sweetgeorgia

Slate Grey Days Ahead

It’s true, Vancouver is usually pretty grey during the winters — especially February and November (when, I believe, it rained 28 out of 30 days in 2009). So, I’ve sort of avoided dyeing any sort of grey hue. The crisp lighting in the studio encourages me to dye brighter, more saturated colours, but I love and I live in greys and neutrals. Sure, I love a little nervous/awkward chit chat about my shockingly hot pink socks or my hot turquoise hat, but I can relax in a colour like this slate grey…

This pattern, the Vine Yoke Cardigan, is wonderfully written. It’s sort of a fill-in-the-blanks worksheet and so far, the lace pattern seems to be working out just as Ysolda says it will. I’m enjoying the knitting of it as it’s going pretty quickly. Although I won’t finish in the 10 days someone else on Ravelry took to knit this, hopefully it won’t be in my queue for a year… unlike other projects.

So, for Winter, I’m adding this new Slate grey colour to our palette of Dye To Order yarns as well as the Cypress green above. It’s a bit woodsy and murky, a darker and more desaturated teal green. Both these colours will be available in all our yarns, although it might take a bit of time to get it all entered into the online shop. If you don’t see it, just email/txt/twitter.

Another change we’ll be making to the offerings is that our Superwash Worsted and Superwash Sport yarns will be available as larger 4 oz skeins now… more than double the 50g skeins we were doing originally. Hopefully for you sweater knitters, this just means fewer joins and more continuous knitting time. I think we all need more of that. And the opposite is true for the Silk Lamb Lace — we’ve changed the put up to 60g of 625 yards of laceweight goodness. More affordable at this skein size and perfect for the smaller shawl designs that have been popping up!

Dye Crazy and All About Colour

After a good nights’ sleep, I started Friday morning with a dye workshop with Amy King of Spunky Eclectic. Our dye room was actually one of the beautiful River Lodges with a wonderful view of the golf course. Great natural light lit up our session which was made even more cozy with the fresh hot chocolate and marshmallow break midway through the morning.

We partnered up and dyed BFL and Superwash Merino top with Amy’s oven method and also a cold-pour technique. In the oven method, we wet out the fibre, arranged it in the oven pans and then poured dye in whichever pattern we wanted. Then citric acid solution was poured over the entire pan and the pans were baked at 280 to 300 degrees, held at that temperature for ten minutes and then allowed to cool down. With the cold-pour sample, we put the superwash merino in a pot of cold water and poured dye over top. There’s more water in this method, but since we used superwash, the dye struck pretty quickly so we got splotchy fibre. Unexpected results… but it’s going to be fun to spin up.

It was happy times as I finally got to meet Jacey Boggs of Insubordiknit in class this morning. In fact, we partnered up for the dyeing and it was so cool to chat with her. There’s so much to learn from everyone.

Jacey is an absolute sweetheart and she is, at the same time, so confident and also very humble about her achievements. She’s the talent behind the new Sit n’ Spin DVD and teaches the technical skills required to be proficient at making art yarn. She podcasts and she blogs and she’s generally just a productive whirlwind of creativity. Yep, she’s awesome and she’s coming to teach at Madrona Fiber Arts in February 2010 if anyone in Vancouver is interested in really learning the skills to spin art yarn.

My afternoon session was all about drum carding with Deb Menz, a long-time hero of mine. Her book, Color in Spinning, turned me on to nearly everything I do today — dyeing, working with colour, creating colourways, and spinning handpainted yarns. So, of course, seeing Deb do simple things like strip a batt or pull combed fibre off a hackle was … like a celebrity moment for me.

I got her to explain to me her “major key” and “minor key” concepts from the book and I finally got it. Major Key colourways include the entire range of values but in different proportions so the yarn looks a bit more salt-n-peppery. Minor Key colourways include a small set of close values so the yarn looks closer to semi-solid with very little internal contrast. Good to hear it from the source, because that chapter in the book totally confused me.

Our class was about experimenting with the three different properties of colour: hue, value, and saturation. So we started with a single colour of fibre and split it into six portions. With each portion we blended in a smaller portion of another colour to create a variation… so a single colour was shifted warmer and cooler, darker and lighter, duller and brighter. Some of us used drum carders and others used the large hand combs or hackles. I went through all the trouble of packing my electric Fancicard, so I chose to use that for the entire class. Here are my batts:

Feeling very, very blessed, I was lucky enough to finish the day with a couple hours at the spa (a very special and lovely gift) and also a bit of a trip through the spinners’ market. After a test drive on the Schacht-Reeves 30″ saxony wheel and a few lustful glances at the Lendrum Saxony, I treated myself to some 80/20 Polwarth and Bombyx silk blend in a silver colour and some sock yarns from Blue Moon and Abstract Fiber as well as a Sheep 2 Sock kit from Blue Moon. It’s kind of nice to feel like a stash-hungry, wheel-coveting spinner again… at least for a moment.

Earthues Dealers Conference 2009

Back in July, I had the privilege of attending Earthues’ Dealers Conference, a week-long full day and night workshop on handpainting with natural dyes and indigo. I was a bit hesitant at first since it was scheduled to begin on the night of my birthday and it was a bit sad to think I’d be spending my birthday alone in some random hostel with 15 other strangers… but it ended up being such a wonderful, inspiring experience. I don’t know how it could have been better. We spent from 10 am to 5 pm handpainting and dyeing various yarns with Michele’s natural dye colourways, left the Ballard studio for some dinner with the group, then returned each evening for another one or two hour lecture. One evening, Michele and Kathy demonstrated, side-by-side, the difference between their bio/organic indigo and the indigofera guatamalensis. These women know their indigo.

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Deeper into Colour

The Coquitlam Guild gave me a chance to speak last Thursday about natural dyes and natural fibres, and while I did talk about my experiments with natural dyeing over the past few years, including starting up the Supernatural SweetGeorgia collection of naturally dyed yarns, I think I ended up talking about dyeing and craft and burnout. How do we renew and regenerate ourselves after burnout? Do we even come back to the craft which took us down in the first place? I related this to principles and values that I learned in the completely unrelated activity of surfing and talked about how it gave me back the balance, simplicity and focus, and the appreciation to even attempt to dye things again. I’m not sure my “surfing as metaphor for life” goes over in weaving and knitting circles, but it’s the honest truth about what I believe.

I talked about changing my dye practice from very sharply variegated colourways, requiring a shameful amount of plastic waste, and moving towards a more water- and energy-efficient workflow. That is the reason I have moved more towards kettle-dyeing, semi-solid shade colourways and multiple colour overdyes… so that I could better take advantage of the low-impact benefits of acid dyeing.

Also, I related to the guild members how natural dyeing is not a benefit to the environment for larger scale operations and noted how Lorna’s Laces Green Line ended up being dyed with conventional synthetic dyes.

Regardless of natural vs. synthetic dye sources, I’ve also tried to implement the colour principles that I learned from Michele Whipplinger including the idea of chromatic neutrals. That is, I’m trying to dye more complex browns and greys as opposed to colours that are so obviously… colourful. Colours that are slightly desaturated and more rich in depth.

I’m also working with a new 50/50 silk and merino laceweight base yarn. It’s a slightly heavier laceweight, but so glossy and gorgeous. It’s 765 yards in a 100 g skein and I’m looking forward to knitting up something like a Swallowtail Shawl in it. It has been, so far, taking the colour so well and I’ll be adding it to the online shop soon too.

There are so many things to learn and so many things to explore. I’m happy that I’ll be spending the summer dyeing more of these deeper, richer colours in preparation for the autumn.

Renewal: April Fibre Club

It’s already May and here was what we did for the April Fibre Club…

the fibre // merino
Merino. For me, this fibre was so tempting, so enticing, I had to learn to spin it very early on. Usually, new spinners are steered away from merino and to stronger, longer stapled fibres, but spinning a skein of sproingy, super squishy merino will have you hooked. Spin this fibre with a worsted drafting method and you’ll get a beautiful and classic yarn.

the colourway // renewal
Spring is a time to renew and be made new. These colours make me think of potential, flexibility and growth. There are longer stretches of rose and lavender and shorter intervals of gold and rust and tulip leaf green. Spinning this all together and 2-plying back on itself might be a recipe for skeins of muddy looking yarn. Maybe take this opportunity to try spinning a fine, firm singles and then Navajo plying into a 3-ply in order to maintain the clarity of the colours.

I truly like to believe that we can renew ourselves. That we can be made fresh and new. That no one is keeping score of your past mistakes. That you can always try and do better. For myself personally, I’ve dedicated the month of May to trying to improve how I think about things. To really try to believe that no one is watching or waiting for me to fail. That I am doing my best and that hopefully a smigen of good will come of it.

To follow up with the previous post about meaningful work, part of me felt very ungrateful for having written it. I think that despite the great expense involved with creating and setting up this studio and business and how stressed I might get about making this all happen, I am very blessed to be in this position. I realize that in our current economic situation people around me are losing their jobs and that the cost of living and healthcare for everyone is very high. It does seem to be quite a luxury to be able to even make an attempt at your dreams.