Buying hash online in Feldberg

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Buying hash online in Feldberg

Usually when you hear disc selection, you think in terms of which disc in your bag is best suited to execute your next shot. It results from one of the major distinctions between disc golf and ball golf- the fact that our discs are the equivalent to their clubs and balls combined. It makes sense, especially if it is any kind of official competition. Remember the movie Tin Cup? In it the point was raised that if a player runs out of balls he or she is disqualified. So extra balls in the bag is a pretty simple insurance policy. For us disc golfers, not so simple. When we lose a disc, in essence, we lose the equivalent of a club. Such was the case recently when I played Pinto Lake in Watsonville for only the second time since the long upper holes were added. Most of the holes on the top area are wide open, with fairways mowed out of waist-high wild grass and weeds. Standing on the tee of the 1, foot par 5 hole eleven I think , I pulled out a valued Star Destroyer. Bad reasoning. As players will do sometimes when confronted with a hole several times longer than they can possible throw, I tried to be the first person ever to throw 1, feet and promptly chucked it into hopelessly high rough. That was disc selection for preservation error number one. I took a 7 on the hole, and it started a slide that had me completely off my game by the time we descended from the upper holes. Disc selection for preservation error number two came on hole 15, where I decided to throw my other Star Destroyer. In that case I got stubbornly defiant about disc selection, turned it over, and destroyed my inventory of Destroyers. I equate lazy-mindedness and stubborn defiance with lack of focus. Hopefully reading this will save you some discs, if not some strokes. And if you happen to come across my Star Destroyers at Pinto, call me! That sucks, to be sure, but when it happens, it happens. Sometimes, instead of having a concrete idea of what we want to do, we let vague ideas marinate together right up until the disc is released. The result is what I call the disc golf double-whammy. Think DeLa hole 18 in the short left position. Being left-handed, I want to throw a backhand shot that turns over nearly the entire time. I consider the fact that uphill throws are harder to turn over, how long the hole is, and the placement of the trees. I know I have several ways to make a disc turn over more; I can throw it harder, put more spin on the disc, make the angle of release more exaggerated, make the flight path lower, or any combination of the four. So I might throw it much harder than normal AND exaggerate the angle AND, for good measure, my body might instinctively aim more to the left, resulting in a disc that turns over too much. Double or in that case, I guess, Triple Whammy. Another good example I can think of is a classic. You have a disc you know is hard to throw straight very far before it begins to hyzer out, so you think of how to offset that tendency. Classic double whammy. The best way I can think of to combat double-whammy tendencies is to have a pre-shot routine that allows you to plan your shot in detail every time. Make sure your mind is nowhere but in that place, at that time, playing disc golf in a vacuum. They simply try to propel the disc forward as instructed by their well-meaning friends, note the marked difference between their effort and that of their more seasoned counterparts, and listen to the next set of instruction. Or maybe the more competitive among them see the next hole as a chance to start fresh- which it is, sort of. To me this is a shame, since it was the golf aspect of the the game that had me addicted from the first time I played. That first time was at UCSC, where the targets were 4 x 4 posts and other objects. These players are also likely to make the same stroke-costing mistakes repeatedly, like throwing a driver on a tricky hole simply because it flies the farthest or fastest. And when you do this, of course, your play and score will inevitably improve. The discs just make it. So what are the right reasons? For me it all comes down to practicality, and a realistic assessment of ones own game. The rules see This is to ensure players cannot gain an advantage by shortening the distance their disc has to travel. If this rule were not in place, putting would turn into a Frisbee-long jump hybrid, with players taking 10 paces backward to get a running start before leaping toward the target. Of course, when this rule is broken it is much more subtle than that. Usually the player inadvertently leans into the shot, and is unable to avoid falling forward. But outside 10 meters, no such rule applies. All players are different in terms of physical capabilities, of course. At this point, players will embrace one of two different strategies:. And like most players, I initially took the term jump putt too literally. First, if your feet behind the marker leaves the ground before the disc leaves your hand, that is a rules violation. Think of a shortstop in baseball trying to jump in the air and then throw the ball. It can be done, but without feet planted on the ground the arm has to supply all the power. The same is true in disc golf. Also, aim is much less consistent without the stability of those feet on the ground. By taking the straddle-putt stance legs apart, facing the basket , then falling slowly toward the target, and putting at the last moment before my feet leave the ground, I get the best of both worlds. The momentum adds significant power, but my arm speed is the same as a much shorter putt. But when I saw the final leaderboard, one thought came to mind: None of the former Worlds or USDGC champs was at or even near the top of the standings. The closest was Feldberg, finishing 13 strokes off the lead. It means many different things in different situations, but in general is all about embracing, appreciating, and learning from each shot we attempt. Before, during, and after. What does it mean, to focus in golf? But it was one thing to realize that focusing on my shot would be a good thing, and another thing to actually do it. It took time; conditioning if you will. I had to train myself to monitor my thought process and weed out those either non-essential to executing the shot, or downright detrimental. And it requires constant vigilance. I still have many instances where a second after releasing the disc I know Here is a quick breakdown of what I think should be going through your head as you set up and throw, and what definitely should not:. Should go through your head First of all before the thought process of the shot begins, you must already have decided and be committed to your shot. After that, all your thoughts should be limited to those that help you execute the shot at hand. Simple, huh? But I think this discussion is defined better by the next category: what you should Definitely Not think about. I ran a round at DeLa yesterday, in exactly the time I was aiming for. The score is mostly attributable to the hospitality of the threesome I encountered on the third hole. I read a book awhile back called Blink , by Malcolm Gladwell. It explores an innate ability humans possess to make snap decisions subconsciously. Much can be taken from that book and applied to this discussion, and I think golf both versions is a great testing ground to prove this theory correct. Starting at the first tee, I throw, run toward my lie, hastily drop my bag, take my stance, then throw again or putt. Then I run to the next tee, and do it all over again. As far as I can tell, this seems to have no negative affect on my score, and it eliminates the risk of several mistakes that golfers make on the mental side of the game:. Any ideas? I travel fairly frequently for my job, and I end up spending a decent amount of waking hours in my hotel room. So one time I pulled out my putters in the hotel room, wedged myself in one corner, and aimed for a reading chair in the opposite corner. It worked- sort of. Trouble was, the discs would often bounce off the chair and loudly smack the wall, Worse, after a couple beers they would sometimes miss the chair altogether and slam the wall like the fist of an unrequited lover. Inevitably someone front desk would then call and ask what the hell was going on in my room. I needed a better mousetrap. I wedged the bar between the walls of the entryway, then draped a hotel towel and part of the bedspread over the bar. After positioning myself as far away as possible maybe 15 feet , I aimed at one small part of the bedspread pattern and let fly. And guess what? It worked! The discs hit the linens draped over the bars silently and fell to the ground almost silently. There is a thin line between dedication and obsession. Feel free to join me as I straddle that line. In disc golf, self-control is paramount to success. This particular virtue comes in many forms, but the one I have in mind today is patience- with your own game, with others, and with everything else that pops up in the course of a round of golf. Patience seems most important to me during the Winter months, because the weather is colder and the teepads and terrain are often slippery after it rains. The natural result is a greater margin of error, and usually scores that trend upward. Because of this we must remember to be patient, and keep a few things in mind. First of all, these tougher conditions are just a fact of playing disc golf in the Winter, so we need to adjust our expectations accordingly. For me, a -5 with the course soggy after a recent storm and a temperature? Second, the conditions of the course are the same for everyone. I then adjust my strategy and expectations accordingly, and try to do the best I can within the new framework of potential. Maybe the weather is great, but you still start poorly. No problem! One of the great things about golf is the fact that each hole gives you a fresh chance to do something good. One of the biggest mistakes a golfer can make is to let the last shot influence the next shot or hole. If you find yourself getting antsy waiting for someone to make their shot, or the general pace of play on the course that day this is especially common during tournaments, of course? A watched pot never boils, as they say, so let your eyes wander to something else on the course, like another group putting out, or even a bird in a tree. If you have a tricky shot coming up, use the extra time to give that shot more consideration. A good example of this was my experience at the DeLa monthly last weekend. I started on hole 1, and right away noticed that the cold weather combined with an injury I had to noticeably reduce my distance off the tee. I then realized it affected my putting touch as well. I told myself that par would be good enough as long as I felt so cold and stiff, and proceeded to get par on each of the first 11 holes. A couple birdies just sort of came to me on holes 11 and 12 good things come to those who wait, after all , and after a double on 13 and a birdie on 15 my score was Then my patience began to pay off. More importantly, though, I noticed that the temperature had risen a bit, and my stiff hip had loosened up as well. I ended up at -6, including birdies on 3 of the last 4 holes, and tied Jon Baldwin for first in the Open division. That kind of round — a patient round with a happy ending — really feels good afterward. And it just happened to be good enough to win. Type your email…. Skip to content Usually when you hear disc selection, you think in terms of which disc in your bag is best suited to execute your next shot. Here are a few guidelines to consider when it comes to this type of disc selection: Have one set of discs for the course you regularly play and know the best. A hole with a water hazard, for instance. A specific example is hole 12 at DeLa when you have to throw across the overgrown ravine Fridge-Land. One early deflection and your odds are of finding the disc. Have another set of discs for each of the other area courses you play. My favorite color since childhood is also my favorite disc color: orange! When you go on a road trip, stock your bag with plenty of your 2nd and 3rd-tier plastic. This practice actually has a great side benefit as well. I like to think of my discs as a baseball organization, with my main bag being the major leagues. Why do most players buy and throw the discs they do? Living in Santa Cruz and playing courses that are wooded and mountainous, I always prefer brightly and unnaturally colored discs. Green, black, and multi-colored discs should be avoided at all costs- at least anywhere a disc might get lost. This method solves the need for increased power and allows the player to regain smooth form, but aim usually suffers considerably. Enter the legal falling putt. Try it, you might like it. My old shoulder injury returned with a vengeance last Friday while playing a round. I learned again that knowing what to do and actually doing it are two different things. I still have many instances where a second after releasing the disc I know Here is a quick breakdown of what I think should be going through your head as you set up and throw, and what definitely should not: Should go through your head First of all before the thought process of the shot begins, you must already have decided and be committed to your shot. Negative thoughts have a proven track record of failure in athletic endeavors. In short, when it comes time to execute the shot, strip it of all external value. There is no context but the present context. Older posts. Newer posts. Proudly powered by WordPress Theme: Karuna. Subscribe to our blog to receive the popular FrisbeeGolf Friday! Type your email… Subscribe. Loading Comments Email Required Name Required Website.

Buying hash online in Feldberg

Eco dyeing and eco printing are, for me, art forms sprung from my lifelong love of plants and gardening. My earliest childhood memories, in fact, are of the textures, forms and colours of plants — bilberries, heather and fuschia growing in Orkney. Since then, I have made a garden in every place I have lived, starting small in England with seed packages of orange calendula, blue cornflowers and purple Virginian stock that my garden-loving parents gave me. In my current Ottawa garden, just two summers old, I am slowly building a collection of plants native to eastern Ontario or other parts of North America, but not so exclusive a collection as to banish well-beloved European green immigrants, sentimental favourites, that have adapted to our eco zone. I am also delving into the tradtional use of dye plants by First Nations of this area. Such are the plants that I want to use for eco dyes and prints — local, regional, national and a few well-travelled and well- behaved internationals. And now into the garden during a hot and humid month of July in Ottawa. What to find in bloom there, full of seasonal colour for printing? Below, a little bouquet of favourite flowers and leaves that work for printing: Clockwise from the left: Bee balm, Japanese maple, Coreopsis verticillata, rose leaf, blue cornflower, calendula, burgundy cornflower Anthemis tinctoria Dyer's marguerite , Cotinus obovatus smokebush. The plants below were printed on thrifted handmade paper, highly textured, most likely some kind of mulberry kozo. Blue cornflower print Renaissance artists considered this blue to be inferior — or so say some of the art historians like Daniel Thompson I love that blue-orange opposition! A few pages together. The red stems of the coreopsis bring essential structure to the design on tne surface so covered with abstract smudges of colour. Blue pansy, fresh, prints teal-green: a strong shape in a strong colour. Then we have the yellow- purple complements via Anthemis tinctoria and Monarda didyma, amorphous stains. More red- green complements, with interesting strong red lines and loose smudges in contrast. Plus a bit of blue in there. Where did that come from? A rose leaf below offers a soft yellow to complement the also-soft pink-purple of the bee balm. Strident deep orange-reds sing loud with a powerful dark teal green print from a blue pansy, And an emerald cotinus leaf. The many contrasts of colour, form and value in these prints keep them from being insipid, don't you think? To get really dark prints black, charcoal, blue-black from leaves, we need to choose tannin-rich leaves like sumac, oak, walnut, geranium and others and process them with iron bits. I do my D and S's in three stages — three, if I dip the thing in indigo for the last stage. Wrapping the iron or layering it flat works well. No need to alum-mordant; but if you do, no matter. Put the textile or paper with iron between heavy black plastic garbage bags, weighted down, and leave in the sun for a day or even less if it is very hot outside, say over 30 C. Keep checking… Leave it to print until you are happy with the result, then unwrap and evaluate. You can add more iron, vinegar, tea leaves and leave it for a while longer if you like. Second stage: For this stage, I layer on leaves, then I steam the bundle to print the leaves. I layer tannin-rich leaves onto the textile or paper, put the iron bits back in, bundle or stack the package in the dye pot, slosh again with vinegar and process covered over high steam heat over water for about an hour. The leaves print blue-black if they are tannin-rich. You may get smidges of yellow or green colouration also. Very nice. I suggest using leaves of contrasting size and shape, like the longer pinnate sumac with the smaller palmate geranium. This kind of attention to shape and size of print elements makes for a more interesting surface design. After all, sooner or later, an artist might like to feel they have some control over the essentially- spontaneous exo print process. Serendipity and considered choices make good partners in design. Third stage for indigo: Either dribble on a diluted indigo solution from pre- reduced crystals and let dry; or skip this stage and dribble the indigo onto the substrate at Stage Two before steaming. MIne Is the synthetic variety, alas, the pre-reduced crystals. But rest assured, Dear Reader, for when my potted Indigo indigofera plant grows big enough, I, too, shall aspire to membership in the aforementioned elite company. And you shall be the first to know. And I do have my Japanese indigo in the works, too. The bundle was dribbled and blobbed here and there with indigo: iron bits with tannin from tea leaves. Ready for steam processing: Indigo dribble, tannin marks from some? And one last print: Japanese maple and geranium without iron but with indigo. Just the usual eco print process to print the maple and geranium on rice mulberry paper, then pre-reduced indigo dribbled on with a bulb baster. The maples printed different colours on rice paper than on linen where ir gave purple and green, And here, different colours from the upper and under side of the leaf. We are off to Brooklyn this week for a week to babysit our newest grandbaby! And to give the poor parents a break — little Zev is no sleeper! We may have time for some arty things — the Brooklyn Botanic Garden is nearby…we will not be able to resist a nice walk in the gardens with our little grandson. The spring garden is slow this year, five weeks later than in This year, I will wrap them with cloth and plants to make a print. See the toad on guard, too, on his plastic perch with a rock from Wharfdale. Some old friends did not make it. Two mature blue Italian plum trees got too much Black Knot and we had to cut them down. We were sad. This is what they looked like afterwards, waiting for the first outdoor dye session:. Rhubarb leaves are a traditional mordant for cellulose fibres but are poisonous oxalic acid. I prefer sumac — it is plentiful, easy to use, and a native plant besides. Using native plants is one of my aims in dyeing. Alpine Strawberry is good as ground cover — it selfseeds, too. It makes a lovely clear print. Perennial geranium, oh so dependable in the eco print bundle. I dug some up out of the snow in January and it was still green — and it printed greeny-yellow, like …. The Tulipa Tarda was tardy indeed this year. I will not print it- too lovely to pick and too few in my garden. But I have to wait some weeks longer for other plants to print…the trusty Bergenia is up but not much else on the long border beside the canal pond. Buds, branches, barks, catkins. This late spring is giving me many of these to print while waiting for leaves and blossoms. But it is spring nevertheless and the robin is back in the dye garden. While waiting for the garden to provide, I forage in the kitchen. These accordions were printed with black tea and bits of iron on lb. The papers were steamed after soaking briefly in alum acetate mordant. Tiny daffodils in a stone planter. The streets through the village are so narrow that the front gardens can only be made in wee pots on the front steps of a house or on the sidewalks. Tabitha's Well in Painswick. The Celandine grows abundantly there. The water runs down a steep hill to a river where the woollen mills used to be. Our instructor, Mary McIntyre, led us in making a simple and elegant photograph album. Mary is a paper conservator and master bookbinder. She enriched the workshop experience for us with her interesting presentation on the history of albums. Most enriching was her generous sharing of expert knowledge of bookbinding way beyond the topic of album-making. Workshop participants, each in their area of interest and expertise, also shared generously. It was a very satisfying experience. How pleasant to be a member of such a generous group and to learn and share so freely. One of the principal aims of CBBAG is to pass on the knowledge, skills and attitudes required for bookbinding and the book arts, and to actually plan for a time when students might become instructors also. CBBAG is not a guild where trade secrets are the order of business! No NDA's required. In the past, though, in other guilds, strict secrecy and Non Disclosure Agreements NDAs represented important values to the master artisan. James Sumner, Woolnaugh's chief rival, did not take such severe umbrage, however. Recognizing the value of disclosure to the progress of knowledge and of healthy competition, Sumner pragmatically published his own book on marbling. I have to say I like the cut of both their jibs. Mary supplied us with bookcloth she had made herself from Quilter's Quarters. Mary divulged her secrets, too, in the self-respecting context of a workshop. To make the bookcloth, she revealed that she applied a simple cornstarch paste to the back of the cotton and let it dry. Wheat starch paste works too. A recipe for corn starch paste is at the end of this post. The bookcloth covered the outside of the album and we had some pretty Japanese papers to line the inside covers. To construct the album pages, we cut Fabriano black pastel paper to size, sewed the stacks of signatures together I made my first Kettle Stitches! The linen thread we used to sew the signatures was brought through the aperture, then around and over the spine at top and bottom. This gave a lovely thread texture to the outside of the spine. Husband made the green one. He made another album at home. His engineer's mind caused him to figure out how to make the spine decoration threads more stable they do kind of shift around so he simply pierced holes in the spine and brought the thread through them. Brian is another artist maker like Mary, dedicated to a legacy of teaching knowledge, skills and attitudes in a self -and-other -respecting but generous and open manner. One way Brian does this is through his books. His information on using paste with paper and textiles is very valuable. He shares expertise fully in his book with the goal that you and I as readers will learn and pay it forward. In future posts, I plan to report more of how I am using Mary's and Brian's processes of attaching papers to fabrics. In just a few days, the darkest days will be over and light will stay with us longer! So instead, I offer some images of my dye garden in midsummer and midwinter as illumination to your imagination! The harvest of that garden keeps me close to summer all year. Besides the dye flowers you see in the summer garden coreopsis, tagetes, amaranthus, baptisia australis, borage, basil, viola ticolor nearby are Red Maple acer rubrum , Sugar Maple acer saccharum , Silver Maple acer saccharinum Chokecherry prunus virginiana and from the kitchen, tea camellia sinensis. Some images:. Rust and leaf eco prints provide form and content of the New World Scroll. The first books were in scroll form, flat or pleated or slatted depending on its culture of origin. I am using paper to recall ancient form and marking it with plant dyes as a contemporary take on ancient practice, and also as a comment on disappearing traditional natural dyeing knowledge and skills, a loss now connected with disappearing plant diversity and ecological imbalance. I have handwritten the names of the plants in Latin and English as is proper to a botanical document but in pleated scroll style. I have to say I was hesitating to use my own hand …. Hands on, the powerful presence of a maker in the lettering. The plants recorded on the scroll are both native and immigrant, a witness to the ideal of a global sharing of knowledge and skill for the benefit of all. A blog, kind of. Each double spread is inserted inside a fold in the accordion spine and presents four different prints. There are twenty-four eco- printed pages, two eco-printed end papers and a set of eco- printed and embroidered linen covers. The embroidered and printed covers refer to traditional skills and knowledge that have faded away but which are being recovered gradually in textile circles — women's work, mainly…and with new appreciation for the artistry in the ancient practices. I wish you all the blessings of this holy season. Thank you to arlee the unvarnished. A Spring review of my inventory revealed a box of vintage cottons and linens, eco printed in June and left to cure, unwashed and unrinsed until now, some twelve months later. The long curing, I must admit, was more by accident than by design because for the most part, I had simply let my June dyed and eco-printed textiles dry in the summer sun then washed them out right after that. We need to have our answers ready for the question: What isTruth? What would be the effects of long waiting before washing out? Would they lose the colour? The little stash was mordanted June by soaking not cooking in a classic from the traditional dye lit. The alum was the food grade variety from Bulk Barn. First was the preparation of the mordants: sumac-tannin mordant and alum, then the cool soaking period for each step of the mordanting — 24 hours at least for each -IOW, until I got around to the next step…. Indeed, the process was Slow. Could have been Slower, too, if I had let the bundles sit for some time before unwrapping. The leaves for the eco prints were variously perennial geranium, Purple Sandcherry prunus cistena purple pansies, dried red rose petals from rosebud tea , dried hibiscus petals from hibiscus tea , willow leaves and sumac leaves. Most prints in this collection were obtained early in the season by steaming, while one leaf print was sumac-mordanted earlier then bundled and dyed in black walnut juice in September when walnuts were available. The sumac soak acted as both tannin mordant and as a light yellow-green dye, so the prints are all somewhat yellow-based. FYI : A colour- free tannin mordant can be obtained as powder from Maiwa in Vancouver…In late fall, when I was out of fresh sumac juice, I switched to this second source of tannin.. BTW, the tree barks I used in June were tannin rich too, but more on that in later posts. Here are some images showing the Before and After of the curing- washing-rinsing phases for this collection of Slow Cloths. Before: Willow leaf on linen Black Walnut dye — note the bundling string marks plus the labels I wrote …you think you will remember the printing details? NO way…I write a quick set of material and process notes on a label and pin that to the cloth. Make your own labels or buy a box of manila ones. The Before pic shows a deeper colouration than After, I think, so I see some loss of colour even after a year of curing in a box in the dark. But can we say more mellowing or a patina than a loss… see what I mean about the way we can varnish the truth? After: Some fading truthful observation! That may have happened because another textile in the wash had been post-mordanted with iron. After: A loss of the pinks and purples due to the iron in another textile washed with this one. Iron turns hibiscus pink to grey. I took a chance washing the collection together in one batch.. A few details of another print, post-wash no Before pic : perennial geranium on sumac dyed cotton, I found little fading after washing. Amazingly strong print from the geranium. A forest floor is a place of new beginnings, nurturing life from the detritus of the old, first drawing down the eye of the body and the eye of the mind so as to enable them together to look up and beyond. The work featured is contact printed with plants and rust on silks, linens, cotton and papers and stitched at various stages of the process. Silk habotai, contact printed with plants and rusted iron; hand stitched. Mounted for hanging on a plexi bar. Plants used for contact printing: red cabbage, safflower petals, Osage Orange dye powder rooibos tea, black tea. Red cabbage, Ceylon tea and safflower:. Some pretty greens happen with the safflower yellows and cabbage blues mingling, while the amber browns come from tea, not rust. Silk Roads 7 Some more midwinter colours, as for Silk Roads 5, but with rust and vinegar to activate the rust strongly. The colour differences due to the rust and vinegar are quite striking. Now for some of the colours of warmer seasons, with madder reds, logwood purples and Osage orange golds combining with Red cabbage blues, safflower yellows, iron rusts, tea blacks and red-browns:. To the familiar combo of Red cabbage, black and brown tea, safflower and rust, I added a quarter teaspoon of Madder Rich dye extract powder to 2 0z water and dribbled that mixture over the textile once the other dyestuffs had been laid down. The Osage orange, basically a rough sawdust, was sprinkled thickly in places, like cheese on pizza. Bundled in rusted iron and steamed for an hour or so. Logwood purple-blue added to the mix, along with some unintended cuddling up from madder bundle in the dye pot. The logwood was sprinkled dry while the madder had been was dissolved in water first onto the textile after the other dyestuffs were laid down. Bundled over a length of rebar and steamed for an hour or so. Eco-printed with madder reds and pinks , logwood deep blues and purples and Osage orange for deep orangey-yellows. Blacks and rust from iron; brown from teas; lavender blues from Red cabbage; greens from blue-yellow mixes. Outside the snow is falling and the dye garden is asleep:. Inside, the studio consoles. I have a shipment from Maiwa, Vancouver via Couleurs de Plantes, France : a collection of powdered natural dye extracts, mostly colours I cannot obtain from my Zone 4 garden, like some reds and purples. I tried the dye extract Madder Rich red and Logwood purple in a non-traditional way: instead of dissolving the dye powders in water for an immersion dye bath, I sprinkled the powder onto dampened silk fragments , pushing the powders around with a small paint brush, then bundling the silk over a copper pipe and steaming as usual. That red will rack the eco-bundle colours up a notch. In Chapter 10, India describes her use of a dye-sprinkle technique to obtain madder reds in her eco bundles. That gives me confidence to try the technique further. As far as I can tell with this one small test, the madder reds will stay fixed. Logwood dye extract on silk habotai, 8mm. Exotic serpent? I folded the silk lengthwise in half and rolled that around a copper pipe before steaming. One thing worth noting: no excess dye washed out in the rinse water. Silk Roads 5. No rusted iron, rooibos tea or vinegar in this ecoprint, just Red Cabbage, safflower and black tea leaves. The results are a range of strong ambers complemented by lavender-purple not blue from Red Cabbage, but no blacks or very dark browns and greys. Where the purples and the ambers mix, lightish greens appear:. Silk Roads 6. Rusted iron from a reliably rusty corn stick muffin pan and a vintage flat iron oval rust prints ; Red Cabbage, safflower petals, black tea, rooibos tea. Soaked briefly 20 mins? Greens — chartreusey ones- appear where the safflower and red cabbage meet. A detail:. The iron shifts the colours and especially the values, typically darkening the marks and enriching the range of lights and darks. Silk Roads 7. The corn-cob shapes appear as bright orangey-rust prints. A fresher Red Cabbage might have given deeper colours of blue and purple but the lighter sky blue still charms gently. The cabbage that printed the previous three panels was at least a month old. Two more details:. Silk Roads 7 detail 2. Note where black tea, normally a dark brown, prints nearly black in the presence of iron. Safflower and Red Cabbage together make more greens. Rooibos tea holds its own as a rusty red-brown here. I use whole dried tea leaves for the black tea eco print, not the ground leaves we might find in tea bags, e. One last detail:. The darker values are coaxed out by the iron in combo with tannins in the black tea. It allows a third colour, green, to emerge brightly from the mix of Red Cabbage and Black Tea. Skip to content July 29, July 29, wendyfe. Coreopsis verticillata red with marigold yellow. Papers and iron stashed under plastic in the hot sun:,. Posted with Blogsy. Share this: Email Facebook Twitter. Like Loading May 1, May 1, wendyfe. Goodbye to the Cotswolds in March…. Friends return — the Scilla is among the first. Scilla will print blue, like bluebells or hyacinths. February 7, February 27, wendyfe. My album is the orange one. You can see the elegant effect of the spine-wrapping threads on all these albums. We cut rectangular apertures in the spine board to enjoy a view of the sewn signatures. I love that feature! Canson pastel papers for the album pages and commercial bookcloth for the outside covers:. December 16, December 16, wendyfe. June 5, November 12, wendyfe. Back to eco prints! Mordants The little stash was mordanted June by soaking not cooking in a classic from the traditional dye lit. First was the preparation of the mordants: sumac-tannin mordant and alum, then the cool soaking period for each step of the mordanting — 24 hours at least for each -IOW, until I got around to the next step… Indeed, the process was Slow. Plant materials The leaves for the eco prints were variously perennial geranium, Purple Sandcherry prunus cistena purple pansies, dried red rose petals from rosebud tea , dried hibiscus petals from hibiscus tea , willow leaves and sumac leaves. Here are some images showing the Before and After of the curing- washing-rinsing phases for this collection of Slow Cloths 1. Before: Sumac, hibiscus petals dried , rose petals dried , perennial geranium leaves and flowers. The dark speckles are dried rose bud petals which had pretty well pulverized in the tea. The pinks are from hibiscus, large dried petals from tea. Dabs of purple came from the geranium flowers. The greens are from the P. Sandcherry which give both green and purple, depending in the time of year. Later in the season, post-June, I observed more and deeper purples, especially on silks. The darkest lace is from the rosebud tea prints. The vintage cottons and linens do indeed develop a kind of patina. April 17, April 17, wendyfe. Section of the work, hanging. January 21, wendyfe. Now for some of the colours of warmer seasons, with madder reds, logwood purples and Osage orange golds combining with Red cabbage blues, safflower yellows, iron rusts, tea blacks and red-browns: Silk Roads 8 To the familiar combo of Red cabbage, black and brown tea, safflower and rust, I added a quarter teaspoon of Madder Rich dye extract powder to 2 0z water and dribbled that mixture over the textile once the other dyestuffs had been laid down. Silk Roads 9 Logwood purple-blue added to the mix, along with some unintended cuddling up from madder bundle in the dye pot. January 13, January 13, wendyfe. January 12, Outside the snow is falling and the dye garden is asleep: Inside, the studio consoles. Where the purples and the ambers mix, lightish greens appear: Silk Roads 6 Rusted iron from a reliably rusty corn stick muffin pan and a vintage flat iron oval rust prints ; Red Cabbage, safflower petals, black tea, rooibos tea. Silk Roads 7 The corn-cob shapes appear as bright orangey-rust prints. Two more details: Silk Roads 7 detail 2 Note where black tea, normally a dark brown, prints nearly black in the presence of iron. Always delightful surprises. Which is why eco printing is a fascinating field. Next posts Eco printing with dye extracts plus direct printing with plants. Sorry about the whacko formatting. Word Press and I sometimes do not get along. Subscribe Subscribed. Sign me up. Already have a WordPress. Log in now. Loading Comments Email Required Name Required Website. Design a site like this with WordPress.

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