Madder Root :: Chasing Orange

Back in October I was walking to the ferry on the Peaks side. The weather turned crisp and wood-smoke smells were in the air. I spotted a flash of earthy, rustic bright orange bobbing down the hill to the ferry. My eyes latched onto the flash of color and I followed it as far as I could on the ferry. I went to bed that night dreaming, processing, planning just how to use my natural dyes to get that color. I’ll dye with cochineal, then fustic, then maybe a dip in black walnut…. I wanted just the right shade of orange. I drifted off to sleep.  

Three months later I’m planning a dyeing day for when I finally dye small samples of the lichens I’ve collected, which you can read more about here. Remembering I have 10 ounces in the form of four skeins I spun of the P.E.I. wool I'd brought home, and thinking about the shortage of hand-spun/plant-dyed yarns I have in my shop, I plan on using madder root powdered extract to spice up the color range in the shop. 

In preparation for dyeing, I cleaned the kitchen and got it ready for dyeing: choosing the pot and utensils, and reading up about madder root in my books. I have an extensive collection of dye books, about 20. None of them talk about dyeing with madder root extract. Processing the plant, yes, but not using the extract. What I was looking for were the amounts of extract to use for a certain tone. Last year, while in one of my dyeing frenzies, I dyed an enormous amount of madder on loose fleece. I ended up with a gorgeous color, bright brick red, but paid for it as it all croaked on my hands -- something that can happen with natural dyes, especially indigo. This, though, was a bit much. A sweet lady at the camp where I'd been teaching bought a skein of hand-spun island wool, madder-dyed. She asked for an exchange, as the red was getting over everything. Mortified, I knew I needed to do something different next time. So here I was determined to more carefully review measurements. In a very old copy of an earth hues manual, which runs just a few pages, I found a small chart. Excited about the brick red, I made notes, then noticed that on the madder root page it said: orange with cream of tartar. I thought about it for a few minutes and thought, well, that’s curious, as I hadn't heard of or experimented with this yet. I changed my plans. It also stated that when dissolving the extract to use 160F water. The dye molecules can be destroyed if the water runs any hotter. With the entire process I kept everything precisely measured. It wasn’t until the yarns were cooking that I realized I'd found that orange I was searching for!

Here is the recipe and procedure I used. 

Items I used:

Stainless steel pot

10oz hand-spun P.E.I. wool

wooden skewer for mixing extract

large stainless-steel spoon for checking yarns and turning yarn over

17g (which is 6% WOG) cream of tartar

17g (same as above, 6% WOG) aluminum sulfate

digital kitchen scale

plastic wrap

small stainless-steel measuring spoons

glass mason jar

kettle for boiling water

Orvus paste- link

3T (for a medium shade) extract of madder root  The suggested amount for a medium shade for a lb of fiber is 4T. Because I had 10oz of fiber I made an educated guess and dropped it to 3T. 

Scour: wash your fiber.

The previous night I cleaned my sink and filled it with room-temperature water. I checked this by holding the underside of my wrist under the faucet, adjusting the temperature until I couldn't feel the water because it felt about the same as the air. This is important -- use room-temperature water so you don't shock your wool. Doing so will compromise the integrity of the wool, possibly making it sticky or scratchy and generally less soft. I used maybe a teaspoon of Orvus paste. This is important, as it’s a pH neutral soap and will not change the pH of your fiber. I let the soap dissolve without the water running, so not to make suds. In went the wool. I let it sit overnight -- not necessary as about an hour will do fine, too, but I really wanted to be as thorough as I possibly could (not my usual technique). Also, scouring your fiber before dyeing will remove any access oils or chemicals from mills (lanolin will remain). This will help with even dyeing. 

The next morning, setting the faucet to the same temperature as the bath that had been sitting overnight, I rinsed the yarn under the tap, then drew a second bath in the sink.

Prepare Dye Bath

I then got to work making the dye bath. I filled the pot with water. The amount of water does not affect the color, but you want plenty to let your fiber swim freely for an even dyeing. 

When I dye, I always mordant and dye the fiber in the same bath. It’s a wonderful time saver and does not affect the results.

I have a handy battery-powered digital kitchen scale. I realized for the first time this morning that in ounces, it is not exact, as it will weigh in fractions, i.e. it will read 2 3/8 oz. Too much for my brain, so I switched it to read in grams, which is more exact anyway, then used a handy app on my phone to convert the units for me. So I apologize for measurements being in three different units!

A trick my friend Bristol taught me, way back when she was teaching me how to dye with acid dyes at the Portland Fiber Gallery, is to use a small amount of plastic wrap, fold it into a 5x5-inch square, and you have a little plate to set your powders on the scale.

Weighing Alum, Cream of Tartar, and Madder

After calculating that 17grams was 6% of 10ounces, I weighed out the alum, poured it in a glass mason jar and with the water that just boiled in the kettle, filled the jar and stirred with the wooden skewer, You could also use stainless steel. Neither give a chance of altering your final colors. The difference could be finite but since I was trying my best here, I thought I’d go the whole way. Good habits to get into anyway. Once the alum was dissolved I poured it into the pot. Next came the cream of tarter. 17grams is a lot. I realized I need to get my hands of this stuff in bulk. I followed through with the same procedure as the alum, dissolving it in hot water and then pouring it into the pot. Next was the madder. I measured out 3 Tablespoons into the jar and in a separate jar, tested the temp of the water making sure it was not over 160f. Once it hit I poured it over the powered extract and mixed with the skewer until dissolved. Then poured into pot 

Dyeing

I gently put in one skein at a time and set the burner to medium, as I wanted this to heat up slowly. I monitored the heat for two hours, making sure it did not go over 180F. It reached 150F or so…. about every half hour I checked to make sure the pot wasn’t boiling, and to turn its entire contents. At the bottom it’s the hottest, and unless the pot is stirred, the fiber at the bottom will dye a deeper color, making your entire piece dye unevenly. I also kept the top on the pot to minimize vapors into the air -- though I’m not too worried about madder-root extract, alum, or cream of tartar. And as always, once in the liquid state, toxicity is next to nothing, if I can call it that. I do, however, leave the fan on high the entire time for ventilation. If it were the warmer season I’d have windows open or even be doing this outside on the porch with my electric burner. 

After about two hours, I simply turned off the burner and left the pot for several more hours, letting the temperature climb down very gently. Before I went to bed I put the pot on the floor. The next morning, I brought the cooled pot to the sink and gently lifted out one skein at a time hanging them on the handy old metal swing-arm towel rack that has been installed over our sink since the mists of time. I love this thing. I took an empty smaller pot and let the yarn drip into this pot so I could add it back into the dye bath later. Saving drippings like this is a thoughtful way to preserve as much of the dye as possible. There were many hands involved in the growing and processing of this dye material, and it’s very important to me not to waste any of it.

Another important note for best and most color absorption, leave your fiber in the dye bath over night to cool naturally. Trust me, I know how tempting it is to pull everything out after an hour or two, rinse, and let dry. With this cooling over night method, though yes, so much longer, it really is the best way to go in insure a few things- your fiber stays in tact in terms of structure, the fiber absorbs as much pigment as it's going to in that dye pot, and you won't burn your hands getting all excited about your fiber. Just let it be. Get on with your life and in the morning, you have something to look forward to.  

I was so happy with the color.

The next morning I restarted the process. This time, gathering a smattering of fibers from my studio to be scoured first and then dyed in the 2nd dye bath. 

2nd dye bath. From Top left to right; vintage doily, silk square shibori prepared, strip of lace, a funny gathering of various fabrics I sewed together a few weeks before. The shiny orange is from my flower girl dress's made from rayon I think. A nuno felted piece, a skein of mohair, small vintage doily. 

Three clumps of Irish Texel and Maine Island wool. I love how everything dyed up in this 2nd bath. SO much dye left. 

Dyeing with left over baths is a lot of fun because you get more varying colors and which are often surprises. It's also less wasteful. As I said before, so much energy was put into the preparing of this extract. It's best to use up every last droplet of pigment. 

3rd dye bath; A set of 4 damask napkins and a small table cloth. I think I may embroider on them all for a set this summer. I love the coral color that came out. 

4th dye bath; clumps of washed Irish Texel and Maine Finn wool. Drying over the fire right now. I'll use the texel for needle felting and the Finn for spinning. I'm really excited to hand card these fibers. 

What's in the 5th dye bath right now? A square of cotton for a future embroidery project, a square of silk for testing, and a really beautiful vintage linen poach of some kind. I have no idea what it was used for. I'll add pictures here once dried. 

This may be the last bath. Because the pigment will be all used up and because alum is also what is used in our water supply to help keep it clean, when done, I'll pour it down the drain, which is completely safe. 

I have had so much fun discovering the varying depths of this color. Taking my time choosing fibers and fabrics and the general patience that needs to happen while I wait for the dye pot to do it's magic. 

If you have any questions or things to add or other discoveries you've had with this extract, I'd love to hear about them. Leave me a comment and share. 

Blessings and happy dyeing,

Rachel

Putting myself out there.

A few weeks ago I happened into a curtain/ knitting shop in Ennis. After talking to the shop keeper and browsing the collections of both curtains and yarn, I enquired after the lace curtains. She also let me know there was a knitting group twice a week. She handed me a few cards with info on it and I took it home, placing it on a window sill to rest for a few weeks. Almost forgetting about it. Then, this past Sunday, I remembered that it was almost Tuesday when one of the knitting groups happen. I mentioned it to Jubal that I'd like to go and he said of course. I was thoughtful about the fact that joining up with a group of people I didn't know did not fill me with anxiety. I have been to enough knitting and spinning circles to know in general what to expect and in the past the idea of doing something like this would have taken a lot more than someone I didn't know suggest I try it. For some reason, I like to really stew over things. And in doing so, I talk myself of out trying all kind of things. In general I talk myself out of taking risks with people I don't know such as putting myself out there. For reason, over the last several years I've been collecting this shell around me in order to protect me from getting hurt. I became so fixated on "getting hurt" and being wronged that I think at times it's kept me from seeing when I wasn't getting hurt AND when to stand up and say what I wanted. Sigh. More on all that later. But, being here, in Ireland, with my new husband, my other half, I've been noticing some really interesting changes in myself. I'm more decisive, articulate, I'm trying harder and more  consciously to make positive choices. Especially when it feels really hard to do so. Anyway, getting to this knitting group was something I did that I was proud of. It was a lovely 2 hours or opening up a little to 6 other women, engaging with them on their projects, listening to their conversations about their children and projects. Fascinating conversations. I helped a lady finish the toe of her sock. Actually it went like this: Irish Lady, "does anyone know what I do next? I finished the other one but someone else finished the toe for me." Me: "I can show you." She was so happy and ran over to where I sat. I pulled out my scissors and tapestry needle and started to show her, I did two stitches and then said, "so thats what you do. You just knit here and purl there until your done." "Oh! can you keep showing me?" and then she laughs with a twinkle in her eye for I then realize what she has in her mind. She wants me to do it for her:) I do happily and she is very grateful. I plan on and look forward to going back next Tuesday. I felt so good when we got home. Energized with a momentum. Later in the day I called one of my dear friends and hashed out some future plans and I felt so good and blessed for having the ability to reach out to others to connect, for whatever reason. As my friend said over the phone, "See! talking is GOOD!" 

Opening ourselves up to others, even our own family members can be really difficult at times. We spend a life time working so hard building a shell of protection and self preservation both because of past experiences and the what ifs of the future. I know for myself, it can limit just how happy and how much I could shine when I hold onto my shell and not let others in. I've been slowly figuring out that through my craft, it's self, helps me to connect with others. More on this very soon <3

Some things I've been up to here at our cottage with the red door in Doonagore Village; lichens.

Last weekend while at the Giant's Causeway, I came across several boulders by the sea with this yellow lichen in the crevices and the green lichen sticking off the rocks. I collected just a small hand full of each leaving plenty behind. I stuffed each kind in the pockets of my trousers and sort of forgot and it for 3 days. After wearing them the next time and finding the lichen pocking me through my pocket, I folded each into its own napkin. Yesterday I began the fermenting process for these two. I was able to identify each which I will post later in the comments.

Here the jars just after being set up with the 1:2 solution of ammonia to water.  

30 minutes later, this happened.

The two jars on the left are the newer ones, the two on the right have been going for 3 weeks. I read today in a blog that by opening them and letting oxygen get in was good for deepening the colors in addition to shaking the jars. 

While at the natural dye workshop this past weekend with Kathleen, we dyed samples of wool skeins and cotton calico cloth. I had to ask what calico cloth was. Even though I was holding it in my hand, I had no idea and was confused as I had always understood it to be something else- a print. I learned that calico was simply the basic weave of a cloth. Cloth that was mor common before 1960?? I should look this up because I'm very curious now. While in the knitting shop today, I could not resist choosing a "few" colors to bring home to try on my dyed swatches. It really brought me back to when I would pay .25c for a skein of embroidery thread at the Grand City on Maine Street in Brunswick. I would spend summer days with a safety pin affixed to the knee of my pants of shorts and tie knot after knot forming rows of rainbows into a bracelet for one of my sisters or friends. Picking out the colors was especially fun and felt like such a luxury.  

I have always been inspired by stitching, embroidery, tapestry, and anything to do with threads. It's so beautiful  to me and I will break for thrift shops just to dig around for a discarded piece of hand embroidered linen. It's only accorded to me recently that I needed to make my own. Using my own doodles and botanical themes, it feels awfully freeing to DO something that I've admired for so long like make my own embellishments on my clothes, and scraps of cloth here and there.