Some time ago, a young neighbor asked if I could make him a tie-dyed shirt with the classic spiral design. I thought a better idea would be to teach him to make his own.
On a recent pleasant summer afternoon, some neighbors came over for a little tie-dye party. They brought t-shirts and handkerchiefs; I mixed up a soda ash solution and fiber reactive dyes in 3 primary colors, plus black. I provided mixing containers and plastic squeeze bottles, and the kids went to town, squirting dye with abandon.
My young neighbor turned out to be a natural at tie-dye; his sister just wanted to do abstract art on her shirt.
The adults produced their own t-shirts of various designs, and after curing, rinsing, washing and drying, we had a show and tell and admired each other’s work.
I have some other dyeing projects in the pipeline, but it might be a couple of weeks before I finish them. Meanwhile I thought I would post this quick story of how to perk up your mood with just a bit of color and messy fun.
In my previous post on Shifu and Shibori, I posted a picture of a handwoven fabric whose texture reminded me of canvas – too stiff and coarse for clothing, but great for something utilitarian, like a bag. It turns out I have been in need of a carry bag for my rigid heddle loom for quite a while and the piece of shifu fabric had the perfect dimensions, 21 inches wide by 2.25 yards long, to create a bag for a loom sized like mine.
This fabric is woven with linen and cotton threads in the warp; the weft is paper plied with rayon. The hand of the fabric may resemble canvas, but the weave structure is not as tight and the fabric is not as strong as true canvas, so I decided to line the bag with some of my stash of old denim recovered from worn-out jeans. The denim lining will withstand the stress of the load of loom and tools the bag will hold, leaving the outer fabric to coast on its good looks alone. (Thanks to Judilee Fitzhugh for sparking that idea!)
I cut a large rectangle for the bag, two for the side panels, two for exterior pockets and two long strips for handles. I pieced the denim scraps together and cut that into rectangles of similar size. I added interior pockets for small tools, including two long, skinny pockets for stick shuttles or pick-up sticks. I used a jeans foot on my sewing machine to ride over the thick layers of fabric and lining, and used up two of my largest size machine needles in the process.
The bag comfortably holds my folded loom and a variety of accessories.
Several years ago I joined with a few other local weaving guild members in ordering some washi, or paper, yarns from Japan. My order included 3 yarns: a very thin all-paper yarn made from twisting and spinning a 2 mm wide strip of paper, a thicker yarn made from plies of paper and rayon, and a flat, ribbon-like strip of 2 mm wide paper wrapped with criss-crossing cotton and rayon threads. The goal was to weave shifu, or fabric woven from paper yarn.
While twisting and spinning the paper yarn does make it stronger, it is not usually recommended for use as warp yarn, because it will not often stand up to tension on the loom. Shifu is frequently woven from cotton or other fibers in the warp and paper yarn in the weft only. I used my paper yarns primarily as weft in a variety of projects: a couple of scarves with Tencel and cotton warp, one length of fabric with cotton and linen warp, and one with an overtwisted rayon in the warp to get a crepe effect.
Later, on the advice of another weaver, I did try warping with the flat, ribbon yarn, which was a little stronger than the other two. To my surprise, it stood up to the tension of my Baby Wolf loom, so I was able to weave a fabric of approximately 95% paper.
I had enough of the flat yarn to put on a warp 3+ yards long by 24 inches wide. I wove alternating rows of the thick and thin paper yarns for weft, and got about 2.5 yards of this fabric before running out of the paper weft. I wove the remaining 24 inches or so with alternating thick and thin rayon yarns. I took the fabric off the loom and separated the two fabrics by cutting between rows of machine zig-zag stitching. Having already woven and washed some other paper yarn projects, I fearlessly wet-finished, line-dried and ironed my paper fabrics. They held up beautifully! Then I wanted to dye them in indigo using shibori methods.
On a warm summer day, I got my indigo vat set up outdoors and did some folding and clamping for itajime shibori. I wet out the fabric bundles and dipped them in indigo numerous times for a dark shade and high contrast with the undyed portions. Then came the rinsing and soaping and more rinsing. Who would have thought that paper could withstand so much washing? Not me, but I was very happy to learn what a strong fabric paper can make. I dyed a few other shifu pieces as well that day, so now all my paper projects have indigo shibori patterns on them.
Now I am taking the next step: cutting and sewing the handwoven paper fabric into garments. I made the largest piece into a top using my favorite old Burda pattern (See my previous post New Work from Old Fabric). The fabric of linen and cotton warp with paper weft has a texture and hand very similar to canvas. This will probably be made into something utilitarian, such as a bag or table runner. I will have to ponder the other small pieces for inspiration.
Learn more about the time- and labor-intensive craft of creating handmade paper yarn and shifu: Susan J. Byrd has written a book and posted online videos about making paper yarn. Hiroko Karuno also has authored a book and articles, as well as videos, on making paper thread and shifu.
Many years ago (don’t remember how many), I took a large piece of commercially-made linen/rayon fabric, cut it into four equal-size pieces, prepared each piece using different shibori methods, then dyed each one in indigo. The fabric was originally about 56 inches wide by 3 yards long; I divided it in half lengthwise and crosswise, so each piece ended up about 28 by 54 inches.
The first piece was a radiating series of lines of ori nui stitching, where you fold the fabric, then stitch along the fold and gather. The second piece was a radiating series of lines of a simple running stitch and gathering. For the third piece, I machine-stitched and gathered several rows, then left the remainder of the fabric unstitched, but hand-pleated and bound it with a rubber band at the end. Piece number four was hand-pleated in large folds then bound with a few rubber bands.
I dyed all the pieces in indigo, then tried to figure out how to combine all of them in a single garment design. They sat on a shelf and years went by. Every now and then I would take them out, sketch some design ideas, give up, and put them back on the shelf. This year it dawned on me I could make two garments of simpler design. I used an old Burda pattern (3221) and made one pullover tunic with the fabric pieces oriented vertically, and another pullover top with the pieces oriented horizontally.
Please join me for a day of colorful, messy fun on July 21, 2018 at Sitka Center for Art and Ecology on the beautiful Oregon coast. We will use natural objects such as flowers, branches, leaves and grasses as reverse stencils while we paint on cotton and linen fabric with thickened fiber reactive dye. Bring an apron and rubber gloves; I will provide all supplies and materials. We will mix our own colors from two blues, two reds, two yellows and black, using a technique which gives impressionistic results.
Select from a variety of projects including linen placemats and table runners, cotton bandanas, rayon scarves, or cotton pillow covers. Additionally I will have a bolt of Kona cotton, suitable for designing your own fabric for quilting, apparel, table linens, wall hangings, etc. The workshop materials fee includes $20 worth of product; more will be available for purchase at cost, so paint all you can in a day!
We will use brushes, foam rollers, sponges and spray bottles to apply the dye to soda-soaked fabric, then wrap in plastic to take home and “batch cure” overnight. The dye reaction will take place in the damp fabric over 8-24 hours at room temperature, then you will rinse and soap to remove excess dye and see your final results revealed. I hope to see you there!
Painting on fabric is something I have always loved to do, and in recent years I have tried it with pleasing (to me) results on my own handwovens. I weave yardage with white, light- or natural-colored yarn, usually, but not always, in plain weave. With thickened fiber reactive dye, I use brushes, rollers and sprayers to create abstract designs in bright colors on cellulose fibers, e.g., cotton, linen, rayon. If the yardage is of adequate size, I can sew it into something wearable.
Recently I completed two items made from handwoven and dye-painted rayon. One was woven with a seed yarn originally dyed in a pale sage-green color. The seeds are made during spinning from a shiny rayon thread that is plied and allowed to build up a little bump on another ply; the result is they look like reflective little beads. Another item I made was woven from white rayon yarn in a textured twill, dye-painted and fashioned into a long-sleeved tunic.
Another project involving woven panels. For this one I made two warps of a rayon/flax blend yarn. I folded the warps into packages, then bound each bundle tightly with plastic strips, and dyed in indigo, for an ikat-like effect. Thinking the weaving would go quicker if I dressed the loom with two similar warps, separated by a few inches, I threaded the loom with side by side warps about 8 inches wide and approximately 4 yards long. Live and learn – this did not hasten the process of weaving, which required throwing the shuttles separately on each warp for every row. I used a navy fine rayon boucle yarn for a textured weft.
This project is similar to the Mexican-inspired one, but I added enough extra warp for sleeves. I wove two long panels and 4 shorter ones: two for the center panels and two for sleeves. I folded over one short edge of the center panels and trimmed the warp ends to an inch. I just overlapped the long edges and zig-zagged with navy thread. The sleeves are made by folding one short edge on a 45° angle and stitching the other short edge to the folded portion of the long edge. See Virginia West’s A cut above: Couture clothing for the fibre artist for an illustration of the technique. The top is soft, drapey and comfortable, and will be cool for summer.