Progress With Work begets Playing With String

Ah, September. I love September. The weather is cooler, but not too cool. I don't need a jacket yet, but I don't want to lay around all day under a fan and sweat. Summer really is my least productive time of year. I turn into a sweaty, useless lump. This is not helped by our air conditioner being dead - not a huge deal, really, expect for that one week. But still. Hot and sticky = cranky me.

My Big D proposal draft was turned in on August 15. On August 20, I received the following email from CM1. I thought it was worth posting here verbatim, because it is both hilarious (to me) and touching:

I raced through the thesis proposal these last two days because I won't be back again for a couple of weeks. It sounds good to me. It is repetitive and method-obsessed but readable and as sensible (surely) as anything else in the literature on register. All my comments in the attached pages are editorial, not substantive. I will have to study your results more closely eventually but for now the document seems to me to be clearly acceptable as the basis for a thesis proposal. No problem. (Organizing it in PowerPoint will undoubtedly make it more svelte.) I am well pleased. And happy, of course, to see you emerge from a long battle in such good shape. Nice going.

In person, he also told me that he had wanted to check before he left that it was "sane" (it was, which made him happy), and that he was pleased that I was once again "as comprehensible as you've ever been."

I thanked him, and told him it was possibly the first time I'd ever received an email using the word "svelte." To that end, I believe CM1 has now earned himself an official Blog Name. He is henceforth Sir C for his amazing ability to interweave Compliments and Constructive Criticism in the most Concise and Creative ways. Also, this is the first time I've felt complimented by someone telling me I was Comprehensible.

A little back story: Sir C is very well aware of my battle with depression over the last several years, and has been unwavering in his support for me to talk about it openly, admit and come to terms with it, and never consider it something shameful or to be hidden. This attitude is something I appreciate more than I can say, especially coming from a field like academia, where it seems every grad student goes through a bout of depression at some point, and there is still a certain amount of stigma attached to "taking some time off" for that reason. Sir C has also, in the nine years over which he's read my work, never been particularly comfortable with my writing style, something we've discussed many times. "Method-obsessed" is absolutely, 100% true, and everyone who knows me knows that I am, indeed method-obsessed. Part of my purpose in the Big D is to improve on methodology. His comment is his way of saying he recognizes that and it's fine, but I also need to work a little more substantive theory in there yet before it's done - and he is correct, as always.

In the meantime, the fall term starts tomorrow, and I start teaching again on Thursday. It's the same class I taught in January, so at least my prep time is minimal. I expect to hear from Lady S (that's S for Supervisor, since we're revisiting the blog-name thing) and CM2 (Committee Member 2, as yet blog-nameless) soon, and then maybe this thing can move forward. I've taken the last couple weeks off, except for a few rounds of The Administrative Paperwork Dance, which is a neverending production in academia.

But! The important things! There has been progress on things which involve Playing With String!


One blanket, star and moon charted by me, the overall design and layout cribbed from another pattern.

And a picture of the back, because I'm weird that way:


It will not be backed at the recipient's request.

Hopefully I'll be able to catch up with and hand it off to its intended this week. With that finished, I returned to the Double-Knit Not-A-Toque of Doom:


DH thinks it should be high enough now, so I'll start decreasing in a couple more rows.

No major screw-ups for the last couple inches. Crap, I just jinxed it, didn't I?

Finally, I have a warped loom, and I'm not afraid to use it:


A full-width dummy warp for the colour samples for the Coppergate textile (wabengewebe pattern) yardage, which I'll be weaving possibly eternity.

I've been wandering around in a daze today, convinced that there's something I'm supposed to be doing that I'm forgetting. I've come to the realization that, in fact, I'm extremely well aware of everything that I have to get done this week - including several things for tomorrow - and the fact that I don't feel like doing them is what's causing me to be such a space cadet.

And on that note, I'm going to soak in the tub.

Sometimes Lazy Days. Sometimes Not So Much.

I keep meaning to post, and then I realize I haven't taken the pictures, and then I put it off, and then suddenly it's a week later and I haven't posted. This has happened more than once. Bah.

See, I have this new camera. I mostly like it, except that the only documented way to get pictures off of it and on to the Mac appears to be through iPhoto, a program which I dislike, intensely and almost unreasonably, since it 1) forces me to upload everything currently on the camera, whether I want to at that moment or not (for instance: I only want to deal with two small pictures right now, not spend 30 minutes waiting for iPhoto to chug and churn to upload 7 GB of video), and 2) decides all on its own where to put files on my hard drive. Putting the pictures where I want them involves extra steps of digging through the hard drive to find the right directory and moving things around manually.

The whole process is unnecessarily complicated and drives me batty. I wish I could just plug the dratted thing in and have it show up as an external hard drive, like my old camera (ca. 2000, only takes 15 second videos, needs a new battery, but which I know like the back of my hand and love). All of this means I can no longer deal with pictures quite as efficiently as I'm used to, so it's become yet another thing to avoid. I suspect I have a solution though, which I will try out this week.

Bloody technology, thinking it knows what's best for me.

ANYhow.

It's been a mostly lazy couple of weeks. The sun is shining and it has been getting warmer each day. Dare I guess that it might be... spring? The magnolia tree seems to think so. It's now full of pink buds.

Some progress on no-longer-secret-project #3. The recipient knows about it, and has happily approved the yarn, colour scheme and pattern, so I think it's safe to say that this blanket will be for M. & C.'s Wiglet (i.e. baby), who, in fact, decided to make his grand arrival in Canada just over a week ago, after keeping parents and midwife on their toes for several days. But all are well, and he is as adorable as expected.


A big welcome to the week-old young Mr. R., aka Wiglet, who I met Friday.

I'm almost halfway done and speeding up a little, especially now that I've finalized the moon and star charts, weaving in ends as I go. In a strange way, I'm enjoying all the balls of yarn hanging from the back, which slowly but surely become tangled as I change colours. I carefully untangle them, knit a few more rows, and do it again. It's like a little dance between me and the yarn. A very pleasant, slow dance.

A couple Saturdays ago was spent in the back corner of my dusty basement with several SCA friends, sorting through a pile of canton common property, counting, consolidating, re-packing, tossing junk, and creating a photo-database of everything. There was wine and Dooley's and laughter along with the friends, which I think is the best way to spend an afternoon and evening. The inventory was well overdue. It was a big job, and in the end we completed what we set out to do, and felt like we accomplished a lot, which is the best outcome one can ask for, don't you think? Especially with wine.


Now taking up only 1/3 less space, and we know what's in every box.

Last weekend was spent making mini-heddle weaving kits using tongue depressors, sticks, glue and a Dremel. I've been wanting to try this out since seeing something similar last summer. Basically, it's the heddle portion of a rigid heddle loom. No frame. C-clamp each end of a not-too-long warp to something and weave away. Great for making narrow warp-faced bands, as you can see, and I think a little less troublesome (and less expensive) than an inkle loom or card weaving. A lot of patterns can be created using pickups. I demonstrated the technique to one of my local SCA cantons Monday evening.


A small strip of warp-faced weaving on the mini-heddle loom, and the current movie to feed the ongoing fixation.

Finally, with the impending spring, I will soon venture out into the gradually-greening backyard. The yellow tulips are long since open, and the magnolia tree is probably less than a week away from being in full bloom. I haven't raked all the dead leaves from last year, so much of the back yard remains a mushy mess. Stay tuned for an upcoming new installment of...

Weird Things We Find In Our Yard

The Threads That Bind Us All Together

The new Baronial Pillow was presented to the Baron and Baroness of Septentria this past Saturday at Ealdormere Kingdom 12th Night. I finished weaving the back a couple hours before leaving for the event, having had to replace not one or two, but four broken warp threads the night before.

Four Vest Yorvik ladies, (myself, Eleanor, Aislinne and Violetta), formed an instant sewing circle upon Eleanor's and my arrival at the event at 2pm, and spent most of the afternoon putting the finishing touches on it. We were like a well-oiled, multi-tasking sewing machine. Aislinne, who had created, applied and embroidered the baronial arms on the front with hand-made felt and some of my indigo blue and green hand-dyed drop-spun wool embroidery thread, added two more badges to the front, recently delivered from their respective Cantons. In the meantime, I cut the back off the loom, hem-stitched the edges and pulled out the packing thread. Violetta, who had made the inner stuffed pillow from red linen, added the last of the stuffing to that and sewed it up, then helped me weave in the loose bits on the back. Eleanor held us all together with the passing of pins, scissors and wrangling ends of long fabric.

After Violetta whip-stitched one long side of the top to the bottom, Eleanor and I sewed up the sides and attempted to make the fringe more respectable. With 10 minutes to go before court - we were first on the agenda - Violetta stuffed the inner pillow into it and began to whip stitch the long bottom closed. In a moment of inspiration, Aislinne took the remaining warp thread off my shuttle and skeined it, stuffing it inside along the bottom just before Violetta finished closing it up, so that when it's opened up later for eventual re-stuffing or repair, there is a small repair kit inside. It was finished as court processed into the room.

Unsurprisingly, I don't have pictures of us working, because I was, well, working. I saw some pictures being taken, so if someone else posts them, I'll link.


The new Baronial Kneeling Pillow for the Barony of Septentria, Kingdom of Ealdormere, made by the Canton of Vest Yorvik, bearing the arms of each Canton in the Barony (Skeldergate is still coming!). Finished woven size (before stuffing): 3ft. x 18". It comes with a lifetime guarantee that we will make any necessary repairs.

Just under two years in the making, from shearing to wool prep to dyeing, carding, spinning, weaving, embroidery and finishing. A group project, from start to the very moment of finish, with the participation of not just the four of us who finished it on Saturday, but many others in the canton who helped us procure the fleece, clean it, dye it, and even help me weave a few inches. I personally learned a great deal about dealing with raw fleece, dyeing and weaving during this project.


A little better view of the weaving and Baronial Arms. The canton arms displayed here are: Vest Yorvik (top left), Monadh (bottom left), Eoforwic (top right) and Swan's Keep (bottom right)

And now, I can put something new on my loom. Thank Jeebus.

Also: A closeup of the arms of the Canton of Vest Yorvik, our official part of last year's baronial taxes, where each canton was to create their embroidered arms. Vest Yorvik then had the added privilege of making the pillow to display them all.


Designed and stitched by Aislinne with help from all members of the canton (a few stitches each), using my hand-dyed hand-spun blue, yellow, green, black and natural wool. The red is the same red as the pillow wool.

Yarn gnomes. It's the only reasonable explanation.

This craptacular pile of yarn barf represents my Saturday and Sunday evenings' fibre-related work, and has absolutely nothing to do with weaving. Whoops. I pulled out a brand new ball of Brown Sheep Cotton Fleece to swatch something, and hilarity ensued.


DH congratulated me on my debacle (pronounced "de-ball-cle". HAH.)

I have continued to work on the group-project woven pillow with the hand-dyed, hand-spun weft. For all my time, I haven't made a lot of forward progress, and not just because of the above distraction. At one point, I had about two feet of the pillow woven (2/3 of the first half, 1/3 of the whole thing), but then I realized that I hadn't staggered rows of the new skein with the previous one when I started the second skein of weft. The point where the second skein started was an obvious shade change. So a couple weeks ago I ripped out over a good foot of weaving.

When I started again last week, this time staggering the two skeins in alternating rows, I had some problems with the edges. On one side, the final warp thread wasn't being caught by the weft. I ripped out about 6-8 inches again, and figured out that on the right side I needed to run one shuttle of warp thread under the other before throwing it, so that it would bind the right edge. I still don't really understand how warp edges behave in weaving. I want to go back after this and really figure out double weaves on my rigid heddle, beyond just reading a pattern draft. I'm pretty sure that will help me to understand this problem.

Very late Thursday night, while at a friend's place for our weekly Thursday Night Crafts, I figured out the edge thing and wove 8-9 inches again. I need to get the front side of this pillow, three feet of weaving, off my loom some time Monday, so that it can go to the embroiderer, who will most likely be visiting that evening.

I also continue to work on the Double-knit Hat from Hades. I haven't ripped out anything on it recently. Keeping my fingers crossed on that one. It's amazing, though - I sit down to do a single row, and I'm asleep before I'm half-way through. Who needs a sleep aid? I have the double-knit hat.

Finally, I've started a few new super-secret knitting conspiracies.



More details eventually. Mwa Ha Ha. Just as soon as I finish untangling the rest of that skein.

Seriously, how does that happen? I have no good explanation.

Whoever coined the phrase "warp speed" apparently didn't have cats

So. I warped the loom. Again. After the unfortunate incident with the red warp yarn that we dyed, I picked up five balls of lovely, red, strong DK-weight alpaca.*



I warped this up the weekend before last onto a 10 dpi heddle and wove a few inches, only to realize that the loom was assembled wrong. This bugged me something fierce, so I took the warp off, fixed the loom, re-tied it and wove about five inches that Sunday night.

Monday I looked at the resulting fabric with a critical eye. The fabric was coming out a little too airy, and was not going to be as weft-faced as we want it. Since the weft yarn is our group's cochineal hand-dyed handspun from raw fleece, we want it to be prominent.

So, I took the whole warp off last Tuesday, and Wednesday night I re-warped it onto an 8 dpi heddle. I was all set to have DH help me wind it onto the loom that night, but that was not to be:


The union stages a sit-in.


Negotiations commence: Whose need is greater?


Negotiations are concluded for the evening.

In the interest of not interrupting an obviously necessary nap time, we wound it on early the next morning, before he left for work (DH is a very good assistant warp-winder-oner, no matter how much he doth protest), and I tied it up Thursday afternoon. I spent much of last Saturday sitting behind a table collecting entrance fees from people for an SCA event.


A knitted SCA combined Arts & Sciences badge. Made quickly a couple weeks ago at the request of the event head cook, to her specifications, to be used as part of a serving presentation during the feast.

During the afternoon dead time at the event, after everyone who was coming had shown up but before we could officially close down the gate, I got in some good weaving time, and had help from at least three others. In the spirit of a truly group project, I'd like anyone who wants to weave a few rows to get a chance, so I taught a few new weavers as well, and Sunday I did some more at home.


Who's happy? That would be me.

It's coming out beautifully. The natural variegation of our handspun wool shows well, and the little bit of warp that shows adds just enough red to brighten it up.


Qapla'

From the first 79 foot skein of weft yarn, we have well over a foot of fabric, 18.5" wide. We're getting 9.5 rows of weft to the inch. We need a little over six feet of fabric - two 3-foot pieces - and then it goes off to others for embroidery and finishing.

And as I finally finish this post and check the date, I realize that it is officially our 14th wedding anniversary. Happy anniversary, love.


* Which begs the question, from a historical re-enactment standpoint, can alpaca yarn be considered within the SCA period we're aiming for, i.e. loosely pre-1600 (1650-at-the-latest) Europe? The answer is, maybe. Alpacas are a South American animal, domesticated there for thousands of years. The Spanish were slaughtering conquering the Incas in the 1500s, meaning they would certainly have had access to alpaca. But did the European conquerers actually use alpaca? Um, probably not. Rather, the Spanish brought in their own herd animals, and it's possible that nearly 90% of alpacas were wiped out during the Conquest, the rest being saved by the natives who took them up into the inhospitable higher altitudes. All modern alpacas come from these surviving herds. Alpaca wool was not really used in Europe until the 19th century. (Note: please don't use me or these random web pages as a reliable scholarly source!)**

** All of which begs the further question - Do I care?***

*** Which brings us to the answer: Nope. I have warp yarn of the right weight and colour that will not break on me. It is not synthetic, and is in fact from an animal that was domesticated well before 1600 and known by Europeans at that time, even if they were too dense to bother using alpaca for fibre. Blows raspberry in the general direction of any authenticity police.

The version of "The red warp story" with at least 85% less cussing

I originally posted this story on Ravelry the other day, in a forum where my occasional extreme potty mouth is not only accepted but expected. I think I'm now sufficiently calmed down enough to post it here with significantly fewer strings of naughty words.*

The background: I’m working on a project with a group of friends that started out a secret, but now is not. I've been babbling on about different parts of it for months. We’re weaving a pillow on my loom, which will be embroidered, finished and presented to some fine folks by the group. Since this is for an SCA (historical re-enactment) thing, we’ve made the weft yarn and the embroidery thread from sheep to finish - some members of the group attended the shearing, we all dealt with the raw wool, some dyed it, some spun it. It looks great and is working out just fine.

Since the weaving will be done on my loom, I made the call several months ago that we should go with a commercial yarn for the warp. It will be under tension on the loom and we didn’t know until recently how the lady-with-the-wheel’s handspun would hold up. To be a little more authentic, we bought a cone of white 2-ply commercial Shetland wool and dyed it red ourselves with cochineal.

Last Saturday, I started measuring it out on the warping board. By Sunday evening, I had it 3/4 measured.



At that point, I hit a snag in the yarn, so I sat down to pick it apart. I absent-mindedly gave it a good tug.

The yarn snapped apart in my hands.

Surprised, I pulled out another bit of yarn and did a tug test. It snapped like candy. No kidding. Wanna see?



I twisted two pieces together, tightly, hoping that if I doubled it up it would be OK. Nope. Snapped like a dry twig. This is bad. It can’t possibly stand up to the tension on the loom. I have 900 yards of red warp thread that I don’t dare waste my time threading onto my loom - it will break the minute I put any tension on it at all.

Here is where the strings of cussing came in. I have edited it down to a single word that sucinctly expresses my feelings:

FUCK.

This yarn? Is crap. It is weaker than my own handspun singles. Alas, the label neglected to mention that. I thought I gave it the old tug test when I first looked at it, but maybe not. It was sold as weaving yarn, from a weaving shop, so I just trusted that it was fine. I don't blame the shop, though.** It's also entirely possible that when I bought it, I neglected to mention that I was planning to use it for warp, and they assumed I wanted it for weft. I’ve been handling it for months and never noticed, never thought to check - and since we dyed it all, I can't be totally sure if it was this weak when I bought it, or if we ruined it in the cochineal/tin dyebath or subsequent hand washings.***

Total cost? Not much. $13 for the cone and about $8 for the dye materials. And several days of mine and a couple others’ time and sweat - mostly mine. I have no idea how I didn’t notice this before now. I honestly don’t know if this yarn is useable for anything.

As I was sitting there stewing and cursing under my breath, DH, who was quietly typing and observing the whole scene from a safe distance of a few feet away, asked if there was anything I needed. “Red yarn,” I said testily and with probably not a little sarcasm. “Wool, about this weight, that won’t fucking snap when I look at it funny.”

“Anything I actually have?” he asked, with infinite patience.

Pause. A few seconds passed. “A big fucking glass of port. This seriously requires alcohol.”

I rarely drink. I’m no tea-totaler, but booze gives me heartburn, one standard glass is enough that I can’t operate machinery, and my usual reaction to being even mildly drunk is to fall asleep. But DH didn’t even blink. He pulled out the bottle of port and emptied it into my glass.

Yesterday, I made an emergency yarn run and found some useable warp yarn. It’s not really a big deal. I am moving on. But sometimes you just have to say, "Screw it. Bottom’s up."


* Yes, I know anyone could look me up and find the original post on Ravelry. That's fine. Go for it. I am not embarrassed by it, nor is all the language edited out here, obviously. I'm simply providing a buffer between my in-person full-on rants and any readers with potentially more sensitive ears. Er, eyes. Whatever. It's just a courtesy.

** I will, however, be making a trip up there next week with a friend to check the cones on their shelves and see if I'm imagining it or if it really was this weak when I bought it, and to let them know, if they don't already, that it is absolutely, positively not suitable for warp.

*** ETA: I have since found two samples that the shop sent to me before I bought the cone. They are the same yarn, in red. We decided after getting them that we would use that yarn, only dye it ourselves. I tested one of the samples and it, too, snapped with little trouble. So I'm now pretty certain it's the yarn, not our cochineal/tin dyebath.

The grass and sunlight are woven in for free

I'm home from Pennsic. This year I camped in a new location with a different group. (I-79 side of the Serengetti rather than on Runestone Hill). Being with a small group was quite a bit different compared to the 40+ people in my encampment last year, but I did miss the other group a little. Our encampment was so quiet. Well, OK, quiet in some ways. I haven't completely passed judgement on the location, but I could definitely have done without the almost constant air horns and jack brakes from the highway.

However, it was nicely flat (a bonus, seriously), shockingly convenient to the merchants, main food court and A&S tents, and I did not miss climbing the steep part of the hill every day. I did miss the sound of drums coming up from the lake all night long, though, and the feeling of being more at the centre of things. I'll have to wait a couple months until it's in long-term memory before I decide if I liked the good parts of it enough to camp over there again.


This was taken shortly before tear-down, so the camp fence and lanterns are already gone.

I played in a very excellent pickup dance band from Sunday through Tuesday. I'm still not a spectacular recorder player, but I'm starting to be able to hold my own on melody and play most things up to speed, which makes me happy. I still need a lot of work on recorder, though.

At heart, I suspect I'll always be a brass player. I believe I want need a sackbut. Possibly before the natural horn. Some day.

I was pretty good about not buying too much. I did have to pick up the obligatory spindle:


Yes, it's a heart. Yes, the pink felt baggie came with it. It would make me sick if it weren't so darn pretty.

...and the traditional couple of bags of naturally-dyed roving from Brush Creek Wool Works.



I had to get the red. Their cochineal red with tin mordant is almost exactly the colour we got. In fact, these were the reddest bags of the batch - the rest of her selection were noticeably lighter. I suspect the evenness of her colour compared to ours is because she dyes rovings, not raw fleece of questionable cleanliness. Her cochineal with alum mordant roving was close to our raspberry batch. It makes me feel considerably better to know we got what the pros get with our cochineal dyebaths. Oh, and that yellow? Onion skins with tin. Really, how awesome is that? Onions are the new neon.

I also picked up a pretty thing for my hair, a tiny hard leather pouch, two small handbound leather journals (with handmade paper! and refillable! one for me and one for Daniel to use as a sketchbook), some herbs for a friend and tea and honey - nothing to break the bank. No looms this year, thanks, and I even passed up on the expensive but lovely closed-toe shoes. I walked past the harps and sighed.

Once again, Dread Viscountess Seelie offered rigid heddle weaving classes, so a lot of my second week was spent weaving and generally playing with string. This year we were re-creating several specific archaeological textiles on the rigid heddle loom, using the multiple-heddle technique she taught last year. A few of us offered up our looms as teaching looms, so in all we had five looms going with different warps. We all wove a few inches on each pattern. All designs were woven on standard 20" Beka SG-20 rigid heddle looms, using either two or three heddles as required (3 or 4-shaft patterns), and no pickup sticks.

First a 1-2 Rippenkoper. This is a three-shaft design, requiring only two heddles. Basically, it switches between a 2-1 twill and a 1-2 twill, weft-faced to warp-faced, and also reverses.



Next, a rosette twill. This is 4-shaft design, done using three heddles.


I think this might actually be the back, but I like this side better.

And finally, my absolute favourite, the Jorvik 1336 (i.e. "Coppergate") textile. A honeycomb, or wabengawebe with a twill. I messed up the pattern more than once, being highly distractible on a good day, even more so there. A couple times I only did one repeat of the pattern, and once I did three. But I definitely want to make some long pieces of this one and do something with them.


Front of an apron dress, perhaps? Hmmm.

There was also a loom with a standard 4-harness twill warp, but since I did the twills and double-weaves last year, I didn't do more of those. One of the looms had to go back with its person early and we ran out of time, and since I was planning to put that very warp onto my loom at home, I was asked if I could weave up 5-6 samples to send off to the instructor and others in the class. It's definitely no hardship! I'm learning a lot, and getting the warping experience I was looking for.

So, now on my loom and weaving up nicely, a 2-1 Lozenge. This one is another three-shaft pattern, so it only requires two heddles.


Sample one of five. Or maybe six.

There really is something to be said for sitting under a sun shade, warping looms with a group of women, chatting with the person across from you, muttering the count of the warp thread quietly between sentences... "Here's the three. So, did you guys get wet last night? No, I was very dry - two fours coming through - but it was freaking cold when I woke up at three in the morning. Is that sixteen? OK, tie that off."

Someone might have caught a video of Seelie weaving in one of the classes, in which case I'll definitely post a link. Most of the drafts for these patterns can be found at the complex weavers medieval textiles study group, in the section on the textiles discussed in Lise Bender Jorgensen's book. The Coppergate textile draft is from Thora Sharptooth's site.

Aside from the RH weaving, I didn't take too many classes - one exception being a viking wire weaving class. I got to make a necklace, and wire-wrap a bead. I need to finish it with a hook for it to be completely done - but the part where you pull it through the drawplate is so much fun. It's like magic.



What do mean you don't go to Pennsic to weave?

I leave you with this. It was visible from Currie Road, near the west gate.


Everyone goes to Pennsic, didn't you know?

Seeing red. Finally.

Some friends and I are seeing red. We have been dyeing with cochineal, repeatedly, and with mixed success. I don't think we quite have this cochineal thing down yet, but we're getting better. Um, maybe.

The goal: Enough red wool to spin 1400 yards of singles in a good, strong scarlet, to then ply into 700 yards of 8-12 wpi yarn for the weft thread of a not-really-super-secret-anymore-but-I'm-still-not-advertising project that will be woven on my rigid heddle loom later this year. Since we can get a good 500 yards of singles out of a pound of raw fleece, that's 3 pounds of wool to be dyed. We have to do it in 1-pound batches, which has advantages and disadvantages.

We've done four, yes four, batches of cochineal since last October. Below, from L to R, are batch 2, 3 and 4 drying in my friend's pine trees. I don't have a picture of the first pound, which we did last fall, but for that first attempt we used alum-mordanted wool and a dash of tin added mid-dye to the cochineal bath. Half of that batch had previously been dyed slightly yellow with spinach, the rest not. The spinach portion is a little nicer, but both came out a beautiful scarlet, nicer than even the rightmost (closest) batch here.


Christmas in July? The colours are a little more neon pink here than in-person

As you can see, our dye batches are varying in colour dramatically. We won't be using batch 2, the furthest left, because, ugh. It was our first attempt at tin-mordanted cochineal, which is supposed to give the best scarlets. We tried a version of Lilies cochineal scarlet #1 recipe (Lilies 1990: 131-2), and it was going flame orange. When we added the recommended alum, perhaps not as "carefully" as recommended, the dyebath turned a mucky brown, and the wool a dirty, blue-red.

That experience scared us off the tin a little, so we returned to the alum mordanting for batch three. That's middle batch, above, which came out more raspberry than scarlet. The right batch, dyebath #4, is scarlet (despite this picture showing as bright pink), but lighter than we want, because the dye didn't take to parts of the fleece (perhaps it wasn't scoured enough? Hmmm.).

I pulled a couple sample tufts out of batch 3 and 4 to try a test spin after they dried.


L (batch 3) alum-mordanted cochineal, with 1/2 oz. tin and a dash of tumeric (for yellow) added late in the bath. R (batch 4): Tin and cochineal, one-pot method (Lilies 1990: 132-33), with probably a touch of alum from the previous dyebath still hanging around on the pot and stir-stick

In total, we have a pound of deep raspberry and two pounds of light-mid scarlet that are usable. The plan is to blend together the different dye batches when carding it to get a colour something between both. The two test tufts above give this:


Still not quite the red we're looking for, but this is a 50-50 blend of raspberry and scarlet, and I think we'll be blending it more 33-67% in the end

We'll also need warp thread. I've made the decision, after much deliberation and agonizing, that our handspun DorsetX is simply not going to be suitable to use as warp thread for this project - at least, not the way we'll be spinning it. It will mostly be prepped using cards, not combs (necessary because several people are involved, and handcards are the more common item amongst them), giving a woollen, not worsted yarn. This will make a fuzzy, sticky warp. I also can't confirm that the 2-ply will be strong enough for warp, even on a rigid heddle loom. The test singles definitely weren't.

So in late August, we'll be dyeing another 900 yards of white commercial yarn with cochineal for the warp. It might or might not work: varying colour is one thing when we'll be carding together the different dye batches. But when we dye the skeins, they have to be the colour we want, the first time. Precedent says that we simply don't have that kind of control over the cochineal. So, we'll try it, and if it doesn't work, we'll buy a cone of scarlet warp thread.

In preparation for a weaving frenzy this fall, I've warped up the loom to get some badly needed weaving practice. It seemed a good way to use up the Brown Sheep Cotton Fleece that's been in my stash for years:


The necessities for warping a loom: loom, yarn, coffee, chocolate and yarn tangling wrangling assisstant.

Finally, an indigo vat update. Throughout the unseasonably cool and wet Southern Ontario June, no fermentation has been detected in my vat, although it's still mighty stinky. After consulting with an experienced vat-maker, our guess is that although we had a couple weeks of toasty warm temps in early-mid June, the evening temps around here still go down to 14-17C (in the 50s-60sF), which is causing the vat to cool off too much in the evening and is preventing fermentation. The recommended solution (since I lack a 24/7 firepit):



A double-boiler setup using a fishtank heater. Interesting note: fishtank heaters, even saltwater ones, are not rated for urine, and putting the heater directly into the vat would kill it in short order. Hence the double-boiler. Thank you SharonAnn for that hard-won bit of wisdom, and for being a great indigo vat consultant.

After a couple weeks of this, and several consistent warm and sunny days out of the last seven lacking light rain, thunderstorms and hail, I am starting to smell the unmistakable - and surprisingly pleasant - barnyard-like smell of fermentation under the ever-present stench of stale urine. It's still far from ready, and I'm not entirely convinced that the heater, which has a max temp of 85F (something about not wanting to cook fish?), is warming up the water as much as it needs to be to really encourage things to grow. But it is encouraging. I stir it gently every day or two to get the indigo powder off the bottom of the vat and encourage the chemistry to start. If nothing happens after a week of it staying warm 24/7, then I'll feed it a couple dates.


I still want to believe

I'm not certain how long I can hold on the illusion that I am not really a dyer. I still maintain that this is all about the educational experience, and a single goal. Let's forget about the fact that I'm still contemplating collecting chicory from the roadside, I have weld seeds about to be planted, and that failed attempt to get green from carrot tops a couple months ago... stop laughing. I'm not a dyer. I'm a spinner and weaver who dyes out of necessity. And I am learning quite a lot.

I mean, seriously - did you know that saltwater fishtank heaters weren't rated for urine?

A Time to Spin, Part 8: Dead plants, just in time for spring

Now that we're mostly settled in to the house, I'm starting to root through my spinning stash, which has been packed up too long. Since I have way too much wool (DorsetX, anyone? I have 2.5 full fleece here...), I was able to walk past most raw fleece I came across last year with a clear head and conscience. Overall I've done well at not accumulating more raw fleece. Agreed, I had a lapse a couple weeks ago, with that little bit of Romni I found, but it hardly smells at all, so I don't really think it counts, right?

This does not mean that I haven't continued to accumulate spinning stash, oh no. The Pennsic plant-fibre haul from Brush Creek Wool Works is finally about to see the light of day:

There is bamboo top...


...and flax top...


...and hemp!


Honestly, I don't know how to spin any of this. It will be a learning experiment this spring. I know the flax will spin up smoother if I spin wet, and I assume the hemp is similar.

In the meantime, I've broken in the Forrester Turkish spindle with some green eucalyptus-dyed-tin-mordanted wool, also from BCWW. This spindle spins like a dream. It might be the fastest and longest-spinning spindle I have.


I was right, the spindle does look even better with yarn on it

I want to make it a tradition of buying one bag of naturally-dyed roving from BCWW every year. In '06 it was the Brazilwood-tin-mordanted pink wool that became my very first spinning, so I feel like they're a big part of my spinning history. Even if I don't get to their booth in-person some year, I will try to have someone pick something up for me to keep up the tradition. Of course, it helps that they have wonderful stuff.

During the early fall dyeing adventures, only the first of which I have documented so far, I had reason to order cochineal as well as alum, copper, tin and iron mordants from various places. At the same time, I ordered several spare heddles for my loom in preparation for a related group project that is still in the planning stages. Somewhere among all that ordering, a few other things found their way into my cart:


a Strauch flick carder that will come in handy for some of this fleece, I think


Indigo Hound four-pitch English combs, with accessories

These combs came with the base, wood rods to hold the combs in place on the base, a PVC diz (not pretty, but it does the job), covers for the Very Sharp Teeth, and I think those metal rods are doffers, to clean leftovers from between the Very Sharp Teeth. There is also an intelligently written instruction booklet with a lot of good tips and information, including amusing but important points like: [Remember to] comb with the teeth pointed away from you and anyone else. The object is to comb the fiber and not yourself.

The wooden vice-grip thing in the left of the picture is a base for my single-pitch viking combs. It came with the small c-clamp, but it really needs two clamps to hold it firmly. A trip to Lee Valley solved that problem pretty quick.

And before I realized that the combs came with a diz, I had already ordered this one:


A nice metal diz for pulling roving off of combs

Bad clicky finger. Bad.

I want to wait for warmer weather and set up the English combs in the backyard to tackle the remainder of the DorsetX. I anticipate veggie matter flying everywhere. Whee, fun!

Hanging on by a thread

At long last, the weaving pictures. I've been wanting to post about this new excitement since I started it last August, but couldn't easily get all the pictures until I was ready to take things off the loom, and that wasn't going to happen until I finished the warp that was on there, or took it off because something else took precedence. I finally finished the warp last week.

The highlight of last Pennsic for me was the rigid heddle weaving classes taught by The Dread Viscountess Seelie. Three samplers from three classes, and I am hooked. Needless to say, I came home with a 20" Beka rigid heddle loom. I'm big on portability.


My loom, and the three samplers

The thing I most appreciated about these classes was that we started the first day by taking the new looms out of their boxes and assembling them - no pre-warped looms here. We learned to measure a warp and warp the looms, which is, frankly, one of the most daunting and crucial things to learn from an experienced weaver. It also sometimes takes as long or longer than the actual weaving, if you're only weaving a little sampler.

With more people than looms, we teamed up on warping looms to make it go faster. This provided several perfect hours of chatting and making friends with people while working across a loom from them, pulling and catching up warp threads, the strains of morning musical warm-ups providing a soundtrack. We all felt very much like we were doing something that women have been doing for centuries: "This morning we'll warp your loom, tomorrow we'll do mine..." I find that kind of connection deeply comforting.

The warps were long enough for a couple people to make samplers. This meant many people didn't finish their samplers before the (half to full-day) classes were over, so the instructor had a work table set up at her shop for people to continue working that day or later in the week.

In the first class, we made a simple even-weave colour sampler.



Second class was another even-weave sampler, this time learning to manipulate the warp with various types of open-work and inlay techniques. It was not unlike doing hardanger, which I have some experience with. I confirmed that I am not exactly a natural at wrapped thread work - I fight with it, screw it up several times, cuss profusely and in several languages... but it is so very pretty in the end.



Finally, the third class, which was the one I was really looking forward to, though the first two were absolutely necessary before tackling this. We learned to warp up a loom with three heddles and a fourth set of warp threads that float. It's possible, using combinations of raising or lowering heddles together, to weave four-harness patterns on the rigid heddle loom. So we did a couple twills (3/1, 2/2), tabby weave with moorman inlay, and various double weaves (tube, open on one side, open both sides).

This is seriously cool. I've become particularly enamoured with the double weaves. Weave two pieces of fabric at the same time, or a double-width piece? I am all over that. The double weave samples are the blue section at the top. You'll just have to trust me that the top is two separate pieces, the next couple inches down are open on one side, and the bottom couple inches are an enclosed tube.



While I "finished" the third sampler at Pennsic, I didn't finish tying it off with... whatever that stitch it called, I can never remember. So I technically only finished the third sampler last week. And since it's a shame to waste perfectly good warp, I used the last foot or so to do some more tube double-weave. The idea was that this would become a draw-string bag or something, but I don't think it's tall enough, and I ran out of warp. Whatever. It was good practice. Maybe some day I'll enter it into one of those "seemed like a good idea at the time: failed A&S projects" displays, those are fun.


The lovely rosewood comb sticking out is a multi-use weaving accessory. The husband of the weaving teacher makes and sells them in their merchant tent, 'Stitch, Weave and Burn (and Some Crap My Husband Made).' Everyone agrees, he makes good crap.

My plan this year is to take whatever classes she offers - she mentioned that she was hoping to do a class on recreating a some archeological textile patterns. I would be all over that, if she does it. In the coming months, I will have a not-so-secret project on the loom, but we're still working out all the details. As in, the wool still needs to be dyed, carded and spun, and we've been waiting for spring, which is finally beginning to show itself, to do the dyeing outside.

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I was down at my parents' last weekend, so I made the short detour down Currie Road, ten minutes from home and on the way to and from the highway. I had wanted to drive up to the top of Mt. Eislinn, across the road from the campground (which is closed until May), and take some quick pictures while there were still no leaves on the trees to block the view. I decided against that - we had several preceding days of rain and I'm not yet comfortable enough in my new-to-me car to know how it would handle on the muddy dirt road up the hill. There were also three people on horseback coming down the hill, so I decided not to bother them or the horses by ungracefully trumbling by them in the car. Perhaps next time, if the weather is nicer, Dad will take me up on the motorcycle.

In the meantime, I did snap this picture of the (Shadowclans?) cathedral facade from the road (this is approximately outside the north gate, if you're familiar with the area). I knew it was was stored on-site, but I didn't realize it would still be up. I guess it's usually been hidden behind foilage when I've been by in the past. Right now it looks like a beautiful old ruin standing in a lonely field in the modern world.



There's a new Pilot truck stop at the intersection of I-79 and 422. It wasn't there when I was last down in the fall. It has a McDonald's and a Subway, among the other truck stop normalities (showers, supplies, gas). Civilization continues to encroach upon my childhood. I'll take fries with that.