dyes

My Paintings, Continued

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A composition using the paints I made in the Michel Garcia workshop at Slow Fiber Studios. I’m playing with value completely. The grid paper is some a friend gave me. I think it is meant for people to use while practicing calligraphy. Chinese? Japanese? The paper is thin–almost like tissue paper. Hence the wrinkles. I did another version with a different set of my indigo paints–and the brush marks don’t show as much. I’m not sure why they show so much with these, but that’s the way they “painted”.

A composition I made as a collage. I made many marks and textures with the paints. Cut them apart and reassembled them. I have a lot more to cut up and put together when I have time!

Here is my pallet. I arranged the two batches in order light to dark for choosing which value of blue I needed for the compositions, etc. The “Maya Blue” set of paints were used for the first photo. I probably didn’t grind the pigment enough and/or didn’t “do” the egg white or egg yolk binders properly. The letter W is for egg white. The Y is for egg yolk and the G for gum arabic which are what I used for binders to make paints out of the pigment. (Made from indigo powder and various clays as binders.)

Here are some of the tubes of paint I made.

Here is my first little composition. It was going to be a weave pattern, but I screwed up the value on the first line so just didn’t follow the order of lights and darks where they were supposed to be. I like it quite a lot.

Five Dyes Selected

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Introduction;
Here are the 6 dyes I have chosen for the entry for the BoND exhibition in China. I made hundreds more nice colors, too. Variations came from different silks, different mordants, and different post mordants. Working with old Chinese recipes, I had a great time figuring out what a bucket or a handful etc. meant.  And I learned that 2 ”loots” equal 1 ounce. The Art and Science of Natural Dyes by Boutrup and Ellis was a lifesaver.

I am already thinking about using the “extra” colors for future projects in different ways.

These are the reds. Probably cochineal. Now I’ve separated the bundles with their precious labels and grouped them according to which colors work together.

Here is the group from my woad vat. I had to order the woad from Scotland. Michele Garcia’s indigo Workshop At Home at Slow Fibers Studios explained the chemistry, so I knew what ingredients in the woad recipe related to his 1-2-3 indigo vat. The woad vat has indigo in it. You make dips in the vat like you do with an indigo vat.

The blue purples. There will be 6 groupings.

These all were from oak galls with iron and sumac additions. The undegummed silks took the dye much darker and make black for one of my groups. (these are stiff silks). The shiny silks make lovely greys and brown greys as they all were dyed the same as the blacks. Consistently the organzas, etc (undegummed silks) dyed significantly darker than the “regular” silks we are used to.

The red purples.

An Indigo Workshop with Michel Garcia from Brittany, France via Zoom
and at Slow Fiber Studios, Berkeley, California

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My kitchen now has an indigo vat that I made in the workshop on May 1. It was the first of the two classes with Michel Garcia. There were 3 of us in the Berkeley studio. We brought our buckets, ingredients, scales and a 4’ dowel for stirring the vat. Then we brought them home to do homework in preparation for the second class on May 8.

This is a picture of my vat. This is what a healthy vat should look like. It was wonderful to see immediate results. The best part was learning the chemistry to explain how the “magic” of indigo dyeing actually is accomplished. And how to maintain a healthy vat. Also wonderful was that it is really quite simple with Michel’s 1-2-3 method with only 3 ingredients plus water—and they are all safe.

Our homework is to test the vat every day for the week and watch how the vat matures or changes. With Michel’s method it was easy to do many dips in one dye session. My sample fabric is a cotton from a Japanese flea market.

Besides the big test piece I made small bundles of fabrics. One bundle is silks and the other, cottons and linens. Just like my other dyeing experiments, all the fabrics in a bundle were dyed the same; the differences in color occur because of the different fabrics in the bundle. More results at the end of the week. Stay tuned!

Scrolls Show Up At Last

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Here are the first of 14 scrolls. The final photo shows them all together. It’s my first chance to see them all in a row as I imagined months ago. The fabrics are linen (one silk) and all began as white yardage I bought in India in January.

Here is the next batch, working from the left to right. All of the pieces in the center of one scroll were dyed in the same dye pot. That is, I put a small piece of each white fabric into the dye pot. They came out all a bit different simply because they were different fabrics to begin with. The backgrounds I dyed each separately.

The third batch, working toward 14 pieces total. I used yellow onion skins and black walnuts for dyes plus three tannins I brought home from Japan: Myrobalans, Quebacho, and Brugeriera. Then some I put in an iron bath at the end and a few in a copper bath. All were mordanted with alum.

Dyeing linen was much more of a process than silk, wool, or cotton. The big difference was a two-hour scouring process in the beginning.

The end of the row. The idea of scrolls has been with me for a year or two. And for years, I’ve been buying any white fabrics I could find with the idea that a variety of fabrics will give me a variety of tones and shades when dyed.

Here’s a gallery view. It’s been a long process. All during the pandemic.

What’s Next?

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Since I think I’ll be locked in for a long time ahead, I’m beginning to think about the white silks I brought back from India. Again, like the linens, I expect the different fabrics to take a variety of shades and tones when they come out of a dye pot together. I have 21 different ones.

The silks look nice bunched together even before dyeing. I think they will look better bunched up somehow, rather than flat like the linen scrolls.

These are the samples I dyed with red onion skins and the 3 tannins I’ve been using. They are on a cloth I wove just before the pandemic. Maybe my scroll project is finished and I need to think of another way to present the silks.

These were dyed with red onion skins. I don’t think I used a mordant. I like the mottled colors I got from bunching up the fabrics in the dye pot and not stirring them much.

Here the colors are more even. I like them, too.

Now I have a good supply of red onion skins and yellow, too. So, maybe I’ll just plunge in—next week??

Three Scrolls: Almost Finished

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I was determined to get 3 pieces ironed and the bamboo added today. Worked until 9:00. This is the original one all wrinkled. Thanks to all the advice I got about ironing and dampening.


This one my neighbor collaborated with me on the composition. She is just the right person for me.

This is another one. No rolling pin needed today, just hours of ironing. I enjoyed the day completely. A joy to see the linen iron out so flat.

3 Tannins and 21 Silks, Oh My!

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Introduction:
When there are 21 samples for each dye bath, it takes a lot of organization to figure out what is needed and to make small bundles of the 21 different silk fabrics. Then sort which pots to put them in. Afterwards, I found it important to organize the swatches so I would know what I got. The next step is to choose which ones I want to repeat for large pieces and for small ones. I love the colors and seeing them bundled up. They are much nicer to look at than the swatches.

I like these large samples and am thinking they might become a scroll. I safety-pinned them to a piece I wove not too long ago. These are the same tannins as in the previous post but on silks, rather than linen. From top to bottom: Myrobalan, Brugueira, and Quebracho. All were in an iron bath after dyeing. The first one took all the iron out of my iron bath but I didn’t realize it so the other two didn’t get enough to show much but I liked them the way they were so didn’t redo them in another stranger iron bath.


A closer look at the silks dyed with myrobalan with an iron bath after wards. The swatches show out of the original bath and then afterbaths of iron and copper and a folder dyed with onion skins after the tannin and then with iron and copper after baths. What a job to organize all of this. Each line is one dye bath. Some have fewer because some swatches got loose in the dye pots.


Brugueira is the tannin for this selection. Same processes afterwards as above.

Quebracho is the tannin. Same processes


Here’s what I was working with. 21 different silk fabrics.

Three Tannins: Myrobalan, Bruguiera, and Quebracho

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Introduction:
There is a wonderful dye shop in Kyoto that I visit every time I’m in the city. I always brought home dyes and white fabrics for dyeing. These three dyes I’d heard of in a dye class I took at Slow Fiber Studios that was all about tannins in dyeing a summer or two ago with Michel Garcia. But I had no idea more than that. Then last fall “Exploring Tannins for Mordanting and Dyeing” with Catharine Ellis came to Slow Fiber Studios and I knew I needed to take that workshop. We made lovely samples, I took great notes, and Catharine is a wonderful teacher. That was the end of that until now I decided to see about those dyes I brought back from Kyoto since my apartment was in dye mode already with the onion skins from our kitchen. And I had all that fabric I brought home from India. This time I wanted to dye the 9 different linens I got at a shop in Chennai: Linen Club.


Here are the samples of the three tannins as dyes on linen. Boy was dying cellulose a lot more complicated than silk! The Art and Science of Natural Dyes by Catharine Ellis was invaluable. And I’m thrilled with the results. It took 2 hours to scour, 2 hours in the tannin bath, 2 hours in alum mordant bath before the dye bath itself. That was all day Saturday. Each group is from one dye pot with the 9 linen samples. (Sometimes a sample got loose in the pot so there may not be exactly 9 different fabrics.) From the left are the Myrobalan samples, then Bruguiera and Quebracho with alum mordant. The variations are all due to the 9 differences in linen fabrics. That’s what I love to play with.


The book showed lovely grays using an after bath of iron and I love the ones I got. They were in the iron water only a matter of seconds or a minute—I don’t know, I just watched until they got dark. So, these gray fabrics were dyed with the alum mordanted tannins then put into the iron bath which I made long ago.

These fabrics were dyed in yellow onion skins after they were dyed with a tannin and mordanted with alum. Again, from the left it’s Myrobalan, Bruguiera, and Quebracho.

These were dyed in black walnut dye I had from a year ago (the dye that leaked on my fake-wood floor in my kitchen a while ago).

Here’s what the undyed fabrics looked like. (I’ll have to check, one might be silk, but it got the cellulose “business” along with the others.)


Organizing them took some thinking so I could make comparisons and make choices on what dyes/fabrics to repeat. I am determined to use up what I brought home! I stitched them onto file folders and that way I can close the folders and the swatches are safe. I had to get them organized right away before my labels got separated from the swatches. I was up until 2:30 Sunday night, but I had to see what I got! I’m beginning to make plans for a set of scrolls, I think. I’m so excited with the linens!