Monday, October 07, 2024

Weaving Stool Cushion: Fabric Analysis


The fabric is off the loom, washed, and dried. The finished size is on target, and I love the thickness of the fabric. But I think it is still too loose for the intended purpose, even with the tighter set. 

I think the problem is the rag pattern weft. Even though the recipe listed rags as one of the optional pattern wefts, my T-shirt yarn is chubby. Crackle floats skip only three threads, but with two of those threads being t-shirt yarn, the float is quite long and creates a gappy appearance in the warp yarn.


My conclusion is that t-shirt yarn is better suited to plain weave, or perhaps 2-end weft floats, such as in a twill. I'll have to experiment with that. 

All in all, it's been an interesting experience. Between this and the failed bathroom rug, I've gotten some important information about weaving with t-shirt yarn. I'm taking it to heart, because I love the idea of t-shirt yarn; what a great way to re-use and re-purpose an often discarded item. More sampling to test my ideas is coming soon.

Sunday, October 06, 2024

On Creativity: So What?

The writing of this blog post was interrupted by Hurricane Helene. Five days without internet disrupted my train of thought, and now I'm trying to get it back again. It's important to me because I have a goal. And that goal is this: I want to be able to take my inspirations and ideas and translate them into woven cloth. Which I suppose is a way to say I want to design my own textiles.

So, what does it take to do that? I started by exploring the why and the how of creativity. And that lead to another question - so what? How does understanding why and how I create help me design a pattern on my own? To be honest, I don't know. But it seemed logical to start by understanding the science and art of my medium well enough be able to translate an idea into an achievable object. In my case, that means coming up with an idea, writing a draft, and weaving a reasonable facsimile of the image in my head. 

The science of this goal is that I must thoroughly understand the particular weave structure I want to use.
The art of this goal is whether or not I can do it. 

So far, my weaving ideas have resulted from springboarding off a particular draft. I find a draft that interests me, start weaving, and then follow ideas from there. While I enjoy this process tremendously, I'm wondering whether I can take an idea and successfully translate it on my own to a finished textile. I don't know the answer to that, but it's something I want to find out.

Friday, October 04, 2024

Weaving Stool Cushion: Weaving (& Thinking Ahead)

Weaving is progressing well. 

The fabric is under tension on the loom so it's hard to tell for sure, but I think my changes are going to work well:

  • tighter sett (12 instead of 10 e.p.i.)
  • different tabby weft (8/4 "rug warp" instead of 4-ply crochet cotton)
The 8/4 isn't what I originally planned to use. But crackle is traditionally used for upholstery fabric, and I reckoned the sturdiest yarns for a stool cushion would wear better. 

I discovered that I made a threading error, so that the pattern isn't turning out like the original recipe. I switched two of the blocks. For the fabric's purpose, it really doesn't matter. The colors aren't terribly interesting, but I they are serviceable for the purpose. 

As I weave, I can't help but think of the bathroom rag rug. I still want to weave one and I'm wondering if I should try this particular recipe once more. I'm filled with numerous "what if I tried . . . " as I weave, and part of me wants to conquer it. On the other, I wouldn't mind trying something new.

At any rate, the fabric will be off the loom soon, and then I'll have to learn how to make a permanent  cushion for my weaving stool.


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Tuesday, October 01, 2024

Natural Dyeing: Goldenrod

Two weekends ago, I took my goats for a walk in the woods and noticed that the back of my neighbor's field full of goldenrod. How could I pass that up?


The next day I took a short walk to collect some. Along the way, I passed a couple of busy turtles.


My idea for the goldenrod was to try it in an all-in-one dyebath. This is where the mordant is added directly to the dyepot rather than mordanting as one step, then dyeing as another. It was a common way to dye, once upon a time. Now, the tendency is to do large batches of fiber to have ready for future dye projects. The appeal to the one-pot method is saving on water, time, and energy by doing it all at once. 

So that was my plan. HOWEVER, after I got it going, I realized that the time requirement for mordanting was 60 minutes, while the timing for the best goldenrod yellow was only 10 minutes. I didn't think 10 minutes was enough time for the fiber to absorb the mordant, so my dyebath went for the full 60 minutes. 

Preparing the dyebath


  • Recommended amounts are equal parts flowers to fiber. 
  • Bring to a simmer
  • Simmer for 30 to 60 minutes
  • A low simmer is said to bring out the clearest yellow (Dean)
  • Let cool overnight
  • Strain

Preparing the all-in-one dyepot


  • Mix the mordant in a jar of hot water until dissolved
  • For 8 ounces of wool fiber I used
    • 2 tbsp alum
    • 2 tsp cream of tartar
  • Add to dyepot and stir well
  • Add fiber and bring to a simmer
  • For goldenrod, both Dean and Buchanan recommend 10-15 minutes for the purest yellow
  • Longer simmering is said to bring out the greenish tints.

Results


I'm not sure how accurately that portrays what I got, but in real life, it's a very pretty light yellow, even with the longer simmering.

Modifiers

I divided my dyed fiber into three roughly equal portions for two afterbath experiments: one with iron, the other with copper.

Iron afterbath

I recently purchased ferrous sulfate (iron) from Amazon and wanted to give it a try!
  • Remove fiber from dyebath and set aside
  • Mix ferrous sulfate powder in hot water
    • Amount: scant teaspoon (one quarter the amount of a regular mordant bath)
  • Stir into dyebath
  • Add fiber and heat to a simmer
  • Simmer 30 to 60 minutes
  • Cool overnight
  • Remove fiber, wash, and dry

Iron is said to "sadden" color, so I guess green is a sad yellow.


For this one, I first used some of the decanted copper solution I used to mordant fiber for hardy hibiscus. I was doubtful there was enough copper left in it to make a difference, however. I followed the same procedure as for the iron afterbath. 

copper afterbath using decanted copper mordant solution

Comparison: original goldenrod on left, same with copper modifier on right

I debated whether to leave it at that or try a stronger copper solution. The weak solution only seemed to muddy the yellow, which I don't find very appealing and didn't give me good information concerning the potential of the afterbath. So I added an eighth dose of copper sulfate to the copper afterbath and put the fiber back in. It simmered for about 30 minutes or so.

second copper afterbath with more copper

A much more pleasing change of color, don't you think? 

Here's a side-by-side comparison of the day's final results.

Left: goldenrod, no modifier. Center: iron modifier. Right: Copper modifier.

Thursday, September 26, 2024

On Creativity: How Do I Create?

When I started thinking about creativity, I saw that there were two questions I wanted to explore,

As I begin to contemplate the "how" of my creativity, I see that there are two more categories to follow: the art and science of it. I'll define them first, so my reasoning can (hopefully) be followed:
  • science = the technical aspects of creativity
  • art = the inspiration of creativity

To put it another way:
  • The science of an activity involves understanding the specific rules, tools, and techniques.
  • The art of an activity involves understanding the principles behind the rules, tools, and techniques. This may be intuitive, or it may be learned.

The science of a thing can be learned by anyone who chooses to: 
  • get a teacher, book, or video
  • get the tools and supplies
  • learn the steps and techniques
  • practice, practice, practice

Eventually, one becomes familiar enough with their chosen medium to understand how it all fits together. To understand how changes in tools, materials, or techniques have the potential to change the outcome. To understand which rules can be broken and which can't. This is where the transition from technician to artist begins to take place; the illusive line between the art and science of a thing. 

Creativity itself is not one or the other. I don't think it begins at a certain level. It begins when the first tentative steps of a chosen medium are taken. If I follow a recipe and bake a loaf of bread, then I have created something. Whether I choose to follow recipes or learn to invent my own is up to me. Can one person be more creative than another? Perhaps, but in the end, I don't think it matters. Neither is right or wrong because the primary motive of a creative pastime is enjoyment.

The enjoyment of a pastime (an activity for pleasure rather than income), isn't contingent on one's level of knowledge and skill. Nor on the growth and development of these. A beginner can obtain great enjoyment from the learning process, and an experienced person can be perfectly happy to create something from a kit, whether it's a sweater or a cake. Enjoyment is subjective and is an entity of its own. 

Okay, so how does this apply to how I create? I'm asking myself this because I'm trying to get somewhere with my meanderings. I have a goal.

I can somewhat describe the creative process as I experience it. For example, I'm sitting at the loom, weaving away, and as I weave I'm studying the fabric appearing before me. The question that usually comes to mind is, "what if  . . . ?" This is what I think of as I contemplate the question of how I create.

It's not a series of steps, but there are components:
  • curiosity
  • questions
  • exploration
  • inspiration
  • intuition?
  • willing to test ideas
  • willing to make mistakes
I'm going to stop for now with that. I need to ponder how all of this will help me take the next step. 
 

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