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N atural dyes
the MAIWA guide to

603216
what they are and how to use them
N atural Dyes what they are and how to use them
MAIWA
handprints

People have added colour to cloth for thousands of years. It is only recently (the first artificial
dye was invented in 1857) that the textile industry has turned to synthetic dyes. Today, many
are rediscovering the joy of achieving colour through the use of renewable, non-toxic, natural
sources.
Natural dyes are friendly and satisfying some notes before beginning ...
to use. They are familiar substances that
can spark creative ideas and widen your 9 Learning to use natural dyes is like cooking with colour.
view of the world. Try experimenting And just like cooking, it takes practice and care. Don’t rush the
with them. Colour can be coaxed from process. Attention to detail will give results you are proud to
all kinds of natural sources. Once the call your own.
cloth or fibre is prepared for dyeing it
will soak up the colour, yielding a range of shades from vibrant
9 Always use clean non-reactive vessels: stainless steel,
unchipped enamel, glass, or plastic. Iron or copper vessels can
jewel tones to dusky heathers and pastels. Variations are easily
also be used but the metal will react with the dyebath. Iron will
achieved by changing dyestuff, recipes, and methods.
dull or “sadden” colours. Copper will tend to brighten them.
Not all natural dye recipes are safe and non-toxic. Some books
still call for the use of heavy metal mordants such as chrome and
9 Even dyeing is much more difficult with piece goods than
with yarns. It is also much easier to dye protein fibres (wool,
tin. The dyer must also be sensitive to the ecology of dyeplants silk) than cellulose fibres (cotton, linen). For best results the
- some (such as lichens) exist in a precarious balance and will beginner is well advised to start with wool or silk yarns.
vanish if overharvested. Maiwa is constantly researching natural
dye use and we are confident that a full palette can be achieved 9 Dry all fibres out of direct sunlight.
through the use of safe, time honoured techniques and recipes.
9 Even expert dyers will never start a large project or one in-
volving expensive materials without first running test samples.

9 Read all instructions before beginning.

9 Mixing dyes or mordants and overdyeing can result in just
that one desired shade. Experimentation pays off and adds an
element of creativity to your dyeing. Keep records.

9 All dyes are sensitive to water quality. In almost all cases soft
water is preferable for washing, scouring, mordanting and dye-
ing. Calgon (sodium hexametaphosphate) may be added to hard
water to soften it. Rainwater or distilled water can also be used.

9 Natural dyes are not recommended for synthetic fabrics or

fibres.

For the dyer, nothing

matches the excitement
of the first dip in the dyebath.

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

testing the waters or several metres of fabric. The weight of dyestuff is expressed as
a percentage of WOF.
The acidity or alkalinity of
the water used for natural For example, to dye a medium-red with madder, we would use
dyeing (both in the mordant 50% WOF. Hence, if we had a pound of cotton (450 g) we would
bath and the dye bath) will af- need a half-pound (225 g) of madder.
fect the colour. Soft water is Weight of Fibre x % = Weight of Dyestuff
best for practically all natural (imperial) 1lb x .5 = .5lb (8 oz)
dyes with the exception of (metric) 450g x .5 = 225 g
madder, weld, logwood and
brazilwood. These dyes
Alternatively, cochineal only requires 6% WOF for a medium
develop better in hard water
shade. Hence, to dye the same amount of fibre we would need:
(containing calcium and
magnesium salts). Most natural dyers consider rainwater best (imperial) 1lb x .06 = .06lb (1 oz)
(although in places it may be more contaminated than tap water), (metric) 450g x .06 = 27 g
river water next best, and well or tap water the last choice as it
often contains the largest amount of contaminants. Yarns, fibres, and fabrics are always weighed dry before washing.
For dyes that prefer hard water, calcium carbonate can be added Keeping notes of the weight of fibre and how much dyestuff was
in the form of finely ground chalk, or an antacid (Tum’s, Rolaid) used will help plan future projects - clipping a sample of dyed yarn
tablet. Also soda ash, household ammonia, or wood ash water can beside the notes makes for a wonderful record.
be added to push the pH up.
If local hard water needs to be made acidic, add vinegar, lemon
getting started - scouring
juice or a few crystals of citric acid. Water that contains iron is dif- Proper scouring is absolutely essential to good dyeing. Improp-
ficult to use for natural dyeing as it will not be possible to achieve erly scoured items do not dye evenly, the dye does not penetrate
clear, pure colours. In this case colours will be “saddened” that is, well, and the dyed item may not be fast.
muted and darker.
Note: Fabrics sold as “ready for dyeing” may not need scouring.
pH neutral (pH7) water should be used for rinsing and washing
naturally dyed fibres and fabrics, otherwise there may be un-
wanted colour changes. A set of pH strips is a good way to test the
water.

about fibres and cloth

For the dyer, the fibre world is divided into two types: animal
(protein) fibres such as wool, hair, and silk; and plant (cellulose)
fibres such as cotton, linen, and hemp. As mentioned earlier,
yarns are the easiest to dye. Woven materials require care to get indigo dyed cloth - unscoured on the left, scoured on the right.
even coverage. A suitably large dyepot is very important. Tight-
ness of weave is also a consideration. Garments are the trickiest to supplies:
dye. Watch out for synthetic stitching (it will not take on colour)
and areas of wear as they will dye unevenly. When using wools Soda ash & Synthrapol (for cotton)
care is required to avoid felting. Orvus paste soap (for silk & wool)
scouring cotton and other cellulose fibres:
measures, records, WOF 1 Use a large vessel and fill with enough water so that the yarn or
All measures in dyeing are based on the weight of material to be fabric may be well covered and not crowded.
dyed. This is known as the Weight Of Fibre (WOF). WOF gives 2 Add 1 tsp Synthrapol (5 ml) and 4 tsps. soda ash (20 g) for each
a convenient way to state how much dyestuff is needed for a given half-pound (250 g) of cotton.
shade, regardless of whether the dyer wants to colour a few yarns 3 Simmer for approximately 1 hour. Cotton is full of wax, pectic

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

substances, and oil, all of which must be removed. The Alum Acetate – Aluminum acetate is sometimes used as
resulting wash water will be yellow brown. Bleached white the preferred alum mordant for cellulose fibres and fabrics. It
cotton yarns and fabrics may not need as long. is refined from bauxite and acetic acid is used as a purifying
agent. For this reason some natural dyes develop to a richer
scouring silk and wool: shade on cellulose. Alum acetate is the recommended mordant
1 Use a large vessel and fill with enough water so that the yarn for printing with natural dyes. It is more expensive and some-
or fabric may be well covered and not crowded. times hard to find.
2 Add 1 tsp (5 ml) orvus paste soap.
Use at 5-8% WOF
3 Add yarn, fleece or piece goods and heat gently (60º C, 140º
F) for approximately 1 hour. Turn gently but do not agitate
4 Allow fibre to cool down slowly and then rinse in warm water.
Homemade Alum Acetate – The dyer may make alu-
minum acetate from sodium acetate and potassium aluminum
mordanting sulfate and, depending on the availability of these materials in
your area, this can be cost effective.
Unless substantive dyes (such as indigo) are used the next To make enough aluminum acetate to mordant 1 kilo of fabric,
procedure that must be performed correctly is mordanting. combine in 3 litres of hot tap water:
Mordants facilitate the bonding of the dyestuff to the fibre.
There are many mordants and each one will encourage a dif- 150 g sodium acetate
ferent shade from a particular dyestuff. As mentioned earlier 150 g potassium aluminum sulfate
we do not recommend mordants such as chrome, copper and
tin. Although these metallic salts work well to fix the dyes This can be added to your mordant bath (see next section).
and provide an alternate palette, they are a health hazard and
produce toxic waste which requires special disposal. Mordants Tannin – Tannic acid is used to mordant cellulose fibres and
such as alum, iron, and tannin are safer to use and can produce fabrics before alum. Alum does not combine as readily with cel-
myriad colours when used in conjunction with the appropriate lulose fibres as it does with protein fibres. Fortunately tannin
natural dye. has a great affinity for cellulose. Once mordanted with tannin,
alum will combine well with the tannin-fibre complex. Many
The most frequently used method is premordanting (before dyestuffs contain tannin (black oak, pomegranate, cutch, fustic,
dyeing). Occasionally the mordant is added to the dyebath etc) and do not need an additional tannin mordant.
(one-pot dyeing) and sometimes it is added after the dyebath
(postmordanting or after mordanting). Mordant procedures for Tannins can be clear or they can add a colour to the fibre. This
protein and cellulose fibres are not interchangeable. is a consideration when selecting a tannin. The two most popu-
lar tannins in the Maiwa studio are oak gall and myrobalan.
mordants
Alum – Potassium aluminum sulfate is the mordant most
frequently used by dyers for protein (animal) and cellulose
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 • Clear Tannins: “Gallic” - Gallnut, Tara, Sumac
at 15% WOF. Or we will do a tannin/alum/alum mordant to • Yellow Tannins: “Ellegic” – Myrobalan, Pomegranate, Black
achieve slightly richer colours. Oak, Fustic
• Red-Brown Tannins: “Catechic” – Cutch, Quebracho, Tea
leaves

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

Oak Gall - This is the earliest and richest source for natural Iron should be used at 2-4% WOF. More than that could damage
tannin and is the clearest of the tannins. It is found in the gallnuts the fibre.
of oak trees. A gallnut is produced by the tree as a defense against When printing with natural dyes we recommend changing ferrous
insects who deposit their eggs in small punctures they make on sulfate to ferrous acetate to avoid bleeding and ferrous transfer
young branches. The tree excretes a tannin-rich substance that (the migration of iron).
hardens and forms a gallnut. These are collected and ground to be
used as mordants, in leather tanning, or medicinally. Homemade Ferrous Acetate
Use at 6-8% WOF. 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.
Ferrous acetate needs to be fixed. We use chalk (calcium carbon-
ate) 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
oak galls reused again and again. Generally you may refresh with 50 g of
chalk after each 10 kg of fabric.
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
mordanting wool, silk or protein
classed as both a mordant and a dye, giving a light buttery yellow fibres
when applied. It is an important tannin-based mordant for cotton
in India and Southeast Asia due to the light warm colour it imparts 1 Weigh the fibre dry, then scour.
to the cloth. The colour works well for overdyeing. Myrobalan is 2 Measure alum at 15% WOF
also the perfect colour to lay down under a single indigo dip for 3 Measure cream of tartar at 6% WOF (optional, see cream of
teal. When used as a tannin mordant, myrobalan requires 15-20% tartar above).
WOF. If used to create a soft butter yellow colour 20-30% WOF 4 Dissolve both the alum and the cream of tartar in very hot water
is needed. in a non-reactive container.
5 Add the dissolved chemicals to the dye kettle with enough warm
Cream of Tartar – is the sediment produced in the process water 45º C (110º F) to cover the fibre when it is added - usually
of making wine. It is an optional addition to the alum mordant a 30:1 ration of water to fibre. Stir well.
bath and to some dyebaths. It is used to soften wool, brighten 6 Add the scoured, wet fibre. Over 30-45 minutes bring the
shades, and point the colour of some dyes (it will move the fuschia temperature up to 90º C (195ºF) Just under simmer for wool
of cochineal to a true red). Cream of tartar works best with animal and 85ºC (185ºF) for silk. Hold for one hour, gently turning the
or protein fibres and is seldom used with plant or cellulose fibres. fibre regularly.
Use at 5-6% WOF. 7 Let cool in the bath for 20 minutes.
8 Remove the fibre from the mordant bath. Allow to hang evenly
Iron (Ferrous Sulfate) – This is an optional mordant and over a non-reactive rod (stainless steel, plastic) until it stops
is used as a colour changer. It has the added benefit of making dripping. Rotate the yarn or fabric frequently so the alum is
naturally dyed colours more light and washfast. It is more often evenly distributed.
used with cellulose fibres like cotton, linen, rayon and hemp and 9 Store the yarn or cloth in a damp white cloth for 24-48 hours.
should be used with care on protein fibres as it can make them Keep it damp during this entire period.
slightly hard or brittle. Iron shifts a colour to a deeper, darker
shade. If used in the mordant process that shift is more distinct
than when used directly in the dyebath.

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 N atural Dyes
what they are and how to use them
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mordanting cotton or cellulose the fibre, wring out and proceed to dyeing. These solutions may
be maintained over time and occasionally refreshed (after every
fibres 10 kg of fibre).

1 Weigh the fibre dry, then scour. *Aluminum acetate must be fixed to the fibre prior to dyeing. In
2 Choose your mordants (see individual dyes for recommenda- some cultures this is known as “dunging” as cow dung is used.
tions). For multiple mordant baths tannin must always be done Dung is high in phosphates, but you may also use wheat bran or
first. Each bath must be completed before starting the next one. calcium carbonate (our preferred choice).
tannin
iron
1 Measure tannin to the recommended WOF for the tannin you
are using. Dissolve in hot water. Add to mordanting kettle. 1 Measure iron at 2% WOF. Dissolve in hot water. Add to mor-
Fill the kettle with enough water to fully cover the fibre when danting kettle. Fill the kettle with enough water to fully cover
added. the fibre when added.
2 Add scoured, wet fibre. 2 Add wet, mordanted fibre
3 Heat to 87 - 93ºC (190 - 200ºF) hold for 45 minutes. 3 Heat to 71 - 77ºC (160 - 170ºF) hold for 30 minutes.
4 At this point the fibre may be rinsed and mordanted with alum, 4 Rinse well. Remember always thoroughly scrub a pot that has
or left to steep for 8-24 hours before rinsing (steeping will give been used to iron mordant or it will sadden the next dye bath.
deeper colours). Note cellulose fibres can be fully dried and stored before dyeing.
alum (choose one, see page 4) Fibres do not need to be remordanted between dyes. Once a fibre
has been mordanted it can be dyed and then overdyed without
Aluminum Potassium Sulfate any further mordanting.
1 Measure alum at 15% WOF. Dissolve in hot water. Add to mor-
danting kettle. Fill the kettle with enough water to fully cover dyeing
the fibre when added.
2 Add wet fibre (already mordanted with tannin). Before starting to dye keep in mind that dyes are not like paints
3 Heat to 87 - 93ºC (190 - 200ºF) hold for 45 minutes. - dyes give a colour with character and personality, depth and
4 At this point the fibre may be a) rinsed and remordanted, b) texture. They do not produce a uniform, even, shade. It is these
rinsed and dyed, or c) left to steep for 8-24 hours before rinsing variations that give an added dimension and excitement to natural
(steeping will give deeper colours). dyes. Like fine wines that change with the years to reflect the
weather of the seasons, the conditions of the soil, and the tastes of
Aluminum Acetate the vintner; dyes will give slightly different shade each time they
are used. They will alter when you change the dyeing conditions,
For this mordant you do not “cook” the fibre. You begin with very mordants, colour pointers (such as cream of tartar and iron) and
hot tap water 38 - 50ºC (100 - 120 ºF) but do not maintain heat. For over dye. Experiment and play with this potential. Recipes for
this reason a plastic container may be used for mordanting. dyes are listed with each dyestuff.
1 Measure aluminum acetate at 8% WOF, dissolve in hot water,
add to mordanting kettle. Or use your homemade aluminum about extracts
acetate. Top up the kettle with enough hot tap water 38 - 50ºC
We sell natural dyes as both
(100 - 120 ºF) to fully cover the fibre when added.
raw materials and extracts. In
2 Add wet fibre (already mordanted with tannin).
some cases the raw material is
3 Let fibre sit for 1 - 2 hours stirring from time to time. Keep the
easy to use and no extract is
kettle covered so that it retains its heat.
needed. In some cases we will
4 Remove fibre and hang to dry. provide instructions on mak-
5 Chalk* (fix) the fibre. Dissolve 50 g of chalk (calcium carbon- ing an extract from a dye, and in some cases we sell a ready to use
ate) in 5 litres of warm water. Dip fibre into this solution. Fully extract. Extracts are very concentrated and so smaller amounts are
wet the fibre, wring out and proceed to dyeing. If using wheat needed. We also carry a special line of extracts from Couleurs de
bran, mix 100 g of wheat bran in 5 litres of warm water, fully wet Plantes in France.

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

Alkanet – alkanna tinctoria or dyer’s to dyebath and bring temperature to 77ºC (170ºF) for about
alkanet is a very attractive purple colourant one hour to allow dye colour to extract from the oak. Cool
that is found in the roots of plants belonging dyebath and then add fibre. For both protein and cellulose
to the borage family. It grows uncultivated fibres keep dyebath around 60ºC (140ºF) if you want the
throughout central Europe and extends to yellow to stay clear. If greenish or golden yellows are desired
central Asia and North Africa. The extracted bring the temperature up to 82ºC (180ºF). Hold at tempera-
pigment is often used in cosmetics, soaps and pigments. The ture for 30 to 60 minutes. Half a teaspoon of well powdered
violet colourant from alkanet is not soluble in water. Before a chalk may be added to the dyebath to darken the colour on
dyebath is made the alkanet root must be soaked in a solution of silk and wool. If more bright yellows are desired, dye in a cop-
alcohol and hot water – colourless rubbing alcohol or methy- per vessel or add clean copper pennies to the dyebath.
lated spirits can be used (some dyers who do not like the smell Adding iron to the dyebath at 2-5% WOF creates a range of
of either of these solvents use vodka!). The colours produced olive and moss greens.
on mordanted fabric and yarns are shades of grey, lavender and
purple when used at 75-100% WOF. The colours achieved are Brazilwood (Sappanwood) - is
beautiful but have moderate light fastness. from the heartwood of trees of the genus
Mordanting: use alum mordant at 15% WOF for protein Caesalpinia. Originally an old-world dye,
fibres. Mordant with tannin at 8% WOF and then alum at 15% the country of Brazil was named after this
for cellulose fibres. dyeplant. Historically harvested (then
overharvested) from the species Cæsalpinia
Dyeing: Use dried alkanet at approximately 75-100% WOF for echinata found on Brazilian coastlines. Sappanwood Cæsal-
rich colours. First, soak the shavings in alcohol (or methylated pinia punctata is found throughout east Asia and is sometimes
spirits) for several days to extract the colour. When the liquid known as Eastern Brazilwood. Our brazilwood comes from
has developed a strong colour, strain off the liquid then add Sappanwood. This wood is high in tannin and a colourant
enough water to this liquid for the fibres to move freely in the known as Brazilian. It will produce lovely warm reds when dyed
solution. Add the mordanted fibres and heat this dyebath up at a 20% WOF and deep crimson reds when dyed at 50-100%.
gently - but no higher than 60ºC (140ºF) - until all the colour The dyebath can be used multiple times for lighter colours and
has been taken up. the wood chips can be dried for future use. Startling variations
can be achieved (bright orange to blue red) when the pH level
Adding iron to the dyebath at 2% WOF creates a range of greys of the dye bath is manipulated. Fabrics dyed with brazilwood
and grey-violets. are fast to washing but somewhat fugitive to light.

Black Oak - sawdust of the inner bark of Mordanting: use an alum mordant at 15% WOF for protein
the Quercus velutina tree (found in eastern fibres. Mordant with tannin at 8% WOF and then alum at 15%
North America). This strong yellow dye WOF for cellulose fabrics.
was “discovered” by Edward Bancroft who Dyeing: Brazilwood develops best in slightly hard water. Add-
marketed it as Quercitron (by combining ing finely ground chalk (or a Tum’s tablet – 1 to each 4 liters of
its Latin name for black oak with “citron” water) brightens the brazilwood colour, especially if there is no
for yellow). Anxious to promote his find, he claimed the dye to lime in the local water.
be four times as strong as old fustic and up to ten times more
powerful than weld. It is undoubtedly a strong dye, producing This dye takes time to be extracted - simmer 25-50% WOF
attractive, rich yellows on mordanted fibres, both protein and of the wood chips for 1-3 hours and leave to cool overnight or
cellulose. It gives one of the best old gold colours on cotton longer (some dyers leave for days). Add fibre to bath and the
and linen. It is a very lightfast dye. Use at 10-20% WOF for a first dyebath will produce a deep crimson red and the next dye
medium depth of colour. 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
Mordanting: use alum mordant at 15% WOF for protein alkaline (like soda ash) to get blue-red to brilliant purple.
fibres and cellulose fibres (there is enough tannin in the black Adding fustic extract will yield rich warm reds and iron will
oak so that mordanting with tannin is not required). turn the fabric to a mulberry wine colour. A dip in indigo will
Dyeing: Use ground black oak at between 10-20% WOF. Add produce purples.

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 N atural Dyes
what they are and how to use them
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Chamomile - Anthemis tinctoria is part Some dyers will then keep the remaining pulp in a jar of water
of the daisy family. It grows throughout for several weeks and use in subsequent dyebaths.
North America, Europe and throughout the The combined decantings are now used to make a dyebath.
Himalaya region. It is often used in Turkish
carpets for warm, strong yellows and is Cochineal is sensitive to acids and bases. The cochineal
mixed with madder for tangerine colours. rich red can be shifted to orange with the addition of an acid
Chamomile is best on protein fibres with an alum mordant. It (vinegar) and to a deep fuschia with the addition of an alkaline
requires 50-100% WOF for medium to strong yellows. (soda ash). This sensitivity means the soaps used to pre or post
wash your fibres must have a neutral pH.
Mordanting: use alum mordant at 15% WOF for protein
fibres. Mordant with tannin at 8% WOF and then alum at 15% Cutch Extract - This powder is an
WOF fibre for cellulose. extract prepared from steeping the wood of
the Acacia catechu tree in hot water until a
Dyeing: Use dried chamomile at approximately 50-100%
syrupy liquid immerges. This is dried and
WOF for medium to strong warm yellows. First soak the
then ground into powder. It is common
chamomile in hot water for an hour. Add fibre and slowly bring
to most parts of India, Burma, Indonesia
the temperature up to about 82ºC (180ºF). Hold at temperature
and Peru. Indian cutch is by far the most beautiful. It is a good
for about an hour. Adding madder to the dyebath gives some of
source of colourfast shades of brown - cinnamon, nutmeg, and
the most beautiful tangerine colours.
clove. Cutch extract contains tannin as well as the dye com-
Cochineal – is the most important of pound catechu. It is easily soluble in water. Cutch has excellent
light and washfast properties. It requires 20-50% WOF to dye
the insect dyes. The females of Dactylopius
a medium depth of shade.
coccus colonize the prickly pear (nopal)
cactus native to Mexico, Central and South Mordanting: use alum mordant at 15% WOF for both protein
America and the Canary Islands. Peru is cur- and cellulose fibres (there is enough tannin in cutch so mor-
rently the primary export country, shipping danting with tannin is not required).
out over 4000 metric tons annually. This dye is found mostly
in food, drugs and cosmetics. Cochineal has excellent light and Dyeing: completely dissolve the powdered cutch (sometimes
washfastness and produces a powerful range of fuchsias, reds cutch will come a little chunky) in boiling water and add it to
and purples. The colour changes with the mordants used and dyebath.
pH of the dyebath.
Deeper colours can be achieved by first soaking the cutch ex-
Although expensive, it is very concentrated. The bugs have a tract in a weak mixture of caustic soda. Add 1 tsp lye or sodium
high dye content (carminic acid) and go a long way. You will hydroxide to 4 litres (1 gallon) of water. Soak for 1 hour. Then
need only 3-8% WOF for a medium depth of shade. add more water and neutralize with acetic acid or vinegar to
pH7. Add this neutral solution to the dyebath.
Mordanting: use alum mordant at 15% WOF for protein
fibres. Mordant with tannin at 8% WOF and then alum at 15% Fibres are then added and the dyebath is kept at a low simmer
for cellulose fibres. If cream of tartar at 6% WOF is added to for at least two hours. Cutch does not easily exhaust and dye-
the alum mordanting bath or the dyebath, the colour achieved baths can be used multiple times for lighter shades.
will be more towards Christmas red. With the addition of iron The alum mordant yields toffee browns. The addition of iron at
at 2-4% WOF to either the mordanting bath or the dye bath the 2-4% WOF yields chocolate browns, while a soda ash rinse will
colour will shift towards purple redden the cutch colour. The addition of 2% WOF hydrogen
Dyeing: The colourant is first extracted from the dried insects. peroxide during the final 15 minutes of dyeing will darken cutch
Gently grind the insects in a blender or use a mortar and pestle considerably. Allowing the fibre to cool down and sit in the
to crush them to a fine powder. Put this powder into a saucepan dyebath overnight will give the darkest shades.
and cover with three inches of water. Boil for 30 minutes. Strain
the liquid and set aside. Place the cochineal pulp back in the
saucepan and again cover with water and boil for 30 minutes.
Add this decanting to the first decanting. Repeat 2 more times.

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 N atural Dyes
what they are and how to use them
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Fustic Extract - An extract prepared Indigo (natural) - natural indigo pow-

from the heartwood of a tree from the Mul- der is an extract prepared from Indigofera
berry family, Chlorophora tinctoria. Fustic tinctoria which is cultivated for this purpose.
produces a range of colours from daffodil Indigo is the legendary source of colourfast
yellow to deep gold to orange. Fustic makes blues and its ability to produce a wide range
a good underdye with indigo to make forest of shades has made it the most success-
greens and teals. While fustic is available in wood chips, its ful dye plant ever known. Indigo grows all over the world but
most common form is in a liquid concentrate. The extract is flourishes best in hot, sunny, humid areas. Indigo can give clear
highly concentrated and ready to be added directly to the dye blues that range from the tint of a pale sky to a deep navy that is
bath. Fustic has a high light and washfastness although expo- almost black. Our indigo comes from a farm in south India and
sure to strong sunlight may cause them to become darker. is very strong. It reduces beautifully in an indigo vat.

Mordanting: use alum mordant at 15% WOF for protein See Maiwa Indigo Data Sheet for complete instructions.
fibres and cellulose fibres (there is enough tannin in fustic so
that mordanting with tannin is not required). Lac Extract - is a red dye extract from
the scale insect Laccifer lacca which is
Dyeing: Fustic liquid extract can be added to the dyebath found throughout India, south east Asia,
directly at between 4-6% WOF for a medium depth of shade. Nepal, Burma, Bhutan and south China. It
Keep the dyebath temperature at about 85ºC (185ºF) for wool is found both in the wild and cultivated. The
and cotton and 77ºC (170ºF) for silk. At a higher temperatures female lac insects invade host trees (mainly
the colour will turn to a dull brown yellow. fig and acacia) and the insect secretes a resin that contains the
With the addition of iron at 2-4% WOF fustic yields beautiful red dye. When harvested, the resin is taken off the branches
sage greens. By dyeing in a copper pot or adding clean copper and is known as stick lac. The resin is also used to make shellac.
pennies to the dyebath clear yellows will emerge. When com- The dye must be extracted from the resin before it can be used
bined with madder or cochineal, fustic will give true reds, when to colour cloth.
mixed with logwood purple, fustic will give rich olive greens. Lac extract yields crimsons to burgundy reds to deep purples.
The colourant is similar to cochineal but colours achieved are
Henna – the leaves are harvested from the warmer, softer, and more muted. The lac dye has high light and
shrub Lawsonia inermis. Henna produces a washfastness on silk and wool.
brown colour tending toward a red-orange.
The dye comes from leaves that are dried 5-8% dye to WOF is all that is needed for a medium depth of
and ground into a powder. Henna bonds shade.
well with protein, hence is used to dye skin
Mordanting: use alum mordant at 15% WOF for protein
(mendhi), hair, fingernails, leather, silk and wool. On cellulose
fibres. Mordant with tannin at 8% WOF and then alum at 15%
fibres henna yields light but interesting colours.
for cellulose fabrics – but note that lac extract has reduced light
Mordanting: use alum mordant at 15% WOF for protein and washfastness on cellulose fibres.
fibres. Mordant with tannin at 8% WOF and then alum at 15%
Dyeing: Use at 10-15% WOF. Dissolve extract in water and
for cellulose fabrics.
simmer with fibre for 45 minutes, leaving overnight for richest
Dyeing: when using ground henna at 50% WOF on mordant- colours. This dye is very sensitive to change in pH and develops
ed fibres, rich browns are achieved on protein fibres and “latte” to its fullest colour potential with the addition of cream of
like colours on cellulose fibres. There is no need to make an tartar at 6% WOF. The addition of an alkali like soda ash will
extract, just add the powder directly to the dyebath. Simmer the yield plum purples and the addition of iron will give blackened
fibres in the dyebath until the desired colour is obtained – ap- purples.
proximately 1-2 hours.
Iron at 2-4% can slightly deepen and enrichen the brown
colour. Altering the pH of the henna dyebath does not alter the
colour.

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

Logwood – is the heartwood of the log- Turkey red colour. Also present in this wonderful plant is mun-
wood tree, Haematoxylon campechianum. jistin, purpurin, and a multitude of yellows and browns. Madder
It yields deep, rich, red purples to orchid is dyed at 35-100% WOF for a medium depth of shade.
blues and has been prized as a dyestuff since Mordanting: use alum mordant at 20% WOF for protein fi-
the 16th century. The logwood tree grows in bres. Mordant with tannin at 8% WOF and then alum at 20% for
Mexico, Central America, Dominican Re- cellulose fabrics. For dark brick reds use alum acetate (instead
public, Venezuela, Brazil, the Guyannas, Madagascar, and India. of the normal mordanting alum which is potassium aluminum
Mixed with iron, logwood gives good blacks – a colour difficult sulfate).
to achieve with natural dyes. Logwood has good washfastness
but moderate lightfastness – a bit of iron improves the lightfast- Dyeing: Madder develops to its deepest and richest reds in hard
ness dramatically. Logwood chips will give a medium depth of water – water containing calcium and magnesium salts is ideal.
shade at 15-20% WOF. If the water is soft add calcium carbonate (a single Tum’s tablet
to 4 litres of water works well). Add dye material to dye pot and
For many years we sold Logwood extract - it has become increas-
cover with water. Bring up to about 60ºC (140ºF) and hold for
ingly rare. If using the extract, it is very easily dissolved and can
an hour. Add fibres and continue cooking for another 1-2 hours.
be used directly in the dyebath at 2% WOF for a medium shade.
For clear reds do not let the temperature go above 72ºC (160ºF).
Mordanting: use alum mordant at 15% WOF for protein At higher temperatures the browns of the madder plant come out
fibres. Mordant with tannin at 8% WOF and then alum at 15% for and dull the colour. The madder dyebath can be reused two or
cellulose fabrics. three times for lighter shades

Dyeing: For chips - pour enough boiling water over the Because of the different dye components present in the madder
logwood chips to make a dyebath and soak overnight. Pour off plant, the dyer can coax many colours out and onto the cloth by
this liquid and use for the first (and strongest) dyebath. Simmer manipulating the mordanting process, the pH, the temperature,
fibres for about one hour, keeping temperature of dyebath be- and the dye process. There are hundreds of madder recipes used
tween 77-83ºC (170-180ºF). If a darker colour is required leave historically that are intriguing to try including one from Turkey
fibres in dyebath overnight. The logwood chips can be soaked which brings out the purpurin from madder and gives a purple.
again and the liquid used for lighter shades. Madder, in combination with cochineal yields a true red, with
Logwood develops best in slightly hard water. Adding finely iron yields garnet, bright orange with alum and cream of tartar,
ground chalk (or a Tum’s tablet) brightens the logwood colour, brick red with alum mordant and a higher heat, the addition of
especially if there is no lime in the local water. Cream of tartar acetic acid or vinegar plus iron will push the colour to a rich
can be added (at approximately 6% WOF) to push logwood to a brownish-purple.
purple-navy, adding osage or fustic gives grey-greens, cochineal
gives purples, coffee bean browns are obtained by adding cutch, Marigold - This dyestuff consists of dried
navy can be had with a dip in indigo, greys to blacks are made and ground flower heads of the Tagetes
with the addition of iron. species. It yields rich vibrant yellows, green-
yellows and oranges with 20 -30% dried
Madder – Rubia tinctorium, Rubia marigold to WOF. Marigold is cultivated all
cordifolia, and Morinda citrifolia. Madder is over the world for its decorative flowers, for
one of the oldest dyestuffs known. It is most religious festivals and for its colourant. Marigold has a moderate
frequently used to produce turkey reds, mul- light and washfastness.
berry, orange-red, terracotta, and in combi- Mordanting: use alum mordant at 15% WOF for protein
nation with other dyes and dyeing procedures fibres. Mordant with tannin at 8% WOF and then alum at 15% for
can yield crimson, purple, rust, browns, and near black. The cellulose fabrics.
primary dye component is alizarin, which is found in the roots
of several plants and trees. Madder is cultivated and grows wild Dyeing: add the dried flowers to the dye pot, cover with water
throughout India, south east Asia, Turkey, Europe, south China, and simmer for half and hour to extract the colour. Strain the
parts of Africa, Australia and Japan. Madder is a complex dyestuff dye liquid and add to dye pot. Add fibres and simmer until the
containing over 20 individual chemical substances. Alizarin is desired shade is achieved. With the addition of iron at 2% WOF
the most important of these because it gives the famous warm warm olives can be made.

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

Myrobalan - This dyestuff consists of Osage Orange Extract – is a concentrated liquid

ground nuts of the Terminalia chebula tree. extracted from the wood of the Maclura Pomifera tree (see
This tree grows in Nepal, India, Sri Lanka, above).
Burma, Thailand, Indochina and south
China. It may be classed as both a mordant Mordanting: use alum mordant at 15% WOF for protein
and a dye, giving a light buttery yellow when fibres. Mordant with tannin at 8% WOF and then alum at 15%
applied. It is an important tannin based mordant for cotton in for cellulose fibres.
India and southeast Asia due to the light warm colour it imparts Dyeing: when using the extract simply add the liquid directly
to the cloth. Myrobalan is a good foundation for overdyeing. It to the dyebath, add the fibre and simmer for about 45-60 min-
is also the perfect colour to lay down under a single indigo dip utes. Use at 2-5% WOF for a medium depth of shade Dyeing
for teal. When used as a tannin mordant myrobalan requires 15- in a copper dyepot or adding a few clean copper pennies to the
20% WOF. If using to create a soft butter yellow use 20-30% dyebath will brighten the yellow. Adding iron at 2-4% WOF
WOF. will produce medolive greens. Overdyeing in indigo yields
Mordanting: use alum mordant at 15% WOF for protein bright emerald and leaf greens.
fibres and cellulose fibres (there is enough tannin in the my-
robalan so that mordanting with tannin is not required). Pomegranate - An extract or a powder
from the rinds of pomegranates Punica
Dyeing: Add myrobalan powder to the dye or mordant bath, granatum, this dyestuff is high in tannin
bring bath up to 55ºC (130ºF) and then add fibre. Continue and improves the light and washfastness of
heating bath to a high simmer (approximately 83ºC (180ºF)) any dye with which it is mixed. In India and
hold for one hour. Adding iron (2-4% WOF) to the bath will south east Asia it is used as both a dye and
produce soft lichen greens to deep grey-greens. a mordant. Pomegranate yields soft yellows to green-yellows
when used at 5-8% WOF for the extract (15 - 20% WOF for the
Osage Orange Sawdust - consists powder) for a medium depth of shade. When combined with
of the shredded wood of the tree Maclura iron, pomegranate yields yummy warm cement greys and deep
pomifera. Osage contains a yellow dye simi- moss greens. It is often mixed with the more fugitive turmeric
lar to fustic and black oak and yields clear, dye to brighten the yellow and make it lightfast.
true yellows to soft yellow greens that have
a high light and washfastness. It yields good Mordanting: use alum mordant at 15% WOF for protein
depth of shade at 15-25% WOF. Osage grows throughout the fibres and cellulose fibres (there is enough tannin in the pome-
south and central United States. The tree was originally planted granate so mordanting with tannin is not required).
to help with wind erosion, the wood was used to build fences Dyeing: for either the powder or the extract, add to hot water,
and was hard enough for wagon wheels. Osage has overgrown ensure it is thoroghly mixed and then add the fibre. (Simmer
many areas and is being cut down for firewood. Our supplier for about 1 hour. If a darker colour is required leave in dyebath
rescues these logs and chips them for us or soaks them in water overnight.
and through a solar process extracts the liquid concentrate.
Safflower – Carthamus tinctorious, an
Mordanting: use alum mordant at 15% WOF for protein annual thistle. This plant is most known
fibres. Mordant with tannin at 8% WOF and then alum at 15% for the oil that can be derived from it’s
for cellulose fibres. seeds but it also has properties in its petals
that make it a most magical dyestuff. Both
Dyeing: when using the osage sawdust, soak it in water for yellow and pink to orange reds and corals
a few hours or overnight. When soaking is complete, bring can be extracted from the petals. The
this bath up to simmer and cook for an hour. Strain off the dye first colour that comes from the extracting process is yellow
liquid and use for the dyepot. Add the fibre and simmer for which can be collected and used as a base dye on all mordanted
about 45-60 minutes. Dyeing in a copper dyepot or adding a natural fibres except wool. Safflower reds are obtained after
few clean copper pennies to the dyebath will brighten the yel- the yellow dye is completely washed out by “turning the bath”
low. Adding 2-4% iron to the dyebath will produce olive greens. (drastically changing the pH to an alkaline and back to slightly
Overdyeing in indigo yields bright emerald and leaf greens. acidic).

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

Mordanting: use alum mordant at 15% WOF for protein fibres. Woad - is the common name of Isatis
Mordant with tannin at 8% WOF and then alum at 15% for cel- tinctoria. In Medieval Europe it was the only
lulose fabrics. source of blue dye for textiles. The leaves
Dyeing yellow: Use 100-200% WOF – Put the petals in a of the woad plant contain the same dye as
cheesecloth bag for one hour or longer and gently squeeze out Indian Indigo Indigofera tinctoria, although
all the dye liquid. Yellow is always the first colour to be extracted in a weaker concentration. This makes
from the safflower petals. This can take time and requires the colouring with woad a much more subtle and delicate art. The
dyer to keep squeezing the petals until the water runs clear. Add same recipes that are used for indigo may be used for woad.
fibre (protein or cellulose – but mordanted) and simmer with the The shades obtained from woad are slightly different from in-
extracted yellow dye for 45 minutes. Save the petals to next extract digo and call to mind the areas where it was most popular - the
the reds. south of France.
Our woad comes from France, from the famous woad project of
Dyeing pink: Soak and squeeze any remaining yellow dye.
Bleu de Lectoure.
Note this process does take time. To “turn the bath” slowly add
an alkaline modifier like soda ash to raise the pH level to 10-11.
Too much alkaline will ruin the dye. After an hour squeeze the
bag of petals and take out of solution. Now turn the bath back to
slightly acid (pH6) by adding an acid like vinegar. Now add your

MAIWA SUPPLY
cellulose fibres to the bright red liquid and leave overnight. Silk
fibres will absorb a second yellow dye that has been extracted into
the acidic solution, creating an orange colour. To get pink on silk NATURAL DYES crochet
YARNS
WAX
you complete the process on cotton and then extract the dye from mordants
the cotton with alkaline solution until the red colour is released. hooks
Again turn the bath slightly acidic before adding the silk and leave
Fabric Paints
overnight. DYES

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gnonette. It produces an excellent light and

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washfast yellow and is a strong clear yellow
pr
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to combine with indigo for emerald and leaf

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br
greens. Traditionally cultivated throughout
om
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Europe as a yellow dyeplant it still flourishes on embankments or

ush
silk
IN
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beside railways and roads. Weld can be dyed at 30-50% WOF for
BL

Painting
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a medium depth of shade.

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Mordanting: use alum mordant at 15% WOF for protein fibres.

Mordant with tannin at 8% WOF and then alum at 15% for cel-
lulose fabrics.

Dyeing: pour boiling water over the plant material and allow to www.maiwa.com
stand overnight. Add more water and bring the pot to a simmer everything for the fibre arts
but not more than 160 F as too high a temperature will dull the
yellow. Strain off the dye liquor into the dyebath. The plant mate-
rial can be reuses two or three times for light shades. Add the fibre MAIWA TEXTILE
to the dyebath and simmer below 160 F for about one hour.
Weld develops best in slightly hard water. Adding finely ground
chalk (or a Tum’s tablet – 1 to each 4 litres of water) brightens the
Symposium
The largest textile event of its kind.
weld colour, especially if there is no lime in the local water.

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 5)))NATURAL))DYE))EXTRACTS)))% MAIWA
handprints
MAIWA & COULEURS DE PLANTES
Lac is a scale insect of Southeast Asia that
Here are additional natural dyes that we offer as contains a colourant similar to cochineal but
extracts. These are from the French natural-dye colours achieved are warmer, softer, and
research team Couleurs de Plantes. more muted. The lac dye has high light and
washfastness on silk and wool. Dyeing:
Dissolve extract at 10-15% WOF and simmer
Buckthorn species are native to the Mid- mordanted fibre for 45 minutes, leaving
dle East, and Mediterranean. Also known as overnight for richest colours. This dye is
Persian berries since the warm yellow colour very sensitive to change in pH.
comes from the unripe berries. Use cream
of tartar along with mordants. Dyeing: Use Logwood is a bushy, thorny tree grown
extract on mordanted fibre at 2-6% WOF. in Mexico, Central and South America and
parts of Africa. The purple dye is concen-
Chestnut trees grow in many parts of the trated in the heartwood of the tree. Dyeing:
world and contain a great source of tan- For a medium to dark colour use extract at
nin. They dye a warm brown colour. This only 0.5-1 % WOF on mordanted fibre. Dye
dye is also well known for it’s ability to dye at temperatures no higher than 180 F and for
silk black with the addition of logwood and no longer then 60 min or the colour will lack
an iron mordant. Dyeing: Use extract on clarity and luminosity.
mordanted fibre at 5-10% WOF.
Madder (standard & rich) Mad-
Cochineal is a parasitic insect that lives der is one of the oldest dyestuffs. It is most
on the nopal cactus native to Central and frequently used to produce turkey reds, mul-
South America. This dye has excellent light berry and in combination with other dyes can
and washfastness and produces a powerful yield crimson, purple, rust and browns. The
range of fuchsias, reds and purples mainly primary dye component is called alizarin,
depending on mordents used and the dyes which is found in the roots of the plant. Two
sensitivity to pH. Dyeing: Use extract on concentrates of extracts are available giving a
mordanted fibre at 0.5 - 2 % WOF. standard and a rich madder colour. Dyeing:
Use madder standard on mordanted fibre
Coreopsis has an abundant variety of at 5-10% WOF. Use madder rich at 2-5 %
plant species that are widespread through- WOF. Do not allow the dye bath to go above
out North and Central America. The dye is 180ºF as this brings out the brown colour
located in the flowers, which give a warm yel- also found in madder.
low - orange colour Dyeing: Use extract on
mordanted fibre at 5-10% WOF. A reddish Quebracho dye comes from a tree native
colour can be achieved when the pH level is to South America, which is very high in tan-
more alkaline. nins. The dye can vary in colours from coral,
warm red brown, yellow or green depending
Dyer’s Broom or Greenweed is a small on the species. Dyeing: Use extract on
shrub that originates in the dry woodlands of mordanted fibre at 5-10% WOF. To deepen
Europe and has a long history of use for yel- the quebracho colours add an alkali or iron
lows. It contains the same colourant as weld, mordant.
which is very lightfast. Dyeing: Use extract
on mordanted fibre at 7-10% WOF. Weld or Dyer’s weed has been used as a
dyeplant for many centuries in the Mediter-
Golden Rod is a wild flower found in ranean, Europe and North Africa. It has been
North America and Europe where it con- a long time favourite yellow due to its intense
tinues to be a well known source of yellow. colour which has excellent lightfastness.
Dyeing: Use extract on mordanted fibre at Dyeing: Use extract on previously mor-
7-10% WOF. danted fibre at 7-10% WOF.

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 N atural Dyes
what they are and how to use them
MAIWA
handprints

some natural dye references ...

Natural Dyes: Sources, Tradition, Technology and Science
by Dominique Cardon
Koekboya: Natural Dyes and Textiles:
A Colour Journey from Turkey to India and Beyond
by Harald Böhmer with Charllotte Kwon (of Maiwa)
Indigo by Jenny Balfour-Paul
Wild Colour by Jenny Dean
Colours from Nature by Jenny Dean
A Handbook of Indigo Dyeing by Vivien Prideaux

Maiwa Dye Info Sheets

Indigo & Woad
A blue “how to.” All about vats,
preparation, dyeing and disposal. Free
online: www.maiwa.com

The Organic Vat

Co-authored with Michel Garcia, this info In Search of Lost Colour, travels the world to document the growing,
sheet presents a number of options for re- harvesting, extraction and use of natural dyes. From the Bogo-
ducing agents from fruit to other dyes such lanfini mudprinting of Mali to the madder-root of Turkey, from
as henna. Free online: www.maiwa.com the cochineal insect to the rare shellfish purple, this documentary
provides a look at some of the most exotic colours in existence.

In many areas the use of natural dyes is perilously close to

Maiwa Documentaries extinction - and yet traditional techniques and cultures often use
Indigo: A World of Blue shot on location in processes which are environmentally sound and economically
southern India, Sindh, Pakistan; the Vien- beneficial. Join us for an unforgettable exploration into the his-
tiane District of Loas; the island of Sumba, tory of colour and its use.
Indonesia; Yogyakarta, Indonesia, village
Dhamadka, India; and Suleymanköy, Turkey, 90 minutes
Featuring renowned indigo scholar Jenny
Balfour-Paul speaking about indigo history, Maiwa documentaries on DVD: $21.95 cdn. each. Trailers avail-
traditions, superstitions and lore. 60 min. able online: www.maiwa.com

Tana Bana is our second feature-length Through the Eye of a Needle: is the story of a
documentary film on craft. Here you will find unique group of craftswomen. Follow their
works of great beauty and skill, ingenious journey as they return to creating the world-
variations, and delicate figures. Shot in rural class embroidery that made their ancestors
locations in Africa, Laos, Indonesia, India, famous. The incredible stories of the women
and Pakistan, this documentary takes you to from the KMVS co-operative are recorded
the world of looms, weaves, and artisans. 60 here through video, song, laughter, and stitch.
min. 30 min.

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