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Warm Winter Scarf Project Part I: Natural Dyeing


 

My students & I during the course

My students & I during the course

I´ve been doing quite a bit of dyeing this week for a special scarf project.  Here´s how it started… 

September 2009 -I give a natural dyeing course to a group of very enthusiastic students in AC Textile Studio and I end up with small quantities of some of the woollen yarn samples.  They´re a nice reminder of the fun we had during the course … but such small quantities of yarns – (about 20 – 25g of each colour) are no use for a weave project – I´ll have to dye  more yarn in co-ordinating colours. 







 

lana teñida con tintes naturales en el curso

September dye course results


 


 

December 2009 – I dye about 1k (over 2lbs) of yarn with onion skins and brazilwood dye, darkening the onion colour with iron where necessary in order to get a range of colours which can work well together in a design – which can also use up the small quantities of yarns from the course.  

 

 

 

 

 Here are some photos of the processes involved in dyeing the yarn:

wound skeins

undyed yarn


Wind the yarn into skeins – then Dyeing…
mordanting (fixing) the wool

mordanting (fixing) the wool

inspecting dyed yarns

inspecting dyed yarns

LET US ENTERTAIN YOU – CRAFTS LIVE!

weaving textiles by hand

weaving textiles by hand

When you buy a hand-made object you rarely have the chance to see how it was made.  Guided visits to makers´ studios, live craft demonstrations at craft fairs, and tv documentaries, are all ways you can get closer to the magic of making objects by hand.

When demonstrate their skills in public they know that you – children especially – are often as fascinated as they are in the processes of making an object by hand.  To see a skilled maker transform raw materials in to beautiful objects can be a magical experience.  Uusually a maker gives the impression that his or her work is effortless and easy.  But, as anyone who has ever tried “having a go” at  throwing a pot on a potter´s wheel or weaving part of a willow basket will know that the craftsperson´s fluency of movement is the result of hours, weeks and years of experience and practice.  Craft skills are real skills – that cannot be faked.  There is no substitute for time, experience and patience to master a craft.

In the past the act of making was something that was an everyday experience.  But in the sophisticated, internet-based Information Age we now live in we have become more and more distanced from the real, creative act of making with our hands and what is termed “tacit knowledge”.   What was in the past a necessary part of living has now become  a special interest, and as such the process of making itself, is gaining a new value as entertainment, as history and culture in action, and as a form of creative education.

 If you have never stopped to consider craftspeople in their role of creative magicians, entertainers, actors and educators, then you´ll be surprised to know that makers are quite often in demand for their ability to draw a crowd in public spaces, and our ability to intreague you and to capture the attention of your children! 

At craft fairs in Britain today it is quite common to see  makers demonstating to the public.  The craft show organisers know that members of the public come to see “live craft” as well as to see and buy work – so they pay their demonstrators (usually professional, traditional craftspeople whose skills are rarely seen today) to work in public and answer questions about how they work.  The value that  live craft has is now becoming more recognised where I live in rural Spain.  But craft fairs are not the only places where you will see makers in action .  They also appear quite regularly  on television in documentaries and historic programmes – and we even make it to the big screen sometimes, especially to lend authenticity to period films.   Earlier this year Lluis and I were contacted by a UK company working on a new film by the director Ridley Scott.  In our case, we were contacted because they were looking for period baskets, but in the case of Robin Wood, the UK bowlturner, he was actually filmed too.  

Partly because Lluis´ basketry workshop and my textile studio are the only ones of their kind in our area – the Ribeira Sacra in Galicia, north Spain – we are quite often contacted by television companies wishing to film us, and every year we receive requests.  In November 2009 the Spanish Channel II presenter Dolors Elias spent a day with us with her film crew, to film us for a programme called Babel, on immigration – Click here for footage available from the 14 December 2009. 

Our skills, as craftspeople, are increasingly becoming recognised by craft fair and events organisers and the entertainment industry as a whole.  As professionals we are proud of our skills and ability to fascinate and draw people in and show them how we work, whether at local craft fairs or exhibitions or in our own workshops.  It must be said though, that the greatest pleasure of all, however, is the personal satisfaction of making in itself, and finding how your skills increase over time, with experience and patience.  This is one of the secrets of craft which can only be learned by experience – by doing and not by watching!

Text by Anna Champeney of AC Estudio Textil, Cristosende 78, 32765 A Teixeira, Ourense, Galicia, Spain

You can book guided visits, family craft sessions and craft workshops during a cottage holiday at Casa dos Artesans holiday cottage, next to Anna, and her partner Lluis´ textile and basketry workshops in the Ribeira Sacra, Galicia, north Spain (40 minutes from Ourense city).  Contact:  lluisyanna@terra.es

 

 

Autumn richness in the Ribeira Sacra

autumn vines in the village

autumn vines in the village

November 2009.  

Perhaps you would think that a wet, rainy November here in the Ribeira Sacra doesn´t sound much like fun, but for those of us who live here this is a fantastic month for foraging.  This is the time for collecting sweet chestnuts to roast over the open fire – and even if, like us, you don´t have a chestnut grove of our own – you can fill a couple of baskets up with chestnuts that have fallen on the roadside or onto the trackways.  The best way to cook sweet chestnuts is over an open fire but you can oven-roast them too.    We find that if you leave the chestnuts a few days they dry out slightly and taste sweeter than when completely fresh. 

October and November is also the season for wild mushroom picking and this year has been a bumper year.  The mild temperatures and rain have made for an extra long mushroom-picking season.  There is nothing as exciting as going out into the fields and woods with a few of Lluis´ baskets looking for wild funghi is one of our favourite autumn occupations.  Here in the Ribeira Sacra – unlike the UK where laws of trespass limit your enjoyment of this traditional country pursuit – you are free to pick wild mushrooms in fields and woods – unless they have animals in, have closed gates or fences. 


 

dried fairy ring and cep mushrooms for winter stews

dried fairy ring and cep mushrooms for winter stews

We pick the locals´ favourite, the parasol mushrooms, but also anis-scented horse mushrooms which are good for freezing – no need to blanch or sauté first –  and fairy ring mushrooms and ceps which we dry.  All these go into the rich winter stews which we make from local beef and red wine.  We do our winter cooking in the earthenware cooking pots still made locally by hand which are wonderful to use and look far nicer than industrial saucepans (not that easy for our cottage guests to take back home as souvenirs but those that do are rewarded for their efforts).   

autumn view from est tex y c2aThe autumn colours here are wonderful at this time of year.  Flame-coloured vineyards cheer up even the greyest november days here and on sunny days we are rewarded by the sight of the autumn oak trees turning gold all over the hillsides.    The grass is now lush and green, fully recovered from the heat of summer which reduced it to straw. 


 

autumn colours and natural dyed linen scarf

autumn colours and natural dyed linen scarf

The colours of nature here  always inspire me and so it is no wonder that some of the autumn colours find their way into the hand-dyed woven textiles made at the textile studio. 


 


 

  • Ref.  Bubble Scarf (Rainbow II)  SOLD
  • 19cm x 180cm + fringe
  • Materials:  Linen, hand-dyed with natural dyes, undyed linen, fine wool
  • Washing Instructions:  Gentle hand-wash in warm water. 
  •  Description:  This unusual one-of-a-kind scarf is a double-weave textile – a complex weave with the cloth woven in two separate layers which takes twice the time to hand-weave compared to a conventional scarf.  This double-weave construction, using linen in combination with a very fine wool yarn, gives the piece a deliciously crinkly texture which means that, despite being 75% pure linen, it won´t wrinkle.  The gently glowing colours are the result of hand-dyeing using natural dyes, some of which are from local plants cultivated or collected sustainably near AC Textile Studio (north Spain) where the piece was hand-woven.   After a gentle hand-wash you have the option of ironing the piece or not.  Ironing will make the piece flatter – and wider – whilst leaving the piece un-ironed will enhance the crinkly texture of the scarf.   This scarf is unique and non-repeatable.
  •  Price:  120 pounds + 6.50 pounds p&p (to UK / Europe)
  • How to buy:  email lluisyanna@terra.es