dyeing wool with fresh indigo leaves

This surprised me as, when making 1-2-3 vats, I always add the alkali first. Printing with marigold flowers and gum arabic, Printing with marigold flowers and guar gum, Students applying cassava paste resist through metal stencils from Nigeria. If desired, add about a teaspoon of alum sulphate, first dissolved in some of the boiling water. Animal fibers will be blue and plant fibers green. I then weighed the sample sets and worked out the weight of symplocos leaves I would need for 30% weight of fibres (WOF). I meant to toss all of my frozen and dried leaves but couldn't quite bring myself to do it. It could not be forced through the mesh for the screen printing application and for the stencil; it was too heavy thereby breaking the linoleum carpet, plastic and even the indigenous metal stencil. We use cookies to let us know when you visit our websites, how you interact with us, to enrich your user experience, and to customize your relationship with our website. ), 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). Wool and silk fibres were mordanted with 25% alum sulphate and the cotton and linen fibres were mordanted with 5% alum acetate. In order to be able to compare the effectiveness of Symplocos leaves as a mordant, I added samples mordanted with two other types of alum mordant – 10% aluminium sulphate and Kaltbeize AL, a cold mordant of aluminium formate, which I have written about in previous posts. I'm glad I didn't because I just came across the book, A Garden to Dye For, by Chris McLaughlin. This site uses Akismet to reduce spam. These were used without a mordant and with all four colour modifiers: acid (clear vinegar), alkali (soda ash), copper (copper water), iron (iron water). This site uses cookies. Then start to apply heat and simmer the bark for about an hour. Note that blocking some types of cookies may impact your experience on our websites and the services we are able to offer. Since these providers may collect personal data like your IP address we allow you to block them here. The frozen and dried walnuts became dark brown and the fresh walnuts also appeared dark brown when I put them in the dye bath. The lavender shade is oak galls+iron on cotton fabric. 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. Pick indigo leaves. The photos below show the results from the madder extract and logwood extract dye baths. At its source, the Plant Mordant Project builds partnerships for sustainability with rainforest communities and indigenous textile artists in Indonesia. After this time the fibres looked blue. 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. Strain off the liquid and set it aside. However, this method requires only water and clear 5% vinegar. Using fresh green walnuts kindly donated by Deborah Barker and all collected at the same time from the same tree, some were put in the freezer immediately, some left to dry out and some used fresh from the tree. I then dyed all the skeins shown above in a madder dye bath. Click to enable/disable essential site cookies. The silk reacted better but the depth of blue on the silk was still less than that on the wool. They were first dyed blue using indigo extract (Saxon Blue). Put the chopped leaves into a container and add enough water to cover them. Saxon blue or sulphonated indigo is an indigo extract made by dissolving indigo powder in sulphuric acid. Although the vats didn’t look exactly the same at each stage, the dyed samples show that each vat produced samples of almost identical shades of blue. We need 2 cookies to store this setting. When it had cooled a little, the silk and wool fibres were added and left to steep in the dye solution. The cutch-dyed fibres were added to the iron solution and simmered for 15 minutes. For example, the cassava flour and starch prepared on fire for less than 10 minutes became too elastic and tough to manage. This sample became tan/pink. 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. A cold 25% alum mordant was applied and the fibres were allowed to soak in the cold alum mordant solution for 24 hours. Virginia. 2% iron (ferrous sulphate) was dissolved in boiling water then added to a pot of water. I used the powdered leaves at the rate of 50% weight of the fibres and simmered them in rainwater for about 30 minutes until they sank to the bottom of the pot. Madder root – Top from left: linen, silk, cotton Below from left: From left below: wool & silk, cotton & linen no mod, + acid, + alkali, + copper, + iron (All alum mordant), Madder root – Top from left: cotton, linen, silk  Below from left: wool & silk, cotton & linen no mod, + acid, + alkali, + copper, + iron (All Symplocos mordant), Tannin is not necessary when using aluminium acetate and this was an extra experiment to see if using tannin before applying aluminium acetate improved the colours. 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. Alder cones (top) and Knopper oak galls (Photo by Liz Miller), Knopper galls develop as a chemically induced distortion of growing acorns on pedunculate oak trees (Quercus robur), caused by the Andricus quercuscalicis gall wasp, which lays eggs in buds. 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. But this will always prompt you to accept/refuse cookies when revisiting our site. Click to enable/disable essential site cookies. I usually omit both alum and copper sulphate.) (See earlier posts for Symplocos mordanting details.). The leaf paste can also be spread on fabric for a targeted pattern. 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. This shows some results on silk: top – Saxon Blue, below left – Japanese indigo vat method, below right – Japanese indigo water & vinegar method (Photo by Ross Belton). Then allow the fibres to cool in the dye bath. The fibres were a medium yellow colour, although the recipe said they would be a”pale shade of yellow”. Normally among the young producers today, 2 tablespoons full of caustic soda is the practice for 1 regular plastic measure of flour (Ike ijoba), but in this study for proper documentation and standardized measurement of the chemical for studio practise and general production, the study shared the paste into manageable quantity. Very cold water (John stores gallons and gallons in the refrigerator) and indigo leaves in a blender: grinding the fresh indigo. In October we started with substantive dyes and used rhubarb root (Rheum spp. The important thing is to make sure the fibres don’t have any grease or dirt adhering to them.) I decided to experiment with dyeing without further heat, so I put a lid on each of the containers and left them for about 4 weeks. Below are the details of the recipes and the results. Bring the remaining 400mls of the water to boiling point and then gradually stir it into the flour mixture, stirring constantly to create a smooth paste. This photo shows from l to r: 10% aluminium sulphate, Kaltbeize AL cold aluminium formate mordant (see a previous blog post), blackberry leaves, oak galls, rhubarb leaves, symplocos leaves. 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. From these tests it seems that using the symplocos leaves at 30% WOF gives good results but that re-using the 30% solution may produce paler shades on some fibres, which could be less fast. This post should catch up on what we did at the last session before my illness, when we used madder, cochineal and weld. The solutions from the three extractions form the dye bath. “The Plant Mordant Project offers natural dyers a unique opportunity to avoid mordants produced by industrial processes and make reliable colors 100% from plants. The mud resist paste was bought from Saith Ffynnon Wildlife Plants (link on home page) and came supplied as a dry mixture for combining with water. We also removed some of the samples from the solar dye pots we had set up at the first session in September. I also have more plants in grow bags in the greenhouse. 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.

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