Local colours from local plants

Following on from an earlier post about collecting local plants and making dyes with them  for a Heritage Open Day, I’ve finished and created a show board

The finished hanging board

The list of plants used, I chose them because they could have been around 1000 years ago, there were dozens of others, but I have left them in the ground for another time

AlderbarkAlnus 
Birchbark‎Betula pendula
CoffeeseedsCoffea
HawthornfruitCrataegus monogyna
HawthornbarkCrataegus monogyna
Queen Annes LaceflowerDaucus carota
AshkeyFraxinus excelsior
Ivy leavesleavesHedera Helix
LichenwholeLichen
Lichen and twigswholeLichen
CherrybarkPrunus
SloefruitPrunus spinosa
Bracken brownleavesPteridium
OakgallsQuercus
OakwoodQuercus
BramblefruitRubus
BrambleleavesRubus
Dock brownseedsRumex
Dock greenseedsRumex
WillowleavesSalix
ElderfruitSambucus
ElderflowerSambucus
ComfreyleavesSymphytum officinale
NettleleavesUrtica dioica


The blurb for the show board 


Wool comes in almost white, almost black, and a light brown, or combinations of, although they can be blended and mixed the colour range is very plain but with careful planing and design there are many permutations . Doubtless by chance the first stains and dyes were discovered which might have been nothing more than coloured earths, but it wasn’t long before leaves, flowers, and barks were used to create a great range of extra colours.

Northern Europe doesn’t have a climate suitable for many of the plants of the tropics,but even with the cooler climes a very worthwhile range of shades and colours were found and used.

I’ve chosen to work with some local plants within a small area roughly centred on St. Johns and extending to the Hogsmill river, selecting ones that are native and would have been known a thousand years ago, and could well have been used to colour local wool. The wool sadly isn’t local but a Shetland wool, and of a type which would have been known then , spun thinly and plyed to make a fine yarn suitable for weaving.

Some of the wool was mordanted with “Alum”, a salt which helps dye colours bind to the fibres leading to better longevity and fastness but it’s not needed for every colour. Modifiers were also used which alter the shade or tone of the colour. One modifier was simply an iron cauldron, the iron acting to sadden the colour, generally making it greyer, although only a small amount is needed as too much can lead to degradation of the wool. The other modifier I used was ammonia, this enhances the warmer colours, traditionally, aged urine was used but I chose to use household cleaning grade instead.

This means that for every plant there are at least three possible colour variations. I’ve been careful about trying to use materials and methods which would have been familiar to a Mediaeval dyer whose sheep could even have been recorded in the Domesday book.

And I must add the watercolour painting that I first saw last year  in the display at the Church which gave me the idea of the dyeing project, just  and because  I noticed the sheep!

St Johns Church dated somewhere between 1847 and 1867, before the Victorian addition

illustrated talks

I was asked yesterday after I gave a talk at Kingston University, if I had a website listing of the different talks I do, the answer was no, so this will hopefully  rectify the omission .

I am happy to give talks to  groups in an informal setting, ranging from school rooms to church halls, from 20 to 50 adults.

Each event takes the form of an talk with lots of examples and samples, and I encourage the audience to ask questions and examine the items throughout the 45 mins – 60 mins. Each talk can be tailored to different groups, perhaps by focusing on a particular interest.

I only need a well light space and a couple of tables, I don’t normally have any need of computers or electrical equipment.

I have currently 4 talks available

1 From fleece to pleats

Fleece to pleats

An introduction to the word of wool, spinning, weaving,dyeing, tartan, and  kilt making.
I discuss the history of wool, demonstrate spinning, talk about the development of weaving and the history of tartan, finishing with a “show and tell” of how a kilt is made.

This talk  is an excellent overview of wool and tartan, covering a lot of ground very quickly, but it has proved to be one of my most popular bookings

2 Natural Dyeing

An introduction to the world of natural dyeing,  from early mud dyeing of 5000 BC right through to the discovery of the first synthetic dye in 1856.

With lots of samples of dyed wools, grouped by the history and development of colourants , and samples of many of the various dyestuffs and chemicals used,I discuss the history and manufacture of coloured textiles.

3 Bookbinding

An introduction to the history of books, from the beginnings on papyrus, through mediaeval bindings to mass produced paperbacks, I show examples of all the major styles. Discussion and handling of samples is important to the talk and everyone has the chance to handle wood, leather, paper and linen thread.
I also show a range of contemporary art bindings using glass,knitted cloth, ceramics, carved wood, and silk as cover materials.
I also offer a selection of bookbinding workshops, from simple pamphlets to multi section collections. These workshops can be tailored for all ages, young and old!  Contact me to discuss further details.  see below for a video produced for an earlier class, but it gives an idea of how a class can work.

 

4 Ceramics

A quick tour through the basics of pottery tracing the development of ceramics  from hand pinched pots to industrial mass-produced dinner services.

Using historic and contemporary examples there is ample opportunity for discussion of different styles and types from around the world, with an emphasis on decorative techniques.