Category Archives: Susan’s Posts

The Natures Rainbow Garden

Would you like to take part in a Nature’s Rainbow “Pilot” Workshop on Planning a Dye plant garden?

Planning and Planting a Dye Plant Garden

UPDATE 9 May 2019
Thank you everyone! We have been overwhelmed by the interest shown in this first pilot workshop.  If you would like to be added to a waiting list in case anyone drops out, or if you would like us to alert you about future courses, please get in touch.

We will post about how the workshop goes after 1st June.

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Saturday 1st June 2019, 1 – 5pm

Creating a planting plan for beginner dye gardeners, with tips from Susan and Ashley of Nature’s Rainbow. What plants to grow, when to plant, when to harvest, how to maintain the garden.

We have been growing and using dye plants in the historic town of Hitchin for over 14 years.
Help us to design future workshops to share our expertise.

5 places available. Contact us via this blog for further details and how to book.
£20 nominal fee required in advance to confirm your place.

This is a very reduced rate to recognise the fact that the views and feedback from the people attending will be helping to design a future workshop for Nature’s Rainbow.

Participants will have a tour of an established dye garden (as featured in The Journal of Weavers Spinners and Dyers https://www.journalwsd.org.uk/article/the-dye-plant-garden and hear how we manage the mix of annual, biennial and perennial plants within the constraints of our site. We’ll structure the session loosely, so we can maximise the flow of info between us all.

Seeds and perennial root cuttings of madder and small dyer’s broom plants to take away.

In exchange, you need to be willing to provide feedback and ideas on how to design future workshops and bring a simple sketch of your growing space, marking up sunny and shady areas and soil type.

Our house and dye garden is a very short walk from Hitchin Station, with frequent services on the Great Northern train line between Kings Cross, Cambridge and Peterborough.  Please contact us

Susan and Ash

Talk to Lea Valley Guild of Spinners Weavers and Dyers

12 April 2019
I had the pleasure of talking to this friendly guild last night about how to mordant safely for plant dyeing. The group meets in the beautiful village of Roydon in Essex, just across the border from my home county of Herts.  https://leavalleyguildswd.weebly.com/

Here are recommended links referred to in my talk.

Catharine Ellis blog – https://blog.ellistextiles.com/

Recommended books
The Art and Science of Natural Dyes; Principles, Experiments, and Results
By Joy Boutrup, Catharine Ellis (2019)
ISBN10-13: 076435633X : 9780764356339
176pp £57.99
UK distributors – Gazelle Book Services  01524 528500
You can order by phone – New stock arrives UK on 22 April.
https://www.gazellebookservices.co.uk/

The Modern Natural Dyer
By Kristine Vejar (2015)
ISBN: 9781617691751£18.99 from Waterstones
https://www.averbforkeepingwarm.com/products/the-modern-natural-dyer

Sustainable plant sources of aluminium and tannin mordants
Bebali Foundation  http://plantmordant.org/symplocos/

And finally … for safety gloves perfect for indigo dyeing

Gloves –  glovesnstuff.com

 

 

 

Whats New in Natural Dyeing

Exciting new publications for plant dyers

Beyond Mordants from Slow Fiber Studios

Susan and I have long been fans of Michel Garcia’s DVDs on natural plant dyes and pigments. So we were excited and delighted when we got an email before Christmas from Slow Fiber Studios asking to use some of our dye plant photographs for a new DVD:

Beyond Mordants: Indigo Intensive and direct application of Dyes. Film IV: Natural Dye Workshop Series with Michel Garcia

Publication date: February 2019.Michael Garcia and Slow Fibre Studios new DVD Beyond Mordants

Using metallic salts of Aluminium, Iron or Copper for mordanting is controversial in craft plant dyeing as these are all toxic to some extent, both to humans and other forms of life. If used and disposed of with care, the risks can be reduced [See Carrie Sundra’s blog] but many people choose to avoid using metal-based mordants completely.

As a result there has been growing demand to find safer alternative “bio mordants”. Promising plant substances include Myrobalan, various tannins, Curcumin (from turmeric) and Lawson (from henna). In this latest DVD Michel Garcia addresses this gap in current knowledge and shows how to dye and print without using metal mordants.

Slow Fiber’s DVDs are packed with information and can be watched over and over again. They are aesthetic, gentle, informative and a perfect antidote to a stressful world. A friend, Aviva Leigh from Norfolk was the first to introduce us to their work. She says the mark of a true plant dyeing friend is someone with whom you can, with eager anticipation, settle down for an evening of re-watching Michel and Yoshiko’s DVDs, just as others would watch the latest Hollywood blockbuster! The films are soul-food for the craft plant dyer.

It’ll be very exciting to see plants from our dye garden (our babies!!) on screen!

Michel Garcia. Still from DVD “Beyond Mordants” © Slow Fiber Studios

 

New Book: The Art and Science of Natural Dyes

If, like us, you are keen to understand the science of plant dyeing and mordanting in particular, a new book by Catherine Ellis and Joy Boutrup’s comes highly recommended.

The Art and Science of Natural Dyes: Principles, Experiments and Results by Joy Boutrup and Catharine Ellis.The Art and Science of Natural Dyes by Joy Boutrup and Catherine Ellis

This book has now been released for sale (January 2019).

Catharine Ellis is a weaver, dyer and author of international repute based in North Carolina. She specialises in systematic experiments in her craft and teaches through Slow Fiber Studios. Many readers will be familiar with Catharine’s excellent website (see here). Joy Boutrup, from Denmark, lectures in textile technology for fashion design and for museum conservation. Both women have longstanding and impressive careers in their respective fields.

It’s our feeling that both the DVD and this book will be landmark publications, marking a step-change in the systematic knowledge available to the craft plant dyer. So don’t be put off by the prices (Beyond Mordants $52, The Art and Science of Natural Dyes $60).

In our own small way, we hope that the observations that inform our blog are a useful information source, and it’s free! But essentially we provide small snippets of data. Collecting all of that information together into a structured form, providing an expert overview and binding it into a professionally referenced book or instructional DVD takes time and money.

It is my hope that one day I will have amassed enough information about growing dye plants to make it possible to write a book on the subject myself but it will take many more years of growing, observation and experimentation to get to that point.

I can only imagine how much work has gone into the two publications above. Even though I haven’t seen them at the time of writing, I feel confident to recommend them. They are the work of leading experts in the field and I for one can’t wait to get my hands on them!

By Ashley Walker and Susan Dye
© Nature’s Rainbow

Why do we do craft?

 

 

A philosophical post by Susan

Ashley mentioned in an earlier post that we were recently interviewed for British Fibre Art Magazine (see issue 10 July/August 2018). Rainy, the editor, posed some excellent questions about why we do what we do, which prompted some serious thought and discussion here at home.

Several themes emerged.

Ashley and I both had mothers who made things. My mother was passionate about colour and had a very good eye. Her greatest joy was working at the sewing machine, making clothes and soft furnishings. She was definitely a thwarted designer. Ash’s Mam came from a family of very skilled knitters. I wonder if this gave her the confidence, once the children were grown, to try a huge range of crafts? She mastered many styles of lace-making, was an accomplished cross stitcher and quilter (see Baltimore quilt above) and made all manner of 3D objects. Both women were motivated by mastering technique and producing a beautifully finished product.

Ash and I both studied science at A level and university. I think that’s why we like careful experimentation and are constantly trying to understand more about how plant dyeing works. Ashley studied biology specialising in botany, so it makes sense that he’s so driven to grow and explore different plants. I’m more interested in the history of science and the recipes which have been lost.

I also realise that not having children (I had cancer in my mid twenties) has affected our life choices a great deal. We were freer to downshift when the mortgage was paid off and there were fewer external pressures on us to conform.

This doesn’t mean we haven’t thought a lot about what we might ‘leave behind’ after we’re gone.  And what constitutes ‘right living’. While we were in well-paid work we supported various charities. After we shifted to part-time lower paid work, we became were involved in local community projects and environmental campaigning. Ashley retrained in horticultural therapy and got enormous fulfilment from enabling people be happier and more active through gardening and the outdoors.

Gradually, over the last two decades, we have moved further away from the mainstream as we have managed on a steadily lower income. This has an interesting effect. It’s like being on a permanent retreat at a 10% level. You see things slightly from one side, more critically. The mainstream media is less relevant. You spend more of your time producing rather than consuming. For example, in the 2000s we made huge amounts of very passable wine, excellent jam and lots of vegetables. Our focus gradually shifted onto beekeeping and plant dyeing, which at least offered the opportunity of some income rather than risking liver failure and tooth decay!

In the process, we also had the time and emotional capacity for hands-on care for friends and relatives. This isn’t something we anticipated. It emerged out of making deeper connections in our neighbourhood when I got involved with transport campaigning locally. When you find careers away from where you grew up and you don’t have children and you are quite extreme introverts, you don’t make friends on your doorstep easily. Suddenly we entered a fascinating network of extraordinary people. Maybe it’s special to Hitchin, or special to the particular neighbourhood where we live, but I suspect every street has these networks waiting to welcome you in.

One such very special friendship was with Diane who tragically developed motor neurone disease. By 2005 our work/life situation was flexible enough that I was able to join the team of friends and family who supported Diane so she could have her wish to remain at home throughout her illness. This gave us the experience and confidence to home-hospice, first Ashley’s Mam and then my own mother as they in turn developed cancer and died. We didn’t do this unsupported. There were  palliative care services in the community in both cases. Siblings also helped. But we were able to be fully present and ‘live in’ when our mothers needed us. Both times it was heart-rending and emotionally exhausting but it also felt completely the right thing to do and we have no regrets.

So how does this relate to modern craft?

I read a book by Professor Susan Luckman last week at the British Library: Craft and the Creative Economy[1]. And it all fell into place.

She explores from all angles why the hand craft movement is currently thriving in developed economies. What desires and needs are being fulfilled for the maker and consumer?  Is small scale hand-made artisan production an act of resistance to unsustainable capitalism, a distraction or a self-soothing coping strategy? She explores whether the popular archetype of the entrepreneurial craftsperson with a balanced home/work life is a fantasy, a romantic ideal or a valuable alternative microeconomic niche. Perhaps the popularity of the ‘home made’ reveals the depth of hunger for meaning and making ethical retail choices? People want in some way to reject mass consumption of disposable items where the environmental and social impacts are externalised, hidden from view.

Luckman resists any simple answers. She accepts that the craft movement is tiny in the grand scheme of things and mostly serves a privileged elite. She is also deeply sceptical of the gender stereotype of the glamorous ideal female – attractive wife, mother, home-maker and entrepreneur running it all from home and letting you, the customer, see every detail of the home environment where this blissful production takes place. She warns against the fetishisation of hand tools and a false dichotomy of design and making.  And she accepts that crafting is a soft option compared to politics for changing the world for the better.

But, she does come down on the side of hand-made crafted items having a special quality for the maker and the consumer, which might signal a future with more sustainable and kinder economic models. She likes Jane Bennett’s[2] concept of ‘vibrant matter’ and ‘enchantment’ to explain the emotional responses many people have to the hand made.  This suggests that hand made items that are aesthetically pleasing, made of natural materials, carrying visible signs of the making process (or accompanied by a story online) do broaden attitudes to consumption, valuing and repair. They do pose questions that can be more broadly asked about sourcing, embedded energy, lifecycle and sense of purpose.

Luckman also suggest as crafters we should be bolder. The emotional desire for the hand made should not be underestimated. It is not naïve. As crafters we should be proud to “dig where we stand” and not be afraid to shout about our values and ideals. Without giving in to a pressure to conform to airbrushed social media archetypes, we can powerfully affect people who connect with what we make. We can ‘tweak and bend capitalism’ and create ‘useful and healthy identities as workers’.

I realise that I am already living in what Luckman calls the ‘downshifted cultural economy’. Ashley and I are practicing craft for the enchantment of making vibrant objects, enhancing our wellbeing and usefully supplementing what Luckman describes as a ‘larger strategy of downshifted and slower living’.

Having read her book, I feel empowered to be bolder, tell more about my choices, my politics, my wider values and my struggles to navigate this territory.  She recommends not feeling ashamed to keep telling your story as you go through life’s ups and downs, share how you are actively designing your life. It might have a bigger effect than you imagine.

[1] Luckman, Susan (2015) Craft and the Creative Economy[1] Palgrave Macmillan

[2] Bennett, Jane (2001) The enchantment of modern life: attachments, crossings and ethics. Princeton University Press; Bennett, Jane (2010) Vibrant matter: a political ecology of things, Duke University Press.