Red Onion Skin Dye: Post #690 (My post # 1 was published on November 19, 2010)

Introduction:
Today I got up excited to face the day! I am going to send out some photos of my recent scrolls to friends, make more red onion skin dye, check the scales (-8#!) and it’s a POST DAY! I am loving reaching out and hearing back.

How could this not bring joy: peonies, coffee ready, and more red onion skins to dye!

This is what got me so excited yesterday. These are the first samples in red onion skin dye! All of the fabrics are silks that I got in India. They are all stiff like organza. That means they are not silky because they are undegummed (the sericin hasn’t been removed). I have noticed that this type of silk dyes way stronger than the silky kind so that’s what I especially looked for in the large shop in Chennai. I got 10 different types of the raw silk (undegummed)!

I love the range I got. Since so far, I only have a small amount of red skins my samples are small—about 1 ½” on a side and only silks. Ida Grae in her book Nature’s Colors, wrote: “Depth of color depends upon a large concentration of onion skins in proportion to a small amount of textile”. I’m taking that to heart. I saved the dye and hope to get more out of it. Our chef has brought me the onion skins and I’m now begging for more red ones. I’ve got a lot of the yellow ones.

I love the moire in the sheer fabrics.

One more arrangement while playing around. I am so happy!

Is It Time to Dye Again? What is the universe telling me?

Introduction:
I have been enjoying Instagram a lot lately. (look for peggyoster) It’s a way to show photographs from my daily and now evening walks around my building. I haven’t missed a day since the lockdown and the same walk requires (allows?) me to really look for interesting things, and to watch the progress of the roses. Also, I see a lot of things other people are doing on Instagram. There was a photograph of a piece dyed with onion skins that caught my attention. Then, I thought OMG I see a lot of onions in the salads from our kitchen! They must use onions in a lot of things. The result is that for the last three evenings, a big container of onion scraps has been delivered to my door. A treasure! I strip off the skins of the cut-off tops and bottoms and collect all the regular skins. Maybe it’s time to start dyeing again.

One morning last week I found this sight when I walked into my kitchen. Something was leaking! OMG What is going on underneath the table? I’d covered the table down to the floor with a piece of cloth from Bali so wasn’t sure just what I would see under there. The jugs were full of black walnut dye from a year ago that I couldn’t throw away. Maybe it IS time to think about dyeing again.

I now have 3 dishpans full of beautiful onion skins from the kitchen.  Maybe it’s time…

My dye pots live on my tiny patio. Maybe it is time to get them out.

I have to think of upsetting my tiny kitchen. I guess it’s possible again.

The dish drainer will have to go down on the floor again so I can use the burners. Well, maybe next week.

Stitched Shibori Part Two – Figuring out how a scarf was made

Introduction:
In a previous post: “Changing My Mind and a Dilemma” I showed a curious sampler and a beautiful black scarf or shawl with stitching patterns. A weaver asked how the patterning was done. I spent a day figuring it out. I pulled out a long roll of stitched shibori paper which was a big help. That needed its own post (Part One). Here is Part Two which builds on the information in Stitched Shibori  Part One.

One of the things I liked about both the sample and the scarf was that the intensity of the stitching pattern went from distinct gradually to blurry. I especially liked that the ends of the scarf were black with hardly any of the stitching pattern showing at all. That told me that the black ends were inside where the resist was the faintest. And the stitched patterns were most distinct in the middle of the scarf. Then the pattern gradually faded and got more and more blurry until at the ends it barely showed. How the strips were accordion folded to make this happen was an issue. Another thing I noticed that the fabric was quite thin. That would make stitching through many layers doable. I took a strip of paper to experiment with the folding steps. I hope it is understandable.

Almost immediately I noticed that the scarf was made in narrow strips sewn together with generous seam allowances showing on the wrong side. Again, this related directly to the design of the sampler. And narrow strips would be easier to work with. The seams were interesting in themselves. There was space between the cloths sewn together yet it looked like regular sewing machine stitching. Was a card or something sewn in with the seam and then removed??

Step One is to get the ends of the strips to be INSIDE so they won’t show the stitch resist or barely hint at it. Fold the strip in half and make the ends together. Then the other folds will be more and more on the outer sides of the bundle to make the stitching pattern less and less blurry–or more distinct depending on how you think of it. I penciled in shading on my paper strip to make sure the ends were inside the bundle.

Step two. Prepare to fold the strip.

Step Three: Make the first fold of the fabric.

Step Four: Continue folding each half of the strip in accordion pleats. You will need to figure out the dimensions of the folds.

Step Five: Fold the last time on separate sides of the bundle as shown.

A close-up of the folds.

Another close-up showing dashes to simulate the stitching for the resist.

Stitched Shibori: Part One – How one artisan created his stitch resist shibori fabric

Introduction:
Some years ago Yoshiko Wada’s Japan Textile tour took us to a quaint town of Arimatsu (near Nagoya). We went there because it is known for making shibori patterned fabrics. Shibori is a little like tie dye and can be very complex. One small factory used stitching on a sewing machine to create the resist patterns. I imagine the fabric was a supple white silk. Long (11 yards) strips of paper like pellon were clamped on top of accordion-pleated fabric. Then the long, thick bundle was stitched in a pattern on the sewing machine. After stitching, the bundle was dyed. When the paper and stitching were removed the pattern remained white where the stitching had been and resisted the dye. I became more interested in the technique than the result and asked if there were any of the discarded papers around. And a carton of them was brought down from a high shelf.

This post relates to a previous post with stitching as the resist.

I brought home a roll of the stitched paper that was discarded after dyeing.  The paper was folded lengthwise for strength then clamped to the cloth. You can see that one half is darker and more distinct because that was the side on the outside of the fold. And that is where the stitching and dye were the most prominent.

The holes where the machine stitching was are clearly visible.

This was a traditional design. The white spot is where one of the clips held the paper to the fabric. Since the paper is 11 yards long, that would be the length of the cloth that was stitched and then dyed. The fabric had been accordion-pleated down to the narrow width of the folded paper to 1 ¾” wide.

Here is a simulation of the paper on white fabric and shows where the stitching had been before dyeing.

A little fan was made with some “discarded” paper.

Sometimes Hemstitching Isn’t Right, a ‘Design Feature’, and Decisions Made

Introduction:
All I wanted when I began planning this project was a thick and satiny cloth. I was using a silk that I inherited—the yarn was thick and certainly was expensive. And I wanted to use the new-to-me 12 shaft dobby loom for a 12-shaft satin. (11 threads up and one down, so very warp face). The fact that I ran out of the silk so soon didn’t bother me; I just picked up another skein that looked almost as thick and continued warping. Then I forgot about it. That is, until I took it off the loom. Well, that didn’t matter, either I thought, I’ll just cut the ends straight. And that didn’t work either because all the wefts weren’t straight and no straight line could be made

This is a piece of the silk satin cloth that I wove and dyed with black walnuts. I love the feel of the soft silk and the subtle movement of the dye. And I’ve decided that I like the “design feature” that happened when I used two different silk threads for the warp. I tried mounting it on a variety of fabrics until I came to the one in in the photo. I think everything shows off with this background: the uneven cloth, the luxurious silk, and subtle color. Finally, I’m happy with it. The fabric is an irregular ikat cotton shawl from the Philippines.

I hemstitched the ends in a quick and dirty way just to keep the cloth intact. Then when I began really looking at it, I thought the hemstitching was disfiguring. It interrupted the smooth surface. Oh, “hemstitching isn’t always the answer.” I’ll just remove it.

Before removing the hemstitching, I overcast on the back so I wouldn’t lose any weft threads. I wished later that I hadn’t pierced the threads when I did the overcasting. After I removed the hemstitching, I had the tedious job of pushing the warp threads together to close up the gaps between the hemstitched bundles. I had to take out some of the overcast stitches in places where the thread pierced the weft. Then I could slide the warp threads across to fill in the spaces. The spaces didn’t want to fill in so I spritzed and tried to hold them in place by tapping with the iron. It would have been better to remove the hemstitching before washing and dyeing then the warps would be easier to fill in. But, as is said, “What is, is.”

When a Tube is not a Double Weave Tube: a Confession, a Correction, and a Mystery Unsolved

Introduction:
I almost always look at any textile with the warp going vertically—it’s just natural. So when I saw the sample in the previous post I did the same. I saw it had two layers; it looked like it had a join in the middle of one of the layers. So I thought it must be double weave and some clever way of joining where the slit would naturally be for a “Kleenex-box-type” tube. When I was questioned about it by an expert weaver, I guessed I’d better look at it again so I could explain it to her. Well, I was very wrong.

I discovered the cloth should be looked at the other with the warps going sideways—horizontally– because there was a selvedge at one end. And this was made from a single layer of a wide piece of silk!

This is what the other side looked like. Remember it from the previous post? I thought it was woven as  a double weave cloth.

A length of fabric about 25” long was folded in half, horizontally. That means the selvedges were on each end resulting in a short, wide piece with the raw edges together to make a seam. This was done first, before any folding and stitching for the resist. This is how the tube was formed. It was NOT a slit cleverly disguised. It was a seam cleverly disguised.

I discovered a lot when I looked at the seam itself. There were about 8 rows of stitching that had been made before the seam was sewn. 4 of the rows would be in the seam allowance to prevent unravelling. The other 4 rows would provide stability on the other side of the seam I suspected. Also, probably some of the wefts were pulled out to make the short fringe at that time. Then the raw edges were put together and the seam sewn. You can see the rows of stitching and the one row of stitching that was actually to join the pieces.

After the seam made and pressed open, the resulting tube was flattened and ironed with 2 hard creases. And you can see the rows of stitching disguising the seam.

A row of stitching through both layers at one point kept the tube together. That stitching I had seen before as a double-weave-stitcher row but indeed it was just 2 rows of regular machine stitching close to one another.

Then, finally the tube was ready for the stitch resist. The mystery remains how the stitching for the resist was done so that on one side the stitches resisted the black dye making light dots but on the light side the stitch marks are black.

Changing My Mind and a Dilemma

Introduction:
I was all ready to pin down a little satin piece I’d woven and dyed onto a small piece of cloth I brought back from a trip to India. I’ve loved the piece. We visited a studio where the woman made very contemporary fashions using traditional dyeing and resist techniques used by the local artisans. I think I begged for her to sell the piece to me. She wanted to keep it as a sample. Many of you know I love samples so it really resonated with me. It is 12” x 27”. Yesterday when I ironed the piece, I discovered the “back” side and then came the dilemma. It was fantastic—an astonishment to any weaver. There was no way I could ignore that side and use the other side for my small simple piece. The dilemma was what to do with the original satin. More about that when I decide what to do. This piece is so unusual and inventive I had to show several views. The last photos are of a real scarf/shawl that resulted from the sample.

Here is a close-up showing a bit of both sides. The black side is what I’d planned to use and the light side is the discovery I made.

Here is more of the side I discovered.

This is the whole piece. It’s made of a rather thin, soft silk.
This is the side I had always remembered.

This was the next SURPRISE! It is double woven in a tube—with the edges in the middle rather than at a selvedge.

Here is a detail of a full-size scarf or shawl.

This is the “back” side. Hard to say which is the front or back. It looks great as a scarf bunched up.

Did you notice the seams on the “front”? I especially love them here on the “back”!

Finishing, Finishing, Finished!

It’s not finished until it’s finished
a quote from my teachers

When our teachers told us this, it always meant that the woven cloth needed to be washed so the threads would relax and settle into the weave. I do wash or at least wet my fabrics and usually give them a hard press. That means when they are very damp, I iron and iron until they are dry or practically dry. I love this process and I do it as soon as I bring home the cloth if I can. I get to really see what my cloth looks and feels like. And it is always transformed into something much different from the “raw” cloth.

I have realized that a cloth needs to be made into something to be really finished. I am working at getting some of my woven pieces to be art. My basic idea is to make “scrolls” with fragments and background cloths. Sometimes a piece is for a background and sometimes it’s for the “art” to be mounted on the background. They don’t necessarily need to be long and narrow like traditional scrolls. I’m trying to match the background and the “show pieces”. I want the viewer to enjoy the textiles themselves as well as the overall “scroll”. And, I’m enjoying handling the pieces again and remembering how they came about.  [click photos to enlarge]

This scroll sort of came together by itself. The top 2 pieces were lying on my table together like they are here. The background fabric I wove with the idea of dyeing it someday. I liked how they didn’t match up at the edges, too. It is 8” x 26”.

The background cloth is from the warp I designed to make the needle pillows in a previous post. The slubby warp and weft are of handspun singles cotton from Bhutan. The skeins were horribly snarled and I spent a whole afternoon in the hotel trying to unwind one and finally discovered that there was a cross in the skein! I’d never heard of such a thing. Then I saw a woman unwinding a skein using two swifts—one at each end. When I tried this at home, the skein unwound beautifully and perfectly. I spent a lovely afternoon balling the yarn! I unwound one of the skeins and part of the second—the rest is still on the swifts waiting to be wound into a ball. I never thought of it as a warp but wanted to try it. I used some sizing for the first time. It was so easy to make with flax seed and brush on, I don’t know why I’ve always been afraid to use it. I brushed it on the loom—what was unwoven at the end of a weaving session. Then I left it to dry with the shed open.  The dyed pieces are also from that warp. I dyed the various cloths I got from that warp with black walnuts. I really like to see what different cloths I can make from one warp. I like the white one so much that I’m loath to dye it. I think it really shows off the yarns.

Here is a start at a little scroll using the satin and velvet cloths from previous posts.  I hope it works but am not sure. Any thoughts? It’s just pinned in place now.

Off Again: to Japan


Here are all the places we plan to visit together. I am going again with my friend Cathy Cerny. She has done all the planning just like in many previous trips. I counted 9 hotels in 21 days so we’ll be moving right along. I hope I can do a post every day! – Click photos to enlarge –

Our first trip is a flight to Amami Island to the town of Oshima. (it is way south and off my map.) We want to see a particular type of ikat called orijimi. The resist is done on a loom forming a mat with the ikat warps or wefts to be woven in. Then the mat is unwoven to reveal the resisted places (dots) where the warps on the original weaving resisted the dye. The dye is also a special mud dye from the area. Oshima fabrics are expensive and have been imitated. We will look at the selvedges to see the tiny white dots to be sure we are getting the true orijimi technique. A friend and expert sent me this precious fragment so we would know what to look for.

Shibori Beautifully Explained in CBS Video

This was forwarded to me by Yoshiko Wada–my textile guru who I adore. I’ve been on several of her trips to Japan and taken wonderful workshops at her studio in Berkeley. Slow Fibers Studio is her website. Her trips anywhere are fabulous and she is enormously knowledgeable about so many things and people where ever she goes. She gives classes on many of the techniques you see on the video. I took one by this master in Japan in the town of Arimatsu where the video is located. The town is a lovely town with traditional Japanese architecture everywhere. It is south  of Nagoya. Nagoya itself has a fantastic museum: the Toyota Museum–Toyota first was a loom manufacturing company and there are wonderful old and modern looms working on display. There also is a huge and wonderful automobile section.

China, Here I come!


I’m already to meet people on the trip to China. there will be three parts: 1 week around Shanghai before the symposium. One week at the symposium in Hangzhou: BoND natural dye symposiium. And one week in Yunan Province, the Yi Minority Autonomous Prefecture in Guizhou Province. > click photos to enlarge <

Here’s the map we made for you to keep up. I’ll be sending posts everyday, I hope.

Dyeing Silks and Playing with Light


I’ve been weaving a lot of white lately, mostly silks that Iinherited from Ethel Aotoni when she died. I had the intention to dye them. The silk threads took the light differently whether you looked at them warps wise of weft wise. This fabric is a white 12-end satin. I tried to see if I could make it completely warp face with strong colored wefts. i.e white on one side and red or black on the other. When I had the fabric in hand I noticed that it changed color accoring to whether the warp or the weft was vertical. You can only see the borders and center when the light is just right. (You can see bits of white showing the warps peeking through on the edges of the squares I cut). These are works in progress, nothing is set yet. [ click to enlarge any photo ]

Here is what the red and white pieces look like when looking straight on–no borders or center color change.

This piece I dyed with black walnuts. Weaving the 12 end satin going in 11 stages from warp face to weft face. It didn’t look very interesting as a whole but I liked a lot of the sections. That is why I decided to cut the squares. Then I realized the light-play and came up with this design.

Another satin warp of silk dyed with black walnuts. I dyed the weft silk before weaving. Then I dyed the whole piece again in a light walnut dye with iron after bath. This photo shows how the light changes the darks and lights.

This was the first white warp satin I did and I couldn’t bear to dye it. It feels gorgeous, and I love the way the fabric takes the light.

I’m going to China with Yoshiko Wada from Slow Fiber Studios


Here is one of the lovely towns we’ll visit before the symposium. There are three parts of the trip and I am going on all three–one before the symposium (Shanghai and ancient villages nearby), one in Hangzhou during the BoND Symposium on Natural Dyes (where my piece will be in the exhibition),  and the third after the symposium. On the first part we’ll visit Shanghai, Jiangsu, and Zhejiang with traditional highligts at Jin Ze Arts Centre.

The tour after the symposium will explore first-hand heritage provinces of minority group Yi in Sichuan, Guizhou, Yunnan and Yi Minority Aautonomous Prefecture. This area is most interesting and not so easily visited. These groups are ethnically different from the main Chinese people.

Another exhotic scene.

More from the last part.


 


Here is the website for Slow Fiber Studios China tour. Yoshiko’s trips are fantastic. She knows so many people and we visit textile people, not just tourist sites. 

Cuddling a Baby Lamb at Windrush Farm


I went to Windrush Farm in Petaluma to one of the “Lamb Days” and it was a glorious treat. The wool felt wonderful.and he was so cute. It was a treat to hold this baby lamb in my arms.

Out in the field there were lots more baby lambs with their moms staying close. So far there ar 30 lambs born this spring with one ewe left to give birth.

These twins were especially cute. The black and white is unusual.

Lambs of different types are bred for different types of fleece. This fleece is from a previous year’s shearing. The farm sells fleece and yarns –natural and dyed.  They teach spinning too. Here is the link to Windrush Farm in Petaluma California.

Photographing My Entry for an Exhibition

My mobile is 9 feet tall. We had to rent a photo studio to be able to take pictures for the entry. All the pieces are dyed with natural dyes: indigo, green persimmons (kakishibu) and black walnutes.I dyed lots of different white fabrics to get so many shades of colors.

It was exciting to be in a real photo studio. The Image Flow Photographic Center has this studio is in Mill Valley. There was equipment all over the place and being there made it possible to get these great photos by my photographer, Bob Hemstock.

The bamboo structure on top is constructed like an Alexander Calder mobile. Until we got it permanently balanced and held in place, it got knocked down time and time again whenever anyone touched it to rotate the pieces. To have it change sides and rotate in the air currents we used 7 fishing gear swivles.

A detail with mostly green persimmon dye. The Japanesse word is kakishibu. I got many colors and shades with it. I have quite a stash now of white fabrics that take the dyes differently and I have figured out ways to get mottled looks. The transparent blue fabric peeking out from the back side was dyed in my indigo vat.

This detail shows how I took shiny silk and turned the pieces 90 deagrees so the light caught it in different ways–similar to nap. I liked the way the fabric looked when it wasn’t ironed completely flat. That makes it shimmer more I think. Wish me luck at getting accepted into the international show.

My New Baby is a Cutie!

Now my studio really looks like a weaving studio. My newest loom is in the center. All my looms except this new sweetie were built by Jim Ahrens. Now the new one was made by AVL looms—the “A” stands for Ahrens, so all the engineering is related. The ‘V’ stands for Jon Violette, who began the company with Jim and the ‘L’ stands for looms.
Are you wondering what the other looms are that circle the new one in the center? Starting with the loom on the left and going around clockwise: 10-shaft, side tie-up, 4-shaft loom, 40-shaft dobby built by Jim Ahrens in the 1940’s, and my love, the 4-shaft loom made of bird’s eye maple wood which I have used exclusively for years and years. Going to 12 is a giant and exciting step for me!

Here she is—a real sweetie. I’ve been trying to reduce and give away things but this loom from Jan Langdon I fell in love with years ago. When she decided to down size, she said I was the only person who had longed for it. It is a 12-shaft dobby about 36” wide. Note that in the photo, my 10-shaft loom with a side tie-up is back behind the new loom. Small in a way but the dobby will increase my capacity for new structures greatly.  I’ve been wanting to weave a structure for years and finally decided to do it until I realized I would run out of treadles. The dobby solves that problem. Two treadles work the mechanism to raise the shafts. Notice it is on wheels—that has been very handy already. I just need a pillow on my bench.

Here’s the back of the loom. The dobby mechanism is on the left side in the photo.

This is the dobby mechanism. Each bar represents one shed or row of weaving.

A close-up shows the pegs in the bars. A special tool makes it easy to ‘peg’ each shed. The holes without pegs are the shafts that will go up. Since there are 12 shafts, there are 12 holes in each bar. When the right treadle is pressed, the mechanism raises the shafts for one bar—one shed. When the left treadle is pressed, the shed closes and the mechanism readies itself for the next shed. When all the holes are filled nothing will go up. It’s a way to mark the end of a repeat.

Here is the first thing I’ve woven! I wanted to shade the 12-shaft satin weave to go from only the warp showing graded to only the weft showing. The white warps are shiny spun silk (2 different yarns) and the weft is handspun silk from Bhutan that is not shiny.Then I dyed the piece lightly in black walnut dye. I was hoping the shades of the color would contrast more, to go in shades from light to dark–but that is what I’ll work on next. I thought the two yarns—one shiny and one mat would contrast more when in the dye. Lately I’ve been weaving cloth for the dye pot—really fun to weave and get my creative juices flowing.

I’m Bending the Rules


Here is my current warp on my loom! Just what I taught my students to avoid–unevenly handspun singles yarns that are lumpy and sticky for warp threads. This is silk yarn I brought back from Bhutan–mainly to show the tour group what handspun yarn looked like. I did use plied threads for the 4 selvedge threads on the edges and weighted them separately. I used 5/2 cotton but a plied silk might have been a better idea.

From Linda Heinrich’s linen workshop at Convergence in 1994 and from her book on weaving linen I learned how easy it is to size a warp on the loom. Before now I’ve always been afraid to size anything. Her recipe is 1 tsp flax seed (any kind will do) to 1 cup of water. Simmer 15 minutes and strain. Refigerate and use within 2 weeks or freeze.I brush on the sizing then strum the threads and then open the shed to dry. Don’t apply too much–sort of like dry painting but pat the threads to get the sizing to go through to the bottom of the threads.

This is the yarn on the skein. I’ve shown it before to show the cross  made in the skein. The threads are horribly sticky but with the cross the threads are coming off perfectly. There are plenty of soft-spun lumps and thin areas where it is twisted tighter. I knew from winding the yarn off the skein that the threads were strong–that’s what convinced me to try them for a warp. The stickyness would have prevented the sheds from opening without sizing I realized.

Here is the cloth off the loom and wet finished. I got the cloth really wet in the sink then blotted with a towel. And ironed until dry I love ironing and ironing until dry and I love the sheen I got with the totally mat yarns.

Here is the cloth I just dyed with black walnuts I collected last week. What frun all this is. I can’t wait for the warp to dry and begin weaving again.

I’m Weaving Again!


The fine silk warp at 125 ends per inch stymied me and I walked away and left it on the loom for a year and a half. I thenbegan dyeing. I knew there were enough threads left unbroken to weave so I began weaving with some heavier handspun silk from Bhutan. When I took off the entire warp, This piece is what I found had already been woven–and I loved it. Originally I was weaving a tube but had decided to weave two separate layers–hence this piece was formed! [click photos to enlarge to see detail]

Here is the cloth woven with the silk from Bhutan. I decided just to weave off the warp with it so I could cut it up to dye later with the natural dyes I’ve been playing with.

You may remember the skein from Bhutan from another post. The skein was unusual because there was a cross in it. Even this extremely sticky thread came off the skein perfectly.

Here is my latest peice–5 yards to try the new silk/retted bamboo thread I saw in Handwoven Magazine. I love it. I the twill warp face on one side and weft faced on the other so when I dye it I’ll have two choices of tones of color.

Jacket to be shared!


Here’s the jacket–Cathy Cerny and I are sharing it. I have the summer when I go to Japan and Cathy has the fall when her exhibition opens in the fall. After that we’ll dicide how the sharing will go. Neither one of us could bear to part with it.

Here’s a map of where I’ll be for the 11th International Shibori Symposium. I’ll begin around June 23rd or so. Bye for now! 

More Indigo Experiments


I have revived my indigo vats and neither of them is dark enough for my taste. This picture is what I gave as gifts to the artisans we visited in Japan last year. The writing is Peggy Osterkamp. Gift wrapping is important there. This is the blue I hoped for with the revived vats now. [click images to enlarge]

This is what I got from my oldest vat after many dips. I was disappointed but maybe I’ll learn to like it. I plan to dip again in my “younger” vat and see if I can achieve the depth of color. 

The technique I learned from a class with Yoshiko Wada with Chris Palmer. After folding the cloth I wrapped it on a pole for dying–called “arashi shibori”.  I love the technique and the mysterious lines it makes.

I’m Getting Ready to Dye with Indigo Again


I have my indigo vats from some months ago and they look awful but i was determined to revive them if possible. The vats were covered with mold.After I doctored up the little vat, I think it looks pretty good–the flower looks just fine, but maybe the surface needs to be more coppery–not just along that edge.

Here is my asparagus cooker vat–I love the size for doing the small pieces that I do and the basket inside keeps things from getting lost in the vat and off the bottom, too. My tiny kitchen in my apartment is also my dye kitchen. When I’m not heating dye pots on my two burners, my dish drainer sits on the burners. This is my ironing set up for small pieces. I take my iron down the hall to a regular ironing board when needed. I absolutely love my cordless iron–it has points at both ends. Mine is a Panasonic.

My New Work

“Shiny” by Peggy Osterkamp – silks dyed with black walnuts [click to enlarge]

 

I was busy over the holidays making this piece. All the fabrics were dyed with black walnuts I collected in early December. Some I put in iron water for a short time to “sadden” or grey the colors. There were two different fabrics which were shiny  so I could play with the color differences when I turned them 90 degrees. I cut the squares and turned them 90 degrees from each other to get the same effect as changing the nap in corduroy or velvet.  I mounted the pieces on cotton fabric strips and moved them around to make the composition. Then I mounted all the strips on black fabric. Everything was joined with long straight pins. Some time ago I realized the straight pins in my pin cushion were too fat for silk fabrics so I got “Extra-Long Satin Pins”.

Last night when only one light was on in the room, the pins themselves shimmered for further effect.

When I got started I wanted to know what fiber my fabrics were made of. I went to my files to look up “burn test” and there was a page from my own book! I’m still not exactly sure of what I have—it came from a warehouse sale I went to in November. I think they are silk. Here is the chart from my book, “Weaving & Drafting Your Own Cloth“.

More Dyed Pieces


I took a workshop with Yoshiko Wada’s Slow Fiber Studios in Berkeley, California recently. We learned to fold cloth in origami-like ways and then we did arashi shibori (pole wrapping shibori) with the cloth and got these lovely simple patterns. The teacher was Chris Palmer and his book is called Shadow folds: Surprisingly Easy-to-Make Geometric Designs in Fabric by Jeffrey Rutzky and Chris K. Palmer.

I folded and dyed 11” silk squares I got already hemmed from Dharma Trading Company. This was my first attempt at arashi shibori and I used my own indigo vat. I am proud of the results for such a novice. They can be used singly or as a group as pieces for the wall or gifts.

I took small pieces I’ve dyed and made little collage compositions and mounted them on squares of dark indigo linen I got in India a few years ago.  We went to see the Matisse and Diebenkorn show yesterday and I decided to call these pieces “My Little Diebenkorns”!  They can be used singly or in a group, too. I have put similar pieces in CD cases to present them! They also could be little coasters or gifts.

My Collages Full Size

I had really nice responses to my previous post which showed details of my new collage wall hangings with my dyed fabrics. Now you can see what they are like in reality. There are seven–all 11″ wide and 36″ long.  Now if you want to see details again, you can go back to the first post. Click on these thumbnails to see them full size then click again to see the detail.