Alder cones fall off the tree in strong winds and are found in the grass all year. Newer cones side by side on twig-branches are green and hard. Store the brown, small, but perfectly formed, cones in boxes.
The Dye Process
To make dye bath – Use cones, twigs and leaves together, soaked for a week in mixing bowl sized water container. The water will go dark brown. Boil up then simmer for 1-2 hours: check water level remains. Remove dye stuff.
Add silk to dye bath – only when liquid temperature has lowered to hand hot. Never boil silk. Stir frequently for even dye coverage and leave overnight to finish absorption. In many cases, colour become deeper, the longer left.
So many natural dyestuffs produce a range of creams and beige, fawn and gold tones; all very different. All neutral tones provide an excellent background for silk painting. The Ahimsa peace silk or Habotai silk takes up any natural dye nicely.
Garments made using this silk sample will be added here during making and completion…
Comfrey dye bath makes an ecru cream-beige, which becomes duller and darker after dipping in iron modifier, after dyeing.
This sample experimented with shibori stitching prior to dyeing which resulted in several vey pale wavy lines of resist made by where the stitching gathered the cloth to prevent dye entering.
Result after dyeing shows Shibori stitch-resist as pale wavy lines.(Stitches are removed after full dye process.) The idea to make ‘waves’ by stitching in ‘curves’ worked, but contrasts poorly on pale colours. Large pegged sample shows dye-bath original tone at bottom right, and darker result top left, after adding iron modified. (black marks are the iron water splashed as I poured in iron solution, so take care with fabric proximity)
Preparing dye-bath with comfrey leaves
Cut up comfrey leaves and soak overnight. Also soak silk in alum mordant overnight or for some hours beforehand. Silk often dyes well without mordant when using some plants. Lighter colour at left, darker tone after longer soaking. Best to leave soaking over night to ensure good dye absorption. New pieces can be dyed in dyebath afterwards, and will be paler, but always a good starter colour for painting, or re-dyeing over.
Boil up and simmer for an hour. When just hand hot, drain comfrey out and put dye liquid in a bowl to soak the silk. (I never boil this ahimsa silk as it becomes matted in high temperatures) Agitate to distribute dye equally for first 15 mins, then leave to soak all day, redistributing in dye occasionally to ensure even dyeing.
Dyed and washed out, the ahimsa silk has an ecru beige colouring where first dyed (top left) – with additional dulled, more grey colour where half of cloth was soaked into iron modified dye bath. Out of the sunlight, the iron modified sample is quite dull and darker, to be used as one would a grey.
Sample (gallery top right) compares comfrey colour dye result with Ladies’ Bedstraw, peach. Samples (gallery bottom right) show iron modified comfrey sample in centre; between (left) Hawthorne dyed silk (left) and natural, ecru result of non-modified comfrey dyed silk in second dye bath. (right).
Note: A second dye-bath was made by reboiling liquid and leaves leaving overnight to stand. Heated next day, added fresh un-mordanted silk. Left to soak for a day and overnight 24hrs. This produced a pale but warm ecru silk.
Below: Comfrey dyed silk in centre – dull tone is result of iron modifier. Silks look duller indoors whereas they come to life in sunlight. The range of colours obtainable is fascinating.
Conclusion: Comfrey gives a very good neutral tone suitable for use with any silk painting over. Longer steep in iron (ferrous sulphate) would make it greyer, as needed. Experiment with quantities of iron added. I use either water from a rusty-nails-jar as well as purchased powder.
Tansy growing prolifically along the Tarka Trail; tall clumps with rosette grouped flower heads – from my dye plant foraging trip.
Dye Bath Procedure
Cut up Tansy flower tops and soak overnight in water (pond or river if available)
Boil up in stainless steel pan, then remove plant dyestuff and allow dye bath to cool to just hand hot. (cotton can be simmered, but silk may get matted if boiled).
Soak silk for some hours in orange coloured water The colour of the dye bath water is no indication of the final outcome on dry silk. Remove soon if you want a pale colour; leave overnight for stronger colour.
Agitate silk in dye bath occasionally, redistributing evenly in liquid during first 15 -30 mins to ensure all areas are covered when first absorbing dye. Use an upside down lid to keep silk beneath surface.
Silk soon absorbs the dye colour in the strong Tansy dye bath. As this silk can be matted slightly by over heating, and simmering, I only introduce it to a hand hot dye bath. I left it soaking overnight to achieve best strength of colour before rinsing out several times in warm water, until water runs clear.
Wet rinsed silk – drying. Do not squeeze out too hard, or twist creases may occur which don’t completely iron out. In summer silk dries fairly quickly and can be ironed smooth while still slightly damp before any creases set in.
A few dark ‘spots’ are splashes from another dye bath with iron I was doing simultaneously. Only do ONE dye bath at a time.
This lime yellow is very vivid (see comparisons with other gold colours), so I will overpaint with silk dyes or bundle leaf prints. However, it could be useful to over-dye with madder to give a good orange, or with woad for a turquoise blue. The future life of this piece will be posted here….
Name ‘Tasmanian Blues’ is derived from Tasmanian origin of the eucalyptus bark (found in Hillier Gardens, Hampshire), used to create a dyebath. Silk collar and patches on garment are hand dyed (Habotai Silk 10) which took the dye bath so well – just soaking for an hour. Bark was previously steeped 24hrs then boiled, simmered for 2 hours, before removing from heat and adding silk.
A very deep gold was produced with the eucalyptus bark dye, which shines incredibly richly in sunshine. Lace pieces were left in the dyebath overnight and even though mixed fibres, took on a gold tone. Seed design applique motifs uses the lace dyed with eucalyptus bark.
Gold dyed Habotai silk was painted on with Kniazef steam fixed dyes. The gold dye was so strong, that painted dye colours were hard to see, and needed redoing. Even specialised bleach for silk dyes did not work, so well is the eucalyptus dye fixed!
Original dyestuff is bright gold in sunlight, but darker indoors. The darker gold piece is modified afterwords with iron sulphate (rusty nail liquid). Bottom right shows lace pieces dyed in cold dyebath overnight.
Story of patchwork blues.
I chose the blues to go with the gold silk, because 3 of the prints have gold areas with blues. Blue and gold are a classic mix, setting off one against the other.
Front buttoning strip features Chinese style print of Phoenix bird (right side) and tail of dragon (left side) which looks attractive as a focal point.
Two fabric prints have animalistic feel: the leopard or cheetah in blue/grey/black, and the navy blue/white ‘pheasant’ feather print. The blue lace was the right colour to add in. The light blue with text also has navy and some brown which blends in. By putting a variety of fabrics together, a new design idea comes alive. Phoenix and seeds could be a new theme.
Applique seed motifs
Using the eucalyptus dyed lace, emulated the texture of dried seed pods. Centre seed capsule part (in shadow from photo/drawing) is shown in dark gold dyed silk remnant on right-side garment, and left-side garment shows a lighter silk, bundle dyed from various seeds and dried flowers.
Making steps: ‘Tasmanian Blues’
Garment started by using a polyester dress as LINING. I kept the cross-over ‘V’ neckline and fitted my fabrics to it. NOTE: its useful to have neckline and shoulders of a lining garment to start off with. Once patchwork is attached to that, patchwork can simply continue down to hem. Its very useful to use a bodice top from another garment as lining to fit sleeves to. I often make an under bust, high waistline seam below the length of an upper patched piece, darting under bust; also optionally at back for better fit.
The lining dress only has short sleeves, so I used other polyester fabrics to lengthen them in patchwork. Outside sleeve fabrics are viscose floral print and others, seen in making photos. Last four photos show cuff addition to lengthen sleeve and give print interest. black fused interfacing ironed on. Fold extension over to show other fabric as an edge border contrast. Fold down outer onto lining. Pin cuff extension to outer sleeve patches. Machine or hand stitch down.
To give a fuller underarm, similar to kimonos; after inserting sleeves, I left underarm and side seams open, and cut strips for underarm gusset, using viscose fabric outer and navy lace inner: an elongated triangle about 4 inches to a point from underarm centre into sleeve length. (the lining dress was small size, so these inserts also enlarged fit up to 38″ bust.) Darts can be seen at front and back of bodice sections.
Back neck facing and simple front facing cut to fit dress front neckline.
A curved frill piece was used from the original lining dress to create a fit, which curves around back neck and fits to front edge of ‘V’ neckline. Cutting adjustments made to allow a shape that would extend the curve from centre back neck (left side photo 1.) continuing around to fit to dress front V neckline, and produce a simple fold back collar only at front. Once the under-fabric was established, an identical shape was cut in white cotton, to use as copy pattern for upper fabric patchwork, (which incorporates the eucalyptus dyed silk). Photo 2. ‘Collar/facing was firmed a little with fine fused black interlining.
Finnish kimono dress lower patchwork making:
Once upper bodice is completed (with or without sleeves), the lower skirt part of kimono dress is made by cutting rectangles and joining until there is enough to fit around the high waistline. This is the stage to consider which colours to juxtapose in lower garment. You may save some special pieces to show at front. Symmetry is a good idea: working from centre, to sides, repeating colour/shades similarly on either side. Start at the centre on the back, and work to the sides, adding patches until the desired width is reached, in correspondence to the upper bodice of dress. I describe an ad-hoc method of choosing fabric patches one by one, until enough are made. Alternatively, by calculating desired length of dress, and desired size of patches, you can calculate how many patches of each fabric colour or printed pattern will be needed in advance of cutting and machining. Lay them out on a table to desired colour juxtaposition, keeping in mind how the front and centre back will look. Work similarly from centre back, adding patches across and down, until length is reached. Create the patches in columns, then machine down the long rectangular panels, onto the under lining. (Fabric, or garment used as lining base). Allow 2-3 inches more at front and back, which can be gather-stitched to fit before seaming the bodice and skirt parts together. This could be darted if preferred. I darted the kimono-dress.
There was enough blue themed fabric left to make small tunic dress. Again, patches are stitched onto an existing garment; a cream/white/brown/blue flora design A-line short sleeved flared top, which becomes the lining. The beige and blue on creamy peach work well with the blue patchworks, and also provide a light background to the blue lace patches, contrasting the lace: see top back photo and front lower side. (Light coloured lace can utilise darker backgrounds.) Short sleeves are unlined patchwork with bound viscose print hems.
The armholes were large, for a Plus size, so I darted the lining from armhole to bust point, and did same with upper patchwork. I cut down the centre due to extra width, and folded over edges for front facing firmness, still having enough to overlap for buttoning.
Making – Bound Button Holes
Mark width of button, add a little more. Sew a rectangle over button size area on right side of fabric.
Machine around, cut centre, cut into corners
Fold rectangle through to wrong side, Press flat with folds meeting, as shown.
Hand stitch lining to bound edges.
Top stitch on right side (optional). I did so here, due to fraying of lining fabric.
Applique motifs are inspired from Nigella seed pods grown in my allotment. Photos and drawings simplified for cut and sew. The centre silk has been dyed with eucalyptus bark before painting on (same silk as ‘Tasmanian Blues’ collar above), although darker due to after-modifying soaking in iron (rusty nail water makes a considerable darker change). Right photo seed pod has silk centre of bundle dyed silk with seeds and petals. Lace seed ‘pod’ fabric has been also dyed with eucalyptus bark, left overnight after initial silk dye has taken up most of the colour. Its always a good idea to see how deep a colour you can dye in the ‘left-over’ dye bath. See eucalyptus dying blog:
Habotai silk dyed by emersion in an avocado pit dye bath.
Final colour after simmering and soaking for 2-3 hours. A subtle light, dusky champagne-peach. A colour which can coordinate with all other colours in my patchwork garments. A good base for silk painting in stronger colours.
Avocado pits collected over the years. I used about 50 (half my storage). They will hopefully provide another dye bath. No mordant was used, to enable me to see the natural colour obtainable. More tests with mordants will follow.
Avocado pits after using and dyed silk.
Rinsing out silk after the dye bath. Hardly any colour washed out. The take-up was good: this is because there is a natural mordant in the avocado pits.
The silk – accurate colour, which looks different in different lights. In the shade it is more dusky pink, in sunlight – more creamy gold. Dye absorption was very even.
This avocado dyed silk will blend well with creams, pinks, peaches, jade greens and greys. Colour co-ordinations of new garments made with this silk and other patchwork fabrics will appear here when completed….