Thursday, December 15, 2011

Roan Mountain: History of an Appalachian Treasure


I am pleased to be able to share the release of Roan Mountain: History of an Appalachian Treasure.  Within the pages of this book is the story of one of the most unique and endangered ecosystems in the southern Appalachians.  Boasting a host of rare species and an environment compared to that of Canada, the Roan has been attracting people throughout time.  This book is an historical journey which shares the stories of the people, the place, and the future for the conservation of a very special mountain.

 Released November 16, 2011 by History Press, this title is available at local book stores and online at http://www.amazon.com/ and http://www.historypress.net/




Thursday, October 13, 2011

Fall Dyeing!

I couldn't be happier with the results of my fall dyeing!   The warm shades of purple produced using cochineal in an iron pot are the best yet.  Cochineal is a small scale insect (Dactylopius coccus) that lives on the Opuntia cactus.

In early history, folks did not know exactly what cochineal was......a plant? a seed?  a mineral of some kind?  It's first introduction into European culture was by the Spanish in the late 1500's and they closely protected their secret of its true source.

The bright colors derived from the cochineal insect come from the carminic acid produced by the bug to deter predators.  The range of bright shades derived from this component depend on the pot or mordant used in the dye process and can range from raspberry to bright red and pale lavender to a darker purple.

I have a few skeins left from this years dyeing, in addition to some warm osage orange golds, hemlock tans, walnut browns, and a lovely silver/gray from comfrey.   Please contact me via the contact info provided in the right column if you are interested.

Wednesday, July 20, 2011

Shades of a Struggling Species

In 1988, I moved to the place I now live. Our family carved out a delightful niche in a white pine and Eastern hemlock forest. Both evergreens, these two species provided a cool summer environment and winter trees with a myriad of unusual snow covered limbs.

It never crossed my mind that 23 years later I would see the forest transition to mixed hardwoods. First, the large pines lost ground when the pine bark beetle had a prolific summer in the late 1990's.  Left behind were gray ghost-like skeletons.

Not long after, an exotic insect, the woolly hemlock adelgid, began its assault on the Eastern hemlock. Scientists are experimenting with predatory beetles and chemical treatments as methods of control in small areas of trees.  Entire forests are another story entirely.

My wake up call came after a summer storm laden with strong winds.

After the storm passed, I took a walk around the house and noticed the most puzzling thing. There were white, cotton like, fuzzy specks everywhere. In the wood siding, all over the porch, and embedded in the tiny holes of the window screens. Finally, the light bulb went off and I realized our beautiful trees were covered in this tiny insect that was literally sucking the life out of them.

In the beginning, I tried to hold onto a glimmer of hope, but this past winter, that fading glimmer was just about squashed!  We had some fine, deep snows during the 2010-11 winter and I certainly got my fill of snowy hiking treks.  One particular day I was walking around in the woods in front of the house.  I paused for a moment taking in the sights, then turned to the left and noticed a clump of hemlocks.  Sadly, they were not viable, rather....quite dead.  For a brief moment I thought, "those trees are going to fall."  Then I continued up the hill, made a snow angel or two and went inside.

Within 10 minutes I heard, and felt, an earthshaking crash!  As I rushed to the window I quickly recognized the source; those very trees I had just stood under, had, in fact, crashed to the ground.  At that moment, I was completely and totally humbled.

Some folks believe that we may witness in our lifetime the extinction of the Eastern hemlock tree.  I truly hope they are wrong, but there is one thing certain - they are dying in alarming numbers and the species composition of the southern forests is changing rapidly.

I certainly do not have the ability nor power to save the trees, but as a natural dyer, have found a way to preserve a part of the Eastern hemlock.  About a month ago, I began collecting the bark and wood from those trees that fell near our home.

The inner bark is a deep maroon red, while the wood is nice orange.  While dyeing 100% wool skeins of yarn in the dye pot, the combination has produced a shade of golden tan in an iron pot and a cinnamon color in copper and brass pots.

After a six hour dyeing day, I looked at these warm colors and saw a unique way to preserve a part of the Eastern hemlock; a tree which once graced our mountains in abundance.

I have five skeins from this years dyeing for sale. Two skeins are two-ply, weigh about 5 oz, and contain approximately 147 yards of wool.  Three skeins are three-ply, weigh about 8 oz, and contain approximately 295 yards of wool.

If you would like some of this yarn; a representation of a declining species, please contact me via email at highlandlady53@embarqmail.com.


Sunday, May 1, 2011

Alas! Spring has arrived in Roan Mountain


......and what a superb time to visit!  The 53rd annual Roan Mountain Spring Naturalists Rally is scheduled for this weekend - May 6 - 8, 2011.  Check out the brochure at http://www.friendsofroanmtn.org/

Friday, April 1, 2011

Time to plant a dyer's garden!


       As light snow peppered down from the sky today, I decided to take my focus to warm weather tasks and begin planning my dyers garden for this summer.  If you find the concept of dyeing with natural or cultivated plants intriguing, let me suggest an easily grown annual that will produce lovely colors from the flowers and the leaves.           

  The African marigold, Tagetes erecta, and the dwarf, French marigold, Tagetes patula, are both easily found in garden centers and start readily by seed 6 to 8 weeks prior to planting outdoors.    These species thrive in sunny areas throughout the summer months.   To encourage the plant to continue blooming all summer, be sure to pinch off the flower heads before they go to seed.  Towards the end of the season, allow them to produce seed so you can save for the next season.  The long grayish-black seeds will fall to the ground if left on the plant, and usually germinate on their own when the ground warms after winter.

   The marigold has long been known to the old herbalists and its attributes have been written about since the mid 1500's.  It is an easily grown summer annual of which many varieties are now available.  Amongst the many accolades bestowed upon the marigold, is the use of the fresh flowers as a remedy for the pain and swelling of a bee sting.

   In addition to the beauty and colors offered by a garden, my interests often focus on the colors that might be extracted from various species, as dye plants.  I have experimented with leaves and flowers of all the colors of the marigold and have found it will always make shades ranging from yellow to rusty gold.  Depending on the amount of plant material used and whether or note you mix leaves with the flowers, you may be surprised by the intense, warm colors that this plant will produce.

   By using the leaves only, you will normally produce soft yellows and golds.  The yellow and orange flowers make brighter yellows, golds, and shades of orange. Rusty red and bicolor marigolds will produce these colors, in addition to tans and browns.

   Dye is extracted from the flowers and/or leaves by gathering the plant material, tying it in cheesecloth, and then placing it in a glass jar.  Pour hot to boiling water over the dyestuff the day before you plan to dye your wool or cotton. This will allow the color to be drawn from the plant material. Some species barely show a tint of color using this method, but marigolds always produce a bright yellow to golden dye bath almost immediately upon covering them with heated water.

   When growing or collecting marigold flowers, keep in mind that they are very sensitive to humidity and excessive moisture, thus rotting easily.  If you choose to dye your yarn indoors,  rather than outside over a fire, you will need very good ventilation, as marigolds produce a strong odor.

   Remember, the type of pot you use will affect the color. (and NEVER use your dye pot to prepare food!) Iron will darken or sadden colors, while bronze, copper, or brass will brighten the color.  If you use an enamel pot, you might want to add something that will act as a mordant (to help the color stick to the wool).  Iron nails or a rusty horseshoe will add iron to the dye bath, while natural materials high in tannic acid (such as acorns or plant galls) will do the trick and save you the trouble of having to deal with the disposal of some of the chemicals often used in the dye process.

   The truest color will be attained by dyeing light colored natural wool or cotton.  The day before you plan to dye your fibers, measure out your skeins and tie them loosely on four sides to keep the thread from tangling in the dye bath.  Immerse the skeins in room temperature water so your fiber will be completely soaked when you dye them.   Do not agitate wool;  gently poke it under the water, but never stir or you will create felt instead of strings of yarn or unspun fiber.

  On dye day, put your fiber, the plant material (still in cheesecloth), and enough water to cover, in the pot. Heat it very slowly and allow it to simmer for 15 minutes to 1 hour.  Check the color of your yarn until you have the desired result.  Take the pot off the heat and allow the fiber to cool in the pot until it is close to air temperature.   Remove the yarn and let it hang to air dry, being careful not to allow the color to drip and stain anything you might not wish to turn a different color!

   One of the great beauties of a dyer's garden is our ability to plant, grow, and produce the colors we would like to use,  while preserving our native species in their environment.  Collecting plants in the wild can be detrimental to the survival of a species and upset the balance and diversity of the environments that we impact. 

   As you consider using plants for dyes, plan your own unique dyers garden that will supply you with a rainbow of color!





 

Wednesday, January 26, 2011

Some of my favorite native dye plants....

In the Mint family, I often enjoy dyeing with Chocolate Mint, Lemon Balm, & Spearmint - either individually or mixed together in the dye pot.  They are all members of the Genus Mentha; culinary and aromatic herbs.  The dye is extracted from the stems and leaves and yields a deep gray in an iron pot.

Tsuga Canadensis, the Eastern Hemlock, is an evergreen tree found in the Appalachian mountains that may soon disappear from our landscape.  Once a very common evergreen, with short, soft needles, the hemlock is now dying at a rapid rate as a small woolly adelgid sucks the life out of these majestic trees.  When they started falling around my home, I decided to experiment by dyeing wool after collecting and preparing the outer and inner bark.  I was pleased with the results, which yielded a good shade of tan in an iron pot, and  cinnamon in a copper pot.

A rich golden dye can be achieved by dyeing with Osage Orange, a member of the Mulberry family. The yellow wood is ground and then used as the dye stuff.

Various size skeins of wool are available for sale from late 2010 summer dye baths.  The soft, natural shades exhibit variation throughout the skeins; a trait that can not be found in industrially dyed yarns.  Every dye bath is unique, filling every dye day with anticipation!

Tuesday, January 25, 2011

20 years later and still "knappin'!"

Flint-knapping has been defined as the process of making lithic tools by striking a hammerstone or antler against another stone. Through controlled strikes, flakes of stone fall away until the desired tool is formed and complete. More commonly seen are points (arrowheads), scrapers, blades, and the like, which were traditionally used by prehistoric cultures throughout the world.

Over 20 years ago, my dear friend, Clark Sams, introduced me to the art of flint-knapping, and patiently taught me the precise skills needed to become proficient in primitive skills. Soon, thereafter, I had the pleasure of working and studying with, Dr. Errett Callahan, internationally known as a primitive skills technologist and master flint-knapper. In addition to being extremely knowledgeable in all hands-on primitive skills, Dr. Callahan also founded The Society of Primitive Technology.   I am indebted to these two men, along with several other traditional knappers and educators, who have openly shared their knowledge and techniques with me.

I have always admired and marveled the skills and intuitiveness
of  the people who survived,against many odds, during Prehistoric times.
These people had a keen sense of oneness with the natural world, understanding what was needed to survive, as they struggled to endure a multitude of conditions.

It is my goal to keep  the ways of our earliest ancestors alive by re-creating
their tools using totally traditional techniques and methods.  To protect the archeological record, all of my work is signed using  a diamond scribe.  

Each handcrafted item that will be posted for sale on this blog, or shown at educational venues, are unique.   Traditional materials are used exclusively.

If you would like additional information or would like to inquire as to my availability to demonstrate at an interpretive event, please contact me at roanknapper@embarqmail.com

Bob Estep, Flint-knapper

Sunday, January 23, 2011

A Dyer's Garden - Natural Colors from the Appalachian Mountains


Our 100% wool yarns are dyed by collecting native plants from the southern Appalachian
Mountains, in addition to using colors popular with the 18th century colonists of this region.

Plant parts are harvested with conservation of the species in mind and then prepared for a
6 to 8 hour day of dyeing over an open fire.   The color is set by using the pot as the
 mordant.  Most commonly used are iron, copper, aluminum and brass pots.

You will notice variations in color between skeins and within skeins.  This desirable quality
 is acquired through the hand dyeing process and not commonly seen in manufactured yarns.

For a more in-depth description of the process,refer to the chapter on “Getting Acquainted with Plants,” in the new book,
Wildlife, Wildflowers, & Wild Activities:  Exploring Southern Appalachia, by Jennifer Bauer

To purchase skeins of yarn, contact me at highlandlady53@embarqmail.com