I've had an interest in textiles since I was a small child. I learned to knit, crochet, sew, do needlepoint at my mother's knee. My grandmother was a Saami from northern Norway. I am very interested in studying more about tradtional Saami and Finnish style weaving and handicrafts.
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A Raanu rug was traditionally a flat weave weft faced handwoven wall hanging that was sometimes also used as a bed covering. The warp is made of cotton rug yarn or sometimes linen yarn, and the weft is woven of multicoloured fine wool yarns, often a single ply. The weave structure is a repp weave and the weft is beaten down firmly so that the warp yarns are fully covered.
The earliest Raanu date back to the 1600’s. The Saami wove Raanu (Rátnu, Rádno, Grene) and used them as wall coverings in their tents and sod huts. The designs of the Raanu depicted the colours of the landscape scenes around them and brought some colour into their homes during the dark and long winter nights. Raanu were also woven in many parts of Finland. In the 1960-70’s Raanu again became popular and were displayed on the walls of many Finnish and Scandinavian homes.
I thought that I would weave a Raanu based on one of my favourite places in the UK, West Wittering Beach. The photo is by Robert Lane.
I am weaving this Raanu with yarns that I have dyed with natural dyes. The dyes I have used are:
Indigo, Logwood, Madder Root, Brazilwood, Alkanet Root, Indian Barberry, Flame of the Forest
Warp Yarn: Cotton Rug Warp 12/9 1900 m/kg
Weft Yarn: Sport Weight Wool 2600 m/kg
Sett: No. 30 Reed (approx 6 epi)
Width in Reed: 60 cm
PPI: 30 ppi
Weave Structure: Repp Weave
The weft yarns must be beaten firmly. Throw the shuttle. Beat. Change shed. Beat again before throwing the next weft.
My studio is filled with weaving looms of many sizes ranging from large floor looms, to 4 shaft table looms, band looms and inkle looms. If you are a weaver, you will have noticed that during weaving, dust bunnies collect under the loom. In the past, I haven’t been too concerned about this except to pull out my vacuum cleaner and clean it up.
However, a few months ago I caught that flu bug that has been making its rounds, with one of the symptoms being an annoying cough that doesn’t seem to go away. After about a week, the cough seemed to clear up, but another week later, it came back. Many of my neighbours had it, and also friends in Canada said it was making the rounds there as well. So I wasn’t too concerned about the cough, and thought it was just more of the same thing. I did notice that my cough seemed to be worse about a month ago when I wove a lengthy linen warp. The loom dust under my loom was very fine, much more so than when weaving with wool yarns.
Over the recent months, I have also made a transition to dyeing wool and cotton yarns using natural dyes, rather than the vinegar/acid based dyes that I have used previously. Many of the natural dyes come in fine ground powder form, often using wood chips such as birch bark, logwood, brazilwood, madder root. The fine powder is placed into the dyepot, the pre-mordanted yarn is steeped in the dyebath for a few hours and then removed. The yarn is rinsed out in the sink and hung up to dry. After drying, there is still a lot of fine wood chip dye residue left on the yarn. I rewind the skeins into yarn balls or reskein. During this process, much of the natural dye residue falls off. I vacuum the fine dust from the floor.
A few days ago, I started to weave a Sami style band on my table loom. I was using a combination of wool and natural unbleached cotton yarns. I dyed the yarns using natural dyes.
After I wove for a bit, I noticed that some loom dust was collecting on the table, under the loom. I vacuumed this up in the evening before I left the studio. The next morning I returned to weaving this band. After about 2 hours, I had another terrible coughing fit. And again, I noticed an accumulation of loom dust under the table loom.
And I start to wonder, how much of this fine dye dust or loom dust am I breathing in? Can this be a cause of my almost chronic cough?
At that point I took some allergy medication and went out for a walk in the fresh air. My breathing seemed to clear up and I had a full nights restful sleep. The following day, I was away and didn’t go into the studio. I have felt much better the past few days with very little coughing.
I spend a few hours on trusty Google to research about the environmental hazards of the craft and textile work that I do.
I have since ordered an air purifier (Vax ACAMV101 Pure Air 300 Air Purifier) and dust ventilation masks.
I looked for an air purifier that has high CADR ratings hoping that it will be effective in clearing much of the harmful dust from the air.
I am now waiting for the air purifier and dust masks to be delivered before I continue working in the studio.
This air purifier really does work. I leave it running on the Auto setting during the day. When I wind a skein of yarn from the swift into a ball, the green light changes to Red and the fan comes on at full speed. And when I am at my loom weaving a rug, the air purifier also goes into action with lights glowing red, and fan speeding up. After a weaving session, I now set the fan speed to high for about an hour, so it can continue to clear the air for my next return to the studio.
As natural dyers we are aware that many mordants used in natural dyes can be dangerous to your health. For example, Rhubarb leaves are used as a mordant but are high in oxalic acid that is corrosive, and can cause acid burns, ulcers, and is hazardous by skin contact, inhalation, and ingestion. Sodium hydrosulphite or sodium diothinate which is often used when creating an indigo vat, can be explosive when added too quickly to the vat. When heated or allowed to stand in basic solution, sodium hydrosulfite decomposes to form highly toxic sulfur dioxide gas. For those who use acid dyes, vinegar or acetic acid fumes can cause damage to the lining of the nose, throat and lungs.
Some natural dyes themselves also contain toxic chemicals. For example, Logwood contains hematein or hematoxlyn can be poisonous if inhaled, absorbed through the skin or ingested. Madder root contains alizarin and purpurin that have been associated with kidney damage in animal experiments.
Wood chips and wood dust such as birch bark, logwood and other tree barks are also used as natural dyes but can also pose dangers to your health. Breathing in wood dust can cause allergic reactions, asthma as well as nose and lung cancer.
I also tend to have a high sensitivity to moulds, so I try to avoid working with natural dye fermentation types of dyes. The indigo vats that I have seem to be ok, but I notice that as soon as the natural dye pots start to ferment (usually after a few days) they make me ill. So I dispose of them immediately. As lovely as some of the natural fermented colours can be, in my opinion, it’s not worth the health risk to myself.
Although I work on a small scale and not in a large industrial setting, textile hazards are still something to think about. Be careful when handling any type of dyestuff or mordant, even if it is ‘natural’. Wear appropriate protective gear, gloves, facemasks, clothing and ensure that your studio has good ventilation.
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.
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.
If you are interesting in purchasing a set please visit my Etsy Shop.
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.
Now I wait patiently.. perhaps tomorrow I can dye some beautiful indigo grown in my own garden.
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.
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.
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.
Alkanet Root Dye Recipe for Linen, Cotton and Cellulose Fibres
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.
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.
Natural Linen (light weight)
Natural Linen (heavy weight)
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:
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.
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.
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.
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!