Author Archives: Eleanor Kuhns

About Eleanor Kuhns

Librarian and Writer Published A Simple Murder, May 2012

Red Cabbage and Pokeberries

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Both red cabbage and pokeberries produce beautiful red shades. The problem is, as it is so often, colorfastness. Items dyed with pokeberries quickly fade in light. I read in a contemporary book, Harvesting Color, however, that mordanting pokeberries with vinegar makes the dye colorfast. A modern dyer experimented with pokeberries until she found a method that works. I have yet to try this but plan to this fall.

The recipe included in this book is:

Ratio of 25:1 for pokeberries to fabric. Presoak fabric in vinegar. Mash berries until they have all been crushed. Fill pot with enough water to cover the berries and still alow yarn to move freely. Add 1/2 C vinegar for every 1 gal water. The PH has to be 3.5; pretty acid. Heat the dye pot on medium but do not boil, and let steep for about an hour. Strain. Prewet yarn, preferably in an acid bath (1/4 C vinegar in the water bath). Add the prewetted yarns to te dye pot and let them soak about 2 hours or overnight. Hang the yarn without rinsing for at least 20 minutes and up to half a day and then rinse excess color.

Red cabbage is cut up.  If you prefer a more blue color, add salt. Otherwise the color will be pink. Fibers must first be soaked in a tannin bath (acorns!) and then mordanted with alum.

Soak the fiber you will be dyeing in water for an hour or overnight. Fill the dye pot with enough water to cover the fabric and brint the water to a simmer. Put the cut up cabbage into the pot, bring the heat up to a simmer, and simmer for at least 20 minutes or until the cabbage leaves lose their color and become a light pale pink. Strain out the cabbage. Bring the dye back to a simmer and add the presoaked fiber. Simmer for about 1/2 an hour.

The dye is now a purple lavender. If you prefer pink, stir in the vinegar or lemon juice now. Salt will change the dye to dark blue. Soak the fiber until it reaches the desired shade.Rinse and hang to dry.

Natural dye colors tend to be more muted than the synthetics but many are also much less toxic and make use of easily obtainable materials.

Yellow dyes

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Yellow should be one of the easier colors to obtain, right? After all, aren’t a lot of flowers yellow?

Well, yes. I can think of two plants right off the bat that grow in the US: showy goldenrod and tickseed sunflower, that produce yellow dyes. That fabric must be premordanted with alum – and yes, alum was used in Colonial times for a variety of purposes. The tickseed produces a strong orange but the goldenrod gives a bright sunny yellow.

The flowers must be collected. For tickseed, put in hot water but do not simmer or boil, for 1 – 2 hours. Strain out the flowers and add the cloth or fiber. Soak for an hour or so. The process for goldenrod is similar, except that the water should be simmering and the flower simmered in the water for 1 – 2 hours. Once the plant material is removed, the fiber can be added and simmered in the dye bath again, until the desired color is attained.

In Colonial times, however, the source for yellow was something called ‘fustic’. Never heard of fustic? Well, it was so important that at one time the English enacted a law stating that the logs from which fustic is obtained could not be shipped into any Colony except by British ships. Fustic is derived from the wood of a tropical American tree (Chlorophora tinctoria), a member of the mulberry family. Sometimes the wood was called dyer’s mulberry.

It arrived in the form of logs which were chipped into small fragments. Usually, after being tied in a bag, they were soaked in water for two or three days before going into the dye bath.

Fustic was usually mordanted with alum and cream of tartar (yes, the same stuff one uses in a scratch cake). It was not a bright yellow, and some Colonial sources describe it as faintly orange (fustic was also used for drab colors) but it stood up well to washing and light. Fustic was also used regularly in compound colors: with indigo to make green, with red to make red oranges and so on.

Not bad for a material most of us have never heard of.

ALA and More

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I left for the American Library Conference on June 21 and was in California until June 28. Although I have attended many many ALA conferences, this was the first time I attended as both a librarian and a writer. And the word of the day is Hectic!

I usually run from class to class. This time I missed a few offerings I would have liked to attend since I was signing books at a book store. On Saturday I signed at Mysteries to Die for in Thousand Oaks. On Sunday we drove to Mysterious Galaxy in San Diego. Both of these shops are niche shops, catering to a specific clientele. Mysteries, obviously, but the Mysterious Galaxy also includes Science Fiction, Horror, and Fantasy.

The Following week I visited Book Carnival in Orange County. No talk this time, but I signed stock. And since I was invited to return next year when my new book comes out, I hope to speak there in the future. This shop specialized in Romantic Suspense as well as Mysteries.

From a librarian’s point of view, a clear indication of how these genres can overlap. From a writer’s perspective, a reminder of how much bookstores like these do to sell one’s books. They all feel under pressure, from the Big Box book stores and from Amazon. I really enjoyed speaking to the faithful who came to hear me and hope to be invited to do more.

On the closing day of the conference, I signed at the Macmillan booth. Since a lot of these people were fellow librarians, I know it took longer than it should have. I talked to everyone! By and large, A Simple Murder has garnered a lot of positive attention. I feel both lucky to have this experience and humbled by it.

 

Natural Dyes – onionskins

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Before the invention of the synthetic dyes, people had to use natural dyes. As I’ve indicated in previous posts, that was not always positive. A poor growing season could mean a weak dye (besides the loss of the crop which was always an issue). There was no way to control the dye and achieve the exact same result every time.

Dyes like cochineal were expensive. And Madder, a dye plant a dyer could grow in the garden, can take 4 – 5 years to reach useability.

Another problem was colorfastness. Turmeric, for example, is a wonderful yellow dye. But, without mordanting, it fades to a muted yellow. In the post colonial period, when iron and copper pots were in use, the dyes were mordanted almost without consciousness. (Of course, food was cooked in copper and iron pots too. Yummy!)

Here is a way to use onionskins.

First, make an iron mordant by soaking rusty iron nails (stainless steel won’t work) in white vinegar. In 1 to 2 weeks, the vinegar will turn a rusty orange. Put in a stainless steel pot with enough water to cover and add fiber or fabric (cotton). Simmer gently for ten minutes and wash thoroughly to remove iron particles. Now you are ready to dye.

Wet the fiber and soak for at least an hour. Place onionskins (4 oz) either brown or red, in a pot and bring to a boil. Simmer for about 15 minutes until the skins are clear. Scoop out the onionskins and add fiber. Soak until desired color is reached. Red skins will give a bright yellow or yellowish green, and brown will give a rusty orange/gold.

Rinse thoroughly and hang to dry. Although mostly colorfast, you will notice it fades more rapidly than the synthetic dyes. However, it is not toxic at all.

More natural mordants and dyes to come.

 

A Heavy Drinking Age – Shakers and Spirits

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Spirits, or distilled liquor, were consumed so enthusiastically during the 1790’s (and before and after) that tourists and important men alike began to decry the habit. The U. S. was a nation of drunkards. Even George Washington, a whiskey distiller himself, referred to the heavy drinking as the ruin of half the workman.

Where did we get into such a pickle? Well, part of it was cultural. Cotton Mather (he of Puritan fame) declared “Drink itself to be a creature of God.”

Water tended to be dangerous. It could be contaminated or just plain unappetizing. In Natchez water from the Mississippi River had to be set aside so the sediment could settle. (Yum!) Milk was unpasturized and if the cow ate jimson weed it was poisoness. Alcoholic beverages, and I include hard cider, were safe. Also, corn and rye could be transported from the western frontier (like Pittsbugh in 1793) to the east in the form of whiskey and sold for four or more times the price for the grain itself. And without much more cost in transportation.

In times where the food supply could be erratic. alcoholic beverages accounted for a significant proportion of the day’s calories. In the early days of the eighteenth centure, the favorite tipple was rum; sweet and alcoholic. But after the Revolution, it was declared unpatriotic and people switched to whiskey. Rum was made from molasses and while distilled in Maine and Massachusetts at first, began to be distilled in the West Indies. Whiskey, on the other hand, was All-American; the grain grown in the US and distilled here as well.

Everyone drank. Ben Franklin is quoted as saying If God wanted men to drink water He would not have given him an elbow to bend the wine glass. Toddlers were put to sleep with whiskey or given the sugary residue in the bottom of the glass. (This makes my hair stand on end!) But of course there was a double standard. Women were not to been seen intoxicated.

Some primary sources quote men like John Adams complaining about the length it took to get something built. One day’s work earned a man enough to stay drunk all week. So they worked one day out of seven.

As might be expected, early opposition to drink came from the Quakers, most particulary from Anthony Benezet who attacked slavery and rum at the same time. Quakers had already begun to practice restraint before him and by 1777 they were ordered to no longer sell distilled spirits nor to distill them. The Methodists saw drinking as a barrier to purifying the church and society so they joined the Quakers. The Shakers, as a splinter group, also practised retraint and drank mainly water (that they trusted). The Shakers were famous for their cider which went from ‘kind’ to hard’ very rapidly in an age before refrigeration.

The chorus against such heavy drinking began to grown, spurred by Dr. Benjamin Rush, a Philadelphia doctor who concentrated upon the health benefits of abstinence. Another doctor, a Dr. Thomas Calawalder, had identified rum as the cause of an illness called the Dry Gripes. The rum that was aged in lead casks caused lead poisoning. Interestingly enough, the doctors recommended drinking cider (which is still alcoholic) and beer (which is more complicated to make than you might think.

For more information, both depressing and fascinating, read “Alcoholic Republic: An American Tradition” by W. J. Rorabaugh.

Hancock Shaker Village

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Because the first Shaker community was established in New York (they called it Niskayuna – a piece of it now lies under Albany Airport), there are several museum villages within easy driving distance of New York.  The only village still active is Sabbathday Lake near New Gloucester, Maine which still has four living members. Hancock Village is in Pittsfield, MA, a few miles over the New York State Border and is set up as a museum. Although I found it a little difficult to get too, mainly because the GPS had problems with the address, it is well worth a day trip.

This village was clearly wealthier than Sabbathday Lake. (Maine).  If one researches the Shakers and a picture of a round barn comes up, that is Hancock Village. The round barn is unique.

round barn

 

The large structure, painted dark red as all the work buildings were, is especially interesting. The Shakers harnessed a stream to provide water power for a machine shop on one side and laundry on the other.

Machine Shop and laundry

Water power mechanized a variety of machines and helped wash clothing in the 18th century. They also invented a process to create wrinkle free clothing; zinc chloride was steamed into the fabric. Another early invention by the Shakers.

The Museum is laregely solar powered and the Shakers were ahead of the rest of the world in that too, although instead of panels they relied on passive solar.

The Museum Village also has a nice cafe – we had a great lunch there – and a good shop.

 

Dyeing, Batik and Otherwise

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The two books I use most to achieve dyed effects or to dye several shades of the same color are Dyeing to Quilt by Joyce Mori and Cynthia Myerberg and Hand-Dyed Fabric Made Easy by Adrienne Buffington. Both of these teach you how to begin the dyeing process with the procion dyes. I especially enjoy dyeing six or eight tints of the same color for a quilt or dyeing white on white fabric. The white pattern doesn’t pick up the dye so you might have a deep orange piece with a white tracery shot through it.

Of course I had to keep moving on. I went into Batik, which is very fun. I use soy wax to make the designs. Traditionally paraffin and/or beeswax are used but I find soy, although it doesn’t easily give that wonderful crackle, is just so much easier to wash out of the fabric. Soy melts easily too. I have had good success painting on designs and using cookie cutters.

Silk scarf, overdyed in blue, pink and green

Cookie cutters are not the traditional tools, however. Tjants (pronounced chants) are long stylus pens with an opening that allow the hot wax to flow onto the fabric in a straight line. I admit I am not very good with these. Some of the people I’ve taught are much better. The traditional tool I love, though,  is the tjaps (pronounced chops). These are copper designs used for stamping the hot wax onto the fabric. Here is my favorite, dragonflies.

 

 

 

 

 

Copper dragonfly tjap.

I obtain all my supplies from Dharma Trading in California. Just a heads up – the tjaps are hard to come by. They do have shipments from time to time but you must order immediately.

Traveling to earn a living

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Will Rees, the main character in my mystery “A Simple Murder”, is a traveling weaver, called factors. Like many professions then, weaving required an apprenticeship of about seven years. About nine spinners were required to keep a weaver in business. And looms were big, heavy and expensive.

Larger towns, like Williamsburg, had a resident professional weaver and cloth from overseas did come into the ports. Smaller towns might have a weaver who also farmed. The further away these towns were located, the less imported cloth the women had access to. This imported fabric was expensive too.

On the frontier, in the 1790’s this was on the western side of the Alleghenies, local weavers were necessary. One of the leading lights in the Whiskey Rebellion was William Findlay, a weaver. He became a legislator from the Pittsburgh area.

Besides the traveling weavers, other professions took to the roads. Some men made brooms. This was a craft the Shakers took on as well; they sold their wares which included brooms, whips, boxes and other items, from wagons. Tinkers, who not only sold pots and pans but mended them as well, were also a familiar sight.

In these agrarian times, the goal was to make enough money to buy a farm. Usually, once a man had a good farm, he settled, at least for most of the year.

Some of the accounts from the women married to such men speak poignantly of the loneliness and isolation.

More about dyes in Peru

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I got to dyeing in a roundabout way. I am a lifelong quilter and I began dyeing my own fabrics to use in my quilts. From there, I expanded into dyeing: dyeing yards to use in weaving, batik dyeing and finally a curiosity about dyes themselves.

Except for Lima, which sits at sea level, Peru is a high country, sprawling across the Andes. Macchu Picchu, which is probably the most famous place in Peru, is above 8000 feet. But it is nothing compared to Cusco, which is about 11,000 feet. The land is arid and the ancient peoples including the Incans were brilliant at utilizing the scant water to irrigate their crops. Potatoes come from Peru and this country has several thousand varieties, although not all are edible.

Peru is a goldmine for anyone interested in dyeing. In previous blogs, I’ve talked about the cochineal beetle, which is native to Peru. Properly mordanted, the blood of these beetles creates a vivid red.Prickly Pear

 

Darker burgundy comes from another berry, green from the chilka leaf and shades of brown, black and white from the hair of the alpaca and the llama. ( The vicuna also provides wool of an extremely fine quality but this animal has never been domesticated. The Incans spent much time selectively breeding alpacas to obtain an extremely fine fleece but once their Empire ended that breeding program ended. In some of the museums in Peru examples of these old textiles can be viewed. )

Llama wool dyed with natural dyes

The weavers also use indigo for blue. Indigo is not native so it is more expensive.

 

 

 

 

 

Weaving on a backstrap loomIt is truly amazing to watch the weavers using the backstrap loom.

Looms, backstrap and otherwise

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The European loom is a complicated and elegant piece of equipment, so perfectly designed that few modifications have been made to the essential design. The job of a loom is to keep the warp threads taut. And the threads must always have a cross.

With that said, there are a few different kinds of looms. A Jack loom has a rising shed, that is, sets of threads are lifted so the shuttle can pass underneath them. The ‘jack’ mechanism lifts the shed. The treadles, or what my husband calls the gas pedals, lift the sheds. Connecting different sheds to different treadles is one piece of making a pattern.

A counterbalance loom is usually limited to four shafts ( a jack loom can have more and of course the more sheds the more complicated a pattern). The sheds are raised and lowered equally to allow the shuttle to pass between them.

The countermarche loom includes features of both a jack and a counterbalance loom. This type of loom allows the shafts to operate independently, as on a jack, and the shed to open easily and symetrically as on a counterbalance. But the countermarche requires more time to tie up.

Other variations include rigid heddle, treadles operated by hand instead of foot, but they all utilize a mechanism for separating the threads for the shuttle.

The backstrap loom, hoever, uses the weaver herself to hold the warp taut. A strap goes around her back and a stick is used to separate the sheds or the threads which are separated into two bundles by the cross. A backstrap weaver memorizes her patterns and uses her hands to lift the individual threads for the bobbin. (The shuttle mentioned above contains the bobbin.) The heddles are not metal but string. Although this is considered a primitive form of loom, it still contains most of the pieces of the floor looms (heddles, bobbin, warp and weft, and of course the all important cross) it is still complicated. Since the patterns are memorized, weaving on one of these looms demands a great deal from the weaver.

Am I the only one who wonders how something like this was invented?