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Tablet Weaving Cards

I have designed some new tablet weaving cards that are made of durable plastic, because I didn’t like to use the matt board ones. I found that they tended to wear out rather quickly.
I designed these cards to be made of plastic so that they would be able to withstand the friction that is placed on the tablets during weaving. The edges are smooth and the cards turn easily.
The plastic tablets are not mass produced, but are made locally by skilled craftsmen.

Paivatar Tablet Weaving Cards

Paivatar Tablet Weaving Cards


The tablets come in a set of 4 colours: Red, Yellow, Blue and Green

One face of the card has a logo, the other side is blank. The multiple colours allow you to use different colours if you are turning groups of cards in different directions. The cards are not numbered, but you can easily write numbers or letters on them with a permanent marker to help you keep track while weaving. Be sure to let the ink dry before using the tablets.

The cards are slightly smaller than the standard tablet weaving cards that are on the market (60 mm square) Because the cards are thin and slightly smaller in size than other tablet weaving cards, I find it easy to hold several in my hand – and I have fairly small hands. The thinner size is also better when working with fine yarns as it allows the warp yarns to be sett closer together, much as in weaving with a fine dent reed.

Paivatar Tablet Weaving Cards
The holes in the cards are also slightly smaller than the standard cards. This helps to keep the warp threads in alignment while weaving, as there is less play in the warp.

Paivatar Tablet Weaving Cards

Paivatar Tablet Weaving Cards

If you are interesting in purchasing a set please visit my Etsy Shop.

Tablet Weaving Books
Applesies and Foxnoses – Finnish Tablet Woven Bands

Card Weaving
The Techniques of Tablet Weaving
Step by Step Tablet Weaving: an Introduction to the Art of Creative Tablet Weaving [Illustrated in color]
A Tablet Weaver’s Pattern Book
Der Zauber des Brettchenwebens / Tablet Weaving Magic
Tablet Weaving
The Techniques of Tablet Weaving
Weaving With Small Appliances – Book II – Tablet Weaving


Schacht Inkle Loom

Woad and Japanese Indigo Fermentation Vats

The frosts are coming so it was time to cut back all of my Woad and Japanese Indigo plants. I harvested about 800 grams of fresh leaves from about 10 woad plants and about 250 grams of fresh leaves from the Japanese Indigo plants.

There are many different instructions on how to make a Woad or Japanese Indigo vat using fresh leaves. I read through several and thought I would try my own approach. I followed a similar procedure for both the Woad and Japanese Indigo vats.

The directions I’ve read warn that Woad (or Japanese Indigo) is sensitive to hot water >90 Deg C yet the woad needs to be heated up to help release the indigo pigment.
I used hot tap water rather than heating this on the stove, so I could control the amount of heat. Since my tap water wasn’t quite hot enough, I added a kettle full of heated water to the water to raise the temp to about 80 deg. C. I cut the woad leaves into small pieces and let them soak in the hot water for about an hour.


Apparently 115 deg F (or 46 deg C) supposed to be the optimum temperature for the release of Indigo pigment from the plants.
When the temperature decreased to <50 deg C I scooped the cut leaves into an organza mesh bag. I thought that this would help prevent the messy leaf sediment in the bottom of the indigo vat. Then I transferred the Woad dye water into a large plastic bucket. I thought I would try to use a fructose fermentation method, following Michael Garcia's 1,2,3 guidelines, as I've had good success with my previous Fructose Indigo vat.
I have no idea how much indigo pigment is really in the leaves, so I added 20 grams of Calcium Hydroxide to the indigo vat and 40 grams of Fructose. The pH rose to 10.4.
I put the organza mesh bag filled with the Woad leaves back into the bucket and put the lid onto the vat. I did the same with the Japanese Indigo vat.
I checked both of the vats about an hour later and was pleased to see some blue bubbles and the organza bags turning blue.

Japanese Indigo Vat

Japanese Indigo Vat


Woad Vat

Woad Vat

Now I wait patiently.. perhaps tomorrow I can dye some beautiful indigo grown in my own garden.

Books
Indigo from Seed to Dye
Indigo: Dye It, Make It: Techniques from plain and dip-dyeing to tie-dyeing and batik, in natural indigo blue
Wild Color, Revised and Updated Edition: The Complete Guide to Making and Using Natural Dyes
Natural Dyes
The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use

References
An Easy Organic Indigo Vat
Preparing to Dye with Natural Indigo
Creating a Natural Indigo Dye Reduction Vat
Cold Water Fresh Leaf Indigo Vat Dyeing
Indigo Vat Basics
Japanese Indigo

Sparto Weavers Spanish Broom

Sparto (Sparta) Spartium junceum also called Spanish Broom or Weavers Broom is an almost forgotten textile plant that is native to Mediterranean countries. Spanish Broom was introduced to North America and other countries where it has spread in many areas and has become a menace. However, Sparto was once a very useful textile plant.
There are references to weavers broom plants being used for making ropes, footwear, nets, mats, cloth and stuffing for pillows. The flowers are fragrant and can be used for making scented soaps and perfumes. The flowers are also a good source for yellow dyes.
It is thought that the use of Sparto as a textile plant diminished because the fibre is more difficult to process by mechanical means, compared to flax.

Sparto - Spartiumjunceum

Sparto – Spartiumjunceum


The Sparto plants grow along the rocky seasides of coastal Corfu, Greece.

I go on holidays to Corfu every year, where I have a chance to visit with my friend Agathi the weaver. Every time I visit, she pulls some wonderful textile treasure from her many shelves and tells me about it. This time, it was a bedspread made of hand spun Sparto that was made as part of her dowry.


As Agathi does not spin, the Sparto yarn was hand spun by a friend of hers, using a drop spindle. The bedspread was woven on a narrow loom and neatly stitched together in long panels. The handspun Sparto yarn was used as weft along with cotton yarns.

Agathi explained how the Sparto was collected and processed for hand spinning. The process is very similar to that of processing flax fibre.
The stalks of the Sparto plant are cut and then laid to ret in sea water along the shore. Rocks are placed on top of the fibres to keep the Sparto from floating away. This retting process usually takes 3-4 days. The warm salty water breaks down and softens the fibre so that it can be removed from the plant.
The fibrous part is on the outer core of the plant and the woody stem is in the centre. After retting, the fibre is dried and then beaten with a rock or wooden mallet (or scrutched) to help break up the woody core. Agathi described the fibre that is removed as being ‘soft and cottony’ The fibre is then hackled or combed and spun with the drop spindle.

Agathi said that the best time to collect Sparto is in May or June when the stalks are tender and green. I took a short foraging trip along the coast line to see if I could find some of these plants. In September, most of the Sparto have dried and are in seed, but I did find a few plants that were still green. I cut some stalks and brought them home for sampling.
(In the UK, you can purchase Spartium lyceum plants but they are not very hardy in our climate.)

As we live by the seaside, we took a short trip to collect some seawater for my experiments.

Sea Water Collection

Sea Water Collection

I had collected about 400 grams of Sparto stalks, so I placed these into a large bucket of sea water. The stalks are quite long so I had to fold them to fit them into the bucket.

I will leave the Sparta fibre to ret for a few days and check them daily to watch progress.

Well, it took more than a few days to ret the Sparto – more like a month. I suppose England is not as warm as the mediterranean sea.
The soaking bucket fermented and the Sparto stalks have softened.
I removed them from the bucket and rinsed the stalks with the garden hose. The stalks are now drying in my airing cupboard.

References
Sparto – A Greek Textile Plant
Helen Bradley-Griebel

The Revival of Sparto
University of the Aegean, Dept of Product and Design Engineering
A research study on the potential of a forgotten natural fiber in today’s world

Alkanet Root Plant Dye Recipe

Alkanet Root Dye Recipe for Linen, Cotton and Cellulose Fibres
Alkana Tinctoria

for 100 grams of fibre
20 grams Alkanet Root Rhubarb Dye Powder
Soak the Alkanet in a glass jar overnight with a bit of alcohol. This helps to release the dye pigment from the Alkanet. I leave the jar outside as the alcohol fumes can be overpowering and flammable.
The following day Put Alkanet Root into dye pot filled with water.
Let simmer in dyepot for +1 hour at 50 deg.
Add pre-mordanted wool yarn and sample fabrics.
Let simmer in dyepot for +1 hour.
Remove the wool yarn. Let this cool and rinse thoroughly to remove the excess dye powder.
Turn the heat off the dyepot and leave the linen and cotton samples to soak overnight. More colour will continue to develop as the dyebath cools.

Alkanet Dyed Linen Cotton

Alkanet Dyed Linen Cotton

All cellulose fibres, yarns and fabrics must be scoured prior to mordanting or dyeing. Please see my previous article on how to do this.
How to Scour Linen

For these samples, I used several different linen and cotton fabrics as well as wool yarn.

Linen and Cotton Fabric Samples

Linen and Cotton Fabric Samples


Bleached Cotton
Unbleached Cotton
Bleached Linen
Linen/Cotton Blend
Natural Linen (light weight)
Natural Linen (heavy weight)

More about Plant Dyed Yarns
Madder Root Dye Recipe
Brazilwood Dye Recipe
Eucalyptus Leaves Dye Recipe
Himalayan Rhubarb Dye Recipe

Paivatar – Plant Dyed Wool Yarns
Look for some of my plant dyed yarns at my PaivatarYarn Shop on Etsy.

Natural Dyes
Anne Georges
Wild Colours

Natural Dye Books
Natural Dyes
The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use
Botanical Colour at your Fingertips

Skein Winder Counter

Did you know that you can set up a simple bike odometer for use as a skein winder counter? For several years, I have struggled with keeping track of counting how many times to turn the skein winder in order to wind on a given length of yarn. Often I would lose track and have to start again, or recount the number of strands that have been wound on.

As I’ve been winding a lot of skeins lately in order to dye yarns, I decided to try and find a better solution to the counting and keeping track problem. Happily, I discovered that adapting a bike odometer will solve this problem. I purchased an inexpensive bike odometer from Amazon.

You can use the Distance counter on the bike odometer to keep track of the ‘distance’ or length of yarn that has been wound or has travelled around the skein winder. DST – Distance of Single Trip. Here’s how.

The bike odometer that I purchased has everything you need to get started:
Bike Odometer
Sensor
Magnet
Batteries
When you get your bike odometer, install the batteries as instructed. One goes into the odometer, and another goes into the sensor. You will need to calibrate the odometer to the circumference size of your skein winder (bike wheel)
Use a tape measure to determine the circumference of the skeind winder. You probably know how much this is already since you wind and measure skeins already. But double check.
The bike odometer should work in both km and miles, but I find it easier to do the calculations in metric.
My skein winder has a 132 cm circumference or 1.320 meters.

Skein Winder Circumference

Skein Winder Circumference


Follow the instructions to calibrate the odometer. I set this to 1320.

Then attach the Magnet to one of the spokes on the skein winder. It’s best to put the magnet at one of the far ends of the spoke and not close to the centre. Then attach the Sensor to a fixed position like a table leg. This has to be quite close to the magnet, so that as the magnet passes by the sensor it picks up the movement. In the instructions for this bike odometer, the sensor/magnet distance has to be within 3 mm as it passes on its rotation.

Bike Odometer Sensor / Magnet

Bike Odometer Sensor

Set the odometer so that it is ready to record. You will be using the DST setting. The reading that the odometer provides is the number of meters or kilometers that the bike wheel or skein winder has travelled, not the number of rotations. So this provides you with the number of meters of yarn that have been wound onto the skein.

Skein Winder Counter

Skein Winder Counter

In this example, I have wound on 150 meters of yarn onto the skein – 0.150 km on the DST reading.
Reset the DST reading back to zero every time you wind a new skein.
I tested this on several yarns by calculating how much I thought should be on the skein and comparing it to the weight of the skein.
For this yarn, it has a yardage of 3000 m/kg.
So a 50 gram skein of yarn should have a length of 150 meters.
I weighed the skein and it does weigh 50 grams.
An ongoing problem solved, without a lot of expense!

Himalayan Rhubarb Natural Dye Recipe

Himalayan Rhubarb Dye Recipe for Linen, Cotton and Cellulose Fibres
Rheum Emodi

for 100 grams of fibre
20 grams Himalayan Rhubarb Dye Powder
Put Himalayan Rhubarb into dye pot.
Let simmer in dyepot for +1 hour at 50 deg.
Add pre-mordanted wool yarn and sample fabrics.
Let simmer in dyepot for +1 hour.
Remove the wool yarn. Let this cool and rinse thoroughly to remove the excess dye powder.
Turn the heat off the dyepot and leave the linen and cotton samples to soak overnight. More colour will continue to develop as the dyebath cools.

Himalayan Rhubarb Natural Dye

Himalayan Rhubarb Natural Dye

All cellulose fibres, yarns and fabrics must be scoured prior to mordanting or dyeing. Please see my previous article on how to do this.
How to Scour Linen

For these samples, I used several different linen and cotton fabrics as well as wool yarn.

Linen and Cotton Fabric Samples

Linen and Cotton Fabric Samples


Bleached Cotton
Unbleached Cotton
Bleached Linen
Linen/Cotton Blend
Natural Linen (light weight)
Natural Linen (heavy weight)

More about Plant Dyed Yarns
Madder Root Dye Recipe
Brazilwood Dye Recipe

Paivatar – Plant Dyed Wool Yarns
Look for some of my plant dyed yarns at my PaivatarYarn Shop on Etsy.

Natural Dyes
Anne Georges
Wild Colours

Natural Dye Books
Natural Dyes
The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use
Botanical Colour at your Fingertips

Eucalyptus Leaves Dye Recipe

Eucalyptus Dye Recipe for Linen, Cotton and Cellulose Fibres
On a recent trip to Greece, I collected some Eucalyptus leaves and took them home in my suitcase. I let them dry and then crushed them for use in my dyepot.

for 100 grams of fibre
50 grams dried Eucalyptus Leaves
Put crushed Eucalyptus leaves into dye pot.
Let simmer in dyepot for +1 hour at 50 deg.
Add pre-mordanted wool yarn and sample fabrics.
Let simmer in dyepot for +1 hour.
Remove the wool yarn. Let this cool and rinse thoroughly to remove the excess dye powder.
Turn the heat off the dyepot and leave the linen and cotton samples to soak overnight. More colour will continue to develop as the dyebath cools.

Eucalyptus Leaves Natural dye

Eucalyptus Leaves Natural dye

All cellulose fibres, yarns and fabrics must be scoured prior to mordanting or dyeing. Please see my previous article on how to do this.
How to Scour Linen

For these samples, I used several different linen and cotton fabrics as well as wool yarn.

Linen and Cotton Fabric Samples

Linen and Cotton Fabric Samples


Unbleached Cotton
Bleached Linen
Linen/Cotton Blend
Natural Linen (light weight)
Natural Linen (heavy weight)

More about Plant Dyed Yarns
Madder Root Dye Recipe
Brazilwood Dye Recipe
Himalayan Rhubarb Dye

Paivatar – Plant Dyed Wool Yarns
Look for some of my plant dyed yarns at my PaivatarYarn Shop on Etsy.

Natural Dye Books
Natural Dyes
The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use
Botanical Colour at your Fingertips

Brazilwood Dye on Linen and Cotton

Brazilwood Dye Recipe for Linen, Cotton and Cellulose Fibres
Caesalpinia Sappan

for 100 grams of fibre
20 grams Brazilwood powder – Caesalpinia Sappan
Put Brazilwood dye powder into dye pot.
Let simmer in dyepot for +1 hour at 50 deg.
Add pre-mordanted wool yarn and sample fabrics.
Let simmer in dyepot for +1 hour.
Remove the wool yarn. Let this cool and rinse thoroughly to remove the excess dye powder.
Turn the heat off the dyepot and leave the linen and cotton samples to soak overnight. More colour will continue to develop as the dyebath cools.

Brazilwood Dye on Linen and Cotton

Brazilwood Dye on Linen and Cotton

All cellulose fibres, yarns and fabrics must be scoured prior to mordanting or dyeing. Please see my previous article on how to do this.
How to Scour Linen

For these samples, I used several different linen and cotton fabrics as well as wool yarn.

Linen and Cotton Fabric Samples

Linen and Cotton Fabric Samples


Unbleached Cotton
Bleached Linen
Linen/Cotton Blend
Natural Linen (light weight)
Natural Linen (heavy weight)

Natural Dyes
Anne Georges
Wild Colours

Natural Dye Books
Natural Dyes
The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use
Botanical Colour at your Fingertips

This page last edited on November 7, 2017

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All Fiber Arts by Paivi Suomi is licensed under a
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