A Daily Blog on Textile and Garden Adventures

18. Jan, 2021

The columns indicate the fabric. Wool, silk (protein fibres) linen, cotton (cellulose fibres). The top row shows the original fabrics and the second row ishows them after dying in the cinera dyepot. I boiled the leaves for 45 minutes, removed the leaves, added the fabric samples and simmered the fabric for 45 minutes. The spots are where I must have had some iron on the bench or the paper towel the samples were drying on has allowed some iton leaks to occurr. The thrid row shows an after dyed dip in aluminium potion. The next row has an after dip in home made iron potion the bottom row on the left hand page is with an after dye dip of copper potion and the row on the right is an after dye dip using ferrous suplhate solution. I did think that the iron and ferrous sulphate would have been much more similar but the ferrous sulphate is obviously more controlled and weaker than the home made rusty nails and white vinegar potion. I am wondering what the eco prints would be like with the iron blanket and I have just noted on an online video that paper towel is not a recommended iron blanket for cotton fabrics which is interesting as that has been my primary blanket while doing the month by month samples. maybe i will try and do som using water colour paper or a transfer fabric.

17. Jan, 2021

The theme of this little book is a walk around my garden. I have created the concertina Z fold by joining pages of a heavy weight sketchbook together. I think I should have used water colour paper but we will see how I get on. Linda's premise is to stat with a constant across the length of the book and have each page disappearing into the next for interest. I have begun with some leaves of the laurapetulum nigra which I have been using for eco printing lately. This flows into a length of ivy (hedera) which I use as a ground cover in some places but have to rigorously control. You can see the ivy disappearing off the page on the right hand side. The constant has been created with water colours and the drawings are being layered on top with polychroma pencils which I really love. For me tis is as much about experimenting with the layering of media types as it is about the actual images. I have been working on this in the evenings as it doesn't take too much concentration or effort

16. Jan, 2021

While I still had the onion sin dye pot from the fabric examples I decided to try what would happen if I put some usded and dried teabags into the pot. The bottom left is the original teabag. I aways let the tea dry in the bag before removing it to extract the tannin colour from the tea. The top right is after boiling for 30 minutes and the bottom one has had a post dye iron dip. I did quite a few of each type as I am thinking of a new art piece using teabags and having the different colourways may be useful

15. Jan, 2021

The top row shows the mordanted fabric and the second rwo shows the original dyed sample. The onion skins were boiled for 30 minutes and then re oved and the sample fabrics added. After dying small pieces of each fabric were placed in a modifier bath. the farics used were wool and silk habotai (protefn fibres) and linen and cotton cellulose fibres. Each fabric type is in a column. After dying small samples were cut and put into a modifier bath. These are copper ferous sulphate, iron water and aluminium

14. Jan, 2021

The top row shows the samples post mordant but pre dying. The columns are wool, silk (both protein fibres) linen and cotton (cellulose fibres) . The row document what happened with a post dye dip in potions of Copper, ferrous sulphate solution, iron and aluminium. Some eco practitioners maintain that potions made directly from rusted metal contain the corrosive element that will continue to oxidize and eventually destroy the fabric so I have included both samplings. The right hand page shows details of the foliage, where it was sourced etc and a photocopy of the eucalypt leaf