Natural Plant Dyeing

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NATURAL PLANT l&ING ’ .” : i
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A ZV&“&I ,the r&?-gm&m mby p.vQduce a better col& In
\ the dyebath than the rosebushes do in the garden ”
N the years since 1964 when Dye
I Plants and Dyeing was first published
by the Brooklyn Botanic” Garden, there,
has beep a transition from the objective
intellectual approach to natural plant
dyeing to the praptical desire to apply the
art’ to one’s everyday Jife. This new approach
stems fro’m several factors, including
the resurgence of crafts as a
Fphole, the rejection of anything that is
not “natural,” and the* renewed interest in
the environment that=surrounds us.
In the workshops given at the Botanic
Garden ‘and elsewhere, and in the ‘letters
t&t come to us from all parts of the
world with increa$ng frequency, it has
become apparent that there are many questions
still unanswered and at the same
time much’ inform&ion to be shared. It
was against this background that a .com-’
plementary handbook on dyeing was conceived
and it is hoped that this is-sue wil$
stimulate-further research. .
- In-. discussing the subject of ‘natural
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dyeing or vegetahle dyeing, too often it,f
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Palmy Weigle ’ * ,
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the hokplate in the studio or workroom, ’
or the open fire outdoors can give equally,
good results. For utensils, enamel, ‘stain-
less steel .Qr glass pans enable the dyer to
bring out the true colors of the material
he is using. Lined rubber gloves do help
protect the hands fromstains and from ’
excessive ,esposure. ‘to some of the ’ mor-
dants. a!
Mordants are chemical additives that
sometimes help a fiber accept a “aye that it
might previously have rejected. The word
“mordant” stems from the Latin m,ordere
which means “to bite.” It ha$ traditional-
ly been thought that the mordants bite
into the fiber to permit the dy.e bo pene-
trate...$‘rom t+ Idiscussion in this hand- ,c)
book on- page: 51, it ‘appears that this
may very likely-be what does happen.
A detailed explanation of the various . ,
mordants will he foundin DYE Plants and
Dyeing (Brooklyn Botanic Garden-Hand- -3 _
hook) on pages’9 to.12. Some of the more
common mordants found in, the recipes
included in this handbook ark : ’
contrasted with chemical dyeing. All d 2 es
have a chemical make-up, just as all fibers
1. Alum (alupiinum
fate), which is usually
potassium sulz
combined with ;
have a chemical composition. The con- cream of tartar in a ratio of 3 parts
trast that, is intended is between those of alum to 1 part of cream of tartar.
dyes that have their basis from objects 2. Cream of ,tartar (potassium bitarfound
in nature as contrasted with those ;trate), used with -alum and sometimes
dyes which stem Ram a laboratory. Dyers with tin >%o help soften, the effect of
throughout history have had a deep inter- those chemicals on ‘the fibers. - 1
est and ‘a working knowledge of the part ,_ 3. Tin (stannous chloride); often used ;.
that chemistry played in achieving the’ as a brightening agent Co make a color
colors they desired. In order to better- sharper or lighter,
understand the nature of thg materials 4. Iron (ferrous sulfate or copperas,
bting used today, please t&n to page S , not to be confused wfth eop,per). In
of this handbobk for a discussion ~f~sorne the dye plant world iron -is . called a 5
of the basic principles
ral dyeing.
involved in natu-
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“saddening” agent ‘because it makes a
color darker or duller. ii
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It is not necessary to work in a labora- 5. Chrome, (potassium- dichromate)‘;’ a ~
tory or with highly t.echnical equipment bright orange ‘substance that s
to do natural dyeing. The kitchen stove,
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-deepen the colors achieved, and
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