Tag Archives: wool

Of silkworms and socks

The very last silkworm went to silk yesterday, so there’s an end to silkworm updates for this year.  I can’t pretend to be sorry.  There have been a lot of weeks of feeding the hungry caterpillars multiple times a day and foraging on their behalf, and I’m happy to wait until next September to do that again.  I found an extra two cocoons under the guitar case on the floor below the silkworm raising station.  They must  either have crawled there to pupate (music loving caterpillars?) or fallen after chewing off the piece of leaf that connected them to the rest of their mates. Happily, I don’t think we  lost a single silkworm, which is good, since stories of silkworm tragedy came back to me from some of the people who took them home from the Guild! 

Meanwhile, a breakout of meetings and presentations at work has enabled the completion of these socks in Naturally Waikiwi Prints.

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I have only had them on the needles since August!  While the other hemisphere is celebrating Wovember, here we have had our first days over 30C.  These socks will be waiting a while to go onto a foot. They contain possum fur, which makes them delectably soft, while making use of the oversupply of possum fur in New Zealand/Aotearoa. Possums are incredibly cute, and as an Australian I am in a good position to know this because the possums in Aotearoa are feral.  They are native to Australia.  Without intervention, they would be well on their way to denuding those lovely islands and making life impossible for the plants and animals native there.  Since Australia also struggles under the weight of feral animals (including cute ones like rabbits and cats), the damage that can be done is very obvious even if the sadness of having to cull them is equally clear.  My apologies to any Kiwis who might be reading, for the introduction of our cute but damaging possums to your lovely land!

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What to do with art yarns/textured spinning

The other night, treasured friends came round for dinner and brought with them someone I hadn’t met before.  She saw the display of tea cosies and loved them.  She collects.  The honest truth is, I don’t even drink tea.  Nor does my beloved.  I just buy random teapots at the op shop and make them cosies for my own entertainment and the joy of giving them away.

Naturally, I said ‘would you like to take one home?’  She struggled to choose and I offered that she take two, but that wasn’t happening… it is difficult to make people understand just how far I am from having a yarn or tea cosy shortage.  So a particularly ugly teapot was disrobed and a corespun cosy with recycled sari silk threads went home with her.  That had me in a tea cosy frame of mind… So I delved into the stash and came out with this the very next night:

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The yarn is felted wool blobs spun onto crossbred wool from a sheep known by the glorious name of Macchiato the Mongrel.  I believe the epithet was added after Macchiato ate the neighbour’s pea crop and had to be found a new home.  That fleece came to me from a friend of a friend who lives in the hills. The pattern is a fast and loose adaptation of Funhouse Fibers’ Fast and Fun Tea Cozy.

This twining vine yarn (commercial wool top, felted leaves) was in the same bag.  I started in on a cosy and the audience decided it was too cute and really should be a child’s hat.  I guess we’ll wait to see who it fits come winter!  I started with a three stitch i-cord and made the rest up, ending with a stitched cast off for stretchy edge…

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And, some silk cocoons went off to be reeled by a friend with a  lot more patience than me, and here are the rest.  I have no idea why they are in two colours, but if anyone else knows, please tell.  I keep thinking I will finally get back to the nettle stems, but I fear it won’t happen today…

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Silkworms: 7 week update + more wild textured spinning

Well, here are the late bloomers. Yes, only 5 left.

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Everyone else is in here now in another form…

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And meanwhile I decided to try a spinning challenge set up on Ravelry… a yarn generator based on a date system.  What genius on the part of its originator! Sounded like fun to me… I put in the date for my birthday and that meant creating a yarn that incorporated autowrapping (see that rayon thread over the white section?), metallic elements (there are strange and peculiar glitter pompoms from the op shop as well as sparkly gold fibre and gold recycled ribbon)…

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Yellow is required too, so there is some of the coreopsis dyed corriedale, some yellow preloved ribbon (there has to be fabric spinning too), and last year’s silk cocoons…

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Then there is chain plying and the ever present eucalyptus dyed merino… and one mighty strange yarn overall!

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Textured spinning and trash batts

I went on a weekend away with members of my Guild recently and had a fabulous time chatting, spinning and eating way more than made any sense.  I took some little packs I made up beforehand, each designed to create a skein of yarn. This first one began as Finn cross locks I bought pre-dyed and perhaps a little felted, with curly tips.  Perfect for this technique, I thought.

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Here they are as a lockspun yarn, with the teased-out, butt ends of the locks corespun around a crossbred grey wool core that can no longer be seen, and the curly tips on display.

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This batt of unloved green fleece that I was given includes some orange silk noil and some pre-dyed mohair locks.

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Here it is corespun over that same grey crossbred core.  I learned these two techniques from the fine writing and DVDs of Jacey Boggs.

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The trash batt experiments continue!  This is eucalyptus dyed carder waste (and nepps pulled out as I was spinning) carded with white and tan Polwarth locks.

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I used it for my first attempt at a  new textured spinning technique–a friend gave me a copy of The Wheel that contained this technique and you can also see it here.  It originates with Steph Gorin, who demonstrates here.  (The video also includes advertising for Ashford.)

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Here is the outcome of a batt made with the flick carding waste from the blue lockspun yarn above, and a eucalyptus dyed carder waste and polwarth batt.

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Finally, a gratuitous picture of what appears to me to be valerian in flower in my garden.  Which is gorgeous apart from the fact that I bought it because it was soapwort.  It doesn’t look like any soapwort I have ever seen now it is in flower, which makes me glad it wasn’t big enough to harvest until now!

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Eucalyptus dyes over grey corriedale: The spinning finale

I have a bit of a tendency to go a long way toward the completion of a big project and then pause near the end.  Sometimes for a little while, sometimes for a long while.  So here, finally, is the very last of the grey corriedale I dyed months ago and planned to spin during the Tour de Fleece. I loved the two ply yarn I created during the Tour a good bit less than my initial chain plied skein, even though it is what I need if I ever knit that cardigan I dream of.

I found the label for this fleece on the weekend and I started out with 3.5 kg of fleece.  I made a true three ply yarn (three singles plied together) from most of the last part…

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And chain plied the rest (one single plied on itself in a chain).  I think the long pause on this was caused by the way my heart sank when I stopped chain plying it in the first place.  I love the distinct colours in the last little leftover skein!   IMAG2562

I also spun up a little batt of alpaca dyed in eucalyptus.

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Three ply wins again!

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Indigo vat with colour run remover

I am a bit intimidated by indigo.  Perhaps I have just made it a major performance each time I have attempted it so far–overreach is a superpower I have in spades.  But the temperature maintenance, chemistry, my lack of experience and (in the case of the hydrosulphite vat) my aversion to the chemicals involved, all make me wary.  Anyway, I overcame my reluctance and ran a vat last weekend.  I made an assessment of the fleece I might dye –in varying states of yellowness and natural whiteness (with a little tan), corriedale and polwarth.

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The quiescent vat has been dormant since January, since I failed to make a successful fermentation vat using ambient summer temperatures. It has only been waiting 10 months for resurrection!  It contained madder and bran as well as indigo due to its first life as a potential fermentation vat, so the night before,  I sieved out all the larger particles remaining rather than have them distributed throughout my already less than pristine fleece.

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I wetted out my fleece and some brown polwarth slippers in readiness.

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The vat was a far more exciting colour after warming and the addition of colour run remover.

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I had read Vivien Prideaux and Jenny Dean in preparation and realised some guesswork would be required. How much colour run remover?  How much could I hope to dye? Just the same, this is the second half of this vat I have managed to render useable by this method, another reason to think I should give up being intimidated and get on to practising fermentation methods.  Perhaps, just like sourdough bread, it isn’t as delicate as you might think at first–even if time needs to be on your side. It was very reassuring to see that telltale yellow-green colour appear under the surface on my silk embroidery thread.

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Some of the yellow fibre going into the indigo:

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And afterward, while still wet. Some of the greens will be quite emerald when they are dry, I think, but the paler yellows became blue rather than green.

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The white fleece became many shades of blue in a very satisfying way that will let me create graduated yarns.  Here it is, going into the vat:

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Here it is still wet but rather gloriously blue…

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The slippers took up blue where they were white or pale purple from the tail end of a logwood exhaust bath, but took virtually no colour on the brown parts, which is to say, most parts.  It may be that the vat was exhausted–not completely, or the pale parts would not have taken up colour–but sufficiently that no colour change showed up on the brown.  It may also be that they were greasy enough to repel the dye somewhat and that so much wet fleece having entered it, the vat was diluted.  So I have kept the vat aside for another day or a new thought on the matter.

Meanwhile, there has been a breakout of the urge to spin silk and enter the cocoon…  But not for every single silkworm, and the ones that remain are SO HUNGRY!  So now I am off to look for a mulberry tree in the parklands I heard about on the weekend…

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Yellows from coreopsis flowers and osage orange

I have decided to branch out from the eucalyptus based palette of ochre–caramel–tan–orange–red–maroon I have been so focused on for the last while and plan toward an indigo vat.  Don’t you love these bold statements?

I still love the eucalypt colours: here, a small quantity of alpaca passing through various stages of preparation.  Picked, dyed locks;

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Partially carded batt;

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and, finally, yarn–pictured in the dyer’s chamomile patch.

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I have decided to try for yellow–green–blue transitions, which will necessarily begin with yellow.  I had coreopsis flowers my mother saved me one summer, as she deadheaded her plants. This collection of flower heads speak to me of her love and her fine qualities as a gardener and a person who loves to share.  I had reservations about the colour I would get from them, as some had gone mouldy.  Her -plants are just so prolific–the stack of wilted heads had trapped enough moisture to create mould.

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I also had a little remaining quantity of osage orange shavings of antiquity, gifted to me from the Guild.

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I prepared them both for the dyebath, but have to say my tea ball was not a good enough receptacle to retain the osage orange.  I not only sieved the dye vat before adding wool (thank goodness I remembered to do this as I tackled it one night when the amount of sawdust in the vat was not as obvious as in the clear light of day) but also placed the whole tea ball in another fine cloth bag before running an exhaust bath.

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Even after the first bath of each dye, there was a lot of colour left, so I ran an exhaust bath and dyed a total of about 800g of white corriedale.  I was especially impressed with the amount of colour and the wonderful smell of the coreopsis bath.  I need not have worried about the mould.  Here is the coreopsis bath between dyeings.

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The resulting yellows are lovely.  On the left, coreopsis bath 1, then coreopsis bath 2, osage orange bath 1 and osage orange bath 2.  The coreopsis yellows are quite buttery and golden and the osage orange colours are a little more lemony.  And, there is further evidence that grass seeds and other vegetable matter take dyes quite well!  Now, to build up my courage for the indigo stage and some greens and blues.

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Just in time for summer!

Sometimes people ask me how I manage to fit so many things in… but I am not sure they are really keeping track of how long a project might take me from start to finish!  Many craft projects at my place involve large numbers of tiny steps.  Sometimes it is the nature of the crafts involved and sometimes it’s the only way I can figure out to make things happen.  So projects progress slowly at times, as whim, interest, the right weather, or the availability of time permit.  Today I can report that a couple of items reached the out spout.

The eucalyptus dyed grey corriedale which started here and continued here has finally come to an end, with every last bit now converted to yarn.  The middle skein is chain-plied (and to be honest, I really do prefer this yarn over the one I have created for my cardigan) and the one at the bottom is a true 3 ply.  Some of this yarn is destined to become a cardigan, but it will not be for winter 2013, which is over now for us here in Australia.

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I have also finally finished making a jumper for my fairy godson. He is a tall and slender individual (just in case you’re wondering if the proportions are right), and if he’s lucky there will be one or two days cold enough to wear this jumper before winter 2014.  I hope it will still fit him then!  It was slowed down by misjudgment of the amount of yarn needed, and thus several stages of dyeing and spinning as knitting progressed, breaking all the rules of good handspun-handknit practise.  It is 3 ply eucalyptus dyed alpaca in 4ply/fingering weight.

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Here it is, tied up with handmade string crafted from the leaves of our daylily.  When it was raining this morning I decided to steam press it and just take it over on my way to work in hopes it might be cold enough to wear it, and was lucky enough to catch my friends at home.  It never fails to gladden my heart to give a gift that is really warmly welcomed… but it is an additional exquisite pleasure to find the handmade string to be just about as exciting as the jumper to its recipient.  It fills life with pleasure to find folk who feel just as intrigued by string from the backyard as  you do, and just as curious about how it could be made.

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Someone who works in the same hallway as me exclaimed over my looking happy at work on a Monday, just as I walked in this morning… and may not have understood if I’d said it was all about late but welcome presents and homemade string and love.  Sometimes you have to be there.

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Local windfalls 2

I went for a walk the other day after more gale force winds.  The wind had been so impressive I watched every piece of mulch in our backyard become airborne the previous evening!  I took my trusty secateurs and a calico bag with me.

My first candidate (for the dye pot) is a tree my father calls Queensland Box.  Wikipedia suggests my father is right, and also that this tree is widely cultivated outside Australia.  It is Lophestemon Confertus–and its flower is just lovely (go to Wilkipedia if you’d like to see it–they are not in flower here right now).  The trunks peel to a lovely burnt orange but at present this process has barely begun.

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They are widely planted as street trees here.

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And they certainly are fruiting, with two generations of seed pods on show at present among glossy leaves.

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Two generations of fruit is one thing. Dye pot candidate two had four generations on show.  This eucalypt has been pruned ruthlessly but shows mostly smooth bark with rough, peeling bark near the base.  My best guess is E Macrandra (River Yate)–but this really is a guess.

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Now for the reproductive material! I think this is a ‘flattened, strap like peduncle’ as constantly referred to in my reference works. Those tiny ‘fingers’ are buds.

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Here the buds are again, a lot further along, in the second generation:

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Immature fruit:

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Still immature but older fruit:

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Finally, I came past a stand of ironbarks where I often collect after wind, and collected my third candidate.  It’s a mixed stand from which I sometimes get good colour and sometimes very little.  Three dye pots full waiting their turn on the hob…

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The results were not tremendously exciting… different shades of tan and pale apricot from the eucalypts (clearly the ironbark was not E Sideroxylon). I have to confess that I forgot to photograph these unexciting outcomes before overdyeing them with E Cinerea.  The Queensland Box showed its capacity to give tan in the presence of alum, especially.  The samples are (from left to right) wool, wool+alum, silk and cotton.

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Neighbourhood windfalls 1

We’ve had gale force winds here lately.  One morning about a week ago, 40% of my city had no power when we woke up (we were happily still connected to the grid).  Needless to say, this has led to windfalls, and I was still collecting them yesterday as further gale force winds began a week later.

The first windfall was an ironbark.  Guessing from its location (a stand of three ironbarks) and the gumnuts still intact, I think it is E Tricarpa. Sadly, just as unremarkable as a dye plant, as the last time I tried!

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I have not managed to identify this tree, partly because it branches metres above ground level.  Even with so much of its canopy on the ground, I didn’t find a single bud, flower or fruit to help me identify it.  The trunk is rough and pale. The whole tree is difficult to capture in a photo, especially on such a gloomy day.  It must be at least 20 metres tall.

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It seems to be under attack from some kind of scale insect.  Every single leaf was affected. Here it is after some hours in hot water–suggestive of a beige outcome….

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Compare my third windfall.  This is a tree that has been cut to accommodate cars parking beside it, in the car park of a recreation area.  I haven’t been sure whether it was E Scoparia, E Camaldulensis, or some other unknown eucalypt.  Both E Scoparia and E Camaldulensis have similar shaped and sized leaves, small fruit and both can have pale, smooth trunks (but this trunk looks more E Camaldulensis to my admittedly self-trained eye).  The branch that fell to the ground had an uncharacteristically large number of fruit on it for E Scoparia.  On the other hand, the clusters of seven fruit with 3 valves apiece made me think it might be E Scoparia after all.  So did the colour of the dye bath, though the leaves did not turn orange the way E Scoparia usually does.

In spite of the colour of that dye bath, the result says that this is not E Scoparia, and the 3 valves say that it isn’t E Camaldulensis either (4 valves).  Even with vinegar to help bring out whatever orange or red might be there to be had, and still damp from the dyebath… the 3 valved tree is at the top (brown-beige?) and the 20 metre tall tree is at the bottom (caramel-beige).

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Here are the results of a bath with a fallen branch from an actual E Scoparia, downed in the same windy night.  They’re the red and orange samples, with the E Tricarpa for contrast.

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