Thursday, 6 September 2012

More dyeing and postcards

Finally spring is with us, and the weather is warming up. Look at these gorgeous orchids from Tricia’s plant.


It seems to be taking the whole flowering concept to heart, especially as these are only a fraction of the flowers it's producing.
Spring also means better weather for dyeing and other outdoor activities. Tricia and Nola have been doing yet more dyeing with Drimarene-K fibre reactive dyes, using the Four Minute Rapid Dyeing recipe from Batik Oetoro.

Tricia dyed these silk scraps, by folding and clamping and then pouring dye mixture over them. The one in the centre was string-tied.


This silk scarf was gathered randomly and tied with string before dyeing.
This piece of dupioni silk was folded and umbrella’d around a chopstick, and tied.
 The corners are folded in to make a square, and then the corners are folded back the other way to make another square. The chopstick is put in the middle and the folds are arranged evenly and then tied. Doesn’t it create interesting patterns?

 This wool voile was dyed originally with wattle to a pale yellow-beige.
When the yellow and weak turquoise fibre reactive dyes were poured over, the naturally-dyed areas acted as a resist, so those lines have stayed strong. 

Here’s a silk skein, also dyed with weak turquoise and yellow.
It has gorgeous colour variations!

 This piece of silk georgette was eco-dyed beige. When the red fibre reactive dye was poured over, the natural dyeing again acted as a resist.
That's something that has a lot of possibilities. If blocks are clamped on the fabric for eco-dyeing, causing a resist, then those areas will take up dye, if the cloth is later dyed with fibre reactive dyes.

Here’s another one that was originally dyed with natural plant dyes, after Shibori-style stitching.
You can see the pattern of stitching in stripes at the end of the scarf. It was over-dyed with turquoise and yellow fibre reactive dyes, which have picked up the neutral areas of the original dyeing. The colours look muted in the image but it will be a fabulously useful scarf. It looked great against black but it also looked wonderful with other colours, as it was passed around the group.

Nola dyed this silk georgette scarf but she’s not very keen on it. The green is beautiful but the other colours are muddy. She says it will probably be blocked and redyed, or perhaps discharged.
She’s much happier with this silk yarn, which is a gorgeous variegated purple, from pouring over blue and red dye.
This wool yarn is a gorgeous heathery blend of colours.
It was tied around tongue depressors, the ends were dipped into yellow and blue, and then green, blue and yellow dyes were poured over the laid-out skein, keeping the dipped ends out of the dye.

This wool scarf looks almost like it’s been eco-dyed. It's mostly red-brown but it has deep areas of red and blue.
It was loosely gathered up and tied with string, before the dyes were poured over. It really is quite stunning.

 So what did we learn from this process? If true variegation is wanted, dipping works better than pouring. Natural dyes seem to act as a resist to fibre reactive dyes. And, unsurprisingly, a moment's thought about colour theory is useful before dyeing with multiple colours.

As always, we swapped postcards this meeting. For what is probably the first time ever, everyone present had a postcard, and Helen had left one to swap, even though she wasn’t actually with us! Amazing!

Tricia’s postcard was made with transfer dyeing.
She used garden plants, ferns and clover, as the resist and moved them slightly before printing again in a second colour. She added beads and glitz as highlights.

Here’s Helen’s postcard.
She’s used her signature rug canvas, machine stitched, and built up layers with fabric and added a button.

Jan made her first postcard for the group this month.



She used a piece of her gorgeous Shibori-dyed cloth along with her rust-dyed fabric, which she’d used for her alphabet letter work for Pittsburgh. It’s embellished with spun tissue paper and buttons.

Nola made another of her Forest postcards.


It was hand painted in layers of transparent paints.

Maz made a postcard from one of her samples from the workshop she did recently with Effie Mitrofanis, which you saw here.


It really glows, doesn’t it?

Carol made her postcard from a base of painted fusible web.
She added appliqué, beads and other embellishments.

When you look at these postcards, you can really see the kind of work that interests each member of Fibrecircle. We’re all so different!

Last of all, here’s our collaborative work on display at the Fragment exhibition.


It looked great! We were all quite excited to see our work on display.

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