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!

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.

New! Rhythm and Blues Turned Taqueté Towels Weaving Pattern for 4 Harnesses

Four harness weavers, this one’s for you! Just listed in my Etsy shop, this pattern with drafts for three different variations of my straight draw Turned Taqueté weaving pattern. You get three WIFs plus a PDF instruction booklet. Click on the “Etsy” button on the right side of this post to go to my shop.

The same pattern for eight harnesses is coming soon.

Group portrait of Towels #1, #2, and #3:

Woven Typography

Typography refers to type style, including fonts, sizing and arrangements for ease of reading. When I think of typography I want to know how readable is it. First and foremost. When I look at woven words, I often think, not so much.

The woven words that I have attempted so far have a vague relationship to, but still not what I would call even remotely, readable. Depends on the letter. Some are kind of squished. Others stand out from the background, because of their simplicity. The better ones have a good amount of negative space and strong positive space. The lesser ones are only called letters because I say so.

The technique I’ve been using to create woven text for 16 harnesses calls on the type faces included in Photoshop and Photoshop Elements. The idea is to make a new file, exactly 12 pixels wide, and pick a vertical type face that is strong, usually Arial Black or Arial Bold, and type something. Then the frustrating part begins. Editing the type so that it only consists of black or white pixels (no gray allowed!). Also editing out black pixels in favor or more white pixels so that the negative space more clearly defines the letter (see above).

I have to say here that I am not a Photoshop newbie. In my professional life I was a Curator of Visual Resources in the College of Design at Iowa State University. I used Photoshop every day of my working life. I taught Photoshop skills to student employees. But. Making letters play nice in Photoshop is a whole different ball game. It is extremely fiddly. And life is short.

So I got the idea to look around for cross stitch patterns of the alphabet. They exist is vast numbers on Etsy for very little money, it turns out. Cross stitch patterns work pretty well with weave design. They are blocky. They fill up little squares. Weavers use them for Summer and Winter and other block weaves. I found a couple of cross stitch alphabets that were the right size and blocky but not too blocky. Credit goes to The Cross Elephant on Etsy:

Now the process gets tedious, but the work involved once all the letters have been extracted and saved suddenly gets greatly reduced.

One by one I copied each capital letter into its own file. Now they are ready and waiting to be copied into a new weaving text. Each letter is its own layer, so by the time I have finished a text, I might have close to 20 layers in the file. So, I flatten the image, and continue on with the process of inserting patterns on foreground and background. Such a difference!

This is the next towel slated for weaving. I have a 6/2 cotton warp wound and ready to tie on to the previous Kitchen Towel Warp. But time and motion move slowly Chez Iowaweaver, so patience is required.

Cheers!