Dye studio

Swirled in Color: Dye Day

| ellenanneeddy

I sat down yesterday and mixed the colors for dyeing. It felt like I was sitting in a circle of old friends. Scarlet, sitting next to Fuschia who had just made friends with a new color Dragonfruit, and was waving across the color wheel to the Lemon/lime.

I’m dyeing fabric today in preparation for surgery. If I’m going to have to go through heart surgery, there better be a really big pony after all the poop. So a pile of fresh fabric waiting for me is sensible. It fills the time while I’m waiting and it leaves me with a lovely pile of fabric to dream about until I can sew again. It’s good preparation I think. And a good way to fill the waiting time.

I started dyeing fabric at thirteen. I found a book in the library that blew me out of the water, with it’s papercut illustrations. The Emperor and the Kite, by Jane Yoland used paper in variegated colors that resembled the hand dye I still do. I wanted to work with the technique and it never occured to me to dye or paint paper. I dyed fabric with Rit.

This all happened in the kitchen sink and my father who was the major cook in the house had opinions about it. My father was almost non-verbal, but he looked like I’d kicked his puppy when he saw the kitchen after I was done. He unblocked the sink, scrubbed it down and said nothing. He always understood the passion around projects. He had his own, and he often helped with mine.

But it set something in me. I don’t really want colors that stand apart from each other .I want them to mingle and to dance within the fabric itself. I’ve been dyeing fabric in some form ever since.

Colors are about relationships. They have relationships with each other that depend on how they are formulated. I am not a dye master. Or someone who can responsibly measure dye and mix it reliably. I dump dye into a cup. I buy a bevy of colors and use them knowing how they relate to each other.

“Knowing the definition of a word is a pinpoint on a map. It tells you where you are. It doesn’t tell you how to get where you want to go. It’s the rawest of beginnings.

In the same way, color theory feels like the the dreariest driest subject in the catalog of art education. We look at the wheel and say the canticle, red and blue make purple, red and yellow make orange…. It feels like a recitation from kindergarten. And sadder still, it’s not always true. We’ve all mixed yellow and blue to get the most grizzly browns. It feels like finding out about Santa Claus or the Easter Bunny. A nice story for children but not really true.

Part of what we’re missing with that is the reality that it’s a theory. It works, simply when it does work and when it doesn’t, we need to explore why. Color theory doesn’t account for imperfect color. Color me surprised. Another thing that is imperfect in a imperfect world.

The most interesting distinction with mixing color for me is the contrast in thermal energy. Each color in its imperfections leans a bit towards the yellow sunny side, or the greenish shady side. If you mix all sun colors or a shade colors, the combinations are clear and bright. If you mix sun and shade, you get earth colors.

So if I place Lavender and Orchid together, as sun colors they blend into each other. If I add Lilac, a shade color, the combination browns out a bit. Still light purple but with a browned quality. If I add a sun color like Clear yellow, it will stay clear. Lemon yellow with its shade qualities will brown it out.

The real question is not where we are on the map but where can we go. What color theory really describes is the relationships between colors. Within the color wheel, the spots within that wheel define the same kinds of relationships between different colors. Those relationships go back to that primary list of monochromatic, complementary, and analogous color themes that seem so very dull. Because they define the tension between colors.

For dyeing, you have to know the name and know the color. They all lean one direction or another. There are no perfect primaries, secondaries or tertiaries. If you know which way they lean, you can predict the effect. But you never know exactly what the dye on fabric will do. And it’s never the same. Each piece of fabric is unique.

The distance between colors, creates the pull across the wheel. The closer they are to each other, the least pull. The least tension. The least excitement.

The farthest distance any color combination has is directly across from each other, as complements. Those are combinations that tug and pull and electrify us. Colors right on top of each other are smooth and slide into each other.

It’s not one combination. It’s a circle of combinations that create the same feeling. We can move the circle endlessly and get the same energetic result.”

Which is why it’s such a good thing I know these colors as my friends. I know who the mix with and who they fight with and what it will look like after they have a party together.

I’m spending two days dancing with color to pour myself into that joy, instead of the apprehension about the surgery. After all, color is really an antidepressant. And I’ll have a lovely pile of new fabric to play with after I’m back and healed.

Wringer Washer Woes and Wonders

| ellenanneeddy
Don with Frank

I’ve talked before about using old-fashioned appliances for dyeing. They are hidden gems for dyers! They are made especially for cotton and other plant fibers and work brilliantly in processing cotton.

Now that I’m no longer constantly on the road, I don’t dye as much as I used to. I used to dye around 50 yards of fabric a month. Now I dye around 20 per three months. It’s usually for my own use now, although I make some available in my Etsy shop, and you can always call me up and pick out the fabric you’d like on Zoom or Messenger.

But 50 yards or 20, that’s a lot of fabric to wrangle around. I’ve written about mangles. They are awesome ironing tools. But the other ancient appliance I depend on is a wringer washer.

Am I washing out with it? Ah, no. Cotton has to be soaked in solution and then wrung out. I don’t quite have the space even in a full kitchen dye space to wrangle 20 yards in the sink. Enter, the wringer washer. It will hold ample washing soda solution and fabric, and then wring your fabric out for you.

Unfortunately, like most appliances from the 40s and 50s, they’re a little old and cranky by now. When my beloved Maytag started to smoke, it was old enough to put in for social security as well as vote. We went hunting another wringer washer.

It’s not as easy as it sounds. Most of the ones out there have retired to being lawn ornaments. We found one that looked like it was in good shape except for the rust and the fact that it wasn’t moving when we plugged it in. A parts machine, as Don put it.

It seemed like an easy thing to fix. Maytag made the same wringer washer for around 40 years. These washers were 20 years apart, but almost identical. But we needed to meld them into Frankenwasher! A it of this, a bit of that, put together.

We come to our heros of this adventure. I called around Galesburg, looking for someone who might help us with the frankenwasher project. I got a resounding no. No one had wringer washers. No one knew how to fix a wringer washer. No one would want one, would they?

Until I called Dillons Appliance. I love mom and pop stores. I got Sam who knew is father, Jack, used to work on them.. Jack talked his grandson, Jackson through it. And Jackson, who is a brilliant young mechanic, learned from his grandfather how to fix a wringer washer. IT LIVES!

So the moral of the story is don’t let anyone tell you no. All they are telling you is that they can’t help. Keep going till you find someone who says yes.

And find the really good mom and pop businesses that do say yes, because they are treasures, not only because they are willing to help, but because they have wells of knowledge others may have forgotten, and are there for you.

Do check out Dillons if you need an appliance in Galesburg. Frank and Frankson are my heros.

 343 S Chambers St. Galesburg, IL 61401. · (309) 343-0476. 

The other hero of all of this is Don, who is willing to drive all over the countryside searching for ancient appliances and his friend Joe who has moved more appliances with Don than I can count. Did I tell you I’m a lucky girl?

Getting fabric Straight: The wonders of starch

| ellenanneeddy

One of the constants of quilting is that the methods of fabric care we enjoy now don’t always work for quilting fabric. Why? Quilts are mostly cotton. Cotton is not perma-press. It can be made so, but it’s hardly cotton after that. It dries at a different temperature, it shrinks, it is more vulnerable to mildew. It does not act like a polyester fabric. And it never will. It’s cotton. It’s a natural fiber that does not ever act like a test tube baby. And it rumples. There are no wrinkles like cotton wrinkles.

So, many of the tools our grandmother’s used to work with cotton still work best. I have a wringer washer and mangle for dyeing fabric. They both are made pretty specifically for cotton and still do the job they were made for.

We talked several weeks ago about cotton and irons. Cotton takes real heat. The old fashioned irons do that.

Here’s the other unspoken bit about cotton. It’s made of fibers that move, shift and don’t stay steady. You can tear fabric straight on the edge and have it still not lie square. There is, however, a secret weapon. Starch.

You know that wonderful crisp feeling that your cotton has off the bolt, when it feels like a thin piece of paper, only fluid. That’s created by starch. Starch is one of several chemicals they use to finish fabric. So is formaldehyde. If you’ve ever walked into a fabric store and smelled a strong chemical smell, that’s probably it. A good prewash removes much of that smell. But it also removes the starch.

We joke about starch in someone’s underwear and complain of too much starch in new clothes, but for quilting, it really helps us out. It means things are more stable and don’t move around. Those moving, shifting, shifty fabrics stay flat and stay straight, making it easier to piece straight seams. I’m told it’s excellent for hand piecing. It keeps the fabric smooth and steady underneath the needle.

I became aware of the starch factor when I began to dye all my fabric. It just didn’t have the same body as unwashed fabric. I experimented with spray starch and found it expensive but helpful. It was also very hard to control how much starch you got. And you often got spots.

Then I found liquid starch. Stay Flo has turned out to be the best I’ve used. It comes in a jug and you mix it to the level you want. I usually use 1/3 cup of Stay Flow to 2/3 cup of water. Roughly. I mix that in a cheap spray bottle.

But here’s the secret weapon. On my last wash out, I put in a cupful of starch in the softener cup of my washer. I also put in a capful of a professional softer called ProSoft or Milsoft. On it’s final rinse, it starches all my fabric evenly. Then I let it hang dry and iron it while damp. Perfection.

Here’s an interesting article from The Spruce with more technical information about sizing and starches.

Starched fabric is so much easier to piece because it doesn’t shift as much.

I’ve been piecing another landscape gradation, and I gave it a final starch before pressing it. It changes how your fabric lies, how it irons, and how it handles under the needle. And you don’t need to stop and smell the formaldehyde. How good is that?

Thread Colors to Dye For: How To Dye Threads for Shading

| ellenanneeddy

I’m obsessed with thread shading. I want images to be as 3-d as possible. To do that I shade with as many colors as I can. With regular #40 embroidery thread, I can use almost an infinite number of colors to shade an image. Particularly for a larger image. It’s a pretty large paint box. And you can use them all.

With heavy weight bobbin threads, there’s just not that much space in an image to shade. So this is my answer. Instead of adding more and more colors, I dye the thread so that it’s got a range of color within each thread.

Most commercially dyed thread comes in one of two styles. Either they mix a dark color with a number of lighter shades ending in white. Or they do the rainbow either in pastels or brights. The rainbow color ones work for stippling. They don’t shade well at all. The ones with dark to white leave a white area I really don’t like.

Most images can be zoned in dark, medium and light areas. They also can be zoned into different colors, like the spots and the frog’s body.

Dyeing threads to shade images can be set up the same way. You can dye a shader, a shocker and a smoother. The shader thread is the color of your image darker than you want the whole image to be. Add in a dark shading color like dark brown, purple, green or blue, or it’s complement, plus 4-6 dark shades of the whole color. The shocker is a medium range of 5-6 colors with a shocking color mixed into it. Usually a bright complementer color works best as a shocker. The smoother is a color that is a bright highlighter shade that fills in the image and finishes in the shaded image.

The range of colors gives you at least a 15-18 color range in a small bobbin work image. Other colors can be added. There are no rules, but here are some color ranges that work well.

Shader: Dark orange, yellows and reds, and browns

Shocker: Yellows and two purples

Smoother: Yellows and oranges

Shader: Dark purples, blues and greys

Shocker: Medium greys and teals

Smoother: Medium to light purples

Shader: Teals, and oranges

Shocker: Yellows and teals

Smoother: Yellows, and oranges

You get the idea. Dye the thread to do your shading for you. As you fill in the stitching with rhythmic motions, the shading progresses across the image. All you have to do for thread like that is dye for it.

New Threads:

| ellenanneeddy

There’s nothing like new threads. You know I love thread. It’s the most important component in my art. I love my fabric but I am nuts over thread.

One of the things that is different for me now that I am no longer on the circuit, is that I don’t have to make threads that are commercially saleable. I’m not constrained by that so I can explore threads that can’t be reproduced in regular quantities for students. I’ve used # 8 pearl cotton because it came in dye hanks. I could easily dye it for myself but also for also for students who were in my class and needed access to the threads I worked with.

#10 pearl cotton

Now that I just in my studio working my own art, I have the freedom to work with things that can’t easily be put up for sale. This last dye load, I dyed up a load of thread that I’m so excited by. I’m looking forward to trying out my #10 pearl cotton.

You can’t dye thread wound in a ball. You can hank it off with a swift, but there’s no way to make even skeins without counting accurately. Those of you who know me know how likely that is.

8 and 10 pearl cotton

The smaller ball is #8 pearl. The larger on is #10 pearl. The larger the number the smaller the thread. The #10 still needs to be worked in the bobbin case, but it will give a finer grain stitching. I’ve started the first row on this frog in the #10 so you can see how it stitches up. I am so excited!

frog in #10 pearl cotton

Sometimes a change in materials changes our work immensely. Sometimes it makes a little change. Sometimes it changes nothing. There’s no way to know until you work with things. But the possibilities make me giddy.

Spring Dyeing!

| ellenanneeddy

Years ago, I did a very bad thing. I had dyed fabric all day and I went to the pool. You don’t get pretty dye on yourself when you dye. And it all soaks through to the skin. You mix all those colors and you get brown. Mostly down your belly and your tits.

So I was walking around with nothing but a towel over my shoulder when a very kind person looked at me and said in horror, “You don’t have to put up with that.” I looked at her and said, “Actually, I do. I’m dyeing.” I did explain to the poor soul afterwards.

I’m a fabric snob. Sorry about that. I’ve been dyeing my own fabric for my projects since I was ten. It was Rit Dye and we won’t talk about the quality of the fabric, but I understood even then that someone else’s fabric isn’t mine.

Don’t get me wrong. I love prints. I can get drunk on color and add good design to it and I’m a sloppy drunk. You can tell by the cut bits of fabric on the floor.

But I want the colors and intensity of my fabric. And I really hate fabric repeats unless they help your piece along. I’m probably going to dye as long as I quilt.

With the stimulus check (Bless those congress critters!) I’m planning a dye day. I need a new batch for me, but I’ve always got space in that batch for someone who might like to order a box of fabric to choose from, or someone who wants something special dyed just for them. A batch of light source fabric in 3/4 yards? A selection of actually not boring browns. Some deep lake or pond scum fabric. All available.

I’ve also dyed cotton/hemp/bamboo/rayon clothes for people. There are those of us who should never wear white. There is inevitably a day when it is white no more. At which point, I dye it and wear it till the threads fall apart. I can do that for you too.

If you would to either make a general fabric order, or order something special for a project, let me know. I’ll dye for you.

Noncommercial Part 2: What Are You Going to Do with All that Dyed Thread?

| ellenanneeddy

If you’ve been following my posts, you know I did some thread experiments on dye day.

Experiments are always just that. Might work, could work, did work, did not work. All information.

But I worked with threads that are NOT workable in a commercial teaching setting, largely because of the way they’re put up in manufacture. The best way to dye thread is in (reasonably enough) a dyers hank. That means it’s in a flat loop, usually confined by a paper label or by twisting into a skein. Do all threads come that way?

  • Sashiko thread
  • #3 pearl cotton
  • #20 pearl cotton
  • Frizzle
Definitely the weird stuff. But good though.

No. No they don’t. But since I’m not producing for class or for travel I can fuddle around with the weird stuff. The trick is to get it in the end into a form where you can get it on the machine. Between a ball winder and a swift I can hank up anything I like. (See Noncommercial blog post.)

Here’s some of what I tried.

# 20 Pearl cotton, dyed and undyed
Well, even I know that won’t work. But look at the colors. The thread and fabric are dyed from the same shades.

# 20 pearl cotton fits in the needle as well as the bobbin! Since the cone didn’t feed onto the machine I filled a bobbin for thread from the top.

I love the Frizzle I dyed!

Look at it as branches for a tree. I have the cotton string I dyed here too, but the frizzle definitely wins.

Do I love the new threads I dyed!
They are to dye for!

Will I experiment with new threads? Well there’s all that thread that didn’t arrive in time for dye day…. Stay tuned!

The Dance of Dye: Seeing Your Fabric Born

| ellenanneeddy

You’ll need to forgive the way I look. There’s nothing glamorous about dye day. Or really dye week. Prepping fabric, dyeing fabric, washing up, washing out and ironing are all really blue collar fun. You sweat and get messy. Never mind that I’ve missed my last three hair cuts.

My friend Lauren Strach used to come to visit, partially for dye day, but mostly for the day I ironed. Because that was the day the fabric came out of the mangle.

Hand dyed fabric is pretty. But like all of us, it likes to dress up. It’s nice hanging out to dry. But you really get to see it when it comes through the mangle, pressed, starched and pretty. It rolls out like a beautiful woman floating down a staircase.

Three pieces


Of course the real moment is when you get to see it with hand-dyed thread

Lauren is a fabulous fiber artist, who explores a number of styles, in amazing ways. You’ll find her work on Instagram.

I’ve been privileged to watch her work grow. And she would come and drool with me over the freshly ironed new hand dye. She lives in Oregon now, and I in Galesburg, IL and all of that would take a lot of arranging to do again. But I treasure the memory of watching her face as the fabric would roll out, pressed and precious. And the things she would do with it.

You’ll want to see more of Lauren’s work. It’s a journey in color, texture and joy.

You might ask why I was mangling in the garage instead of the new glorious studio! We had misbehaving mangles. Don found me a lovely mangle that lasted just long enough to blow black smoke and powder on the floor immediately after it was plugged in. We took it out and found that new amazing IronRight. It stopped opening and closing about five minutes in.

I had a long cry, and we waited a day to plug in my old mangle from Porter and she worked like a charm. You bet I sang to her!

This is Don companionably sitting on his mower in the garage while I ironed my fabric. He had to sit somewhere. Did I mention I really like being married?

I do dye fabric for others as well as myself. This was a good dye run, and People regularly ask me to dye what they want for a particular project. But I do have some fabric from the last dye run I would be willing to sell if there’s an interest. Contact me and I’ll set up a video phone conference if you wish to pick some out for yourself.

You can see the flower already started here.
ellenanneeddy@gmail.com
219-617-2021
1055 N. Farnham Street
true
Galesburg, IL 61401
USA

Noncommercial: You Can’t Sell and Experiment

| ellenanneeddy

One of the nicest things about my new studio is that it’s set to produce supplies for just myself. For years I’ve dyed pearl cotton. It’s beautiful and as a mercerized cotton, the colors are spectacular. But if I wanted to sell it to students I had to standardize it. I never could take the time to try different kinds of threads that didn’t come in a dyer’s hank.

Why? What’s the difference? A dyer’s hank is simply a looped ring of thread. It’s easy to dye it evenly. A twisted ball is much easier to handle, but it can’t be dyed evenly. You can move one to the other. It just takes to stinking long to do it commercially. And it’s hard to make every skein even in yardage.

Hanked Thread

So now that I’m not making thread for the general public, I can really experiment with threads that aren’t in dyer’s hanks: Sashiki thread, cotton boucle, several sizes of weaver’s pearl cotton, cotton hemp, and cotton yarn. It’s a bit heady. I’ve been stuck with one cotton thick thread. But the world is wide.

In light of that, I bought two thread wranglers and I’m wondering where they’ve been all my life. These are tools weavers, knitters and spinners know well. But not every quilter works with them. Unless you need to deal with thread. Lots and lots of thread.

Swift and ball winder

I’ve worked with a swift before, but this is lighter weight and much less bulky. This is my first time with a ball winder. I’m in LOVE!.

My 27 yard hanks of pearl cotton wind into a ball like these.

  • dye hank
  • index card lable
  • yarn ball

The swift holds the hank, while the ball winder winds it into a tidy little pull skein ball. I’ve slipped a bit of cardboard through the hole to keep it from unraveling.

Later this week, I’ll be dyeing thread and fabric for the first time in the studio. I’ll keep you updated on how the new winding tools work with that.