Leaves on wool

I have been planning some bundles for quite some time.  And, quite frankly, wanting to wear these woolies and not prepared to do that until they are dyed, which doesn’t make a whole lot of sense.  Finally, the time came!  Naturally, it came after the sun went down, and hence the quality of this picture.

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The leaves were collected on a rainy day’s outing when we happened to be passing some trees I know of.  My companions were prepared to stop and humour me.  They stayed in the car and I studiously ignored passersby while harvesting.  This one is E Calycogona Calycogona. Front:

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Back:

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Detail:

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E Kingsmillii Alatissima: Front

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Back:  IMAG1773

And a particularly lovely detail:

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I think it would have been better if these bundles spent longer in the pot and my sense of design was better… but I am nevertheless happy.  Just between you & me, I like heading out into the world with secret leaves twining up (or down) my body.  Secret, since these are layers which I don’t usually wear on the outside.  It’s a quiet comfort, especially given the extra warmth of the wool.

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Eucalyptus Calycogona subsp Calycogona

While on the path of trees helpfully labelled in Botanic Park… I bring you E Calycogona Calycogona. It is native to Western Australia.  Here it is flowering generously in early June in Adelaide.

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And what a result in the dye bath!  Every fallen bud cap printed.

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Cortinarius Archeri

The gifts of mushrooms continue!  My neighbour the mycologist came around with a gift of Cortinarius Archeri in many shades of purple.  He had heard they could be used for dyeing, would I like to try them out?  Aren’t they glorious?

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I have read about European dyers using Cortinarius semisanguineus, and Leena from Riihivilla has written extensively about how she uses them. So I weighed my mushrooms and put them to soak on 30 June.  Well, after 9 days the mushrooms were fermenting.  Let’s not discuss the smell.  And, on second thoughts, they were so beautiful when they were whole, perhaps I won’t share a picture either.  I regret to report that no colour resulted from this experiment.  On the other hand, when I reported this to my neighbour, he offered me something else…

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Eucalyptus colours over grey wool

I have a lot of Polwarth fleece, both brown and variegated white/tan. All of it gifted from pet sheep that live nearby.  It is a privilege and it is also a difficulty.  Washing fleece so fine and so greasy has been intimidating as well as slow.  I have spun some in the grease, and washed some twice, and tried several different washing approaches.  I have dyed and spun and spun and dyed.  Two and three ply, corespun. you name it! I spun and knit an entire cardigan from naturally brown Polwarth, too.

And then one day someone at Guild said “I hate fine fleeces!” in my hearing, and it occurred to me that I do not have to spin it for the rest of my life.  I lashed out and bought a considerable quantity (3.5 kg) of grey Corriedale (nothing to approach the stash of Polwarth, mind you) and it has been heavenly.  I love grey fleece, and this is the loveliest corriedale I’ve ever had the pleasure to spin.

I have been dyeing it with eucalypt leaves and bark.  I have oranges of many shades from rust and brick to flame to gentle sunset.

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I have burgundy and plum.

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And I also have some tans and walnuts.  It appears I collected some bark that wasn’t exactly what I thought I had collected.  But to be honest, I think these are lovely additions in this context.  I’ve begun spinning yarns of many hues, chain plying to maintain the colour contrasts.  Lovely.  It’s hard to believe I can find these colours through combining bark and hot water and time with wool.

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Now… I have figured out that what I would really like to do with at least some of this wool is knit a particular cardigan.  And my beautful 3 ply yarn is too thick to make gauge for it!  Possibly also for the design I have in mind those colour changes will not be ideal.  So, I am about to embark on two ply yarns.  This is my Tour de Fleece project.

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Austral Indigo 2: Hydrosulphite vat process

My second experiment with Indigofera Australis was a hydrospulphite vat. Robyn Heywood from the Victorian Handspinners and Weavers Guild has made her experiments with Indigofera Australis available online. I was delighted to be able to see the records and samples of the Victorian Handspinners and Weavers dyeing group at their Guild Rooms when I was in Melbourne last year.  It was really inspiring to see the variety of methods they had used and the range of colours they had achieved.

Robyn Heywood has trialled this method as well as the cold vinegar method and provided instructions.  So, since I still had some hydrosulphite left from my last indigo vat, I decided to try it.  Robyn Heywood soaked the leaves… apparently it is too much to expect that I would follow instructions exactly.  I blended them and left to soak for a couple of days. Here they are 18 hours later.

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Robyn’s proposal was to leave them in a warm place.  I created one the first night by sitting my vat in a bucket of warm water, and then since the days aren’t warm right now (17C maximum)– the best I could do was a sunny spot.  48 hours later–or so–I started in on the preparation of the vat.  First, I sieved out the plant matter.  Then, added washing soda.  Now for aeration.  I went with the trusty blender method, which I was sure would introduce a lot of air.  Before:

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After:

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I watched sceptically, but indeed, the bubbles did turn from green to bluish!  I prepared a hot water bath to raise the temperature of my vat.  I put the jar into it.  I turned away, and a few minutes later there was an almighty crack as the jar came apart.  Rude words were used.  On the down side, I now had glass shards I couldn’t see in my dye;  evidence of poor judgment on my part; a  broken jar and a clean up job.  My dye bath had at least 1.5 litres of water added to it, so probably now had three times the amount of water I had decided on (that sounded like a weak vat to me!)  And it was now in a stainless steel dyepot, along with whatever contaminants it contained after being rinsed out.  On the up side, the bath got to 50C almost immediately and the bubbles were still going blue.

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‘Press on, how do I know what will happen?’  I thought.  ‘Don’t be wasting that precious dyestuff’, I thought.   I got out my trusty milk crate/felted blanket dyebath insulating system, filled up one hot water bottle which promptly sprung a leak; filled up another hot water bottle, sprinkled on the dye run remover, applied hot water bottle and felt blanket to vat and walked away.  ‘Que sera, sera and all that’,  I said, sighing.  Well, I need not have sighed, because the vat turned a vivid yellow.  In went some silk/cotton thread and a piece of hemp fabric.

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They came out bright yellow and turned green and then blue-ish almost immediately.

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And so, to re-dipping, gleefully (and repeatedly).  Yield: several lengths of silk thread in shades of blue and grey, and a piece of pale blue fabric.  I have plans for them.  I am not sure whether this amount of leaf would always have produced a pale shade and to what extent my accidentally diluted dyebath contributed.  But, some blue resulted, and that part is excellent!

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Austral Indigo 1: Cold vinegar process

My plant-knowledgeable and extremely generous Katoomba friends harvested some Indigofera Australis for me recently, and I brought it home gleefully to experiment.  They have regular access to a place where Indigofera Australis is growing plentifully and where it is native.  I had one previous opportunity to try dyeing with this plant and it was fascinating but completely unsuccessful.  So, it was exciting to have another chance.  There were 112g leaves in my parcel once I stripped them from their branches.  They had been kept cool or refrigerated in the 7-10 days since they had been picked–fresh but not really fresh.  I decided to try two different methods.

The first is a cold process suitable for protein fibres only, using vinegar.  I have found it described online as a way to process Japanese Indigo to achieve turquoise by Dorothea Fischer and in a booklet by Helen Melville.  Japanese Indigo is a prohibited import and not available in Australia (no matter my feelings on the subject of Japanese Indigo as a dyestuff, this country does not need more weeds).  It does seem logical that this method should work on other indigo bearing species, even if Austral Indigo bears a lower proportion of indigo!  However, using the leaves fresh is a key element and my leaves weren’t as fresh as possible.

Since my last effort, my Dad bought me a cheap secondhand blender (which I planned to use for papermaking).  It made pulping the leaves so easy I didn’t even try cutting them up manually…

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The water immediately went a vivid green, and so did the froth on top.

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I began with a sample card and a small quantity of silk thread, and gave them a few dips before bed time, then left them in overnight and re-dipped in the morning.  Here they are before being further re-dipped, with every fibre on my test card except cotton one shade of turquoise or another:

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I also tried dyeing some wool, but even after a lot of dips my little skein is barely blue.  End yield: 2 lengths of blue silk thread, three lengths of grey-green-blue silk thread and some off-white-in-the-direction-of-blue-merino.  Clearly, as I had heard, Indigofera Australis is a low yielding source of indigo.  But this method was brilliantly simple, easy and non toxic.  I will happily try it again when my plants are a little bigger.

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Eucalyptus Cretata

These trees were rather young and rather prostrate. However, the fact that they were helpfully labelled made me feel I should take an interest!

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I took only a few leaves, which is one of the big advantages of the eco-print technique of assessing dye potential, as India Flint has emphasised.

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The grooves on the bud caps are rather lovely, I think.  The sample print… not deeply exciting, even with some help from iron!

E Cretata

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Plum Pine 3: Let the dyefastness testing begin!

Unbelievably, the plum pine is still fruiting, and I am keen to dye enough to be able to do some wash and light-fastness tests in the year before it fruits next time.  So I harvested again, picking up fallen ripe fruit from the ground until I filled the bags I had with me.  A man in white overalls who seemed to be working nearby was gripped to see me doing this and asked me all about what I was doing and why.  He was fully supportive of ‘making use of our natural resources’–as he put it–!

Early signs are that my silk threads dyed without alum will not be washfast. My mending has changed colour in only a couple of washes, and seems to be Ph sensitive, with pink without alum noticeably paler and purple with alum (the contrasting outermost ring on the right) turning blue in a mildly alkaline wash.

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Only someone accustomed to dyeing with eucalypts, which are fast on wool and silk with no mordant, would think unmordanted yarns were a good beginning place.  So, I’ve had a mordant bath on the hob.  I did not have loads of anything much ready to mordant and dye except Bendigo Woollen Mills alpaca rich, so 200g of that hit the alum and cream of tartar bath along with smaller quantities of other yarns.

After removing the seeds, I had 2650g of fruit.  I was a bit gobsmacked by the quantity!  Never one to shy away from a challenge,   I put my fruit in a pot of rainwater with a cup of vinegar and simmered for an hour.  Then, I entered some handspun wool, some commercial alpaca-wool blend and some silk thread and silk/cotton 70/30 thread, all mordanted in alum and cream of tartar.  The colour takeup on the silk was dramatic and almost immediate!  I simmered for another hour and then left overnight.  The colour change overnight was again worth the wait.

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Meanwhile, I’ve set up further washfastness and lightfastness tests…

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Kurrajong

Kurrajong trees (Brachychiton spp) are in fruit in the parklands and suburbs.  They are native to Australia, but not my part of it.

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The seeds are edible when roasted, but the fact that they come nestled into their little boat-shaped pods in a bed of irritating hairs puts a lot of people off (I’m one of those people)!

We went for a run by Victoria Park Racecourse a few weeks back, and there were many. Some with glorious lichen-covered trunks.

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Here is the whole tree…

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And evidence that it is not on the verge of becoming a world-renowned dye plant.  In this image you can see my test piece, with half the leaves removed from it.  The smudges of colour you see have transferred through from other samples in the same bundle.  Nothing from the kurrajong leaves my beady eye could detect.

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Eucalyptus Nicholii

I finally found E Nicholii, growing in Botanic Park. My beady eyes have been searching the suburbs of my city for this tree as I ride past, to no avail until now.

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This is such a finely-leaved tree!  Perhaps I have failed to identify it if I have seen one fully grown, mistaking it for another kind of tree altogether.  I had one growing in a pot but it suffered too much through summer. It is also the only tree I have ever seen as the subject of a public notice at Guild, where I once saw a hand lettered note asking if anyone could supply E Nicholii leaves for a dyer. My friend’s godmother–another dyer–who lives in NSW, recommended E Nicholii as her favourite dye plant.  These are some of the reasons I was trying to grow it in a pot.  I have given that up and we have a tiny specimen growing in the corner of the back yard.  And now–the reason why people are so keen!  I think this print is sensational.

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See that big black splodge?  I have wondered why I get one of these once in a while (and needless to say I have had a few theories).  Just recently the penny dropped.  Or should I say, the washer dropped–because that is what actually happened.  One of my dye pots has a glass lid with a knob screwed into the centre of it. All these eucalypt dye baths have eaten away at the metal of the screw and washers.  One washer recently fell off altogether, as the hole in it simply had been made too large for it to stay in position.  So… there has been an inadvertent contribution of iron to some of my dye baths, and some unintended black smudges where iron water drips down onto my bundles from above–since this lid is convex, I have preferred it when I have large bundles in the pot.  Aha!  Another mystery solved.  This may explain some of my surprise dye bath outcomes, too…

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