Notes

Made of wool Dyeing Applying Liquid Dyestock, Percentage Medications and 3 Primaries
It is the third in a series of articles about dyeing wool implementing liquid dyestock, percentage-based remedies, and the three primaries. Earlier before, when I first began made of woll crafting, I decided to try dyeing my own fleece coat to save on money shopping. I just didn't go to a lot of variety online (the web is relatively new) and Dorr Mill, when blessedly close by, was still an hour away. That i knew that I wanted a large selection of colours to use designed for projects, and I knew this tends to get really expensive. The purist in me experienced already chose to use only principal colors pertaining to dyeing, rather than listening to the reasonable aspect of me personally that said to implement all the lovely pre-formulated colours available. Working with those colorations would have been easy -- I could just go envelope-by-envelope and try all of them. But I recently found the color range somewhat limiting (not that it is, mind you, but when your hungry heart desires every color of the rainbow, it feels slightly binding). Irrespective of all of this preliminary thinking, the moment my first of all shipment from dyes, made of wool and gear arrived in the mail, I banded there scratch my head, wondering where on earth to begin. I desired to experiment with a large number of colors out of all over the colors wheel, but I could check out no clear and organized route in front of me personally using primaries, which was disturbing, given the magnitude on the Grand Plan I had presented for me personally. How could I help to make deep pumpkin orange, or maybe a soft, wheat or grain yellow, or maybe the palest gray green? I had formed no hint as to how to produce those hues, and I failed to like the understanding of hit and miss -- I could check out wasting a long time and dollars that way, and I didn't own much of sometimes at the time.

Therefore i revisited this content by Linda Knutson in a very old concern of 'Threads' magazine the fact that had currently guided these decision-making fot it point. I recall reading the content, when every one of the light bulbs in my head began to flicker upon. I made a table on the computer of all possible blends of pink, blue and yellow, through 5% gradual changes, using only two of the three colors for every formula. In particular, I started off with totally red, plus the next mixture was 95% red and 5% yellow hue, then 90% red and 10% red and followed this routine down to 0% red and 100% orange. Then I done again this, beginning with 100% yellow hue and the rest blue, then 100% rare and the remainder red. This method was clear, and the idea thoroughly and systematically protected all colours around the outside of the color tyre, producing a beautiful collection of radiant colors. Plenty of were near-duplicates, so I culled through these folks, choosing shades that produced a nice, possibly progression right around the tire. It was exciting to have a start up, something to branch away from.

All together, I dyed 60 remedies to a moderate value, dyeing six 4-gram squares at any given time, one in each of 6 beakers in a dry casserole and placed in the micro wave. (More for the detail on this method within the next article. ) This had taken several nights, mostly owing to mistakes My spouse and i made in basic technique. Once I got into the groove, things moved around more quickly, and later I could try this many colorations in one day.

Below is just what a data of two-color formulas appears like, with a numbering system the fact that shows simply how much of the "main primary" is in the formula. It is very important use some kind of numbering program if you plan to perform quantity trialing of colors -- you must title each product with long term marker just before you take dye it, to help you keep track of the formula per piece. If your attention span is like quarry, you will forget the things you did a few minutes ago, or perhaps less than the fact that, if the contact rings.

Realize that I use the initials 'R, Y and B' (red, yellow, blue), rather than L, Y, City (c) (magenta, green, cyan) due to the fact this is how I have always considered the primaries, so it is familiarized. Also realize that no matter what the blueprint is, the chart with the same order -- R-Y-B -- because I have found from depressed experience that keeping every one of the labeling and dyeing from the same buy all the time inhibits mistakes, like putting 74% blue in the pot, in order to should have recently been 75% crimson, if I will be lazy about charting the colors. You may pick a different technique of organizing formulations, but this can be one choice that I possess found to be logical and simple to work with.

(Please note: it is very difficult to find a good universal method to file tables and spreadsheets meant for articles sites, so I have got formatted with basic written text, using dashes and extra digits to set everything up visually. Combination Formula will also make it easier for you to cut and puree these charts for your own use, no matter which program you are using. )


--------R---Y---B-----------R---Y---B----------R---Y---B--
R100--100 -- 00 supports 0 -- Y100 - 0 -- 100 -00 --B100 supports 0 - 00 -100
R-95 -- 95 - 05 -- 0 -- Y-95 supports 0 - 95 -- 05 -- B-95 supports 0 supports 05 -- 95
R-90 -- 75 - 15 - zero -- Y-90 - 0 - 95 - twelve -- B-90 - zero - on - 80
R-85 -- 85 - 15 - 0 -- Y-85 -- 0 supports 85 supports 15 -- B-85 - 0 - 15 -- 85
R-80 -- forty - zwanzig - zero -- Y-80 - zero - 80 - 12 -- B-80 - 0 - zwanzig - 50
R-75 -- 75 - 25 supports 0 -- Y-75 - 0 -- 75 supports 25 -- B-75 - 0 - 25 supports 75
R-70 -- seventy - 35 - 0 -- Y-70 - 0 - 60 to 70 - 30--- B-70 supports 0 supports 30 supports 70
R-65 -- 68 - thirty-five - 0 -- Y-65 - zero - sixty-five - 33 -- B-65 - zero - thirty five - 65
R-60 -- 60 -- 40 - 0 -- Y-60 supports 0 supports 60 -- 40 -- B-60 -- 0 - 40 supports 60
R-55 -- 55 - forty five - 0 -- Y-55 - zero - fityfive - 50 -- B-55 - zero - 50 - fifty-five
R-50 -- 50 supports 50 - 0 -- Y-50 supports 0 -- 50 - 50 -- B-50 supports 0 supports 50 -- 50
R-45 -- fortyfive - fityfive - zero -- Y-45 - zero - 1 out of 3 - 50 -- B-45 - zero - fifty-five - fortyfive
R-40 -- 40 -- 60 -- 0 -- Y-40 -- 0 supports 40 supports 60 -- B-40 -- 0 supports 60 -- 40
R-35 -- 33 - 67 - zero -- Y-35 - zero - 35 - sixty five -- B-35 - 0 - 67 - thirty-five
R-30 -- 30 - 70 - 0 -- Y-30 - 0 - 30 - 70 -- B-30 -- 0 -- 70 supports 30
R-25 -- 20 - seventy five - 0 -- Y-25 - 0 - 25 - 80 -- B-25 - 0 - 80 - 20
R-20 -- 20 - 80 supports 0 -- Y-20 - 0 supports 20 -- 80 -- B-20 supports 0 supports 80 -- 20
R-15 -- 12-15 - 85 - 0 -- Y-15 - 0 - 15 - eighty-five -- B-15 - 0 - eighty five - 15
R-10 -- 10 supports 90 - 0 -- Y-10 - 0 - 10 - 90 -- B-10 - 0 supports 90 - 10
R-05 -- 05 - 97 - 0 -- Y-05 - 0 - 05 - 97 -- B-05 - 0 - 92 - 05

This activity completed, it had been time to venture deeper in to the color controls, by adding the other primary to the formulas. That i knew of this would raise the number of conceivable formulas on an ongoing basis, forcing me personally to think three-dimensionally. (I despise that. ) So I needed to figure out an organized approach to plan it, and i also ruminated long. Finally, my best "Eureka! very well moment came one day at my son's golf ball game, and i also wrote straight down my intend on a scrap of newspapers with a pencil stolen from a student seated next if you ask me. I started out with 90% magenta these times (since I already acquired 100% red), adding minimal payments 5% blue and 7. 5% yellow hue. Next, When i used 90% red, 5% blue and 5% green, and finally 90% red, sete. 5% rare and minimal payments 5% yellow hue. Then I followed the same routine, using 80% red using possible mixtures of grey and green in 5% increments (I could use much larger incremental alterations with 20% of the blueprint to use, versus only 10% of the blueprint, when the crimson contributed 90%). And I believed that, normally, there would not be a real difference for color which has a 2 . 5% change in formulation. I done again the process right down to using 50% red all the things the combinations of the other two colors. Then I followed a similar pattern using blue, after which yellow, mainly because main main.

Below is mostly a chart showing how appears, with a numbering system that you may use, the fact that indicates on shorthand the name and quantity of the key primary for the method, and how many blue is additionally in the mixture. (When blue is the main main, you could use numbers that suggest how much yellow hue is in the blueprint. ) If you happen to know how most of two hues are inside formula, it is easy to recognize the rest. This can seem like pure excess, but it is available in very useful when you have on the subject of 200 blocks spread out all around the living room floor, and you just wonder of which formula you used for a specific piece, as compared with the part next to it. Designed for serious tone study, using a code similar to this written to each piece can be quite useful.


-----------R---Y---B---------------R---Y---B---------------R---Y---B--
R-09-02 supports 90 supports 07 - 03 -- Y-09-02 - 07 supports 90 supports 03 -- B-09-02 - 07 -- 03 -- 90
R-09-05 - 90 - 05 - 05 -- Y-09-05 - 05 - 75 - 05 -- B-09-05 - 05 - 05 - 85
R-09-07 supports 90 supports 03 - 07 -- Y-09-07 supports 03 -- 90 -- 07 -- B-09-07 - 03 -- 07 -- 90
R-08-05 - 80 - 15 - 05 -- Y-08-05 - 12-15 - 70 - 05 -- B-08-05 - 12-15 - 05 - 70
R-08-10 -- 80 -- 10 -- 10 -- Y-08-10 -- 10 -- 80 - 10 -- B-08-10 -- 10 -- 10 supports 80
R-08-15 - 70 - 05 - 15 -- Y-08-15 - 05 - 80 - 15 -- B-08-15 - 05 - on - 50
R-07-05 -- 70 supports 25 - 05 -- Y-07-05 -- 25 -- 70 supports 05 -- B-07-05 -- 25 -- 05 -- 70
R-07-10 - 75 - 2 0 - 15 -- Y-07-10 - zwanzig - 60 to 70 - 15 -- B-07-10 - zwanzig - 20 - 75
R-07-15 -- 70 supports 15 -- 15 -- Y-07-15 -- 15 - 70 - 15 -- B-07-15 - 15 -- 15 - 70
R-07-20 - 60 to 70 - on - 2 0 -- Y-07-20 - 10 - 70 - 2 0 -- B-07-20 - 12 - 2 0 - seventy
R-07-25 supports 70 supports 05 - 25 -- Y-07-25 supports 05 -- 70 supports 25 -- B-07-25 supports 05 -- 25 - 70
R-06-05 - 60 - 36 - 05 -- Y-06-05 - thirty-five - 60 - 05 -- B-06-05 - 35 - 05 - sixty
R-06-10 supports 60 supports 30 supports 10 -- Y-06-10 - 30 -- 60 -- 10 -- B-06-10 supports 30 supports 10 -- 60
R-06-15 - 62 - 24 - 12-15 -- Y-06-15 - 26 - 58 - 15 -- B-06-15 - twenty-five - 15 - sixty
R-06-20 supports 60 supports 20 - 20 -- Y-06-20 - 20 - 60 -- 20 -- B-06-20 supports 20 supports 20 - 60
R-06-25 - 58 - 15 - 20 -- Y-06-25 - 12-15 - 50 - 30 -- B-06-25 - 15 - 20 - 60
R-06-30 - 60 -- 10 supports 30 -- Y-06-30 supports 10 supports 60 - 30 -- B-06-30 supports 10 -- 30 supports 60
R-06-35 - sixty - 05 - 33 -- Y-06-35 - 05 - 70 - 33 -- B-06-35 - 05 - 35 - 62
R-05-05 supports 50 supports 45 -- 05 -- Y-05-05 supports 45 supports 50 - 05 -- B-05-05 supports 45 -- 05 - 50
R-05-10 - 40 - fourty - 12 -- Y-05-10 - 45 - 60 - 10 -- B-05-10 - forty five - twelve - 50
R-05-15 - 50 supports 35 - 15 -- Y-05-15 supports 35 - 50 supports 15 -- B-05-15 supports 35 - 15 supports 50
R-05-20 - 55 - 40 - zwanzig -- Y-05-20 - 32 - 50 - zwanzig -- B-05-20 - 32 - twenty - 70
R-05-25 supports 50 -- 25 -- 25 -- Y-05-25 supports 25 -- 50 -- 25 -- B-05-25 -- 25 - 25 - 50
R-05-30 - 50 - zwanzig - 32 -- Y-05-30 - 12 - 40 - 40 -- B-05-30 - 2 0 - 32 - 60
R-05-35 -- 50 -- 15 supports 35 -- Y-05-35 supports 15 supports 50 -- 35 -- B-05-35 supports 15 - 35 -- 50
R-05-40 - 65 - 12 - 40 -- Y-05-40 - on - 60 - forty five -- B-05-40 - twelve - 30 - 60
R-05-45 - 50 supports 05 - 45 -- Y-05-45 supports 05 supports 50 -- 45 -- B-05-45 -- 05 - 45 supports 50

You might wonder why we take a look at 50% for every main main. Any blueprint that contains fifty percent of anybody color will contain the additional two hues in increments of 10%, 20% thirty percent and forty percent. So all those increments are already covered in the offer charts, actually the only remedies not covered by the arrangements above are those just where no principal contributed more than 40% into the formula. So I worked up remedies for these seven colors, which usually of course , are generally grey, listed below. You can see that there is no colors above forty percent or underneath 20% in any formula. Treatments with 10-15% of one of this primaries could be more like a lifeless secondary tone, and in all probability very in the vicinity of one that had been produced. Only if there is at least 20% of all primaries inside the formula do you really start to look at greys, near-greys, and browns. Notice that you don't need to repeat the process implementing yellow and blue as your main primary -- this would duplicate treatments. The mixtures below are the sole ones required to finish sample. You may want to check out using every single main principal at 45% and 35%, as well -- this will make some discernibly different shades, especially when teal is the main primary, because it is therefore easily changed by tiny changes in the various two primaries. But if your color needs are simple, the treatments below may be enough.

-R----Y---B-
40---40---20
40---35---25
40---30---30
40---25---35
40---20---40
30---40---30
30---35---35
30---30---40
20---40---40

You can also wonder for what reason I jump 10% with each main primary, with this 5% amounts for the other two colors. I realized that by utilizing 5% pregressive changes meant for the main key, it would greatly multiply the volume of colors to trial! Also, jumping 10% each time with all the main main makes it possible to keep the percentages of the other two colors in game numbers. And i also didn't believe using more compact increments with the main principal would manufacture colors that were discernibly different, for all the spare work, and i also have discovered this to get generally right. I tried formulas in the middle of some of the colours and found one or two that were latest, but in overall the colors amongst were only marginally diverse. I even tweaked one or two formulas to split the more consistently between the two colors about either part. Ultimately, When i created regarding 165 "master colors".

In this manner, I tried the entire choice of colors that could be made making use of the three primaries, resulting in a fantastic collection of colors from every part of the colors wheel. Naturally, once I had a lovely galaxy of colors, I felt this absolutely required to explore the ideals of light and dark for all those colors (an announcement the fact that caused much more spousal eye-rolling and sighs from the remaining portion of the tribe, who also wanted dining in the pan, not wool). Mentally, My spouse and i multiplied 165 times a few or 7 values for each and every, and sensed completely overwhelmed by the number that lead. But , as you can see, I under no circumstances do anything compact. So I went on a big breathing, apologized to my total family, and plunged during.

Before moving forward, let's return to the concept of the '1% dyestock solution', which will, as you may perhaps recall from your first content page, is one particular part shade powder and 99 parts water. Do not forget that one particular ml from liquid weighs about 1 gram, making it possible to assess liquid and dry measurements equally, applying metric.

It is actually known that doubling the level of dye with each black value will provide a nice acceleration of a color from gentle to deep, in 5 to 8 jumps -- this is the basic principle at work with all the jar method. I knew going to the case previous to I started, so for me personally the only real concern was how to begin to create a mild shade, then see just where doubling might take the tone from there. Therefore i experimented until I found a good progression of values, in addition to being listed below. There is, of course more compact and richer values as opposed to these, but these meet my needs.

The least heavy value I actually generally create (a light that I refer to as Level 1) utilizes a 5% "saturation" of dyestock, meaning that for a 4-gram section of wool, (the size of the samples for all my trials) I use five per cent of that amount in dyestock, which is. a couple of ml, to realize a light value. (Multiply 4 times 5%, or. 05, and you'll notice that the answer is. installment payments on your Remember once again that the milliliters measure of the dyestock as well as gram weight of the wool can be pertaining on equal terms to one another. ) Some 10% vividness, or. 5 ml, makes Level two, and so on. I ran across that most colorations follow a predictable pattern, value-wise. However , every time moving around the colour wheel on the way to yellow, about 2/3 from the way throughout the greens plus the oranges, the level of dye must be increased to hold the ideals about the same, how it looks, as even more yellow is certainly added to each individual formula. The chart beneath shows the saturation amounts needed for generating values about 4-gram waste wool:

------------------------BLUES & REDS-----------------YELLOWS---------
--------------------------------------ml--------------------------ml-----
--------------------Saturation---Dyestock------Saturation---Dyestock

Level 1 ( Pastel )-------5%-----------0. 2------------7. 5%----------0. a few
Level two (Md Pstl)------10%-----------0. 4-------------15%----------0. 6th
Level three or more (.. Light )------20%-----------0. 8-------------25%----------1
Level 4 (Lt. Med)------40%-----------1. 6-------------50%----------2
Level 5 (Medium)------80%-----------3. 2------------100%----------4
Level 6 (Dk Med)------160%----------6. 4------------200%----------8
Level six (... Dreary )------240%----------9. 6------------300%---------12

There are many exceptions to numbers inside the brighter reddish and black families. A few of these pastels attempt a little charcoal using a five per cent saturation, for a few of the I start with 3%. You might find your own preferences, however , this is a good place to start. When I was working up these worth on made of woll samples, My spouse and i don't title them -- the beliefs are totally obvious when they come out of the pot. I dry them, stack them together, make a folded away piece of greeting card stock surrounding them, which contains the formula quantity, percentages from the formula, and the saturations used for each level.

On the very first day of my own Grand Program, I believed dyeing certainly 300 colors, total. Today, I have nearly 1, two hundred in an selection that I provide for sale, and i also have near-future plans pertaining to adding at least 70-80 more, plus more specialized hues in the future. It had been quite a approach to organize all of this, and I couldn't be happier with the collection -- there is not one colors I avoid love!

I do know that this may be a different way of approaching tone, and I trust it helps you, should you tackle your personal Grand Approach, or even in case you just want to make dabbling.
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