Hand Painting Tencel (or Cotton or Rayon) [Long]

Fair warning. This is a step by step tutorial on how I typically hand paint my skeins of tencel or rayon chenille or, sometimes, rayon yarn. I had a request from a reader who was frustrated trying to find instructions on hand painting yarns, so I am going to lay it all out. My methods are not complicated and not fancy. I use products that are readily available on line. I pretty much follow a recipe. My results speak for themselves. I sell hand painted yarn on Etsy and have done for quite a few years. My colors are consistent and repeatable. So, here goes.

I buy all my dyes, soda ash, textile detergent and dye fixer from Dharma Trading Co. They have a fabulous print catalog and a great website. They are located here.

I start by winding off 4 ounce skeins of yarn. I usually wind off three at a time, because that’s how much room I have on my painting surface. I use 8/2 Tencel from Maurice Brassard Yarns. (I buy this yarn from the Woolery in Frankfort, KY) It comes in 8 oz. tubes. I put a tube on a digital scale on the floor, and wind from that on to an umbrella swift. The swift is opened up quite wide. My skeins measure roughly 93-94″ around. When the scale says I have wound off 4 ounces I stop and tie the ends together. I also tie the skein in four places (not too tight!) to keep the threads from shifting around too much.

I stop winding when I have three skeins ready to go.

Next I head to the basement. The three skeins now get to soak in a soda ash and water bath for at least an hour. The time is not exact. The soda ash bath sits in a tub in one side of a very large, very old concrete sink.

The Soda Ash Bath. This is needed as a fixer or fixative (makes the dye permanent once it hits the fiber).

The Soda Ash Bath consists of:

1 cup soda ash

1 gallon of hot water

Mix these together in a very large plastic tub, preferably with a lid

This mixture may be used over and over and added to with both water and soda ash as needed.

This is the bath:

When I am ready to paint the yarn skeins, I take them out, squeeze them by hand, and take them to my painting area.

The painting area: I had the good luck to move into an old house with a work bench already in place. I put an old sheet down on the wood surface for padding. I also have some sort of plastic sheeting that the skeins rest directly on. I also cover the skeins with another piece of plastic sheeting after they have been painted so they won’t dry out. I have a shelf to the left with all my dye jars and other supplies.

These are the items that I use to mix dyes and paint them:

Rubber gloves

Plastic squeeze bottles with squeeze tips

Funnel

Old juice pitcher

Water cup with ml markings.

Plastic cup for mixing dye

Plastic measuring spoon(s)

Foam brushes

N95 Mask!

Fiber Reactive Dyes (mine are all from Dharma Trading Co.)

My basic recipe for a dye solution that will be enough for four colors to space-dye-paint six 4-ounce skeins of yarn is as follows:

500 ml. water

1 1/2 tsp. fiber reactive dye

Put on rubber gloves. Put on an N95 mask so you don’t breathe in the dye dust. Mix a small amount of water in a plastic cup with the 1 1/2 tsp. of dye until the dye is dissolved. Mix in a little more water, stirring until the cup is 3/4 full. Pour this dye into the plastic squeeze bottle (using a funnel to make this easier). Keep pouring more water and swirling it around in the mixing cup, then pouring the water into the squeeze bottle until the 500 ml. of water is used up. The plastic mixing cup should be clean of any dye residue. Put a squeeze tip on the bottle, then shake the bottle vigorously. It is now ready for painting.

Water measured out and ready to pour:

Dye mixed in the mixing cup:

Four colors of dye mixed and ready to paint:

I am now ready to paint the wet skeins from the Soda Ash Bath (which, remember, have just been squeezed out).

I then stretch the skeins out on the painting surface.

Painting happens. I squeeze dye on to the skeins in sections, color by color. I push the dye in and paint each color section, then move on to the next one. (6-8 squeezes per color should do it, up to you.)

I blend each color section together with the next. The colors pretty much keep to themselves, i.e., they don’t run together, so no worries on that front. I don’t use thickeners or urea. Then I cover the skeins with a plastic sheet.

You need to leave the skeins as they are for a good 24 hours while they do their thing. Patience is key!

The next day: Rinsing

I take the skeins back to the sink and start rinsing in one of my plastic tubs. Fiber reactive dyes do not “exhaust” like acid dyes on wool, so there will be a lot of dye runoff as you rinse. This is what they look like before the rinsing begins:

I use hot water, rubber gloves, and a work shirt covered by an apron. I do about 5 or 6 tubs full of hot water, squeezing the yarn, then immediately pouring it out. Then I fill the tub with hot water and add 2 cap fulls of Dharma Dyer’s Detergent (or Synthrapol).

Now I go away at least an hour and just let the yarn soak. After a suitable amount of time, I come back and start rinsing again, with multiple tubs of hot water, gradually decreasing the temperature of the water until I get to lukewarm. Watch the rinse water and it will eventually run clear.

At this point I add 1 cap full of Dharma Dye Fixative (increases wash fastness, prevents bleeding) to lukewarm water. This is optional. Let it sit for 15 minutes, then rinse it out. One tub full should do it.

I then squeeze the skeins out by hand and put them in the washing machine for a quick low spin cycle (mine is about 10 minutes). They come out kind of messy, but all you have to do to straighten them is put your hands inside the skein and give it a few quick hard snaps. Then put them on a rack to dry. That will take another 24 hours.

Here are the dried skeins, ready for their closeup:

This is the colorway Iris, a longtime standard in my Etsy shop. I use Dharma Trading colors Aquamarine, Better Blue Green, Lavender, and Ultra Violet. I recommend Dharma for everything dye related. They have a vast array of Fiber Reactive dye colors. You don’t really every have to mix them, just use as is.

I hope this process is easy to understand! Any questions? Leave a comment!

Rhythm Crackle Pandemonium

Back in February I planned and put on a warp of the Rhythm Crackle pattern with the intention of finally coming up with a digital pattern for my Etsy shop. I started with a cone of variegated 8/2 unmercerized cotton from yarn.com. I then planned on using a lot of different colors and sizes of yarn for weft to see what works best. It turned into a kind of free for all, a mash-up of what I had on hand, plus a couple of special orders thrown in.

Here’s what I did:

I wove four towels sett at at 24 epi. The colors kind of reminded me of Monet’s Water Lilies, so I stuck to greens and purples for weft.

Towel # 1: I used one shuttle, and wove the whole thing with 8/2 cotton weft, pattern and tabby. The pattern is discernible, but also kind of dispersed. A nice effect.

8/2 Cotton warp, tabby, and pattern

Towel # 2: I went to a two shuttle weave, with 8/2 Cotton for tabby, and 5/2 unmercercerized cotton for pattern. (I really like the Ashford 5/2 unmercerized cotton, but unfortunately it doesn’t come in many colors, and the 10/2 unmercerized cotton has been discontinued.) The pattern threads beat down closer, but not as close as they would have had I used 10/2 cotton for warp. Still, a good effort.

8/2 Cotton warp and tabby 5/2 Cotton pattern

Towel # 3: Here I used an on-hand 10/2 mercerized cotton for tabby, with everything else being unmercerized. The pattern beat down well with the thinner tabby weft.

8/2 Cotton warp 10/2 Cotton tabby 5/2 Cotton pattern

Towel # 4: I decided to order some Brassard 8/4 unmercerized cotton for this towel and the next one. Here the proportions are perfect for the 8/2 warp. It turned out well, with a rather heavier hand for a towel than I’m used to. It would work well for a blanket or placemats.

8/2 Cotton warp and tabby 8/4 Cotton pattern

Towel # 5: I used a mercerized 10/2 cotton for tabby weft, mainly because the color worked best. The hand is ever so slightly lighter than #4.

8/2 Cotton warp 10/2 Cotton tabby 8/4 Cotton pattern

I will continue experimenting with yarn sizes for the weave. Crackle structure is amazingly versatile. Using mercerized 10/2 cotton for warp and tabby with mercerized 5/2 cotton for pattern would work well for runners. 16/2 unmercercerized cotton (warp and tabby) with 8/2 unmercerized cotton (pattern) is a combination that would work for a lighter weight towel. Stayed tuned for the pattern in my Etsy shop!

Rhythm Crackle Update Part Deux

Just another update to my four shaft version of the the Rhythm Crackle Weave draft. In the first version I neglected to differentiate the weft into pattern and tabby, which are contrasting colors. (If you know me, you know it might take me a while to let the concept evolve : – ).

So, here is what the pattern looks like when rendered in contrasting weft colors:

This is how I wove my first little hand towel in this pattern:

You can weave this draft both ways! The pattern floats will never be more than 3 threads.

So, if you have already requested and received this draft from me, all you have to do is change the color order in the treadling sequence to dark/light (dark for pattern, light for tabby), and you are good to go. Cheers!

Rhythm Crackle Update

This is a little something I whipped up this morning from the Practical Weaving Suggestions Pamphlet Vol. 2-57, “Some Notes on Crackle Weave.” The weaving draft is straight from the pamphlet. The tie-up is a standard rising shed. I took the treadling from the profile draft, weaving each block from the block draft the number of times it appears.

Here is the profile draft again:

Traditional Crackle threading drafts are tricky. I tried this profile draft with block substitution in Fiberworks. There are three choices: Crackle Block Form, Crackle as Summer and Winter, and Crackle Twill Form. None of which worked very well. So. I am offering this traditional Crackle version of the Rhythm design to anyone who wants it. Leave a message in comments or send me an email.

Cheers!

Crackle Evolution

This is a towel woven with 6/2 unmercerized cotton in a design that originated probably in the 1940’s. I took it from a Practical Weaving Suggestions weaving pamphlet published by the Lily Mills Company in 1957, where it was attributed to someone named Heather Thorpe from 10 or 12 years prior. The design in the pamphlet is called Rhythm Pattern and was written for Crackle Weave. It came with a woven sample that caught my eye probably about 25 years ago.

This is the page from the pamphlet. It shows the Crackle threading for the Rhythm Pattern

This is the profile draft of the Crackle threading:

I wove a small finger tip towel from the pattern on an old table loom way back when:

Sidebar: We bought a c.1915 house in the 90’s that had been “updated” in the 50’s with some Mid-century modern Formica that was yellow green, complete with a kidney bean shaped kitchen table. That Formica was everywhere, but I loved it. I wove that towel as a kind of homage to the period.

But, it seems I wasn’t done with that design. About 10 or so years after that I became interested in Diversified Plain Weave using cotton and rayon chenille. I wove several scarfs in that weave, always starting with a profile draft. I seem to have lost the drafts for that scarf, probably when I switched software or upgraded my computer. Here is the scarf, again in greens:

Fast forward to now. I took the four block profile draft, expanded it, and, using block substitution in pixeLoom, transformed the Rhythm Crackle draft into a 16 harness Turned Taqueté straight draw weaving draft. I used 6/2 cotton (more greens!), because I had it on hand, not because I like it very much. But I enjoyed the process, and I think I will like it better as a scarf in 8/ tencel :-).

I recommend that you explore block substitution with this profile draft and see what you come up with!

From Turned Taqueté to Twill

I’ve written about this before in 2015. The blog post is titled Turned Taquete Variation [or] The Weave That Keeps on Giving. I had been weaving a lot of straight draw Turned Taqueté towels when I had a light bulb moment, realizing that this same draft could be woven as 2/2/ twill, just by changing the tie-up. Here is the towel warp I was weaving back then. I only wove the one warp, and soon moved on to other projects.

Fast forward to now, and I was weaving more straight draw Turned Taqueté with my Rhythm and Blues patterns (now on Etsy). Having finished that warp, I then thought to just tie on a new warp with some brighter colors, perhaps using up some stash, and weave them off in Twill.

Voilà.

It works very well, thank you. Although, at 24 epi, I think the 8/2 cotton might be a tad bit loosely sett. I wove four towels, with a different color weft for each. After washing, they have a nice lightweight hand.

For those who have purchased the Rhythm and Blues patterns, the drawdown will look somewhat familiar. The threading is the same, just different colors. The tie-up is a 2/2 twill on 8 shafts, and the treadling is whatever you make up as you go along.

Handwoven and Handsewn

In addition to all my other projects that are in progress, I have been doing some sewing. I lean heavily toward indie patterns, and I’m on a serious linen binge.

A little more than a year ago I had a skin cancer removed from the top of my scalp. So, ever since, I have been on a hat kick. I started buying bucket hats, and then I found a pattern in an article in Handwoven, September/October 2022. The subject of the article was sewing bucket hats with handwoven fabric and I thought I would definitely give this a try. The pattern is by Mood Fabrics and you can find it at moodfabrics.com/blog/the-bucket-hat-free-sewing-pattern.

I tried a couple of practice hats for size, and then made a real hat with fabric I had in my stash. It took a few months before I got it together to make the handwoven hat, but now it is done and I am pleased with the outcome.

Full disclosure, I totally hacked the pattern instructions. The hat in the magazine is a double layer for the brim, but only single layer for the crown and side panel. Leaving exposed seams? With handwoven fabric? I don’t think so. I made the hat in two layers and then sewed them together around the bottom of the brim, leaving a hole to turn the hat to the right side. then I sewed the hole shut as I was sewing parallel lines around the brim to finish it off.

Worked like a charm.

This is fabric that I wove in the fall of 2021 with 10/2 cotton and a little slubby yarn, all stash busters. I made a pair of pants from a pattern by GetWeaving’s Sarah Howard. (Shop on Etsy) The pants are great, but I had yardage left over, and I still do, but the hat helped with that.