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AM 1 and/or AM 2 here!

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clay day! studio w rosza daniel lang/levitsky & cardboard clay sculpting

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clay day! studio w rosza daniel lang/levitsky & cardboard clay sculpting tickets

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Clay Day! Studio w Rosza Daniel Lang/Levitsky & Cardboard Clay Sculpting

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Eventbrite - KlezKanada presents Clay Day! Studio w Rosza Daniel Lang/Levitsky & Cardboard Clay Sculpting - Thursday, 27 August 2020 - Find event and ticket information.

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AM 1 and/or AM 2 here!

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paper day! studio visit w zoë cohen & cutting/folding/weaving w magazines

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paper day! studio visit w zoë cohen & cutting/folding/weaving w magazines tickets

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Paper Day! Studio Visit w Zoë Cohen & Cutting/Folding/Weaving w Magazines

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Eventbrite - KlezKanada presents Paper Day! Studio Visit w Zoë Cohen & Cutting/Folding/Weaving w Magazines - Tuesday, 25 August 2020 - Find event and ticket information.

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AM 1 and/or AM 2 here!

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textile day! studio visit with jason greenberg & making natural dyes

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textile day! studio visit with jason greenberg & making natural dyes tickets

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Textile Day! Studio Visit with Jason Greenberg & Making Natural Dyes

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Eventbrite - KlezKanada presents Textile Day! Studio Visit with Jason Greenberg & Making Natural Dyes - Wednesday, 26 August 2020 - Find event and ticket information.

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AM1 - 9:30-10:45am EDT: Studio Visit with Rozsa Daniel Lang/Levitsky: Guest Artist

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AM1 - 9:30-10:45am EDT: Studio Visit with Rozsa Daniel Lang/Levitsky: Guest Artist

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Easy to be Hard (Seven/Eleven Pieces) is a nine-day performance event, the latest installment of Rosza Daniel Lang/Levitsky's Critical Reperformance series.

Easy to be Hard (Seven/Eleven Pieces) is eleven reperformances of seven classic performance scores created between 1918 and 2003 by Rrose Sélavy / Marcel Duchamp, Yoko Ono, Vito Acconci, Ana Mendieta, Carl Andre, Marina Abramović, and Tino Seghal. All are acknowledged as major pieces of the artists' legacies - some as recognized classics of performance art; others rarely thought of in that framework.

Easy to be Hard (Seven/Eleven Pieces) sees performance as a way of knowing, and reperformance as a way of thinking with the creator of a piece and its past audiences, across time and distance. These reperformances challenge what we think we know about these performance scores and how they function in the world. In some cases, that challenge is through a change of context and venue, in others through exploring the gaps between the score and its performance history, and in others through a shift in what body is performing the piece.
Read more about the project...

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Easy to be Hard (Seven/Eleven Pieces) is a nine-day performance event, the latest installment of Rosza Daniel Lang/Levitsky's Critical Reperformance series. Easy to be Hard (Seven/Eleven Pieces) is eleven reperformances of seven classic performance scores created between 1918 and 2003 by Rrose Sélavy / Marcel Duchamp, Yoko Ono, Vito Acconci, Ana Mendieta, Carl Andre, Marina Abramović, and Tino Seghal.

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AM 1 and/or AM 2 here!

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AM1 - 9:30-10:45am EDT: Studio Visit with Zoë Cohen: Guest Artist

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AM1 - 9:30-10:45am EDT: Studio Visit with Zoë Cohen: Guest Artist

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I am a visual artist creating images, installations, and situations. My research-based practice bridges contemporary concerns with inquiry into visual and cultural heritage, driven by an interest in origins, beginnings, and hidden histories. I'm interested in the meaning of materials, and what remains visible to us from the layers of the past. In my current projects, I work with a light touch in relationship to the weight of history, in order to offer a window into the accumulation of experience that inform our complex contemporary lives.

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I am a visual artist creating images, installations, and situations. My research-based practice bridges contemporary concerns with inquiry into visual and cultural heritage, driven by an interest in origins, beginnings, and hidden histories. I'm interested in the meaning of materials, and what remains visible to us from the layers of the past.

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AM1 - 9:30-10:45am EDT: Studio Visit with Jason Greenberg: Guest Artist

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AM1 - 9:30-10:45am EDT: Studio Visit with Jason Greenberg: Guest Artist

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'Godzilla-Shibori' Over-dyed Cardigan

Indigo (18 Dips)

396 Rubber Bands

2020

'Godzilla-Shibori' Over-dyed Cardigan

Indigo (18 Dips)

396 Rubber Bands

2020

'Godzilla-Shibori' Over-dyed Cardigan

Indigo (18 Dips)

396 Rubber Bands

2020

'Chidori-Shibori' Indigo-Dyed Sweater

Indigo on Bare Knuckles Cropped Cashmere Sweater

2020

Natural Dye Research on Wool Yarn

Various Natural Dyes on Wool Yarn

2020

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'Godzilla-Shibori' Over-dyed Cardigan Indigo (18 Dips) 396 Rubber Bands 2020 'Godzilla-Shibori' Over-dyed Cardigan Indigo (18 Dips) 396 Rubber Bands 2020 'Godzilla-Shibori' Over-dyed Cardigan Indigo (18 Dips) 396 Rubber Bands 2020 'Chidori-Shibori' Indigo-Dyed Sweater Indigo on Bare Knuckles Cropped Cashmere Sweater 2020 Natural Dye Research on Wool Yarn Various Natural Dyes on Wool Yarn 2020

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AM1 - 9:30-10:45am EDT:  Studio Visit with Judith Helfand: Guest Artist

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AM1 - 9:30-10:45am EDT:  Studio Visit with Judith Helfand: Guest Artist

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Judith Helfand is best known for her ability to take the dark worlds of chemical exposure, heedless corporate behavior and environmental injustice and make them personal, highly-charged and entertaining.

Learn More

Educator

Judith has taught at University of Wisconsin (Nelson Institute for Environmental Studies), NYU's Department of Undergraduate Film and Television and the New School University. She presents on a range of topics including introductory and advanced documentary production and storytelling,

Learn More

Speaker

Judith speaks with passion, experience and great depth of knowledge in the field. As Co-Founder and Creative Director of Chicken and Egg Pictures, since 2005 Judith has helped raise over $3.2 million in grants and provided over 4500 hours of mentorship to women filmmakers.

Learn More

Field Builder

A committed field-builder and educator, Helfand co-founded Working Films, one of the nation's first non-profits dedicated to engagement in 2009, and Chicken & Egg Pictures, a non-profit film fund dedicated to supporting women documentary directors with strategic grants and creative mentorship in 2005.

Learn More

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Judith Helfand - Filmmaker | Educator | Field Builder

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Judith Helfand is best known for her ability to take the dark worlds of chemical exposure, heedless corporate behavior and environmental injustice and make them personal, highly-charged and entertaining. Learn More Educator Judith has taught at University of Wisconsin (Nelson Institute for Environmental Studies), NYU's Department of Undergraduate Film and Television and the New School University.

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AM2 -11:15am - 12:30pm EDT: Cutting, folding & weaving with magazines

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AM2 -11:15am - 12:30pm EDT: Cutting, folding & weaving with magazines

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Round up those old newspapers and magazines, white glue and a thin dowel (knitting needle, pencil, fat skewer, chopstick, etc.). We will be coiling, folding, cutting and constructing functional and ornamental objects. Build a fantasy landscape, a challah platter, a beaded necklace, or a mezuzah case.

Instructors: Emily Socolov and Ava Berkson.

Supplies:

·      Old magazines, newspapers

·      A thick skewer, fat knitting needle, pencil or chopstick for rolling paper into tubes (4-5mm if you want to get technical).

·      White glue (and a small dish for pouring out some of the glue)

·      A small brush (about ½ wide)

·      Scissors

·      A few clothespins

·      Different sized small tube-shaped things (nail polish bottles, toiletry-jar lids)

·      (Optional – but very helpful) A hot glue gun

Note: You are welcome to paint/dry brush/varnish your finished piece at a future date.

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AM2 -11:15am - 12:30pm EDT: Making natural dyes with spices and vegetables 

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AM2 -11:15am - 12:30pm EDT: Making natural dyes with spices and vegetables 

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Textile Day! Hands On: Making Natural Dyes with Spices and Vegetables

Before there were commercial dyes, people used plants and minerals to give color to their textiles. And today, people are exploring the rich store of colors available from items that many of us have in our home gardens and kitchens. Dandelions, turmeric, beets, and coffee grounds are all on the menu in this workshop….and please, save your avocado seeds and skins! You’ll soon see why.

Instructors: Emily Socolov and Miriam Tepper.

Supplies:

·      Collect avocado seeds and skins and let them dry out.

·      Scope out a source of dandelion weeds in your garden or the park. Collect a bunch - they can be fresh or dried.

·      Check your pantry for sources of natural pigment. We will be using turmeric, beets, and coffee grounds in this workshop.

·      Several cooking pots, stainless or enamel.

·      Scraps of white cotton fabric (old dish towels or cotton sheets are fine). Launder fabric beforehand if it has food remnants, etc. (Other colored fabrics are ok - but you won't see the pure color potential of the dyes as clearly).

·      White paper towels will work instead of cloth if you don't have cotton fabric. You can create color sample swatches for future experimentation!

·      Water source/Stove

·      Large spoons for stirring

·      (Optional) PH neutral soap like Dawn Ultra Dish Soap, Seventh Generation Free & Clear Laundry Detergent or Tide Free & Gentle Laundry Detergent.

Note: And easy mordant (to make fabric colorfast) can be made from Cream of Tartar and Alum.  We will not demonstrate this during our class, but we will explain its use.

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AM2 -11:15am - 12:30pm EDT: Cardboard clay sculpting

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AM2 -11:15am - 12:30pm EDT: Cardboard clay sculpting

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In this class, you will mold your imaginings with homemade clay. Masks, puppets, and miniature worlds emerge in 3D form out of a clay we create from recycled paper egg cartons (no Styrofoam or hard plastic), white glue, and a little cooking oil. The end product is paintable, lightweight, durable and versatile.

Instructors: Emily Socolov and Robin Young

Supplies:

·      Cardboard egg cartons ripped into pieces - about 2" squares

·      White glue

·      Cooking Oil

·      Large bowl for soaking cardboard pieces

·      Mesh strainer

·      Metal spoon

·      Scrap of sandpaper or an emery board

·      Plastic cling film or thin plastic bag

·      (Optional) an immersion/hand blender or countertop blender that you don’t mind using for crafting

Note: You are welcome to paint/dry brush/varnish your finished piece at a future date.

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Each year, KlezKanada's Summer Retreat draws people from around the world. On the shores of a calm lake, nestled amongst the beautiful Laurentian mountains, participants celebrate the tradition, innovation, and continuity of Jewish music and Yiddish culture. Intergenerational, interdisciplinary, and international, KlezKanada's Summer Retreat has grown into one of the leading Jewish cultural events in the world.

"When imagining the perfect environment, a warm sunny day at KlezKanada is invariably the location." Arielle Lewis-Weigens, Scholarship Student

KlezKanada features an all-star faculty, world-class concerts, and a KlezKabaret that will keep you singing and dancing late into the night! Plus films and classes on Jewish history, culture, Yiddish language, and literature, workshops for instrumentalists, singers, dancers, and visual artists of all levels, creative programs for the whole family, and so much more!

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Each year, KlezKanada's Summer Retreat draws people from around the world. On the shores of a calm lake, nestled amongst the beautiful Laurentian mountains, participants celebrate the tradition, innovation, and continuity of Jewish music and Yiddish culture. Intergenerational, interdisciplinary, and international, KlezKanada's Summer Retreat has grown into one of the leading Jewish cultural events in the world.

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KlezKanada 2020: Visual Arts Program Making Art from Home

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KlezKanada 2020: Visual Arts Program Making Art from Home

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Visual Arts Coordinator: Emily Socolov

This summer, as KlezKanada goes virtual, we will be together! Together with other artists and with each other.  We will do our best to replicate the tri-dimensional nature of the Visual Arts program at KlezKanada: presentation, instruction and making art together in an open studio.  Each day we will have a live visit with a working artist in their studio. Then we will learn related art-making techniques. All skill levels and abilities are welcome.  The materials we will be using are things that most of us have in their homes already – or can gather easily.  In lieu of a final exhibition, we will gather images/videos of student work and class activity in a class video.

-Come for one or two periods a day.
-Come once – or come daily.

-We welcome you!

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Zoë Cohen is a visual artist and union organizer who works conceptually in a wide range of modalities, creating works on paper, sculptures, installations, audio works, and public participatory projects. Her work has been exhibited at numerous venues in Philadelphia, New York, and Berlin, and is in permanent collections including The Philadelphia Museum of Jewish Art, and the Philadelphia Cathedral. She has been an adjunct instructor at Tyler School of Art at Temple University, Moore College of Art, and the University of the Arts. Zoë received her MFA from Brooklyn College, and lives and works in Philadelphia, PA.

www.zoecohen.com

Instagram: @zoecohenart

Pronouns: she/her/hers

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Craft ideas - Making baskets out of coiled paper (en español)

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Craft ideas - Making baskets out of coiled paper (en español)

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Como hacer cestas de papel periódico con tapa. Manualidades con papel

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Como hacer cestas de papel periódico con tapa. Manualidades con papel

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ALERT - START SAVING AVOCADO PITS AND SKINS!!

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ALERT - START SAVING AVOCADO PITS AND SKINS!!

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Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

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Jason Greenberg’s Continuous Thread is an ongoing exploration of the thread and its accumulation within textile art. For his thesis, Jason has been heavily researching

Jewish textiles, the ancient murex snail-derived ‘biblical blue’ pigment, ritual processes within Judaism, and their translations to himself. Handwoven works are created in response to various Jewish motifs and prayer shawls. The embroidery on canvas pieces includes abstract forms of the human body merged with imagery inspired by Judaic manuscripts. Embroidery on Solvy is used to create garments completely out of thread in the Tekhelet color; stemming from the ancient garments of the high priest.

https://jasonphillipgreenberg.com/

Instagram: @jasonphillipgreenberg

Pronouns: he/him/his
Photo credit: credit: www.giannachun.com

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Making Natural Dye Using Vegetables | GRATEFUL

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Maiwa, Botanical Colors and Graham Keegan are three places, linked here.

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A large variety of natural dyes, plant indigo, textile art supplies, organic blanks, bandanas, scarves & shawls, hand block printed fabrics. Maiwa's slow clothes & sustainable bedding lines are naturally dyed, featuring handwoven cloth, organic cotton, linen and wild silk, and are ethically made on a small scale.

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Rosza Daniel Lang/Levitsky is a cultural worker and organizer based at Brooklyn's Glitter House.  Can’t stop picking things up on the street and making other things out of them: outfits, collectives, cabarets, barricades, performances, meals...  Never figured out how to make art for art’s sake; rarely wants to work alone.  Third-generation radical; second-generation queer.  Just another gendertreyf diasporist mischling who identifies with, not as.  In the Yiddish svive: founding member of the Aftselokhes Spectacle Committee (creators of NYC's radical purimshpil - @spectaclecommittee; @purimnyc); singer with Koyt Far Dayn Fardakht (www.koytfilth.band; koytfilth.bandcamp.com); collaborating designer/builder on "Soul Songs: Inspiring Women of Klezmer" (soulsongsklezmer.com), "Bobe-Mayses: Yiddish Knights & Other Impossibilities", the Folksbiene's "Itzik Manger's Megile", and more. For a glimpse of other work: www.criticalreperformance.org Pronouns: she or they

Artist's portrait: Noah Church

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Craft Ideas - Making objects out of Egg Carton Clay (en español)

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Craft Ideas - Making objects out of Egg Carton Clay (en español)

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Peabody Award winning filmmaker Judith Helfand is best known for her ability to use her quirky sense of humor, irony, personal storytelling chops and the power of transparency to tackle some of the most pressing issues of our time -- from toxic chemical exposure to climate change to the politics of “disaster" to grief.  Her most recent feature documentary  LOVE & STUFF started as a 10-minute-NYT op-doc, just had its world premiere at the 2020 Hot Docs International Film Festival in Toronto, and is the inspiration behind this workshop. A teacher, a field builder, a visual storyteller and avid speaker, Helfand makes her home in NYC with her six-year-old daughter Theodora (Tova Feygl) who has come to cherish her great grandmother's Shabbat candlesticks, meat grinder and egg slicer as much as her mom Judith does.

Pronouns: she/her/hers

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AM2 -11:15am - 12:30pm EDT: Video creation on social media platforms

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AM2 -11:15am - 12:30pm EDT: Video creation on social media platforms

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Short form is all the rage. We’ll analyze the work of some short-form masters, and then develop our ideas through storyboarding and discussion. Load the recommended software in your computer or phone. We’ll experiment with technique and then….go live!

You can shoot your footage on any device with a camera: a smartphone, a tablet, a computer or a digital camera. Then you need to decide about editing.  It isn’t hard, but students who are not tech-savvy may prefer to do a single shot video (without editing) and we can help you add titles.

Students who want to edit on their phone or tablet, need to add an app called InShot.

Students who want to edit on their computer (after they have transferred the files from their phone, tablet or camera to their computer) will use a computer software called OpenShot. Please contact esocolov at gmail dot com to talk about your technology so we can set you up beforehand!  Have no fear!

Instructors: Emily Socolov of Jespa Jacob Smith

Supplies:

·      A way to shoot your footage (smartphone, tablet, computer, digital camera).

·      Smartphone or Tablet Editors Only (iOS or Android): Install InShot http://www.inshot.com/

·      Computer Editors Only (PC, Mac or Linux) :Install OpenShot https://www.openshot.org/

·      Computer Editors Only: you will need a cable or other means to upload your footage from the filming device to your computer.

·      Paper and Pen (any kind) for storyboarding your story

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Love and Stuff: Judith Helfand's New York Times Op-Doc

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Love and Stuff: Judith Helfand's New York Times Op-Doc

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Love and Stuff | Op-Docs | The New York Times

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https://padlet.com/esocolov/KKVAExhibit

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AM1 - 9:30-10:45am EDT
AM2 -11:15am - 12:30pm EDT

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Introduction: Clay From an Egg Carton.

I love to reuse and repurpose. Here is an idea how to make clay from egg carton.

Supplies:

Egg carton, home made glue

Add Tip Ask Question Download

Be the First to Share

Recommendations

Lighting Challenge

Colors of the Rainbow Contest

Puzzles Speed Challenge

Step 1:

Tear the egg carton to pieces and soak it in the water for 8 - 12 hours. Take the pieces from the water and squeeze them so most of the water goes out.

Add Tip Ask Question Download

Step 2:

Blend the pieces in to mass. Prepare glue. You will need 4 tbs of rice or wheat flour. Mix it in 200 ml of cold water, add 200 ml of hot water and cook for 2-3 min on medium heat. Mix during cooking. Put in a glass dish, let it cool down.

Add Tip Ask Question Download

Step 3:

Mix glue with the paper mass.

Add Tip Ask Question Download

Step 4:

Mix it well with hands and you are ready to create! I continue to do a little figurine, but you can use this clay for any project including papier mache.

Add Tip Ask Question Download

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I love to reuse and repurpose. Here is an idea how to make clay from egg carton. Egg carton, home made glue Add Tip Ask Question Download Be the First to Share Tear the egg carton to pieces and soak it in the water for 8 - 12 hours.

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You will need:

✤ Egg box
✤ PVA glue
✤ Cocktail stick
✤ Chopstick or knitting needle
✤ Fine-grade sandpaper
✤ White acrylic paint
✤ Acrylic ink or paint
✤ Bead cores
✤ Decorative glass beads
✤ Waxed cotton necklace cord
✤ Kitchen sieve
✤ Medium and small bowls
✤ Varnish or embossing powder
✤ Spray adhesive
✤ Heat gun
✤ Board to protect work surface

Note: One cardboard egg box for a dozen eggs will make about 40 beads.

1 Tear up the egg box into tiny pieces and place in a bowl. Pour in some boiling water and leave to stand for at least an hour.

2 As if you were making a crumble, work the soggy box with your fingers until you have a soupy mass. You can speed things up by using a stick blender instead.

TIP If the clasps are too big to thread your beads on, you may need to take them off using two pairs of long-nosed pliers.

3 Tip into a kitchen sieve and press out as much water as you can. Squeeze about four tablespoons of PVA glue into the mix and work it well with your hands.

4 Pull off a small piece of the 'clay' and shape it into a ball by rolling it in your hands. Give it a good 30-second roll so that it's smooth and round, pressing over any visible cracks.

5 Carefully push the cocktail stick through the middle of the ball. Then use a chopstick, or knitting needle, to make the hole large enough for the bead cores. Repeat to make six more beads.

6 Leave the beads somewhere warm overnight to dry. Then, once completely dry, sand them a little to make them as smooth as possible.

TIP You can speed up the drying time by placing the beads over a radiator.

7 Apply a coat of white acrylic paint - this will make the top colour much more vivid. Then, once dry, paint the beads any colour you like with either acrylic paint or ink.

8 Either finish with a coat or two of varnish or, as we have, use embossing powder: first, pop a bead on the end of a chopstick and apply a little spray adhesive in a well-ventilated area.

9 Pour some embossing powder into a small bowl and dip the adhered bead into it, so it's completely coated. Then aim the heat gun at the bead, keeping it turning - the embossing powder will melt and dry almost at once to give a lovely glassy appearance.

10 Use a little PVA to glue in the bead cores.

11 Thread the egg box beads on to the waxed cotton cord, alternating with decorative glass beads, or whatever you have handy.

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How To Make: Papier mache jewellery from an egg box

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✤ Egg box ✤ PVA glue ✤ Cocktail stick ✤ Chopstick or knitting needle ✤ Fine-grade sandpaper ✤ White acrylic paint ✤ Acrylic ink or paint ✤ Bead cores ✤ Decorative glass beads ✤ Waxed cotton necklace cord ✤ Kitchen sieve ✤ Medium and small bowls ✤ Varnish or embossing powder ✤ Spray adhesive ✤ Heat gun ✤ Board to protect work surface Note: One cardboard egg box for a dozen eggs will make about 40 beads.

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Download this Software if you are working on a computer!

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Download this Software if you are working on a computer!

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Openshot

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Download OpenShot Video Editor 3.1.1 - now with improved stability and quality-of-life improvements! Highlights & Features: Fixes and Improvements to Tracker and Object Detection effects (fix propert...
Read More
Download OpenShot Video Editor 3.1 - now with 400+ video profiles, improved features, bug fixes, and faster performance! Highlights & Features: Free & Open-Source Video Editor Improved Profiles (400+...
Read More

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OpenShot Video Editor | Free, Open, and Award-Winning Video Editor for Linux, Mac, and Windows!

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OpenShot is an award-winning free and open-source video editor for Linux, Mac, and Windows. Create videos with exciting video effects, titles, audio tracks, and animations.

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Download this App if you are working on an iPhone, iPad, Android, or tablet!

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Download this App if you are working on an iPhone, iPad, Android, or tablet!

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InShot

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Here you can find a Cheat Sheet with some information around some terms we will be using and also some links if you want to further investigate.

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Here you find a template for a storyboard. You can use this, but you can also just draw one. We will explain how to use it in class. This was taken from: https://boords.com/storyboard-template#pdf-storyboard-templates

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We believe everyone can take great photos. Here are some simple tips to help you take even better ones - and enjoy them - with your iPhone.

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Format Converters:

https://mpeg-streamclip.de.softonic.com/

https://www.onlineconverter.com/video-to-mp3

Royalty Free Music and Soundeffects (you can also always just research "royalty free music/soundeffects"):
https://freemusicarchive.org/

https://freesfx.co.uk/

https://freesound.org/

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Our How To guides are intended to make the dye process easy, from How To Mordant to scouring your fibers to dyeing with an assortment of dyes. You can find other How To guides here.
WHAT IS MORDANTING?

Mordanting is the most important process of preparing fibers to accept color. This is not an optional step but there are many mordant variations, and indigo as a vat dye does not require a mordant. Using a mordant helps to ensure the most durable and long-lasting colors. Below we highlight some of the more common mordant methods used.
(Check out our recent Q & A: Round Up of Mordanting + Scouring 101 here.)
The technique is simple (for animal fibers): measure the mordant, dissolve in water, and add to a dye pot or bucket or tub filled with water. Simmer the fibers for a period of time, then remove and proceed to the dye bath. Although many substances have been used in the past for mordanting, we prefer aluminum potassium sulfate as a mordant for animal or protein fibers.

Plant fibers have a recommended second step. We prefer aluminum acetate for cellulose (cotton, linen, bamboo, etc.) fibers, as well as for protein/cellulose blends, like wool/hemp, silk/bamboo and silk/cotton. If you are dyeing plant or cellulose fibers, please scroll further down to the Mordanting Cellulose Fibers section.

All mordants are calculated based off of a percentage of the weight of fiber. "Weight of fiber" refers to the dry weight of the yarn or fabric to be mordanted. It is used primarily when weighing mordants and dyes and allows you to quickly and easily calculate how much to measure. Therefore, a kitchen scale is handy to determine the weight of yarns or fabrics. We have also provided easy teaspoon and Tablespoon measurements based off of 100 grams of fiber.

Which mordant to use?

For basic mordanting, refer to this table. Once you are comfortable with these techniques, you may explore other mordant options, including the use of iron, tannin and alum, tannin alone and compare results.

MORDANTING WOOL and ANIMAL FIBERS

Aluminum sulfate is a metallic salt derived from bauxite, a mixture of minerals. The historic alum mines were located in Southern Europe (France and Italy), and in Greece and Egypt. Control of alum veins gave nations great power as the mineral was prized for its ability to create deep, bright shades for textile dyeing. Present day reserves of bauxite are found in Australia, Canada, Brazil, and Guinea, West Africa, and these regions are the largest exporters of alum. In the US, Alabama, Georgia and Arkansas held alum mines but their current output is negligible.

Mordanting provides the dyer flexibility as fibers can be mordanted in advance, dried, and dyed later, or mordanted and dyed in one day. Drying and storing, or "curing" alum-mordanted fibers often results in deeper shades on wool and silk. If you are new to natural dyeing, we recommend starting with wool fiber as it is the easiest to dye.

Cream of tartar can also be used as an adjunct to mordanting wool. Its purpose is to assist the alum to bond with the wool and it also keeps wool fibers soft. Bear in mind that it will shift colors, and in some cases, can inhibit the development of certain shades.

CALCULATING THE AMOUNT OF MORDANT

Aluminum sulfate: the recommended amount of aluminum sulfate is 12% of the weight of fiber, or 1 scant Tablespoon for 100 grams of fiber. Note that you can go up to 20% of the fiber weight, or 1 Tablespoon + 1 teaspoon per 100 grams of fiber. So, more mordant results in deeper shades with many of the colors, especially the red dyes.

Cream of tartar: the amount of cream of tarter should be 6% of the weight of fiber, or 1 1/4 teaspoons for 100 grams of fiber. You can use aluminum sulfate and cream of tartar together, the cream of tartar brightens many colors and helps keep wool fibers soft.

SAFETY INSTRUCTIONS

We advise wearing a dust mask or respirator, gloves, and an apron with all powders as they can be irritating to the nose, throat, and skin. Aluminum sulfate is considered non-toxic but still should be handled with care as it is astringent and drying to skin. We strongly recommend adult supervision if working with children.

We also recommend that you keep dye tools and utensils separate from kitchen tools and work with plenty of ventilation. Alum may be safely disposed in a municipal water system by pouring down the drain. Do not dispose of in waterways or drains that flow into waterways.

WHAT YOU WILL NEED:
This list of ingredients is for 100 grams/4 ounces of fiber, and with 20% aluminum sulfate for a deeper shade. Adjust the amount of materials as necessary, per the percentage guidelines above.

100 grams/4 ounces fiber

20 grams/.8 ounces/1 rounded Tablespoon + 1 teaspoon of aluminum sulfate

A container to dissolve the aluminum sulfate

A large stainless steel dye pot

Heat source

Optional: 6 grams/.25 ounces/1 1/4 teaspoons cream of tartar

Dye rings (if dyeing skeins)

Instructions:

Measure the aluminum sulfate and pour it into a container that you can pour hot water into and mix it. Bring about a cup of water to a boil, and pour it into the container to dissolve the aluminum sulfate. If using Cream of Tartar, dissolve separately.

Fill a dye pot with room temperature water, and place on a heat source, then add the dissolved aluminum sulfate and cream of tartar to the pot and stir well.

Add the fiber to the pot, rotating the fibers gently. Make sure there are no bubbles under fabric folds, or that any yarn is floating. Slowly bring the temperature up to 180°F and hold for 45 minutes. Rotate the fibers occasionally and gently.

Allow to cool briefly, and then remove fibers from the dye pot. You may also leave the fibers in the mordant solution overnight to cool, then remove excess water. Some dyers feel this increases the depth of shade in the finished piece.

Rinse in similar temperature water, remove excess water from the fibers, and proceed to dyeing.

Reusing the mordant bath to save water and alum

Many dyers will reuse their alum bath for multiple mordant sessions to save water and mordant. You may reuse aluminum sulfate baths at least twice. (And one customer reuses her alum bath up to 7 times!) To recharge the bath, add about 25% additional dissolved alum, or 1 additional teaspoon per 100 grams of fiber, stir and mordant as above. If you observe excessive cloudiness or large flakes floating in the bath, it is time to change it.

Storing mordanted fibers

Mordanted fibers may be stored damp in a plastic bag and refrigerated for 3-5 days and cured or aged, as this also seems to increase the depth of shade in the dyed fibers. Curing normally produces a deeper color, but be aware that fibers mordanted with alum and cream of tartar can get moldy if they are stored longer than a week while damp. For longer storage, mordanted fibers may be air dried and stored for future use. Label and store your mordanted fiber and keep it away from dust or dye powders, as it is vulnerable to staining. My unscientific experiments show that mordanted animal fibers hold the mordant for 5+ years, while silk seems to hold it for about a year or two.

MORDANTING PLANT FIBERS

We prefer mordanting plant-based cellulose fibers with aluminum acetate, and then following with a wheat bran or a calcium carbonate bath, and either of these ingredients help to improve the aluminum acetate's performance. This particular method is adapted from an email conversation with Michael Garcia.

Don't have aluminum acetate? You may also successfully mordant using tannin and aluminum sulfate. This is a traditional mordant used for plant fibers prior to the introduction of aluminum acetate and is applied room temperature. Instructions are on our blog and are courtesy of Catharine Ellis and Joy Boutrup's book, The Art and Science of Natural Dyes.
SAFETY INSTRUCTIONS
We recommend wearing a dust mask or respirator, gloves, and an apron with all powders as they can be irritating to the nose, throat, and skin. Aluminum acetate is very powdery, smells strongly of vinegar and can irritate nose and throat. We strongly recommend adult supervision if working with children.

We also recommend that you keep dye tools and utensils separate from kitchen tools and work with plenty of ventilation. Alum may be safely disposed in a municipal water system by pouring down the drain. Do not dispose of in waterways or drains that flow into waterways.
CALCULATING THE AMOUNT OF MORDANT
Aluminum acetate: the recommended amount of aluminum acetate is 5 to 10% of the weight of fiber, or 2-4 rounded teaspoons for 100 grams of fiber. The higher percentage of mordant will increase the depth of shade.

Wheat bran: the recommended amount of wheat bran is 5% of the weight of fiber, or 4 teaspoons for 100 grams of fiber.

- OR -

Calcium carbonate: the recommended amount of calcium carbonate is 5% of the weight of fiber, or 1 rounded teaspoon for 100 grams of fiber.
WHAT YOU WILL NEED: This list of ingredients is for 100 grams/4 ounces of fiber, and with 5% aluminum acetate. Adjust the amount of materials as necessary, per the percentage guidelines above. Note that if you use hot tap water, you will not need to heat the mordant bath.
For mordanting:

100 grams/4 ounces cellulose fiber

5 grams/.17 ounces/2 rounded teaspoons of aluminum acetate

A container to dissolve the aluminum acetate

Heat source (optional; see Note above)

A large stainless steel dye pot

Dye rings (if dyeing skeins)

Choose either wheat bran or calcium carbonate as your final bath. You do not need to do both.

For wheat bran bath:

The above 100 grams/4 ounces of mordanted fiber

5 grams/.17 ounces./4 teaspoons wheat bran

Cheesecloth

For calcium carbonate bath:

The above 100 grams/4 ounces of mordanted fiber

5 grams/.17 ounces./1 rounded teaspoon calcium carbonate

Primary Instructions:

Wet out the aluminum acetate in cold water and dissolve in boiling water. It may be a bit lumpy and sticky, but the lumps work out fairly quickly. A whisk is helpful. We recommend a dust mask when dissolving aluminum acetate as it is very powdery and the strong vinegar smell can be irritating.

Fill a dye pot with hot water from the tap - approximately 110-120°F. If you use hot tap water, you do not need a heat source as this is sufficient heat for mordanting. You may also use a clean bucket or container for mordanting with aluminum acetate (see top photo of yarns in tub as an example).

Add the dissolved aluminum acetate and stir well. Then add the fiber to the dye pot, rotating the fibers gently. Press out air bubbles under fabric folds, or in floating yarn.

If you are heating cold water, heat only to 110°F.

Rotate goods occasionally and hold for 45 minutes.

Remove fibers from the dye pot. Rinsing is not necessary. Remove excess water and proceed to the wheat bran or the calcium carbonate bath.

Wheat bran bath

Enclose the wheat bran in a cheesecloth bundle if you don't want bran bits all over your fibers. Soak the wheat bran bundle in a small bucket or container of water just off the boil for about 30 minutes. The solution will be milky. This solution lasts about 1-3 days. If you notice it starting to bubble or smell fermented, it's time to make a fresh solution.

Fill a bucket with hot water from the tap - approximately 110-120°F that is large enough to hold your mordanted fabric. If you use hot tap water, you do not need a heat source as this is sufficient heat for the bran bath. Add the bran solution and the bundle of bran to the bucket. You can gently squeeze the bran bundle to extract more of the bran goodness.

Place the mordanted fibers into the bath for 30 minutes, rotating occasionally.
Remove the fibers from the bath. Do not rinse before placing into the dye bath. The fibers are now ready for dyeing.

Calcium carbonate bath

Mix the calcium carbonate with boiling hot water and add to a bucket or container large enough to hold your goods. Add yarn or fiber and leave for 15-30 minutes. Remove, rinse lightly and proceed to dyeing. Calcium carbonate can shift dye colors due to its higher pH, so we like to rinse it prior to use.
Reusing the bath to save water and mordant
You may leave the fibers in the mordant solution overnight, then extract excess water and proceed to dyeing. Some dyers feel this increases the depth of shade of the finished piece. You may store damp mordanted fibers in a plastic bag and refrigerate up to 7 days, and cure or age, as this also seems to increase the depth of shade in the dyed fibers. You may also dry and store mordanted fibers for future use; we recommend using cellulose mordanted fibers within 6 months of mordanting. Label and store your mordanted fiber and keep it away from dust or dye powders, as it is vulnerable to staining.

Reuse aluminum acetate baths at least twice. If you observe cloudiness or flakes floating in the bath, it is time to change it. Recharge the bath with 50% of the amount of required mordant, or 1 teaspoon per 100grams of fiber for a 5% solution, or 2 teaspoons for a 10% solution.

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Our How To guides are intended to make the dye process easy, from How To Mordant to scouring your fibers to dyeing with an assortment of dyes. You can find other How To guides here. Mordanting is the most important process of preparing fibers to accept color.

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HOW TO NATURAL DYE AT HOME WITH AVOCADO | BOTANICAL COLOUR | SHADES OF PINK

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Rita Adrosko, Natural Dyes and Home Dyeing.

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Rita Adrosko, Natural Dyes and Home Dyeing.

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https://store.doverpublications.com/0486226883.html

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Love, Stuff & Zoom Workshop led by Judith Helfand

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Absolutely No Spitting by Judith Helfand

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Absolutely No Spitting by Judith Helfand

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Trailer for Cooked: Survival by Zipcode by Judith Helfand

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Trailer for Cooked: Survival by Zipcode by Judith Helfand

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Cooked: Survival by Zip Code | Official Trailer

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www.cookedthefilm.com

Directed by Judith Helfand. Produced by Fenell Doremus. 

ABOUT THE FILM:

COOKED: Survival by Zip Code is Peabody Award-winning filmmaker Judith Helfand's searing investigation into the politics of “disaster” – by way of the deadly 1995 Chicago heat wave, in which 739 residents perished (mostly Black and living in the city’s poorest neighborhoods).

Asking open-ended questions that push people to deeply consider what it might mean to redefine the term “disaster” and reframe the concept of “resilience,” Helfand forges inextricable connections between the cataclysmic natural disasters we’re willing to see and prepare for and the slow-motion disasters we’re not – that is until an extreme weather event hits and they are made exponentially more deadly and visible. Using a combination of chutzpah, humor and candor, Helfand delves deep into one of our nation’s biggest growth industries: disaster preparedness.

Whether it’s a deadly heat wave in Chicago or Hurricanes Katrina, Sandy, Harvey or Maria, these disasters reveal the ways in which class, race, and zip code predetermine who lives and dies everyday, regardless of the weather and who gets hurt the worst and first in the wake of an “official disaster.” In COOKED Helfand challenges herself and ultimately all of us to respond to the man-made disasters taking place in towns and cities across the country before the next unprecedented “natural” disaster hits.

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‘Thank G-d My Mother Is Already Dead’: Mourning in the Time of Coronavirus

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‘Thank G-d My Mother Is Already Dead’: Mourning in the Time of Coronavirus

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Thank G-d my mother is already dead. I catch myself saying that a lot these days.

Nine years ago, her cancer diagnosis and inevitable death were the most harrowing experiences I could have ever imagined. And for as long as I could, I didn't. Until days before she died, I found the words to ask her: "Mom, how do you live without your mother?"

I didn't want to talk about the end of her life. I didn't want to spend time going through generations of family photos, Judaica and memorabilia, despite her begging me to.

But once the only treatment left was no treatment at all, we did everything possible to ensure that our mother lived a really good death.

Now, in this time of COVID-19, I look back at that dark period with deep gratitude.

We made her home hospice into a multi-week going-away party: think quarantine meets open house. We laughed a lot-about how my waking up with her multiple times a night was boot camp for parenting an infant; about how unfair it was that she'd die before Downton Abbey's 2014 season premiere; about guilting me for stress-eating in her home hospice. We livestreamed Yom Kippur. We held her hands, caressed her keppee (forehead) and listened closely to her very last breaths. I'd promised her, "We won't let go till Dad [who she knew would be waiting with outstretched arms on the other side], says, 'Gotcha.'"

Within hours we were planning the funeral, which due to contiguous Jewish holidays, was delayed five days. The funeral director offered a livestream option. Livestream her funeral? "Take it," he said. "You never know who might not make it in person."

Her body lay in cold storage until close friends and synagogue members performed the ritual tahara (purifying a dead body for burial). One of them promised: "I'll look into her face, tenderly put potsherds on her eyelids, and tuck her into her shroud."

Arm-in-arm, shoulder-to-shoulder, friends and family filled the Plaza Jewish Community Chapel so tightly you could hear people breathing. They exchanged hugs and kisses, bits of stories and Kleenex. I remember turning to take in the crowd when my oldest brother whispered: "Look! Mom's funeral is packed!" There were heartfelt eulogies, a klezmer violin solo, and our cousin, who we call "the Lesbian Reconstructionist Rabbi to the Rescue," raucously singing Mom's favorite-"I'm Spending Chanukah in Santa Monica"-before chanting the ancient El Maleh Rachamim (Prayer for the Soul of the Departed).

We buried her in a crowded Jewish cemetery on the border of Long Island and Queens. My brothers and I made good on our long-ago pact to fully cover our parents' coffins with soil ourselves, shovel by shovel. Afterwards our family and friends formed a human archway for us to walk through, physically embodying the community that would hold us up while we grieved, symbolically transitioning us to shiva. We left our mom next to our dad and their mechutanim (in-laws). She was anything but alone.

Sitting shiva (the seven-day Jewish ritual of intense mourning) followed, first at my brother's house and then at my small Upper West Side apartment. We were surrounded by friends and loved ones. It was expected, needed, almost taken for granted. They witnessed our grief, held us in long extended hugs, prayed with us, passed around old pictures, shared things about our mom we didn't even know, and brought way too much babka.

It's painful to recount all of this right now as COVID-19 robs mourners of every intimate, in-person, up-close grieving ritual. This can't become the new normal. It's anything but normal.

Seven years later, my grief over losing my mother has evolved. How and why I wonder? I got to grieve in community; I became a parent to a newborn; I made films that explore love and grief. And I repeatedly tell my now 6-year-old daughter concrete stories about her Bubby and Grandpa-stories connected to objects they loved to use and that I have integrated into our home, our rituals, and our life together.

During the lockdown I find myself fantasizing: If Mom was alive, how would we spend our virtual time together?

At the end of her life there were two basic things she wanted: time with me and peace of mind. She wanted to talk about the end of her life and what she really hoped to pass on to us, literally and spiritually. She wanted to go through all the stuff that she couldn't take with her, so we would know what was what. And she wanted to talk about what really mattered-to her, to us, to our family.

She had no problem discussing living wills and "do not resuscitate" orders. I did. But maybe, I would have gotten there sooner had I taken her lead and simply started by asking her about the stemware she always hated but used anyway because my father surprised her with it for a major anniversary. Or my Bubby's very heavy, very old brass candlesticks. That story I can recount, because I grew up hearing it. "Bubby brought them over from Dvinsk (Latvia) in 1903. They were a part of her dowry, from her parents. She used them every Shabbos. One day they will be yours."

Yes, if my mom was on the other side of a Zoom I'd use our time to do a stuff review.

"OK Ma, we're recording. Find the picture of grandpa and the brothers he helped bring over from Bobruisk. What are their names, why didn't we grow up knowing them, and where do you think all their children and grandchildren are now?

We'd move to the kitchen: " Let's start with your Moulinex La Machine 2. Why did you switch from a stainless steel box grater to a food processor? Was this when thousands of years of hand-grating potato latkes (pancakes) came to a sharp halt? For me, yes. Maybe, if we were lucky, she'd be inspired to teach us how to make the perfect latke.

If my mother were alive I think she'd suggest we turn this period of virtual check-ins into a time for storytelling between generations, a chance to talk about what really matters, and an opportunity to find out what it is we really need to leave our children.
Judith Helfand's feature documentary LOVE & STUFF will premiere during the Hot Docs festival, where it will stream from May 28 to June 24.

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'Thank G-d My Mother Is Already Dead': Mourning in the Time of Coronavirus

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Thank G-d my mother is already dead. I catch myself saying that a lot these days. Nine years ago, her cancer diagnosis and inevitable death were the most harrowing experiences I could have ever imagined. And for as long as I could, I didn't.

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Sanctuary Studies / Zoe Cohen, Dexter Moore, Dan Blacksberg / February 26 2017

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Sanctuary Studies / Zoe Cohen, Dexter Moore, Dan Blacksberg / February 26 2017

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Sanctuary Studies / Zoe Cohen, Dexter Moore, Dan Blacksberg / February 26 2017

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How to remote access phone's camera from another phone with AirMirror App?  (Useful for stop action video making where you don't want to move around your camera)

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How to remote access phone's camera from another phone with AirMirror App?  (Useful for stop action video making where you don't want to move around your camera)

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AirMirror App has the same Camera feature with AirDroid Desktop client and AirDroid Web client. it allows you to remote access your phone's camera from your other phone, even these two phones not under the same network.

Here are the steps:

Download and install the AirDroid app on your phone A and sign in to your AirDroid account

Download and install the AirMirror app on your phone B and sign in to the same AirDroid account

Open AirMirror App on phone B, then click phone A in the device menu of AirMirror App

Click the Camera to establish a connection

If you want to remote access your phone's camera from a computer, please check How to remote access phone's camera from a computer with AirDroid?
Note:

During the process of establishing a remote camera connection and use, ensure that the AirDroid app is running in the background of your phone A.

What features of AirMirror Camera have?

AirMirror Camera currently contains the following features:

Rotate screen

One-way Audio

Switch front and rear camera

Switch flashing light

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How to remote access phone's camera from another phone with AirMirror App?

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AirMirror App has the same Camera feature with AirDroid Desktop client and AirDroid Web client. it allows you to remote access your phone's camera from your other phone, even these two phones not under the same network.

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See video in the next post : )