Having a few smallish quantities of hand spun yarn I decided to dye them.
The first was about 30g of blended tussah silk/wool singles that I’d then plied with itself. This is a slightly textured yarn with an interesting matte surface owing to the silk content. It took the deep purple dye beautifully, although the different fibres had varying take up of colour, so it isn’t quite even.
The second was a black and cream space spun yarn, plied with a solid cream. The solid is made from 50g of cream Suffolk fibre, woollen spun into singles. The second singles, with which this is plied, was prepared on a drum carder in alternating stripes of the same cream yarn and stripes of black Belwin fibre. This 25g batt was then woollen spun into singles, after which the two yarns were plied together into a 50g hank. This combination created a pretty spaced marl effect along a yarn which is reasonably even in thickness throughout.
The completed yarn was dip dyed in the same dye pot as the silk/wool yarn, plus another pink dye I had on the go. It was dipped a little into some yellow as well. Over-dyeing this black and cream marl yarn gives the impression of many more colours than there really are.
I’ve used the silk/wool as a band for a hat and the over dyed marl as the crown.
I’ve had a number of different colour hand dyed carded batts sitting waiting for me to find inspiration. They are all from fleece I have scored and carder myself, so are a mix of Shetland, Suffolk and Texel, with maybe a little Alpaca blended into some of them. Some are in 200g amounts, some less. I’d got a bit stuck about how to use them until I saw a useful tip by Anna from my spinning group that she has put on YouTube.
Before you start, select a group of colours that work together. After a designing session during which I wrapped different colours together, I chose five: orange, pale green, mid blue, pale blue and lilac.
Anna used a combination of hand dyed and commercial roving, but the principle is the same with your own carded batts.
1. First of all split the roving/batt into the required lengths, (I just used the whole length of the batt of my drum carder).
2. Then split each length lengthwise into 4, (or more, depending on the thickness of the roving/batt).
3. Next, lay out the colours lengthwise, next to each other in the order you want to spin them into yarn. Test this beforehand to see how they mix throughout one repeat of a yarn, and if this works for your chosen outcome, such as knitting.
4. Repeat the colour sequence three more times so you have a table full of ‘stripes’ of fibre. If you have more than four lengths let colour, carry on until all are used up.
5. Now this is the clever part. I have hand spun colour changing yarns before and got the sequence wrong because I put it all away in a box between spinning sessions. To keep the sequence do the following.
6. Take a metre + long length off ribbon and tie a pencil or empty pen across one end. This is your fibre-stopper. Tie a hand-sized loop on the other end. This is your distaff.
7. Starting at one end of the ‘stripes’, wind each length off fibre into a loose roll and slip the looped end of the ribbon through the centre hole. Carry on doing this, working methodically through the fibre lengths, keeping the colour order as mapped out in your ‘stripes’.
8. You will end up with a ‘necklace’ of colour ordered fibre rolls on the ribbon. Tie the ends together to stop the fibre sliding off.
Now to can put them in a box and they won’t get muddled. To start spinning, simply lift the necklace out, untie the ends, and slip the loop over your hand. It acts as a distaff and will hold your fibre nicely as you spin each colour.
What a great tip!
I plied the colour changing yarn with a single spun made from navy blue Corriedale. This made a lovely marl yarn that to me resembles stained glass windows. I can’t wait to see what it looks like knitted.
A recent stock-take of the various bits of hand-spun yarn sitting on bobbins I now want to use for other projects inspired me to ply them all up and dye them into interesting yarns. Only small quantites of most, but great for small items.
One was a test of blending Tussah silk with Lleyn fleece, and I plied this with some nice soft spun Dorset singles. The silk added a pleasant dry handle to the plied yarn, and the noils added texture. There was more Dorset singles left, so I plied these together as a separate yarns. Next I plied two ends of Suffolk together, they were somewhat different thicknesses and twists, so made a slightly uneven, spiralled yarn. Finally I worked with a lovely colour changing singles, spun from a blend of Alpaca and Texel (cream) and Black Alpaca and Dark Grey (almost black) Suffolk fleece. The Alpaca blends had been carded in stripes on the drum carder so that when it was spun off the batt it alternated in dark and then light lengths. I plied this with a pale grey Suffolk single that I had acquired from a farm in Hereford last summer.
All these came out as interesting yarns in their own right, but I wanted to add some COLOUR. So I got out the dye kettle and the acid dyes. After some thought I decided to aim for a Deep Red and a Blue-Violet. I’ve been trying to be more technical about my dye mixing, and so with the aid of an Excel spreadsheet I have devised, I carefully mixed the solutions, but the Blue-Violet still emerged as Violet.
There was 66g of the Dorset and Suffolk/Dorset, and they went into the Red dyebath, whilst the 45g of Lleyn/Tussah/Dorset went into the Blue-Violet bath and they gently cooked away for an hour or so.
Part of my improved technique is to use a jam thermometer to keep the bath below 90C, preferably just above 89C to prevent felting. I also walk away so I am not tempted to STIR IT! The only stir I am allowed is after teh bath gets to temperature, when I gently remove the yarns, add the vinegar and stir it in. I read that doing this allows the different colours in the mix to be absorbed into the yarn (or fibre), before the acid does its work to set the dye to the fibres. Both these techniques seem to work well for me as I am getting less felting and more even, accurate colours (apart from the Blue Violet of course).
The dye baths were not exhausted – I had worked with a 2% colour to fibre weight ratio for medium depth of colour – so the lovely tweed ply was dip dyed into both pots, leaving mid-sections of the natural tweed plies undyed. I felt this needed a third colour to lift the others, so a very small section between each of the main colours was dipped into a weak yellow dye.
I’m really pleased with the products of the session – carried out whilst I watched the new TV programme ‘Roadkill’. Unfortunately I was a bit stupid, or maybe it was the effect of the programme I was watching, and whilst mixing a new batch of yellow stock solution I mindlessly poured boiling water onto the dye powder in a plastic jar. Of course the jar melted, buckled sideways and then toppled to the floor before I could catch it. Waves of strong yellow dye flooded the kitchen floor (I am exaggerating, it was only 150ml or so, it just felt like waves). It took five washes to clean the floor so that no-one would walk yellow onto the beige carpets, and my socks will never be the same again! Plus I had to start again with the stock solution. I did debate mopping the floor with some yarn, but decided that might be too hit-and-miss even for me…
In fact this morning, whilst hiding from the dog, (don’t ask why) I noticed a snail-trail of yellow dye snaking down the side of the kitchen cabinet – how did I miss that one?
What am I going to use the yarns for? I think a warm hat to cheer me up with its bright colours during this depressing winter-to-come is on the cards. I might knit it by hand or I maybe use my Brother KH260 chunky machine, and hope to report back on here when its finished.
Leaving the dye overnight in the pots – I was tired after all that floor-mpopping – the next morning I decided to finally extract the last from each one. So 50g of Dorset fleece went into each, and I got a rich coral pink, and surprisingly bright lilac for my troubles. It was so rewarding to empty clear water out of the dye baths afterwards.
I’ve been dyeing a whole fleece into 100g lots mixing my own colours from primaries from Colourcraft acid dyes bought from George Weil.
I’ve gone into detail about this here, but the colours are zinging.
Pink, greens, dark red, yellow and orange. I’ve just completed a blue, but it’s still wet so will have to wait to be added later on. I added another batch of fleece to the finished due bath to exhaust it totally, which gave me a pretty pale blue.
I’ve also tried stove-top rainbow dyeing. More about that can be found here.
Last week a few of us got together (safely distanced and masked), to take our textiles into the park. I enjoyed myself so much I forgot to take a photo!
The thought of spinning outside in the sunshine encouraged me to use bright colours. So I took along some Shetland fleece I dyed a while ago using acid dyes, (I have written more about dyeing fleece with acid dye here).
I’d spun up a bobbin of Suffolk fleece that is not very exciting, so I planned to use that as the core for a bright, irregular spun, core-spun yarn to which I would add a charcoal wrapping yarn. All 100%wool. I took my folding Louet Victoria S95 wheel which is a joy to use.
The core yarn was Z twisted quite tight. The wrapping colours were also put on Z twist, and the final charcoal, commercial yarn was S spun over the others.
After washing and drying the twist the colours hardly muted and it’s come out as lovely yarn.
I’ve got a pot of onion skin dye ready to tie-dye a silk scarf and a skein of hand spun Jacobs marl yarn.
The yarn changed colour during the mordanting, and the cream ply has taken on a pale golden yellow tone. I think I will dip dye it to preserve this rather pleasant effect. Let’s hope the pale yellow doesn’t wash out at the end!
The scarf is already dyed in an ombre effect from grey to white, but cool greys don’t suit me; I want a warmer golden colour. The underlying ombre effect will be interesting, and I’ve tried marbles in in a pattern. I may add some eco prints on too, I’ll see what happens with the tie dye.
I’ve rigged up a spoon and bowl into a frame to hold the hank of yarn whilst being dip-dyed.
I use a neat little induction hob from Ikea for dyeing to save energy as we have solar panels.
The yarn was a little disappointing. I think I didn’t have enough dye material in the bath, and the silk took it up faster than the wool. However I dunked it into an iron mordant and it’s slightly saddened it into a softer yellow that blends better with the darker ply.
The scarf was ok, tie-dyed but wishy-washy and unexciting. So plan B, to eco print on it, came into action. During my dog-walk I collected a variety of leaves, luckily there is a small cluster of sumac and lots of Oak varieties in our local park.
I also collected a few bunches of Rowan berries, beech and other leaves.
In my excitement I forgot to take a picture of the tie-dyed silk, or of laying out the leaves. I did that lengthwise along half of the width of the scarf, then folded it in half to sandwich the leaves between two layers. I’m not sure if this would have worked better if I had waited until the scarf had dried; I added the leaves directly after rinsing it after tie-dying.
Not having a spray bottle handy that I wanted to use for iron mordant solution, I’d already decided to soak the whole thing in the iron solution. Before doing that I folded the scarf widthwise once again and then tightly wound the folded scarf around a short length of plastic pipe, securing the ends with elastic bands. After giving the rolled packages a good soak in iron I used load of string to bind the fabric really tightly to the pipe all along its length.
Then it went into an improvised steamer for an hour. Unfortunately, because the steamer set-up only allowed a shallow water bath, I managed to boil it dry! This has mildly effected the outer layer on the underside of the pipe. It’s a bit darker.
For good measure I dribbled a bit of copper mordant on it as well. The effect was so strong that the white plastic pipe has now got leaf prints on it as well!
After unwrapping the scarf from the pipe, and following thorough wash it has come out rather well I think. Miles away from the boring grey one anyway!
Whilst demonstrating as a member of a local textile group, Woolly Umbrella, at the Wild Chalk festival, I kept a drop-spindle of my own going with singles that I Andean plied at the end as part of the demo.
I don’t think repeatedly putting it down and restarting helped me get an even twist, or it may have been the plying, or a mixture of both, but the yarn isn’t balanced. I knitted a lace pattern with it, and the bias isn’t so pronounced as in stocking stitch, but I can see it.
For fun I added the knitted sample to a purple dye bath I had prepared to dye some other yarn, and here is the result.
For no better reason than wanted to play with acid dyes I dyed a 58g hank of handspun Texel and Clun Forest 2 ply today. Inspired by WASPI I chose to mix a purple. If we haven’t won our pension compensation by the winter I shall knit mittens for wearing on demos.
I’m going to pop 100g of Shetland fleece that has some pink staining on the tips into the exhausted bath to hopefully give it a tint.
Half-way through the tint was looking too blue, so I added 1/8th TSP magenta to bring it back towards purple.
Below is the yarn, it’s still wet so it’s going to be a lot lighter when dry.