red”, i’m quite sure i’m on the way to what i want!

I’ll try some post mordanting/modifying on small bits of this to see if i can get closer to that wet-in-the-pot shade.

 

I’ll be throwing some threads and lace in there next, as additions to the Summer Madder Project garment. They’re stewing in the first part of the mordanting process, so won’t be in until tomorrow night at the earliest.

 

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I’ve also been playing with a “new” mordant, something is becoming quite popular with ecoprinting, a fine powder called Titanium Oxalate. I was abbreviating it to Titox, but Greyman thought that was hilarious, so have gone to the accredited TO appellation 🙂 On weaker madder shades however, it seems to strip out the colour.

Won’t be using it as a madder adderitive then!

BUT, i also found another use for it besides it’s usual for creating orange-r yellows:

and strange colour/chemical reactions like this green on logwood purple:

A funny little tip for you, if you A. properly mordant your fabrics (but forget if they’re finished when you pack them away) and B. keep a wee tiny jar of Titanium oxalate, then you’ve got a handy dandy little tester for mordants. Tear off a tiny strip of the fabric, dip the end in the TO, and if it turns bright yellow, it’s mordanted with alum (silk) or alum and tannin (cotton). If it’s pale pale cream, it’s unmordanted!

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And now i REALLY need to start actual STITCHING on this Summer Madder Project. I’ve decided to start with pockets–cause i’m tired of not having any! I had to revise my plan a wee bit due to the way i do my “embrilting”, so instead of a “top”, it’s going to be more of a jacket/wrap/coatlet of some sort.

 

 

 

 

Posted in a collusion of ideas, Deliberation--do something you don't do--or haven't in awhile, Madder, mordants and modifiers, The Summer of Madder (Study)

summer madder project Project

Posted on by arlee

For a couple of years now, i’ve had an idea in my head for a special garment, after seeing something in a trendy boutique window that fired some desire for a similar “Objay Dart” (aka Objet d’art). It was in reds, all patchy and flowing, bohemian though unadorned with any embellishments, simply cut and extremely Spendy. I filed the idea away, as i haven’t made even a pair of pyjama pants in the last 7 years.

But what’s this? There seems to be a plethora of chunks of fabric, all dyed recently, in the madder summer experiment pot. And threads in various shades as well. EUREKA.

I do have more fabrics, but have to dig through some serious piles first! I’m picking up a package from Maiwa today too, which includes more madder, because even though i intend to use up the 33 year old madder currently in the pot, and the tons still left in that bag, i think the best red was from Maiwa. Two madder pots then!

I used to make wearable art, even had a moderately successful small business for 6 years, selling through local boutiques and “Craft fairs”, so i’m experienced enough a designer and construction-ist (i hate the word seamstress…), that i know the cut of this is going to be important. Cotton, at least most of the cotton i have, is not terribly drapey. They’re not stiff slices either, but with not a lot of movement in them, the design has to accommodate that fact and the silk additions, which are drapey. I might go on the bias with some of them though, as that helps a bit with flow.

I could of course just draft my own design, but i pulled out my only Tina Givens pattern, and had a look at that.

Hmm, slip “too” biasy, pants too much fabric. The crop top however might work, but i may forgo the ruffled detail at the bottom, and just lengthen it a bit. Actually, there could be enough silk to do the slip too! OOOOO, wouldn’t that be decandenty-bohemianish-artful-artistry-Artist-y? I tend to live in either leggings and a shirt for work and out-and-about, and a tank and pyjama pants at home! My body has settled into a 60 year old shape (though a “few” pounds could be lost) and i really don’t care to “dress to impress” anyone anymore, but it’s always nice to have something for “good” 🙂

So, though i may have chunks of fabric, and hanks of thread to share in the shop, depending on amounts and time, i will also have something to really show what i’ve been up to. It’s not a daunting project either, as i have no deadline, no rules to follow, and no one to account to. I can do whatever treatment i like to the “patches”, take my time with those as well, enjoy the process (and maybe make learn new skills or at least, new applications of older skills), and go easier on myself in my studio. Perhaps the Muse will return somewhere along the line here, and if not, well, i’ll have some new duds at the least.

***EDIT: For those of us with that 60 year old body, you might want to read this review, with its tips. (Please be aware though that the writer of the post, Lorraine from Calgary, has passed on since…i sure would have liked to have met her in person.)

 

 

Posted in Madder, mordants and modifiers, Natural Dyes, The Summer of Madder (Study)

33 year old madder

Posted on by arlee

This madder *could* be older actually. I’m going by the date of dissolution of the company that sold it, so who knows when this was actually packaged??!!! I doubt that it has “expired”, though i’m sure at some point, even madder roots lose their potency. From yesterday’s start, things looked mighty promising.

All skeins were premordanted with tannin (gallnut) and alum acetate, as is recommended for cellulose fibres. The thread is a 4 stranded embroidery floss Galler product, “Parisian cotton”, sadly no longer in production. The company is still in business, but doesn’t manufacture this particular commodity anymore. I didn’t do a bran bath however as the last step, a better way of “dunging” than actual dung….  That will happen on the next batch of threads to see if it really does make a difference–i know people who swear by this, and it is emphasized with the use of alum acetate, but haven’t tried it myself yet.

The first skein was in the dyebath for 8 hours. Wet:

And dry. I was quite surprised to see how much the first skein lightened when dry, though i know that dyed items, whether chemical or natural dyes, always dry lighter. Well, nothing wrong with “terracotta rose” 🙂

An iron dip on one section of the 16 hour second skein browned it, copper sort of pinked it, some soda ash made it slightly redder.

I still had 4 skeins in the pot at this point and left each for a day longer, progressively, though there’s not much difference in absorption. From now on though, i’ll be leaving the threads (or fabrics if used) in the pot for at least 2-3 days for maximum absorption and depth of colour.

Not knowing the provenance of this bag of ground madder root, i’m not even sure it hasn’t been doctored with red brick-dust or gawdz-know-what, a common practice to pad the bill in the old days! For the amount i put in the stocking, it swelled a LOT, from filling a good two inches to puffing up and making itself look big at 6 so round so firm so fully packed inches.

Though not “true” TURKEY RED, this range of shades are wonderful, because each time i do the dye pots, i get something unique to me. Madder is also more work on cellulose fibres though, with those deep rich radical raunchy reds best showing on wool (a protein fibre). BUT, that’s still a good thing for the personal stash and usage. *And* i can say now with some truth, that i have some “vintage” threads. And yes, i know the terminology: 25+ years is “classic”, 50-100 is “vintage” and 100+ is “antique”. “Vintage” also refers to a specific YEAR, so my threads are done with vintage madder 🙂 I do love this range of shades i got, and look forward to incorporating them into my work, should the Muse return……

I’ve poured off the first extraction, saving it, and will now see what colours result from a second soaking.