This is a quick blog to tell you more about dyeing with weld – one of our most ancient and powerful of dye plants. Until the 1930’s it was still commercially grown in this country and I hope one day we will return to it as it is so very generous in colour and so useful as a base for making lots of other colour – most especially green when it is combined with woad.

It’s just coming into season now and is very easy to grow – liking poor soils but you can also find it growing wild along rivers and hedgerows. You can also order it dried from places like George Weil 

1)To begin – chop up the weld. It’s the stems and leaves that  give most colour.

2) Make a bundle and add to an old pan

3) Cover with hot water and gradually bring to the boil – you will smell and see the wonderful yellow seeping through, it’s magic! Keep the dye bath on a simmer as the colour is released from the plant material.

4) Prepare the cloth you want to dye by wetting it thorougly. Then add it to the dye bath.

5) Keep the bath at a simmer and move the cloth around so that it takes the colour evenly.

6) Carry on until you are happy with the colour – remember it will dry a shade lighter.

Do get in touch with any questions. Hope this goes really well for you and you have fun, Sarah x

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Rhubarb is one of my favourite ever plants to dye with and one of the first I ever discovered. I grow lots on my allotment because it is so useful and versatile and ofcourse delicious to eat as well!

To make dye from this plant you need to dig up the root and after cleaning off most of the soil chop it into little pieces – as you do this you will start to smell it’s delicous sweet smell which will continue to scent your fabric.

Once you have chopped up your rubarb you can place it in the centre of a clean piece of fabric – the kind of fabric that will let the dye pass through easily so any kind of light cotton is perfect – I’ve used some old sheeting.

Take your bundle and put in an old pot and cover with boiling water – put it on the heat and let it simmer – you will soon see the golden yellow colour starting to ooze out.

While your dye bath is simmering you can get on with preparing your fabric.

For this demo I’ve used organic calico but you can experiment with a wide range of fabrics – I’ve even dyed nylons and plastics successfully with rhubarb.

Before you add your fabric to the dye pot make sure it’s wetted through thoroughly – this will help it take the dye better.

You can leave your fabric in the dye bath for as long or as little as you like – the longer you leave it the deeper the tones and as with all the best cooking, the slower you take it the better the results will be. This is the colour I got after leaving the fabric in the dye bath overnight (with the heat off of course)

Here is the surprise bit – if you would like to turn your fabric a reddy pink – make up a solution of soda crystals (just add a few tablespoons to a bowl of water and mix well)

then dip your fabric into it. Here you can see the before and after – it’s always magic and takes me by surprise – one of the wonders of natural dyeing!

I do hope this demo gives you a clear step-by-step approach that will give you the confidence to have a go.

Do let me know how you get on with your rhubarb dyeing and get in touch @sarahburnspatterns@gmail.com if you have any questions.

Have fun!

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I’ve always been a bit of a hippie – I worked for the new economics foundation for many years where our slogan was ‘economics as if people and the planet matters’ so I’ve always been interested in alternative ways of doing things and making the radical alternative not only possible but real.

When I left Chelsea College of Art 5 years ago I got a job as a hand printer at the wonderful Ivo’s screen printing factory in Southall. The printers who work there are rare and wonderful master craftsmen capable of printing 25 colour chinzes but there is an incredible amount of waste and pollution involved in the process. And Ivo’s is only small – the textile industry as a whole is responsible for more greenhouse gases than air travel & maritime shipping put together. That’s why Extinction Rebellion has been campaigning at London Fashion Week and why I decided that when I came to set up my own workshop in Sussex I would try to clean up my act and develop my work using natural dyes and use organic fabrics where ever possible.

Thanks to lovely Jaine McCormack  and the team at Guy Goodfellow in Chelsea, I was able to launch my naturally dyed collection at their  Showroom 2 years ago. Since then I’ve been on a really steep learning curve – educating myself as well as my clients as we gradually explored the idea of seasonality, reusing valuable fabric where appropriate  (I remember one interior designer’s shock when I suggested that we re-dye her curtains!) and the notion that using natural materials means that nothing can be reproduced exactly the same – instead variation and difference should be embraced and celebrated.

Then I came to research my book into the wonderful 1930’s block printers Phyllis Barron and Dorothy Larcher. I spent a whole winter transcribing Phyllis Barron’s talk – ‘My life as a Block Printer’ which she gave in 1962 at Dartington, nearly 30 years after she closed her workshop down and stopped printing altogether. Her talk shares in detail the trials and tribulations of a life times obsession with a few simple dyeing and printing processes which she had to pioneer herself – not unlike William Morris.  Indigo, cutch and iron were her materials and although she left no technical notes – her commitment over decades to perfecting these difficult processes inspired me to deepen my practical research – a journey I’m still very much at the beginning of.

I’m now really into the natural colour palette and relish the sensuality and seasonality of the whole process. It’s been wonderful to work alongside Alice Garner and form the Steyning Imprint together – making things together and teaching others. Her interest and knowledge in the natural world plus her creativity and attention to detail makes her fab partner to work with. Having a flock of sheep really helps when it comes to providing the wool filling for our South Downs cushions.

Together we’ve come up with a few ways to make what we do as sustainable as possible. Alice is making beautiful sketch books using recycled coffee cups and we are trying to source more organic hemp – woven small scale to print our vegetable dyes on. Thanks to Alice’s sheep plus some neighbouring farmers who have been very generous we are now in the process of producing South Downs wool cushion pads. We’re trying to really cut down on waste – all spare scraps of fabric are used to overprint labels on or sew into lavender bags. By thinking about our supply chain and how we can make a positive difference we are also reaching out to others who share the same values and vision – it’s been really empowering to discover how many like-minded people are out there and to start supporting each other.

It’s just a beginning and only a drop  in the ocean but it makes me want to keep making – not just so there is more stuff for people to buy – but because the way we’re doing things is helping to pioneer a different way of living and working. It keeps me feeling positive and feeling excited – we’ll be at the Downland and Weald Christmas Fair from the 23rd – 26th November & would love it if you came and said hello or do please get in touch if you are doing something similar – we would love to hear from you.

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It was a fascinating process for me as it was the first time I had a design produced commercially. It was also very special as I was the hand printer working on the sampling table at the wonderful Ivos Print when the design came to be sampled – basically sorting the colour and scale of the final print out. So I got to sample my own design – a real thrill!

Virginia wanted something lacey for her fabric collection and kindly asked me if I could design anything. So I went away, rummaged in my old fabric collection (a fabric black hole) and started work on a woodblock design based on a piece of antique french lace. I didn’t work straight from the lace but made shadows with it, which were slightly wonkier and got under the skin of the pattern a bit more. Doing this gave me the kind of information I needed to start drawing and cutting the block: sometimes it helps to make things look a bit strange first, then you see them in a fresher way.

Once I’d cut the block and taken the print, I scanned the prints and worked to scale up the design using photoshop. Photoshop saves a lot of time scaling up repeats but I’ve never been able to make very good marks with it so always prefer using hand made art work. Then Amelia in the Ivo design studio helped me transfer my print onto a large screen, advised by factory manager and general print genius Podge and produced by screen maker extraordinaire Chris.

This part of the process can be very tricky as you have to balance the hand made marks of the block print with the requirements of the commercial screen printing machinery. Luckily, Ivos have a very skilled team to do this as this would have been impossible for me to do on my own.

When it came to sampling the new design – basically exploring the best colours, scale and materials to print on – I worked with Monique and Jo on the hand-table, and then Chris and Ian took over to print show lengths on their galli machines. Virginia’s bold use of colour was sometimes a bit of a challenge for me, as she often told me she didn’t want anything crafty looking, but this was great as it shifted me out of my comfort zone.

The whole process, taking many months – was a real team effort and opened my eyes to the reality of designing and making – which always involves drawing heavily on the expertise and knowledge of others rather than sitting designing on your own in a little bubble.

The experience also brought together my two different worlds – working as a hand printer at Ivos and producing my own designs. It’s helped me to understand the pressures and constraints of commercial production and overall helped me become a better designer.

Since designing Honor & Honoria, I have produced two more block print designs – ‘Sompting’ and ‘Tirzah’, all available from the Virginia White Collection

Time for lunch time with the factory girls!

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Mostly Chris prints the most amazing designs that use over 10 screens so this single colour was a doddle for him. He even spotted that the repeat is about 1mm out. Chris is our printing guru (just like his dad Podge) and he looks out for Mon and I spotting any mistakes we’re making before we’ve even made it. Naturally we adore him because he’s such a master craftsman and also because he’s so nice.

First Chris prints every other repeat, then he goes down the 50m table a second time and fills in the gaps when the first print is dry. Most days he walks over 10km!!

Here I am looking very pleased at how my little lino cut design has been transformed into a 50m length, something that would take me at least a week to do at home. I remember from when I studied politics, reading an essay by Walter Benjamin called ‘The work of art in the age of mechanical reproduction’ – which wasn’t very kind about processes like this which it claimed destroyed the spirit of the original by endlessly reproducing it…. reproduction does change the original but not necessarily into something less, it can also distill essential parts and help to simplify it as well.

Anyway, as a designer, it’s something very beautiful to watch when your idea becomes reality and you see it being produced and going into peoples homes. I also remember something I think Liubov Popova, the friend of the constructivist designer Vavara Rodchenko and a wonderful painter and designer herself said – how she would far prefer for an ordinary woman to buy 1m of her fabric in a department store than her painting to be hung in a famous gallery and just seen by just a few.

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We’ll be selling them at Christmas markets at the Downland and Weald Museum and Crafty Fox Market in Peckham.

My print day was the culmination of 2 weeks work outside in the garden with metres of heavy, wet cloth soaking and boiling them in wood ash to mordant them (so that the dye stays)

and then dipping them into my bubbling caldron of walnut and rhubarb dye. All my fabric is odds and ends recycled from the factory. At Dora Fabrics we are very sustainable!

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