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The Maiwa Guide to Natural Dyes
What they are and how to use them



You can purchase cutch online here.


Cutch Extract - This powder is an extract prepared from steeping the wood of the Acacia catechu tree in hot water until a syrupy liquid immerges. This is dried and then ground into powder. It is common to most parts of India, Burma, Indonesia and Peru. Indian cutch is by far the most beautiful. It is a good source of colourfast shades of brown - cinnamon, nutmeg, and clove. Cutch extract contains tannin as well as the dye compound catechu. It is easily soluble in water. Cutch has excellent light and washfast properties. It requires 20-50% WOF to dye a medium depth of shade.

Mordanting: use alum mordant at 15% WOF for both protein and cellulose fibres (there is enough tannin in cutch so mordanting with tannin is not required).

Dyeing: completely dissolve the powdered cutch (sometimes cutch will come a little chunky) in boiling water and add it to dyebath.

Deeper colours can be achieved by first soaking the cutch extract in a weak mixture of caustic soda. Add 1 tsp lye or sodium hydroxide to 4 litres (1 gallon) of water. Soak for 1 hour. Then add more water and neutralize with acetic acid or vinegar to pH7. Add this neutral solution to the dyebath.

Fibres are then added and the dyebath is kept at a low simmer for at least two hours. Cutch does not easily exhaust and dyebaths can be used multiple times for lighter shades.

The alum mordant yields toffee browns. The addition of iron at 2-4% WOF yields chocolate browns, while a soda ash rinse will redden the cutch colour. The addition of 2% WOF hydrogen peroxide during the final 15 minutes of dyeing will darken cutch considerably. Allowing the fibre to cool down and sit in the dyebath overnight will give the darkest shades.











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Tuesday, March 12, 2013 No comments
The Maiwa Guide to Natural Dyes
What they are and how to use them


Cloth being agitated in a myrobalan bath in preparation for Ajrakh blockprinting.

You can purchase myrobalan online here.

Myrobalan - This dyestuff consists of ground nuts of the Terminalia chebula tree. This tree grows in Nepal, India, Sri Lanka, Burma, Thailand, Indochina and south China. It may be classed as both a mordant and a dye, giving a light buttery yellow when applied. It is an important tannin based mordant for cotton in India and southeast Asia due to the light warm colour it imparts to the cloth. Myrobalan is a good foundation for overdyeing. It is also the perfect colour to lay down under a single indigo dip for teal. When used as a tannin mordant myrobalan requires 15-20% WOF. If using to create a soft butter yellow use 20-30% WOF.

Myrobalan nuts.

Mordanting: use alum mordant at 15% WOF for protein fibres and cellulose fibres (there is enough tannin in the myrobalan so that mordanting with tannin is not required).

Dyeing: Add myrobalan powder to the dye or mordant bath, bring bath up to 55ºC (130ºF) and then add fibre. Continue heating bath to a high simmer (approximately 83ºC (180ºF)) hold for one hour. Adding iron (2-4% WOF) to the bath will produce soft lichen greens to deep grey-greens.

Look carefully at our light test for myrobalan below. The cloth that was hung in the sunlight for sixty days is actually richer and slightly darker than the cloth that was not exposed to the light. The sample beside it was placed in an iron afterbath. The effect here also is subtle but worth noting: the sample exposed to the light has a very faint shift away from neutral grey and towards a warmer red-grey. This is one of the counter-intuitive qualities of this dye and few others. It actually grows deeper and richer with exposure to light.


Myrobalan at 20% WOF on a variety of fibre types.








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Tuesday, March 05, 2013 8 comments
The Maiwa Guide to Natural Dyes
What they are and how to use them


Caesalpinia gilliesii (a species of Brazilwood known as the bird of paradise)
found in Uruguay, Argentina, and Chile.
Photographed at the natural dye garden in Lauris, France.

Brazilwood (Sappanwood) - is from the heartwood of trees of the genus Caesalpinia. Originally an old-world dye, the discovery of Caesalpinia on the coastlines of South America gave the country Brazil its name. In South America it was harvested (then overharvested) from the species Cæsalpinia echinata.

Sappanwood, Cæsalpinia punctata is found throughout east Asia and is sometimes known as Eastern Brazilwood to distinguish it from Cæsalpinia echinata. Our brazilwood comes from Sappanwood.

This wood is high in tannin and the colourant known as Brazilian. It will produce lovely warm reds when dyed at a 20% WOF and deep crimson reds when dyed at 50-100%. The dyebath can be used multiple times for lighter colours and the wood chips can be dried for future use.

Startling variations can be achieved (bright orange to blue red) when the pH level of the dye bath is manipulated. Fabrics dyed with brazilwood are fast to washing but somewhat fugitive to light.

Eastern Brazilwood

Eastern Brazilwood is available to order here.

Mordanting: use an alum mordant at 15% WOF for protein fibres. Mordant with tannin at 8% WOF and then alum at 15% WOF for cellulose fabrics.

Dyeing: Brazilwood develops best in slightly hard water. Adding finely ground chalk (or a Tum’s tablet – 1 to each 4 liters of water) brightens the brazilwood colour, especially if there is no lime in the local water.

This dye takes time to be extracted - simmer 25-50% WOF of the wood chips for 1-3 hours and leave to cool overnight or longer (some dyers leave for days). Add fibre to the bath. The first dyebath will produce a deep crimson red. The next dye bath can be used to achieve beautiful shades of pink and coral. Change the pH level to an acid to get an orange red or use an alkaline (like soda ash) to get blue-red to brilliant purple. Adding fustic extract will yield rich warm reds and iron will turn the fabric to a mulberry wine colour. A dip in indigo will produce purples.

Brazilwood on a variety of fibre types. Linen, cotton, wool, silk.

Our light fastness tests for brazilwood.
60 days in the sun.
Left 50% WOF right 50% WOF with an iron afterbath.



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Wednesday, February 27, 2013 1 comments

Magnificent old brass and copper pot. Approx. two and a half feet wide by three feet high. $1200.

Large teak bowls up to three feet across and about eight inches deep.
These objects have substantial display potential. $599 each.

Hammered brass urn from India. Two hefty rings fastened to the top.
Approx. 18 inches across and 20 inches tall. $499.

Hand forged copper pot with copper rivets on top band. This is a truly remarkable item.
Approx. two and a half feet high and two feet wide. $1999.

Rare antique coper urn from India. $1200.
Approx 3 feet high and two feet in diameter at the largest width.

Antique bronze urn, from a plantation in India. Rare.
Approx. 2 feet high by two feet wide. Very solid. $1300.




Maiwa East
1310 Odlum Drive Vancouver, Canada

maiwaeast.com

Open Thursday - Saturday 10am - 5pm
Open Sunday 11am - 5pm



Thursday, February 21, 2013 No comments
We have been putting up some photos of our 2013 travels. Here are a few more ...

Fresh from the dyepot - indigo cloth dries in the open air.


From above - a field of indigo blue.




A variety of sumptuous blockprinting. Most of this is done with the dabu mud resist technique. 
Note the large copper dyepot filled with napkins. 

Find out more about Dabu mud resist.

Here is our dabu cloth available online.

Behind the table you will see one of our kashmir blankets.




Friday, February 15, 2013 1 comments
The Maiwa Guide to Natural Dyes
What they are and how to use them


We are working our way through the most common dyes alphabetically. So we begin with Alkanet, it is available online here.

Alkanet – alkanna tinctoria or dyer’s alkanet is a very attractive purple colourant that is found in the roots of plants belonging to the borage family. It grows uncultivated throughout central Europe and extends to central Asia and North Africa. The extracted pigment is often used in cosmetics, soaps and pigments. The violet colourant from alkanet is not soluble in water.

Before a dyebath is made the alkanet root must be soaked in a solution of alcohol and hot water – colourless rubbing alcohol or methylated spirits can be used (some dyers who do not like the smell of either of these solvents use vodka!). The colours produced on mordanted fabric and yarns are shades of grey, lavender and purple when used at 75-100% WOF. The colours achieved are beautiful but have moderate light fastness.

Mordanting: use alum mordant at 15% WOF for protein fibres. Mordant with tannin at 8% WOF and then alum at 15% for cellulose fibres.

Dyeing: Use dried alkanet at approximately 75-100% WOF for rich colours. First, soak the shavings in alcohol (or methylated spirits) for several days to extract the colour. When the liquid has developed a strong colour, strain off the liquid then add enough water to this liquid for the fibres to move freely in the solution. Add the mordanted fibres and heat this dyebath up gently - but no higher than 60ºC (140ºF) - until all the colour has been taken up. Adding iron to the dyebath at 2% WOF creates a range of greys and grey-violets.

Samples and light fastness tests: below are some of our dye samples and light fastness tests. Keep in mind that computer monitors will introduce a colour bias, as will the process of photographing the dye samples. Reader's who are interested in colour, especially how it shifts in photography will find our post about the tapestries at Hampton Court interesting.

Our light tests are done by taking an evenly dyed piece of cloth and then exposing only half of it to daylight for 60 days in summer. We are located in the Pacific Northwest  - our sun does not have a reputation for intensity. Professional, scientifically calibrated, fade tests are available, but tend to be prohibitively expensive. Our simple tests confirmed what we understood to be true: that Alkanet on cloth is beautiful but has only moderate light fastness.

Click on the image for a larger version.


Alkanet at 80% WOF
wool, silk, viscose, boiled cotton, mercerized cotton.


Alkanet at 80% WOF + Iron at 2% WOF
wool, silk, viscose, boiled cotton, mercerized cotton.

Alkanet at 80% WOF
linen, silk, wool, wool jersey, hemp.

Alkanet at 80% WOF + Iron at 2% WOF
linen, silk, wool, wool jersey, hemp.

Alkanet light test - 60 days.
Alkanet 80% WOF on linen, gall nut as tannin.


Alkanet light test - 60 days.
Alkanet 80% WOF on linen, maiwa tannin.

Alkanet light test - 60 days.
Alkanet 80% WOF + iron afterbath on linen, gall nut as tannin.

Alkanet light test - 60 days.
Alkanet 80% WOF + iron afterbath on linen, maiwa tannin.




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Saturday, February 09, 2013 4 comments

Maiwa has been on the road for a little over a month now. Visiting people and places throughout India and Bangladesh. Recently we stopped in to see the craftspeople from the Artisans Alliance of Jawaja. The group comprises both leatherworkers and carpet weavers. Here are a few photos from the visit.


Each year the carpets seem to get more colourful. They are woven from the substantial local wool, making them very durable. The looms are wider that those we usually see used for shawls.


Maiwa staff Loraie and Danielle, share a cup of sweet Indian chai with the carpet weavers next to stacks of new work. 


Many people now know the famous Jawaja leatherwork. In airports we often encounter people who recognize the bags and strike up a conversation. Here Sophena checks out the capacity of a new design.


Our annual meeting with the Artisans Alliance of Jawaja is a highlight of our trip. Maiwa owner, Charllotte Kwon especially looks forward to this meeting as she has seen the cooperative grow more confident every year. New designs and innovations are presented with pride. The walls of the meeting room now contain posters promoting the cooperative. To belong to the Artisans Alliance of Jawaja is to belong to a group that is known throughout India and the world.

The works of the Artisans Alliance of Jawaja are available online. 

Works of the leatherworkers are available here.
Works of the carpet weavers are available here.
Wednesday, February 06, 2013 1 comments
The Maiwa Guide to Natural Dyes
What they are and how to use them

Cotton mordanted with alum.

How To Mordant
Here we give the procedure for mordanting. Once again, the procedure depends on the fibre type.

Always use clean non-reactive vessels: stainless steel, unchipped enamel, glass, or plastic. Iron or copper vessels can also be used but the metal will react with the dyebath. Iron will dull or “sadden” colours. Copper will tend to brighten them.

Mordanting wool, silk or protein fibres
  1. Weigh the fibre dry, then scour.
  2. Measure alum at 15% WOF
  3. Measure cream of tartar at 6% WOF (optional, see cream of tartar, mordants part 1).
  4. Dissolve both the alum and the cream of tartar in very hot water in a non-reactive container.
  5. Add the dissolved chemicals to the dye kettle with enough warm water 45º C (110º F) to cover the fibre when it is added - usually a 30:1 ratio of water to fibre. Stir well.
  6. Add the scoured, wet fibre. Over 30-45 minutes bring the temperature up to 90º C (195ºF) Just under simmer for wool, and 85ºC (185ºF) for silk. Hold for one hour, gently turning the fibre regularly. 
  7. Let cool in the bath for 20 minutes. 
  8. Remove the fibre from the mordant bath. Allow to hang evenly over a non-reactive rod (stainless steel, plastic) until it stops dripping. Rotate the yarn or fabric frequently so the alum is evenly distributed. 
  9. Store the yarn or cloth in a damp white cloth for 24-48 hours. Keep it damp during this entire period if proceeding to dyeing. If you are going to store the fibre longer, then it needs to dry completely and then be stored in a dark place.

Mordanting cotton or cellulose fibres
  1. Weigh the fibre dry, then scour. 
  2. Choose your mordants (see individual dyes for recommendations). For multiple mordant baths tannin must always be done first. Each bath must be completed before starting the next one. 
Cotton after treating with pomegranate.

tannin 
  1. Measure tannin to the recommended WOF for the tannin you are using. Dissolve in hot water. Add to mordanting kettle. Fill the kettle with enough water to fully cover the fibre when added. 
  2. Add scoured, wet fibre. 
  3. Heat to 87 - 93ºC (190 - 200ºF) hold for 45 minutes, gently turning the fibre regularly. 
  4. At this point the fibre may be rinsed and mordanted with alum, or left to steep for 8-24 hours before rinsing (steeping will give deeper colours). 
Aluminum Potassium Sulfate 
  1. Measure alum at 15% WOF. Dissolve in hot water. Add to mordanting kettle. Fill the kettle with enough water to fully cover the fibre when added. 
  2. Add wet fibre (already mordanted with tannin). 
  3. Heat to 87 - 93ºC (190 - 200ºF) hold for 45 minutes, gently turning the fibre regularly. . 
  4. At this point the fibre may be a) rinsed and remordanted, b)rinsed and dyed, or c) left to steep for 8-24 hours before rinsing (steeping will give deeper colours). If you are going to store the fibre then it needs to dry completely and then be stored in a dark place.
Aluminum Acetate 

 For this mordant you do not “cook” the fibre. You begin with very hot tap water 38 - 50ºC (100 - 120 ºF) but do not maintain heat. Because it is not heated, a plastic container may be used for mordanting.
  1. Measure aluminum acetate at 8% WOF, dissolve in hot water, add to mordanting kettle. Or use your homemade aluminum acetate. Top up the kettle with enough hot tap water 38 - 50ºC (100 - 120 ºF) to fully cover the fibre when added. 
  2. Add wet fibre (already mordanted with tannin). 
  3. Let fibre sit for 1 - 2 hours stirring from time to time. Keep the kettle covered so that it retains its heat.
  4. Remove fibre and hang to dry. 5 Chalk(1) (fix) the fibre. Dissolve 50 g of chalk (calcium carbonate) in 5 litres of warm water. Dip fibre into this solution. Fully wet the fibre, wring out and proceed to dyeing. If using wheat bran, mix 100 g of wheat bran in 5 litres of warm water, fully wet the fibre, wring out and proceed to dyeing. These solutions may be maintained over time and occasionally refreshed (after every 10 kg of fibre).
  5. Proceed to dyeing or if you are going to store the fibre then it needs to dry completely and then be stored in a dark place.

*Aluminum acetate must be fixed to the fibre prior to dyeing. In some cultures this is known as “dunging” as cow dung is used. Dung is high in phosphates, but you may also use wheat bran or calcium carbonate (our preferred choice).


 Iron

Iron may be added to the dyepot or it may be done as a separate step after dyeing.
  1. Measure iron at 2% WOF. Dissolve in hot water. Add to mordanting kettle. Fill the kettle with enough water to fully cover the fibre when added. 
  2. Add wet, mordanted fibre 
  3. Heat to 71 - 77ºC (160 - 170ºF) hold for 30 minutes. 
  4. Rinse well. Remember always thoroughly scrub a pot that has been used to iron mordant or it will sadden the next dye bath. Note cellulose fibres can be fully dried and stored before dyeing. Fibres do not need to be remordanted between dyes. Once a fibre has been mordanted it can be dyed and then overdyed without any further mordanting.

Osage on wool. Top at 20% WOF. Bottom with Iron at 2% WOF.




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Sunday, January 27, 2013 14 comments
The Maiwa Guide to Natural Dyes
What they are and how to use them

In our previous post we explained why mordanting was necessary and looked at the primary mineral mordant - Alum. We encouraged readers to review fibre types. Now we move on to tannins which are necessary to get fast colours on cellulose fibres such as cotton. Detailed procedures will be described in the next post.

Tannin – Tannic acid is used to mordant cellulose fibres and fabrics before the alum mordant. Alum does not combine as readily with cellulose fibres as it does with protein fibres. Fortunately tannin has a great affinity for cellulose. Once mordanted with tannin, alum will combine well with the tannin-fibre complex. For this reason, the order of a tannin-alum mordant combination is very important. Jim Liles, in his book The Art and Craft of Natural Dyeing presents an interesting historic perspective on the use of tannins on plant fibers - including the belief that it was necessary to "animalize" the fibre. This belief explained some very unusual dye processes.

Many dyestuffs contain tannin (black oak, pomegranate, cutch, fustic, etc) and do not need an additional tannin mordant.

Tannins can be clear or they can add a colour to the fibre. This is a consideration when selecting a tannin. The two most popular tannins in the Maiwa studio are gallnut (oak gall) and myrobalan.

There are three types of tannins.

     • Clear Tannins: “Gallic” - Gallnut, Tara, Sumac
     • Yellow Tannins: “Ellegic” – Myrobalan, Pomegranate, Black Oak, Fustic
     • Red-Brown Tannins: “Catechic” – Cutch, Quebracho, Tea leaves


Oak Gall - This is the earliest and richest source for natural tannin and is the clearest of the tannins. It is found in the gallnuts of oak trees. A gallnut is produced by the tree as a defense against insects who deposit their eggs in small punctures they make on young branches. The tree excretes a tannin-rich substance that hardens and forms a gallnut.

Gallnuts
Sometimes the insect may escape this prison - in which case we see an escape hole in the gallnut. Sometimes the plant wins and the parasite remains in the nut.

The one that didn't make it out. Wasp found inside a gallnut.

Gallnuts are collected and ground into a powder that may be used to mordant cloth, in leather tanning, or medicinally.

Use gallnut at 6-8% WOF.

Myrobalan - This dyestuff consists of ground nuts of the Terminalia chebula tree. This tree grows in Nepal, India, Sri Lanka, Burma, Thailand, Indochina and south China. It may be classed as both a mordant and a dye, giving a light buttery yellow when applied.

Myrobalan nuts - the preferred tannin throughout Asia.
Myrobalan is an important tannin-based mordant for cotton in India and Southeast Asia due to the light warm colour it imparts to the cloth. The colour works well for overdyeing. Myrobalan is also the perfect colour to lay down under a single indigo dip for teal.

India. Myrobalan being used on cotton.

When used as a tannin mordant, myrobalan requires 15-20% WOF. If used to create a soft butter yellow colour 20-30% WOF is needed.


Iron (Ferrous Sulfate) – This is an optional step. Iron is used as a colour changer. It has the added benefit of making naturally dyed colours more lightfast and washfast. It is more often used with cellulose fibres like cotton, linen, rayon and hemp and should be used with care on protein fibres as it can make them slightly hard or brittle. Iron shifts a colour to a deeper, darker shade. Dyers say it "saddens" the colour. If used in the mordant process that shift is more distinct than when used directly in the dyebath. Iron should be used at 2-4% WOF. More than that could damage the fibre.

Cambodia. Terracotta pots containing "ironwater"
for natural dyeing. The solution is prepared by
combining oxidized metal, water, mealy wheat
and jaggery (sugars). 
When printing with natural dyes we recommend changing ferrous sulfate to ferrous acetate to avoid bleeding and ferrous transfer (the migration of iron).

Homemade Ferrous Acetate

5 g ferrous sulfate
100 ml vinegar
3 g lime (calcium hydroxide)

Combine the above ingredients in a plastic container and stir well. If thickening is required, weigh the amount of ferrous acetate you wish to thicken and add 1% of guar gum.

Comparison of a dye used alone and with iron.

Ferrous acetate needs to be fixed. We use chalk (calcium carbonate) 50g in 5 litres of warm water. Once your ferrous acetate is fully dry dip it into this solution. This solution may be kept and reused again and again. Generally you may refresh with 50 g of chalk after each 10 kg of fabric. Full instructions are given in the next post.




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Wednesday, January 23, 2013 7 comments

Samples from our lines of clothing. 
Some rare items from past fashion shows. 
Garments with quirky bits. 

 All at surprising prices - 
 $10 - $65 

 Only in the Main Maiwa Store 

Located in the Net Loft on Granville Island 
 The artisan heart of Vancouver. 

 All items are as is, final sale.
Sunday, January 20, 2013 No comments

Warm up your bedroom this winter 
with cotton bedding hand blockprinted with natural dyes. 

WHILE STOCK LASTS 
we have a 50% off sale 
on selected Ajrakh prints 
Only in the Maiwa Store. 

 Come down and visit us on 
Granville Island 
The Artisan Heart Vancouver 

 Maiwa Handprints Ltd. 
Unit 6 - 1666 Johnston Street 
Granville Island, Vancouver, Canada 
V6H 3S2 
 604 669 3939 


Find us on Google Maps
Thursday, January 17, 2013 No comments

Looking at stocking your studio? 
Starting a new dye project? 
Working with a class or group? 

We get asked to wholesale natural dyes quite often. Our solution is to make the price per gram decrease as the package gets bigger. Large sizes are available in Maiwa Supply and in Maiwa Online.

 Don't forget you can still get 10% off all online orders until the end of January 2013. Just enter "2013" in the "discount coupon" box in your shopping cart.

 Working on a large natural dye project? Drop us a line at maiwa@maiwa.com - we'd love to hear about it.
Monday, January 14, 2013 No comments
The Maiwa Guide to Natural Dyes
What they are and how to use them

We've divided the section on Mordants into three parts. We start with some explanations and then describe different mordants, tannins, and other additives. We will give detailed procedures in part three. What follows depends on knowing what fibre you are working with. You may wish to review fibres before reading on.

There are only a few dyes(1) (such as indigo) that can effectively be put on a fibre without first mordanting.

Mordanting the fibre is perhaps the most important step in successful dyeing. It is often rushed or even omitted because no visible change occurs. When we teach natural dyes, we notice that if students can grasp the necessity of good mordanting before they embrace the excitement of colours, then they are well on their way to successful and satisfying results.

Advanced dyers will use the mordanting step itself as a means to influence colour. Mordants can be added through blockprinting or silkscreening techniques, or the application can be controlled through resist techniques. This gives a variety of methods to add pattern to a cloth. Some very subtle effects may be created through control of mordants and tannins.

Mordanted yarns - almost indistinguishable from unmordanted yarns.

Mordants facilitate the bonding of the dyestuff to the fibre.There are many mordants and each one will encourage a different shade from a particular dyestuff. As mentioned earlier we do not recommend mordants such as chrome, copper and tin. Although these metallic salts work well to fix the dyes and provide an alternate palette, they are a health hazard and produce toxic waste which requires special disposal. Mordants such as alum, iron, and tannin are safer to use and can produce myriad colours when used in conjunction with the appropriate natural dye. The most frequently used method is premordanting (before dyeing). Occasionally the mordant is added to the dyebath (one-pot dyeing) and sometimes it is added after the dyebath (postmordanting or after-mordanting). Mordant procedures for protein and cellulose fibres are not interchangeable.




mordants

Alum – Potassium aluminum sulfate is the mordant most frequently used by dyers for protein (animal) and cellulose (plant) fibres and fabrics. It improves light and washfastness of all natural dyes and keeps colours clear. It is inexpensive and safe to use (see our safety notes). This form of alum is refined from bauxite, the raw state of aluminum ore, and is free from the impurities (such as iron) some other alums can contain.

 Use at 12-20% WOF. Sometimes we use a combination of two mordants of alum. For example, we will mordant once with alum at 15% WOF and then again with a fresh mordant bath of alum at 15% WOF. Or we will do a tannin/alum/alum mordant to achieve slightly richer colours.



Alum Acetate – Aluminum acetate is sometimes used as the preferred alum mordant for cellulose fibres and fabrics. It is refined from bauxite and acetic acid is used as a purifying agent. For this reason some natural dyes develop to a richer shade on cellulose. Alum acetate is the recommended mordant for printing with natural dyes. It is more expensive and sometimes hard to find.

Use at 5-8% WOF

Homemade Alum Acetate – The dyer may make aluminum acetate from sodium acetate and potassium aluminum sulfate and, depending on the availability of these materials in your area, this can be cost effective.

To make enough aluminum acetate to mordant 1 kilo of fabric, combine in 3 litres of hot tap water:
     150 g sodium acetate 
     150 g potassium aluminum sulfate 
 This can be added to your mordant bath. 

Cream of Tartar (cream of tartar)– is the sediment produced in the process of making wine. It is an optional addition to the alum mordant bath and to some dyebaths. It is used to soften wool, brighten shades, and point the colour of some dyes (it will move the fuschia of cochineal to a true red). Cream of tartar works best with animal or protein fibres and is seldom used with plant or cellulose fibres. Use at 5-6% WOF.

Up next - Tannins.

1 Dyes which do not require mordants are sometimes referred to as substantive dyes. Indigo is the best example of a substantive dye. Occasionally the term substantive will be used for dyes like walnut and myrobalan which are are also tannins. For the natural dyer who wishes the greatest flexibility we recommend that fibres always be properly mordanted.


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Friday, January 11, 2013 10 comments
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