I then dyed all the skeins shown above in a madder dye bath. Since these providers may collect personal data like your IP address we allow you to block them here. The Saxon Blue we used was bought from Fiery Felts (see link under Useful Websites) and made by Helen Melvin. Changes will take effect once you reload the page. Pastes from rice flour & cassava flour can also be used. They do have a sheltered, fairly sunny spot in my garden and their border is raised a couple of inches out of the wet clay with plenty of sheep manure dug in. Click on the different category headings to find out more. There are many sources of tannin that can be used with iron to create black and we used oak galls in one method and alder bark and twigs in the other. After my last tests, I re-used the 50% symplocos mordant solution on a further wool skein to test whether the solution would still be viable as a mordant and I was pleased to note that, when I added a sample to madder and logwood dye baths, it produced a strong colour. So I will just outline our activities and only give more details of anything that is different from last year. Unfortunately I’ve been seriously ill in hospital again, so the August session at Ditchling Museum was cancelled and we used the September session to harvest and use the woad and Japanese indigo (Persicaria tinctoria) before it was too late in the season. For really deep colours, it is often necessary to use 200% madder to dry weight of fibres, especially if dyeing vegetable fibres. By continuing to browse the site, you are agreeing to our use of cookies. Also put the fibre which you are going to dye, to soak overnight. Symplocos leaves can be used on all fibres; so far I have only used them on wool and I am pleased with the results. The dyer’s broom was simmered for 45 minutes to extract the colour, then strained. indigo leaves. Recently I conducted some experiments with fresh, dried and frozen walnut hulls, to see if there was any difference in the colour achieved from each. In all cases the colours were deeper than I usually get from dried walnuts. I then added the wool to the cooled mordant solution and slowly raised the temperature to simmering point (95C) over a period of one hour. For this method the same whole (or ground) cochineal is simmered three times and the extracted colour is strained and added to the dye bath after each extraction. I'm glad I didn't because I just came across the book, A Garden to Dye For, by Chris McLaughlin. We allowed the froth to subside and then added a reducing agent, sodium hydrosulphite, to remove the oxygen. Since we were going to dye some skeins of yarn, we presoaked the yarn in hot water with a bit of detergent, then started grinding the indigo leaves. The extract below is from the reference above. The fibres were then left to soak in the solution for about an hour. I also added three further samples – two mordanted with different sources of tannin – blackberry leaves and shoots and oak galls – and one treated with rhubarb leaf solution. For the tannin mordant we used oak galls and we tried two methods of creating black with ferrous sulphate and tannin from plants. Because these cookies are strictly necessary to deliver the website, refuseing them will have impact how our site functions. Natural dyers already chose plant dyes over synthetic dyes because they are aligned with their values, and the Plant Mordant Project offers an opportunity to extend the expression of these values by also using a plant-sourced mordant. The lavender shade is oak galls+iron on cotton fabric. The photo below shows the madder-dyed skeins in the same order as the undyed skeins above. One of the students brought some woad leaves, which were chopped and then we poured boiling water over them and left them to steep for about an hour. If desired, add about a teaspoon of alum sulphate, first dissolved in some of the boiling water. Click to enable/disable Google reCaptcha. (Note: The actual blue colours are rather greyer in tone than they appear in the photo.) If you refuse cookies we will remove all set cookies in our domain. The photos below show the results. A couple of weeks ago I dyed a final set of samples for the Ethel Mairet project at Ditchling Museum of Art and Craft, following recipes in the 1916 edition of “Vegetable Dyes”. This site uses cookies. We also use different external services like Google Webfonts, Google Maps, and external Video providers. The Bebali Foundation brings to this project a decade of experience in the fields of conservation, indigenous culture, and rural livelihoods, while its partnerships with the Royal Botanical Gardens at Kew and the Indonesian Forestry Department, and its funding from the Ford Foundation bring world class scientific rigor and accountability.”, I recently purchased some dried symplocos leaves from Couleur Garance in France and have begun to experiment with them. The vats each took about 1 hour to be ready for use. These cookies are strictly necessary to provide you with services available through our website and to use some of its features. Straining off the woad solution after the leaves had been steeped in the boiling or very hot water, Blue froth forming as the liquid is whisked, Results from the woad vat Left to right: cotton, wool, silk noil, silk fabric, cotton fabric, linen fabric with 2 wool samples, Results from the woad leaves simmered for a tan dye bath From left: NM wool, NM silk, NM cotton, NM linen, alum wool, alum silk, alum cotton, alum linen (NM = no mordant) Note: All the cotton & linen samples are actually pink, not blue, in tone. ), Airing the dyed fibres from the tannin/iron dye bath (Photo by Ali Rabjohns), Tannin/iron complex on cotton fabric and yarn Left: oak galls+iron Right: alder bark & twigs+iron (Photo by Ali Rabjohns). I have been looking at various recipes for the 1-2-3 lime/fructose indigo vat, which was developed by Michel Garcia, and I made one interesting observation – in most of the recipes, the fructose (which is the reducing agent) is added before the lime (calcium hydroxide), which is the alkali. Samples of wool and silk were dyed following the instructions on p121 for DYER’S BROOM. Chop or cut up the leaves as finely as possible, preferably not using a wooden chopping board, as this may absorb too much of the precious dye solution, or process them with a little water in a liquidiser. Click to enable/disable essential site cookies. However, this method requires only water and clear 5% vinegar. Note: I have no idea why the caustic soda would be added; it is certainly not a mordant. I then left the samples to soak for several more hours, after which they had become a grey/blue. 1 for WELD  Yellow for Silk. One of the sessions on the one-year course at Ditchling Museum was devoted to resist dyeing techniques, specifically to cassava paste resist, used traditionally in Nigeria, and Dhabu or mud resist, used in India. Unsurprisingly, it didn’t. Out of interest I checked the pH of the dye liquid and it was pH7 (neutral).

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