Guide To Natural Dyes

the maiwa guide to
NATUR AL DYES
w h at t h e y a r e a n d h o w t o u s e t h e m
WA L NUT NATURA L I ND I G O MADDER TARA SYM P L O C OS
SUMA C SE Q UO I A MAR I G O L D SA F F L OWER B U C K THORN
L I V I N G B L UE
MYRO B A L AN K AMA L A LAC I ND I G O HENNA
H I MA L AYAN
RHU B AR B G A L L NUT WE L D P OME G RANATE L O G WOOD
EASTERN B RA Z I L WOOD
C UT C H C HAMOM I L E ( SA P P ANWOOD ) A L K ANET ON I ON S K I NS
OSA G E C HESTNUT C O C H I NEA L Q UE B RA C HO EU P ATOR I UM

NATURAL DYES
w h at t h ey a r e a n d h ow to u s e t h em
Artisans 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 craftspeople are rediscovering the joy
of achieving colour through the use of renewable, non-toxic, natural sources.
Natural dyes are inviting and satisfying to use. Most are familiar
substances that will spark creative ideas and widen your view of
the world. Try experimenting. Colour can be coaxed from many
different sources. Once the cloth or fibre is prepared for dyeing it
will soak up the colour, yielding a range of results from deep jew-
el-like tones to dusky heathers and pastels. Variations are easily
achieved by manipulating any of the elements of dyeing.
The instructions below will take you through the application of

the "classic" dyes: those dyes that artisans and guilds have used for
centuries. You will also learn everything you need to experiment
with garden dyes or wild harvesting. If you can measure ingredi-
ents and boil water you can dye with natural colour.
Maiwa is constantly researching natural dye use and we are con- For the dyer, nothing matches the excitement of
fident that a full palette can be achieved through the use of safe,
the first dip in the dyebath.
time honoured techniques and recipes.
These instructions and more are available at naturaldyes.ca.
s o m e n ot e s b e f o r e b e g i n n i n g ...
• Learning to use natural dyes is like cooking with colour. And h e a lt h a n d s a f e ty
just like cooking, it takes practice and care. Don’t rush the pro-
cess. Attention to detail will give results you are proud to call The following guidelines will help ensure that dyeing is a fun,
your own. enjoyable activity:
• Always use clean non-reactive vessels: stainless steel, un- • Wear a mask when working with powders such as calx, lye,
chipped enamel, glass, or plastic. Iron or copper vessels can also or indigo. Gloves are recommended to protect against colou-
be used but the metal will react with the dyebath. Iron will dull rants, irritants, and solutions which might be acidic or basic.
or “sadden” colours. Copper will tend to brighten them. When mixing powders and water always add the powder to the
water. Never add water to a measure of powder. Keep pots and
• Dyeing evenly is much more difficult with piece goods than utensils used for dyeing completely separate from items used
with yarns. It is also much easier to dye protein fibres (wool, for cooking. Clearly label all containers and substances. Store
silk) than cellulose fibres (cotton, linen, hemp). For best results dyes and chemicals separately and away from foods. Hazardous
the beginner is well advised to start with wool or silk yarns. substances such as lye should be in a locked cabinet. Be mind-
• Dry all fibres out of direct sunlight. ful of pets and children.
• Read all instructions before beginning. • Testing on a sample is recommended for all projects.
• Mixing dyes or mordants and overdyeing can result in that • Customers are responsible for dye and mordant choices and
one desired shade. Experimentation pays off and adds an ele- combinations. To the best of our knowledge all the information
ment of creativity to your dyeing. Keep records. offered here is true and accurate, however, Maiwa Handprints
Ltd. or its staff will not be held responsible for such advice. Dye
• All dyes are sensitive to water quality. In almost all cases soft
recipes should be tested prior to all projects. Maiwa Handprints
water is preferable for washing, scouring, mordanting and dye-
Ltd. will not be held responsible for cost of products and/or la-
ing. Rainwater or distilled water can also be used.
bour to produce finished projects.
• Natural dyes are not recommended for synthetic fabrics or fibres.
The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

You may copy this sheet for classroom and personal use provided this notice is not removed. Online posting is not permitted. 2
TESTING THE WATERS
The acidity or alkalinity of the water used for natural dyeing (both in which we work. We have learned, for the most part, to work
in the mordant bath and the dye bath) will affect the colour. Soft with the water we have and learn recipes that are successful with
water is best for practically all natural dyes with the exception of that water. We have learned to achieve many stunning palettes
madder, weld, logwood and brazilwood. These dyes develop better with many varied water conditions. We will turn to distilled water
in hard water, containing calcium and magnesium salts. only when absolutely necessary to achieve a certain colour.
For dyes that prefer hard water, calcium carbonate can be added in Neutral (pH7) water should be used for rinsing and washing nat-
the form of finely ground chalk, or an antacid (Tum’s, Rolaid) tab- urally dyed fibres and fabrics, otherwise there may be unwanted
let. Also soda ash, household ammonia, or wood ash water can be colour changes. A set of pH strips is a good way to test the water.
added to push the pH up.
If local hard water needs to be made acidic, add vinegar, lemon

juice or a few crystals of citric acid. Water that contains iron can
be difficult to use for natural dyeing as it will not be possible to
achieve clear, pure colours. In this case colours will be “saddened”
that is, muted and darker. Some dyers, however, love the colours
they achieve from their water that contains iron – and choose to
use distilled water only when they want clear yellows.
At Maiwa we dye in our own studio in Vancouver, where we have

soft, pH neutral water. But we also dye in many parts of the world
ABOUT FIBRES AND CLOTH

For the dyer, the fibre world is divided into two types: animal (pro- Tightness of weave is also a consideration. Garments are the trick-
tein) fibres such as wool, hair, and silk; and plant (cellulose) fi- iest to dye. Watch out for synthetic stitching (it will not take on co-
bres such as cotton, linen, ramie, and hemp. As mentioned earli- lour) and areas of wear or perspiration as they will dye unevenly.
er, yarns are the easiest to dye. Woven materials require care to get When using wools, care is required to avoid felting.
even coverage. A suitably large dyepot is very important.
MEASURES, RECORDS, WOF
ALL MEASURES IN DYEING ARE BASED ON THE WEIGHT OF DRY MATERIAL TO BE DYED.
This is known as the Weight Of Fibre (WOF). WOF gives a convenient way to state how much dye-
stuff is needed for a given shade, regardless of whether the dyer wants to colour a few yarns or sever-
al metres of fabric. The weight of dyestuff is expressed as a percentage of WOF.
For example :
Weight of Fibre x % = Weight of Dyestuff (Dry)
To dye a medium-red with madder, we would use 50% WOF. (imperial) 1lb x .5 = .5lb (8 oz)
Hence, if we had one pound of cotton (450 g) we would need (metric) 450 g x .5 = 225 g
a half-pound (225 g) of madder.
Alternatively, cochineal bugs only require 5% WOF for a medium (imperial) 1lb x .05 = .05lb (1 oz)
shade. Hence, to dye the same amount of fibre we would need:
(metric) 450 g x .05 = 22.5 g
Yarns, fibres, and fabrics are always weighed dry before scouring.
Keeping notes of the weight of fibre and how much dyestuff was used will help plan future
projects - clipping a sample of dyed yarn beside the notes makes for a wonderful record.

SCOUR THE CLOTH OR YARN
Yarns and fabrics need to be scoured before dyeing. Soured items

dye more evenly, the dye penetrates better, and dyed colours are
more lightfast and washfast.
Note: Fabrics sold as “ready for dyeing” may not need scouring.
A single length of cloth torn in two. Scoured on the right, not scoured on the left.
SUPPLIES:
FOR COTTON — Use soda ash & Synthrapol
FOR SILK & WOOL — Use orvus paste soap
HOW TO: HOW TO:
SCOUR CELLULOSE FIBRES: COTTON, LINEN, HEMP, ETC. SCOUR PROTEIN FIBRES: SILK, WOOL, HAIR, ETC.
1) Fill a large pot so that cloth or yarns are covered and not crowded. 1) Fill a large pot so that cloth or yarns are covered and not crowded.
2) For each 450g (1 pound) of goods add 10ml (2 tsp) Synthrapol 2) For each 450g (1 pound) of goods add 5ml (1 tsp) orvus paste soap.
and 20g (4 tsp) soda ash.
3) Heat gently to 60º C (140º F) for approximately 1 hour. Turn
3) Simmer for approximately 1 hour. Cotton is full of wax, pec- gently but do not agitate
tic substances, and oil, all of which must be removed. The resulting
wash water may be yellow brown. Bleached white cotton yarns and 4) Allow fibre to cool down slowly and then rinse in warm water.
fabrics may not need as long.
Fabrics marked PFD (Prepared for Dyeing) may only need a light
4) Allow fibre to cool down slowly and then rinse in warm water. scour or none at all (always test before omitting). To lightly scour fab-
rics (not yarns) you may use a top-loading washing machine. Use the
Fabrics marked PFD (Prepared for Dyeing) may only need a light above recipe and warm water. To avoid felting do not agitate.
scour or none at all (always test before omitting). To lightly scour
fabrics (not yarns) you may use a top-loading washing machine.
Use the above recipe and hot water.

MORDANTS, TANNINS & MODIFIERS
Colourfast dyeing usually requires a mordant. Mordants are me- the industrial revolution and we do not recommend them. Heavy
tallic salts that facilitate the bonding of the dyestuff to the fibre. metal mordants can be toxic, presenting real challenges for safe
Cellulose fibres also require a tannin in order to bond well. Tan- use and disposal. Moreover most colours obtained through the
nins are not technically mordants (they are not metallic salts) but use of heavy metals may be obtained through overdyeing or vari-
they are often included when speaking about the mordant process ations in the dye procedure. For those who wish to obtain a mor-
for cellulose fibres - as in, “mordanted with alum at 15% WOF and dant from plants, Symplocos is a natural bio-accumulator of alum.
myrobalan at 5% WOF.”
Mordant procedures for protein and cellulose fibres are not inter-
Some natural dye recipes still call for the use of heavy metal mor- changeable.
dants such as chrome. Historically these were introduced during
MORDANTS TANNINS
Tannin is used to assist the mordants of cellulose fibres and fab-

rics. Alum does not bond very well with cellulose fibres. Howev-
ALUM er, tannin bonds well with cellulose and once treated with tannin,
Potassium Aluminum Sulfate alum will combine with the tannin-fibre complex. Many dyestuffs
contain tannin (black oak, pomegranate, cutch, fustic, oak gall
etc.) and do not need an additional tannin.
Potassium aluminum sulfate is the mordant most frequently used
by dyers for protein (animal) and cellulose (plant) fibres and fab-
Tannins can be clear or they can add colour to the fibre, and this is
rics. It improves light and washfastness of all natural dyes and
an important consideration when selecting a tannin. Experiment
keeps colours clear. It is inexpensive and safe to use. This form of
with different tannins and find the one that works best for the co-
alum is refined from bauxite, the raw state of aluminum ore, and is
lours you like.
free from the impurities (such as iron) some other alums may con-
tain. Use at 15% WOF. • Clear Tannins: “Gallic”
– Gallnut, Tara, some Sumacs
• Yellow Tannins: “Ellagic”

– Myrobalan, Pomegranate, Black Oak, Fustic
• Red-Brown Tannins: “Catechic”

ALUMINUM ACETATE
– Cutch, Mimosa, Quebracho, Tea leaves, and some Sumacs.
See the Natural Dye section for more information on each tannin.
Aluminum acetate is often the preferred alum mordant for cellu-
lose fibres and fabrics. It is refined from bauxite with acetic acid as a
purifying agent. For this reason some dyes develop to a richer shade
on cellulose when mordanted with aluminum acetate. Aluminum
acetate is the recommended mordant when printing with natural
dyes. It is more expensive and sometimes hard to find.
Use at 5-8% WOF.
HOMEMADE ALUMINUM ACETATE

Aluminum acetate can be made from sodium acetate and potassi-
um aluminum sulfate. Depending on the availability of these ma-
terials 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 or calcium acetate

• 150 g potassium aluminum sulfate
This can be added to your mordant bath (see the how-to section).

MODIFIERS
CREAM OF TARTAR
Cream of tartar (potassium bitartrate) is a salt of tartaric acid. It is

commonly obtained as a sediment produced in the wine-making
process. Cream of tartar is an optional addition to the dyebath to
soften wool, brighten shades, and point the colour of some dyes (it
will move the fuschia of cochineal to a pure red). Cream of tartar
works best with protein fibres but is seldom used with silk. It is not
used with cellulose fibres. Use at 5-6% WOF.
IRON
Ferrous sulfate
Like alum, Iron is a metal mordant which will increase the fastness
of any colour. Unlike alum however, It is far from neutral; mak-
ing other dyes darker and richer. Iron will also “sadden” bright co-
lours. It is most 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. If used in the mordant
process colour shifts are more distinct than if added while dyeing.
Most dyers apply iron as a post-dye process. Iron should be used
at 2-4% WOF. Above 4% may damage fibres.
1. Measure ferrous sulphate at 2% WOF. Dissolve in hot water.
Add to kettle. Fill the kettle with enough hot water to fully cover
the fibre when added.
2. Add wet, mordanted or dyed fibre,
3. Heat to 71 - 77ºC (160 - 170ºF) hold for 30 minutes.
4. Rinse well. Remember to thoroughly scrub a pot that has been
used to iron mordant or it will contaminate the next dye.
HOMEMADE FERROUS ACETATE

When printing with natural dyes, we recommend changing fer-
rous sulfate to ferrous acetate to avoid bleeding and ferrous trans-
fer (the migration of iron).
• 5 g ferrous sulfate
• 100 ml vinegar
• 3 g lime (calcium hydroxide)
Combine the 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 to the cloth. We use chalk (calcium
carbonate) 50g in 5 litres of warm water. Once your goods that have
been treated with ferrous acetate are fully dry, dip them into this so-
lution. This solution may be kept and reused again and again. Gen-
erally you may refresh with 50 g of chalk after each 10 kg of fabric.

HOW TO MORDANT SILK OR
OTHER PROTEIN FIBRES
STANDARD MORDANT RECIPE
1) Weigh the fibre dry, then scour.

2) Measure alum at 15% WOF
3) OPTIONAL: Measure cream of tartar at 6% WOF (see cream
of tartar in the additive section above).
4) Dissolve the alum (and the optional 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 45ºC (110ºF) to cover the fibre when it is added - usu-
ally a 30:1 ratio of water to fibre. Stir well.
6) Add the scoured, wet fibre. Over 30-45 minutes bring the tempera-
ture up to 90º C (195ºF) Just under simmer for wool and 85ºC (185ºF)
for silk. Rotate the yarn or fabric frequently so the alum is evenly dis-
tributed. 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. Rinse well in cool wa-
ter and allow to hang evenly over a non-reactive rod (stainless steel,
plastic) until it stops dripping. Store the yarn or cloth in a damp
white cloth for 24-48 hours. Keep it damp during this entire period.
10) Once completely dry mordanted yarns and fabrics may be
stored indefinitely.

HOW TO MORDANT COTTON OR THE MORDANT PROCESS
OTHER CELLULOSE FIBRES Note: For more effective mordanting on fibres such as linen we
mordant twice with alum. For example we will mordant once with
alum at 15% WOF and then again with a fresh mordant bath of
Cellulose fibres can be fully dried and stored before dyeing. Fibres
alum at 10% WOF. Or we will do a tannin/alum/alum mordant to
do not need to be re-mordanted between dyes. Once a fibre has
achieve slightly richer colours.
been mordanted it can be dyed and then overdyed without any
further mordanting. For the procedures below you do not “cook” the fibre. Begin with
very hot tap water 48°C - 60°C (120°F - 140°F). It is not necessary
to heat the bath again to maintain temperature.
INITIAL STEPS
1). Weigh the fibre dry, record the weight, then scour. ALUM (Aluminum Potassium Sulfate)
2). Choose your tannin. 1) Fill the kettle with enough hot water 120°F - 140°F (48°C -
The tannin bath must always be done first.
60°C) to cover the fibres. Stir.
3). Choose one of the alums from the mordant process below.
2) Measure soda ash at 2% WOF. Dissolve in hot water and add to
the kettle.
3) Measure alum at 15% WOF. Dissolve in hot water and add to
the kettle.
THE TANNIN PROCESS
4) Add wet fibre (already treated with tannin) to your kettle.
1) Measure tannin to the recommended WOF for the tannin you 5) Let soak for 1-2 hours (cover the kettle so it stays warm).
are using. Dissolve in hot water.
6) Now the fibre may be: a. Rinsed and remordanted, b. Rinsed and
2) Fill the kettle with enough hot water 120°F - 140°F (48°C - dyed, c. Left to steep for an additional 8-24 hrs and then rinsed, d.
60°C) to cover the fibres. Rinsed and dried to dye later.
3) Add your chosen tannin, stir.
ALUMINUM ACETATE
4) Add the scoured, wet fibres.
5) Let soak for 1-2 hours. Stirring occasionally (cover kettle so it Note: Some dyers omit the initial tannin process when using Alu-
stays warm). minum Acetate. In our experience we have found keeping the tan-
nin process results in superior lightfastness.
6) Remove the fibre and very gently rinse and wring – or spin out
in a centrifuge (Spinnex), or the spin cycle of a washing machine. See our recipe for homemade alum acetate
In order not to have to re-wet-out your fibres, do not allow fibre to on pg. 5 under modifiers.
dry before proceeding to the alum mordant.
1) Measure aluminum acetate at 8% WOF. Dissolve in hot water
You can let the fibres steep in the tannin bath for an additional 8-24 and add to the kettle.
hours. Steeping may give deeper colours, but always test your fab-
ric-water-pot combination when steeping for more than a couple 2) Add wet fibre (already treated with tannin) to your kettle.
of hours. 3) Fill the kettle with enough hot water 120°F - 140°F (48°C -
60°C) to cover the fibres. Stir.
4) Let soak for 1-2 hours (cover the kettle so it stays warm) or steep
overnight.
5) Chalk (fix) the fibre. Aluminum acetate must be fixed prior to
dyeing. In some cultures this is known as dunging (as cow dung is
used, which is high in phosphates). To 5 litres of warm water add
50g of chalk (calcium carbonate). Fully wet the fibre and wring out.
Rinse thoroughly after chalking. These solutions may be kept and
refreshed after every 10kg of fibre.
As an alternative to chalking you may use 100g of wheat bran to
5 litres of warm water. The wheat bran needs to soak for about 30
minutes before adding your fibre. The wheat bran option is some-
times preferable for processes using thickened mordants. Rinse
thoroughly afterwards.
6) Now the fibre may be: a. Dyed immediately, b. Dried complete-
ly for dyeing at a later date.

DYEING
Before beginning, keep in mind that dyes are not like paints: dyes
combine with fibres to give character and personality, depth and
texture. They do not produce a uniform, even, shade. It is these
variations that give an added dimension and excitement to natu-
ral 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
the vintner; dyes will give slightly different shade each time they
are used. They will alter when you change the dyeing conditions,
mordants, colour pointers (such as cream of tartar and iron) and
over dye. Experiment and play with this potential (keeping notes
will help). Recipes for dyes are listed with each dyestuff.
STANDARD PROCEDURE FOR DYEING

(Check the specific dyestuff for variations)
1. Measure your dyes.
2. Add hot tap water to your dye kettle. Add enough water so that
the fibres can move freely (don’t add the things to be dyed just
yet!). If you don’t add enough water you may get uneven colours,
if you add too much water you will lower the concentration of
your dyes.
3. Add your dyestuff to the dye kettle.
4. Wet out your yarns or cloth.
5. Add your scoured, mordanted, wetted yarns or cloth to your

dye kettle.
6. Bring heat up slowly - the exact temperature will depend on

the fibres you are dyeing and dye you are using. The temperature
should be no higher than 85º C (185º F) for silk, 90º Cº (195º F) for
wool, and 93º C (200º F) for cottons, linen and hemp fibres. Some
dyes (such as madder) will release different colourants at different
temperatures, check the recipe of the dyestuff you are using.
7. Most dyes require that the temperature be held for 1 hour. Dur-
ing this time the materials to be dyed should be gently turned on
a regular basis.
8. Turn off the heat and allow the dyebath to cool slowly.
9. Some colours will benefit from staying in the dyebath overnight

- exceptions are most yellow dyes and logwood.
10. Remove items from the dyebath and rinse gently in cool water.
Hang to dry out of direct sunlight.

“DYE BAG” RAW DYESTUFF FOR YARN DYEING
Raw dyestuff may be challenging to remove from yarns after dye-
ing. To avoid this problem we recommend making a dye bag for
the dye material. We use white, tightly-woven, polyester fabric to
make a dye bag that will contain the dyestuff, yet leave plenty of
room for the dye material to swell, release colourants, and move
about. Form a bag to contain the measured dyestuff and close the
opening securely. The entire bag is then immersed in the dyepot
with the yarns. The fabric used to make the dye bag may be reused
multiple times.
ABOUT EXTRACTS
The dye colourant always needs to be extracted from host materi-
al (roots, barks, petals, or leaves). Usually this extraction happens
in the dyebath, but sometimes (as with indigo, cutch, or any of the
insect dyes) it is an entirely separate process.
We sell natural dyes as both raw materials and extracts. Extracts

are very concentrated and so smaller amounts are needed com-
pared to working with the raw material.
Our general philosophy is to work with dyes in their raw form.

Working with raw materials increases your feeling for the material
and gives you control over both process and colour.
AFTER DYEING
Natural dyes will “set up” over time. Depending on the dyes used,
maximum fastness is achieved by letting the cloth set for a period
of one to two weeks before working with the cloth or washing it
with soap. Here is what we recommend:
Directly after the dyeing process, gently wash in lukewarm water

without soap. Allow to dry completely. During this wash you want
to remove any dyestuff (powdered madder for example) and en-
sure the cloth or yarns are clean.
Then, after two weeks or more you can wash with lukewarm water
and a PH neutral soap. Remember to store dyed fabrics and yarns
out of direct sunlight.

MAIWA’S
FAMOUS NATURAL DYES
c r e at i n g c o lo u r n at u r a lly
For over 30 years

maiwa.com

MAIWA’S NATURAL DYES & EXTRACTS
For dyeing we give the WOF as a range. There are a number of factors which will influence your final colour (such as fibre type) and
so the range indicates what you might expect to use under normal conditions. Note that extracts are more concentrated than raw dye-
stuff and you will seldom need to go higher that the WOF we recommend.
ALKANET CHESTNUT
Alkanna tinctoria Castanea sativa
Dyer’s alkanet is a very attractive purple colourant that is found Chestnut trees grow in many parts of the world and are a great
in the roots of plants belonging to the borage family. It grows un- source of tannins. They dye a warm brown colour. Chestnut is also
cultivated throughout central Europe and extends to central Asia well known for it’s ability to dye silk black with the addition of log-
and North Africa. The extracted pigment is often used in cosmet- wood and an iron mordant.
ics, soaps and pigments. The violet colourant from alkanet is not
soluble in water. Before a dyebath is made the alkanet root must MORDANTING: Use alum mordant at 15% WOF for protein fi-
be soaked in a solution of alcohol and hot water – colourless rub- bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
bing alcohol or methylated spirits can be used (some dyers who do ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum
not like the smell of either of these solvents use vodka!). The co- acetate at 8%.
lours produced on mordanted fabric and yarns are shades of grey,
lavender and purple. The colours achieved are beautiful but have DYEING: Use extract on mordanted fibre at 5-10% WOF for a me-
moderate light fastness. dium depth of shade.
MORDANTING: Use alum mordant at 15% WOF for protein fi-

bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum
acetate at 8%. DYERS CHAMOMILE
Anthemis tinctoria
DYEING: Use dried alkanet at 75-100% WOF for a medium to
dark depth of shade. First, soak the alkanet in alcohol (or methyl-
ated spirits) for several days to extract the colour. When the liquid Anthemis tinctoria is part of the daisy family. It grows through-
has developed a strong colour, add enough water for the fibres to out North America, Europe and throughout the Himalaya region.
move freely in the solution. Add the mordanted fibres and gently It is often used in Turkish carpets for warm, strong yellows and is
heat this dyebath - no higher than 60ºC (140ºF) - until all the co- mixed with madder for tangerine colours. Chamomile is best on
lour has been taken up. protein fibres with an alum mordant.
OPTIONS: Adding iron to the dyebath at 2% WOF creates a range MORDANTING: Use alum mordant at 15% WOF for protein fi-
of greys and grey-violets. bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
acetate at 8%.
BUCKTHORN DYEING: Use dried chamomile at 50-100% WOF for medium to

Rhamnus strong warm yellows. First soak the chamomile in hot water for an
hour. Add fibre and slowly bring the temperature up to about 80ºC
(180ºF). Hold at temperature for about an hour.
Buckthorn species such as Rhamnus infectorius, R. amygdalinus,
and R.oleodies are native to the Middle East and the Mediterra- OPTIONS: Adding madder to the dyebath gives some of the most
nean. The fruits of Buckthorn are also known as Persian berries beautiful tangerine colours.
and the juice of these unripe berries is historically used to make
the pigment known as "sap green."

acetate at 8%. The addition of 5% cream of tartar during mordant-
ing will improve light fastness.
DYEING: Use buckthorn ground on mordanted fibre at 15 % WOF,

and buckthorn extract at 4-10% WOF for a medium depth of shade.
COCHINEAL MORDANTING: Use alum mordant at 15% WOF for protein fi-
Dactylopius coccus bres. For cellulose fibres either 1). Just use cutch alone at 15-30 or
2). For a deeper colour, use a clear tannin (like oak gall) and then
alum at 15% and soda ash at 2% and then dye as below.
Cochineal is the most important of the insect dyes. The females of
Dactylopius coccus colonize the prickly pear (nopal) cactus native DYEING WITH THE EXTRACT: Use cutch at 15-30% WOF to
to Mexico, Central and South America and the Canary Islands. dye a medium depth of shade. Completely dissolve the powdered
Peru is currently the primary export country, shipping out over cutch (it may be a little sticky) in boiling water and add it to dye-
4000 metric tons annually. This dye is a common additive to food, bath.
drugs and cosmetics. Cochineal has excellent light and washfast-
ness and produces a powerful range of fuchsias, reds and purples. OPTIONS: Deeper colours can be achieved by first soaking cutch
Although expensive, cochineal has a high concentration of car- extract in a weak mixture of caustic soda. Add 1 tsp lye or sodium
minic acid and only small amounts are needed. 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
MORDANTING: Use alum mordant at 15% WOF for protein fi- this neutral solution to the dyebath. Fibres are then added and the
bres. For cellulose, first mordant with tannin at 8% WOF, then ei- dyebath is kept at a low simmer for at least two hours. Cutch is
ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum not easily exhausted and dyebaths can be used multiple times for
acetate at 8%. lighter shades.
DYEING WITH THE EXTRACT: Use at 0.5 to 2% WOF for a me- An alum mordant yields toffee browns. The addition of iron at
dium depth of shade. 2-4% WOF yields chocolate browns, while a 5% soda ash or calci-
um hydroxide rinse will redden the cutch colour. The addition of
DYEING WITH THE BUGS: Only 3-8% WOF is needed for a me- 2% WOF hydrogen peroxide during the final 15 minutes of dyeing
dium depth of shade. The colourant is first extracted from the will darken cutch considerably. Allowing the fibre to cool down
dried insects as follows: Gently grind the insects in a blender or and sit in the dyebath overnight will give the darkest shades.
use a mortar and pestle to crush them to a fine powder. Put this
powder into a saucepan 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 EASTERN BRAZILWOOD
more times. Some dyers will then keep the remaining pulp in a jar (SAPPANWOOD)
of water for several weeks and use it for future dyebaths. Caesalpinia sappan
The combined decantings are used to make a dyebath. Because

Cochineal is sensitive to acids and bases soaps used to pre or post Brazilwood is from the heartwood of trees of the genus Caesalpin-
wash your fibres must have a neutral pH. ia. Originally an old-world dye, the country of Brazil was named
after the species Cæsalpinia echinata found on Brazilian coast-
OPTIONS: If cream of tartar at 6% WOF is added to the alum lines. Historically harvested (then overharvested) brazilwood is
mordanting bath or the dyebath, the colour achieved will be more now protected.
towards Christmas red. With the addition of iron at 2-4% WOF to
either the mordanting bath or the dye bath the colour will shift to- Sappanwood Cæsalpinia sappan is found throughout east Asia
wards purple. Cochineal can be shifted to orange with the addi- and is also known as Eastern Brazilwood. This wood is high in
tion of an acid (citric) and to a deep fuschia with the addition of tannin and the colourant brazilian. The dyebath can be used mul-
an alkaline (soda ash). tiple 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. Fab-
rics dyed with brazilwood are fast to washing but somewhat fugi-
tive to light.
CUTCH
Acacia catechu MORDANTING: Use alum mordant at 15% WOF for protein fi-
This powder is an extract prepared from steeping the wood of the ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum
Acacia catechu tree in hot water until a syrupy liquid emerges. This acetate at 8%.
is dried and then ground into powder. Cutch is common to most
parts of India, Burma, Indonesia and Peru. Indian cutch is by far DYEING: Brazilwood develops best in slightly hard water. Add-
the most beautiful. It is a good source of colourfast shades of cin- ing finely ground chalk (or a Tum’s tablet – 1 to each 4 liters of wa-
namon, nutmeg, and clove. Cutch extract contains tannins as well ter) brightens the brazilwood colour, especially if there is no lime
as the dye component catechu. It is easily soluble in water. Cutch in the local water. Adding osage extract will yield rich warm reds
has excellent light and washfast properties.

and iron will turn the fabric to a mulberry wine colour. A dip in MORDANTING FOR YELLOWS & BROWNS: Use alum mor-
indigo will produce purples. Change the pH level to an acid to get dant at 15% WOF for protein fibres and then, in a separate bath,
an orange red or use an alkaline (like soda ash) to get blue-red to use fustic (see below). For cellulose fibres either 1). Just use fustic
brilliant purple. alone at 2-4% or 2). For a deeper colour, use a clear tannin (like
oak gall) and then alum at 15% and soda ash at 2% and then a sep-
DYEING WITH THE EXTRACT: the extract will produce love- arate fustic dyebath (see below).
ly warm reds when dyed at a 2-5% WOF and deep crimson reds
when dyed at 5-10%. DYEING WITH THE EXTRACT: Use at 4-6% WOF for a medi-
um depth of shade. Keep the dyebath temperature at about 85ºC
DYEING WITH THE WOOD: Use at 25-50% WOF. This dye takes (185ºF) for wool and cotton and 77ºC (170ºF) for silk. At a higher
time to be extracted - simmer of the wood chips for 1-3 hours and temperatures the colour will turn to a dull brown yellow.
leave to cool overnight or longer (some dyers leave for days). Add
fibre to bath and the first dyebath will produce a deep crimson red OPTIONS: With the addition of iron at 2-4% WOF fustic yields
and the next dye bath can be used to achieve beautiful shades of beautiful sage greens. By dyeing in a copper pot or adding clean
pink and coral. copper pennies to the dyebath, clear yellows will emerge. When
combined with madder or cochineal, fustic will give true reds,
when mixed with logwood purple, fustic will give rich olive greens.
EUPATORIUM
Agertina adenophora
GALLNUT
Quercus infectoria
This dyestuff comes from a genus of flowering plants in the aster
family. Ageratina adenophora is known by many common names,
including eupatory, sticky snakeroot, and crofton weed. Eupatori-
um adenophorum is a synonym. There are many species of the ge- Gallnut (oak gall) is used to mordant cellulose fibers and fabrics
nus Eupatorium that contain colourants; interestingly, the 1882 before an alum mordant. Gallnuts from oak trees are a rich source
bulletin of the Royal Gardens, Kew, records two species known of natural clear tannin. A gallnut is produced by oak trees as a de-
as Paraguay indigo. Eupatorium gives soft egg-yolk yellows that fense against parasitic wasps who deposit their eggs in small punc-
range into oranges. tures they make on young branches. The tree excretes a tannin-rich
substance that hardens and forms a gallnut. These are collected and
MORDANTING: Use alum mordant at 15% WOF for protein fi- ground to be used in dyeing.
ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum MORDANTING WITH THE EXTRACT: Use at 6-8% WOF.
acetate at 8%. MORDANTING WITH GROUND GALLNUTS: Use at 10-15% WOF.
DYEING WITH THE EXTRACT: Use at 10-15% WOF for a medi-

um depth of shade.
DYEING WITH THE GROUND LEAVES: Use 50% WOF for a me-
dium depth of shade.
HIMALAYAN RHUBARB
Rheum emido
OPTIONS: When used with an iron mordant eupatorium can give
earthy moss greens, when overdyed with indigo it provides a satis-
fying range of yellow to blue-greens. Himalayan Rhubarb is a natural dye obtained from the roots of
a mountain rhubarb variety that grows in the Himalayas. It gives
deep golden tones varying from yellows to yellow-reds.
FUSTIC EXTRACT MORDANTING: Use alum mordant at 15% WOF for protein fi-
Chlorophora tinctoria
acetate at 8%.
An extract prepared from the heartwood of a tree from the Mul- DYEING: Use at 10-30% WOF for medium to dark depth of
berry family, Chlorophora tinctoria. Fustic produces a range of co- shade. Simmer mordanted fibres gently for 1 hour.
lours from daffodil yellow to deep gold to orange. When used as
an underdye with indigo Fustic yields forest greens and teals. Fus-
tic has a high light and washfastness and exposure to strong sun-
light may actually darken colours.

HENNA MORDANTING: Use alum mordant at 15% WOF for protein fi-
Lawsonia inermis bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
acetate at 8%.
Henna leaves are harvested from the shrub Lawsonia inermis. The
dye comes from leaves that are dried and ground into a powder. DYEING: Kamala yields rich vibrant oranges at 20% WOF. Slight-
Henna produces a brown colour tending toward a red-orange on ly deeper shades are obtained on protein fibres.
protein fibres. Henna bonds well with protein, hence it is used to
dye skin (mendhi), hair, fingernails, leather, silk and wool. On cel- Kamala is not very soluble in water, so it is necessary to extract the
lulose fibres henna yields light yellow greens. colourant before dyeing. To extract with alcohol, soak the powder
with twice its volume of isopropyl or ethyl alcohol. Let stand for
MORDANTING: Use alum mordant at 15% WOF for protein fi- 2 hours stirring occasionally. Add the alcohol/kamala mixture to
bres. For cellulose, first mordant with tannin at 8% WOF, then ei- the dyebath.
acetate at 8%. To extract with soda ash, mix the Kamala powder with half of its
weight of soda ash in twice its volume of water. Let stand stirring
DYEING: When using ground henna at 20-50% WOF on mor- occasionally. Add the entire mixture to the dyebath. After dyeing
danted fibres, rich browns are achieved on protein fibres and rinse first with a vinegar solution and then thoroughly with water.
“latte” like colours to soft greens on cellulose fibres. There is no Kamala dyes a beautiful orange yellow on silk and wool. It dyes
need to make an extract, just add the powder directly to the dye- lighter yellow shades on cotton.
bath. Simmer the fibres in the dyebath until the desired colour is
obtained – approximately 1-2 hours. OPTIONS: When iron at 1-2% WOF is added deep moss greens are
obtained. Over or under dyed with indigo produces forest greens.
OPTIONS: Iron at 2-4% can slightly enrich the brown colour. Al-
tering the pH of the henna dyebath does not alter the colour.
NOTE: Spent henna pulp may be used as a reducing agent for an

indigo vat (see our indigo instructions). LAC EXTRACT
Kerria lacca
From the scale insect Kerria lacca found throughout India, south
INDIGO (NATURAL)
east Asia, Nepal, Burma, Bhutan and south China. Lac is found in
Indigofera tinctoria
the wild and is also cultivated. The female lac insects invade host
trees and the insect secretes a resin that covers its colony. When
Maiwa has a dedicated instruction sheet for indigo titled: “How to harvested, the covering is broken off the branches and is known
Dye With Indigo”. Natural indigo powder is an extract prepared as stick lac. The resin is used to make shellac. The dye must be ex-
from Indigofera tinctoria. Indigo is the legendary source of colour- tracted from the stick lac before it can be used to colour cloth.
fast blues. Its ability to produce a wide range of shades has made
it the most successful dye plant ever known. Indigo grows all over Lac extract yields crimsons to burgundy reds to deep purples. The
the world but flourishes best in hot, sunny, humid areas. Indigo colours are similar to those from cochineal but warmer, softer, and
can give clear blues that range from the tint of a pale sky to a deep more muted. The lac dye has high light and washfastness on silk
navy that is almost black. Maiwa’s indigo comes from a farm in and wool. Only small quantities are needed for a medium depth
south India and is very strong. It reduces beautifully in an indi- of shade.
go vat.
acetate at 8%. Note that lac extract has reduced light and washfast-
KAMALA ness on cellulose fibres.
Mallotus philippinensis
DYEING WITH THE EXTRACT: Use at 5-10% WOF for a medium
to dark depth of shade. Dissolve extract in water and simmer with
Kamala is a powdery substance obtained from the fruit of Mal- fibre for 45 minutes, leave overnight for richest colours.
lotus philippinensis, a small evergreen that is also known as the
monkey-face tree (because monkeys are said to rub their faces OPTIONS: Lac is very sensitive to pH. A beautiful red can be ob-
in the fruit). Kamala is found throughout tropical India. Kamala tained by adding cream of tartar at 6% WOF. Alternatively, add-
dye is very similar in behavior and colour to annatto. Kamala dyes ing an alkali like soda ash will yield plum purples. The addition of
golden yellows to tangerines with moderate lightfastness on cotton. iron at 1-2% WOF will give blackened purples.

LOGWOOD MORDANTING: Use alum mordant at 15% WOF for protein fi-
Haematoxylum campechianum bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
acetate at 8%. For deep brick reds on cellulose choose the alumi-
num acetate at 8%.
Logwood is the heartwood of Haematoxylum campechianum. Log-
wood yields deep, rich, red-purples to orchid blues and has been DYEING WITH THE EXTRACT: Use at 3-8% WOF for a medium
prized as a dyestuff since the 16th century. The logwood tree grows depth of shade. To achieve reds and avoid browns keep the dye-
in Mexico, Central America, The Dominican Republic, Venezue- bath under 180°F (82°C).
la, Brazil, the Guyannas, Madagascar, and India. When mixed with
iron, logwood gives good blacks – a colour difficult to achieve with DYEING WITH THE POWDERED ROOTS: Madder is dyed at 35-
natural dyes. Logwood has good washfastness but moderate light- 100% WOF for a medium to dark depth of shade. Madder devel-
fastness – a bit of iron improves the lightfastness dramatically. ops to its deepest and richest reds in hard water – water containing
calcium and magnesium is ideal. If the water is soft add calcium
MORDANTING: Use alum mordant at 15% WOF for protein fi- carbonate (a single Tum’s tablet to 4 litres of water works well).
bres. For cellulose, first mordant with tannin at 8% WOF, then ei- Add dye material to dye pot and cover with water. Bring up to
ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum about 60ºC (140ºF) and hold for an hour. Add fibres and continue
acetate at 8%. cooking for another 1-2 hours.
DYEING WITH THE EXTRACT: Use at 1-2% WOF for a medium Rubia tinctorium Alizarin is the primary dye molecule, it gives the
shade. famous warm Turkey red colour. Also present are munjistin, pur-
purin, and a multitude of yellows and browns. For clear reds of ru-
DYEING WITH THE WOOD: Logwood chips will give a medium bia tinctorium do not let the temperature go above 72ºC (160ºF).
depth of shade at 10-15% WOF. Pour enough boiling water over At higher temperatures the browns of this madder plant come out
the logwood to make a dyebath and soak overnight. Pour off this and dull the colour.
liquid and use for the first (and strongest) dyebath. Simmer fibres
for about one hour, keeping the temperature between 77-83ºC Rubia cordifolia Munjistin is the primary dye molecule, it gives
(170-180ºF). If a darker colour is required leave fibres in dyebath the famous reds found in Indian chintz and painted cottons. Also
overnight. The logwood chips can be soaked again and the liquid present in the roots are small quantities of alizarin, purpurin, as
used for lighter shades. well as many yellows and browns. Rubia cordifolia is not as affect-
ed by high temperature. The madder dyebath can be reused two or
Logwood develops best in slightly hard water. Adding finely three times for lighter shades.
ground chalk (or a Tum’s tablet) brightens the logwood colour, es-
pecially if there is no lime in the local water. Cream of tartar can OPTIONS: Madder, in combination with cochineal yields a true
be added (at approximately 6% WOF) to push logwood to a pur- red, with iron yields garnet, bright orange with alum and cream of
ple-navy, adding osage or fustic gives grey-greens, cochineal gives tartar, brick red with alum mordant and a higher heat (cordifolia
purples, coffee bean browns are obtained by adding cutch, navy only), the addition of acetic acid or vinegar plus iron will push the
can be had with a dip in indigo, greys to blacks are made with the colour to a rich brownish-purple.
addition of iron.
NOTE: Spent madder pulp may be used as a reducing agent for an
indigo vat (see our indigo instructions).
MADDER
Rubia tinctorum, Rubia cordifolia
We carry two types of madder Rubia tinctorum (Dyer’s madder)

and Rubia cordifolia (Indian madder). We also carry an extract
named Madder Rich. Madder is one of the oldest known dyestuffs.
It is used to produce turkey reds, mulberry, orange-red, and ter-
racotta. In combination with other dyes madder can give crim-
son, purple, rust, browns, and near blacks. Madder is cultivated
throughout India, south east Asia, Turkey, Europe, south China,
parts of Africa, Australia and Japan. Madder is a complex dye-
stuff containing many colourants. By manipulating mordanting,
pH, and temperature a range of shades can be obtained. There are
many historic recipes including one from Turkey which brings out
the purpurin from madder resulting in a purple.

MARIGOLD MORDANTING FOR THE YELLOW COLOUR: Use alum mor-
Tagetes dant at 15% WOF for protein fibres and in a separate bath use My-
robalan at 20% WOF. For cellulose fibres either 1). Just use myrob-
alan alone at 20-30 or 2). For a deeper yellow, use a clear tannin
(like oak gall) and then alum at 15% and soda ash at 2% and then
This dyestuff consists of dried and ground flower heads of the Tag- a separate myrobalan dyebath at 20-30%.
etes species. It yields rich vibrant yellows, green-yellows and orang-
es with 20 -30% dried marigold to WOF. Marigold is cultivated all DYEING: Add myrobalan powder to the dye or mordant bath,
over the world for its decorative flowers, for religious festivals and bring bath up to 55ºC (130ºF) and then add fibre. Continue heat-
for its colourant. Marigold has a moderate light and washfastness. ing bath to a high simmer (approximately 83ºC (180ºF)) hold for
one hour. Adding iron (2-4% WOF) to the bath will produce soft
MORDANTING: Use alum mordant at 15% WOF for protein fi- lichen greens to deep grey-greens. Over or underdyeing with indi-
bres. For cellulose, first mordant with tannin at 8% WOF, then ei- go produces clear teal shadows.
acetate at 8%.
DYEING: Use at 20-30% WOF for a medium depth of shade. Add

the dried flowers to the dye pot, cover with water and simmer for
half an hour to extract the colour. Strain the dye liquid and add to ONION SKINS
dye pot. Add fibres and simmer until the desired shade is achieved. Allium cepa
With the addition of iron at 2% WOF warm olives can be made.
Onion Skins are a nice introduction to natural dyes for novices,

children, and those who delight in colour from kitchen waste. On-
ion skins give shades of clear maroon-brown to golden yellow on
protein fibres and lighter equivalents on cellulose. To obtain sat-
MIMOSA EXTRACT
isfying colours from onion skins use at 20% WOF. Simmer for 1
Acacia mearnsii hour, remove the skins and add your mordanted cloth. For a more
thorough extraction simmer for an hour then let stand overnight
before dyeing. Onions skins have medium fastness.
Acacias have been used as a source of tannins since the times of
ancient Egypt. Acacia nilotica is also known as Egyptian Mimo- MORDANTING: Use alum mordant at 15% WOF for protein fi-
sa. Our Mimosa comes from Acacia mearnsii (also know as black bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
wattle) it is cultivated extensively for this purpose and is one of ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum
the world’s most important sources of vegetable tannin. It is heav- acetate at 8%.
ily used in the leather tanning industry. Mimosa is a catechic or
red-brown tannin like quebracho and cutch. It will impart a light DYEING: To obtain satisfying colours from onions skins use at
peach colour when used as a tannin at the recommended strength 20% WOF. Simmer for 1 hour, remove the skins and add your
of 8-10 % WOF. mordanted cloth to the dyepot. For a more thorough extraction
simmer for an hour then let stand overnight before dyeing. On-
ions skins have medium fastness.
MYROBALAN
Terminalia chebula
This dyestuff consists of ground nuts of the Terminalia chebula tree.

This tree grows in Nepal, India, Sri Lanka, Burma, Thailand, In-
dochina and south China. Myrobalan may be used in the mordant
procedure or as a dye, giving a light buttery yellow. It is an impor-
tant tannin for use on 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 in the tannin pro-
cedure, myrobalan requires 15-20% WOF. If using to create a soft
butter yellow use 20-30% WOF.

OSAGE ORANGE DYEING WITH THE EXTRACT: Use at 5-8% WOF.
Maclura pomifera
DYEING WITH THE POWDERED RINDS: Use at 15-20% WOF.
Add to hot water, ensure it is thoroughly mixed and then add the
Osage Orange consists of the shredded wood of the tree Maclura fibre. Simmer for about 1 hour. If a darker colour is required leave
pomifera. Osage contains a yellow dye similar to fustic and black in the dyebath overnight.
oak and yields clear, true yellows to soft yellow greens that have a
OPTIONS: When combined with iron, pomegranate yields yum-
high light and wash fastness. It yields good depth of shade at 20-
30% WOF. Osage grows throughout the south and central United my warm cement greys and deep moss greens. It is often mixed
States. The tree was originally planted to help with wind erosion, with the more fugitive turmeric dye to brighten the yellow and
the wood was used to build fences and was hard enough for wagon make it lightfast.
wheels. Osage has overgrown many areas and is being cut down
for firewood. Our supplier rescues these logs and chips them for
us or soaks them in water and through a solar process extracts the
liquid concentrate.
QUEBRACHO
Schinopsis quebracho-colorado
acetate at 8%. This dye comes from a tree native to South America, which is very
high in tannins. The dye can vary in colours from coral, warm red
DYEING WITH THE EXTRACT: The liquid extract may be added brown, yellow or green depending on the species.
directly to the dyebath. Use at 5-8% WOF for a medium depth of
shade. When using the extract, the yellow develops fairly quickly, MORDANTING FOR THE BROWN COLOUR: Use alum mor-
leaving goods in the dyebath for extended periods of time will re- dant at 15% WOF for protein fibres and then, in a separate bath,
sult in a duller colour. use quebracho (see below). For cellulose fibres either 1). Just use
quebracho alone at 15% or 2). For a deeper colour, use a clear tan-
DYEING WITH THE WOOD: When using the osage sawdust, use nin (like oak gall) and then alum at 15% and soda ash at 2% and
at 15-30% WOF for medium shade. Soak it in water for a few then a separate quebracho dyebath (see below).
hours or overnight. When soaking is complete, bring this bath up
to simmer and cook for an hour. Strain off the dye liquid and use DYEING WITH THE EXTRACT: Use extract on mordanted fibre at
for the dyepot. Add the fibre and simmer for about 45-60 minutes. 5-10% WOF for a medium depth of shade.
OPTIONS: Dyeing in a copper dyepot or adding a few clean cop- DYEING WITH POWDER: Use 20-30% WOF for a medium depth
per pennies to the dyebath will brighten the yellow. Adding 2-4% of shade.
iron to the dyebath will produce olive greens. Over or under dye-
ing with indigo yields bright emerald and leaf greens. OPTIONS: To deepen the quebracho colours add an alkali or iron
mordant.
POMEGRANATE
Punica granatum SAFFLOWER
Carthamus tinctorius
An extract or a powder from the rinds of pomegranates Punica

granatum, this dyestuff is high in tannin and improves the light Safflower is an annual thistle. This plant is most known for the oil
and washfastness of any dye with which it is mixed. In India and that can be derived from it’s seeds, however, the petals are a most
south east Asia it is used as both a dye and in the mordant pro- magical dyestuff. Yellows, surprisingly sharp pinks, orange-reds,
cess. Pomegranate yields soft yellows to green-yellows when used and corals can be extracted from safflower. Soaking petals in wa-
as a dye. ter at room temperature gives a yellow which can be collected and
used to dye any modanted natural fibre. Repeated soaking will ex-
MORDANTING FOR THE BROWN COLOUR: Use alum mor-
haust the yellow at which point pinks may be obtained by “turning
dant at 15% WOF for protein fibres and, then in a separate bath the bath” (drastically changing the pH to alkaline and then back
use pomegranate (see below for WOF). For cellulose fibres either to slightly acidic).
1). Just use pomegranate alone at 15-20% or 2). For a deeper co-
lour, use a clear tannin (like oak gall) and then alum at 15% and
soda ash at 2% and then a separate pomegranate dyebath (see be-
low for WOF).

MORDANTING: Use alum mordant at 15% WOF for protein fi- SUMAC
bres. For cellulose, first mordant with tannin at 8% WOF, then ei- Rhus coriaria
acetate at 8%.
DYEING YELLOW: Use 100-200% WOF for a medium to dark Sumac is a small tannin-rich tree which was used by many of
depth of shade. Put the safflower in cold water for a minimum of North America’s indigenous peoples to obtain a variety of browns
one hour. Use a pillow slip or make a bag of closely woven cloth and blacks. D. Cardon relates a process from 1881 that included a
that can fit the inside a large pot. Strain the safflower through this sumac extraction, bloodroot and roasted ochres, to achieve a deep
bag and gently squeeze. Set the liquid aside for dying. Repeat the black on wool. Sumac is often used as an alternative to other tan-
procedure twice more, each time starting with fresh water and nins and its use in combination with iron will give a grey with a
saving the yellow water. slightly pinkish nuance. Sumac can also be used on its own as a
dye. No other tannin is needed. Use at 20% WOF.
Combine the water from the first three soakings in a dye kettle.
Add mordanted fibre (protein or cellulose) and simmer with the MORDANTING FOR THE LIGHT BROWN COLOUR: Use alum
extracted yellow dye for 45 minutes. Note: this is the only time mordant at 15% WOF for protein fibres and then, in a separate
heat is applied. bath, use sumac at 20% WOF. For cellulose fibres either 1). Just
use sumac alone at 20% or 2). For a deeper colour, use a clear tan-
DYEING PINK (CELLULOSE ONLY): Start as above with 100- nin (like oak gall) and then alum at 15% and soda ash at 2% and
200% WOF – Repeat the soaking of safflower until the water has then a separate sumac dyebath at 20% WOF.
very little yellow. This may take an additional four or five soak-
ings. Each time start with fresh water. You may discard the waste
water after soaking.
After the final soaking, thoroughly squeeze the bag containing the
SYMPLOCOS
safflower to eliminate as much water as possible. Drape this bag
in a large pot and add 4 to 5 litres of water which you have turned Symplocos racemosa
to pH 11 through the addition of soda ash. (Use a pH meter or
pH papers). Be careful as a pH above 11 will ruin the dye. After a
minimum of one hour remove the bag and gently squeeze. Keep Symplocos is a bio-accumulator of aluminum. The leaves natural-
this now reddish water and turn it slightly acidic (pH 6) by add- ly store alum and so by harvesting the plant, drying and grinding
ing an acid such as white vinegar. Now add your fibres (these do the leaves, dyers can access an organic supply of this important
not need to be mordanted) to the bright red liquid and leave over- mordant. Our symplocos is obtained through the Babali Founda-
night. Note: There is no heating in the procedure to get pink. tion (plantmordant.org) a group dedicated to preservation of the
plant and cultural ecosystems. Maiwa has a separate instruction
Wool will not take the pink colourant. sheet for symplocos.
SEQUOIA
Sequoia sempervirens TANNIN BLEND
Ground quebracho and sumac blend
Sequoia comes from Californian Coastal Redwoods. The dyestuff

occurs in minute quantities in the seed cones, and only reaches
Tannin is used to assist the mordants of cellulose fibres and fab-
useable quantities as a by-product of seed collection and refores-
rics. Alum does not bond with cellulose fibres as well as it does
tation programs. Sequoia yields rich purple browns when dyed at
with protein fibres. However, tannin bonds well with cellulose.
15% WOF. Shades achieved are beautiful but with moderate light-
and once treated with tannin, alum will combine with the tannin-
fastness.
fibre complex. Many dyestuffs contain tannin (black oak, pome-
granate, cutch, fustic, etc) and do not need an additional tannin.
This is a blend of tannins mainly composed of quebracho and su-
mac. It will leave a very light red-brown colour on cloth. Use at 10-
acetate at 8%.
20% WOF as part of the mordanting procedure.
DYEING: Use at 15% WOF for rich purple browns. The dyestuff
may be added directly to the dyebath. Add dye material to dye pot
and cover with water. Bring up to about 60ºC (140ºF) and hold for
an hour. Add fibres and continue cooking for another 1-2 hours.

TARA EXTRACT WELD
Caesalpina spinosa Ruseda luteola
Caesalpinea spinosa, commonly known as tara, is a small and Reseda Luteola is also known as Dyers Weld, Dyers Rocket, and
thorny tree with red pods that grows in the dry areas of Peru. It Dyers Mignonette. It produces an excellent light and washfast yel-
belongs to the pyrogallol group. In its natural state, the concentra- low and is a strong clear yellow to combine with indigo for emer-
tion of tannins is 35-55%. After the extraction process, the content ald and leaf greens. Traditionally cultivated throughout Europe as
may increase to 72-75%. a yellow dyeplant it still flourishes on embankments or beside rail-
ways and roads. Weld gives strong intense yellows which are clear
This vegetable tannin is used in the leather industry to obtain very and bright.
bright and light-colored leathers. It does not oxidize easily thanks
to its low content of free gallic acid. Tara powder is also used in the MORDANTING: Use alum mordant at 15% WOF for protein fi-
fabric printing process, as a mordant, and to make dyes using fer- bres. For cellulose, first mordant with tannin at 8% WOF, then ei-
ric salts. It is often used for vegetable tanned leathers that need to ther 1). Use alum at 15% with soda ash at 2% or 2). Use aluminum
be light-resistant. Use at 15% WOF. acetate at 8%.
DYEING WITH THE EXTRACT: Use at 4-6% WOF for a medium

depth of shade.
DYEING WITH THE PLANT MATTER: Use at 20-30% WOF for a

WALNUT
medium depth of shade. Pour boiling water over the plant mate-
Juglans nigra rial and allow to stand overnight. Add more water and bring the
pot to a simmer but not more than 160 F as too high a temper-
ature will dull the yellow. Strain off the dye liquor into the dye-
Walnut (Eastern Black Walnut) Juglans nigra. This dyestuff is ob- bath. The plant material can be reused two or three times for light
tained from the bark of the tree and also from the green husks of shades. Add the fibre to the dyebath and simmer below 160 F for
the fruit. Domonique Cardon has called walnuts “great living lab- about one hour.
oratories of dye production.” Walnut is a substantive dye and can
be used without a mordant. It can be used alone to produce warm Weld develops best in slightly hard water. Adding finely ground
deep taupes or to give extra depth in combination with other dyes. chalk (or a Tum’s tablet – 1 to each 4 litres of water) brightens the
weld colour, especially if there is no lime in the local water.
bres and cellulose fibres (there is enough tannin in walnut that OPTIONS: The strength of weld makes it a good choice for
mordanting with tannin is not required). overdyeing with indigo to obtain teals and greens.
DYEING: Maiwa carries dried walnut husks and powdered wal-

nut husks. Each can be used at 30-50% WOF for a medium depth
of shade.
OPTIONS: Historically walnut has been used with madder (both WOAD
rubia cordifolia and rubia tinctorum) to produce mahogonies. Isatis tinctoria
Walnut responds well to overdyeing with iron producing rich
grey/browns.
Woad is the common name of Isatis tinctoria. In Medieval Eu-
rope it was the only source of blue dye for textiles. The leaves of
the woad plant contain the same dye molecule as Indigofera tincto-
ria, although in much weaker concentration. This makes colour-
ing with woad a more subtle and delicate art. The same recipes
used for indigo may be used for woad. The shades obtained from
woad are slightly different and call to mind the areas where it was
most popular - the south of France.

MAIWA DOCUMENTARIES
IN SEARCH OF LOST COLOUR travels the world to document the growing, harvesting, ex-
traction and use of natural dyes. From the Bogolanfini mudprinting of Mali to the madder-
root of Turkey, from the cochineal insect to the rare shellfish purple, this documentary pro-
vides a look at some of the most exotic colours in existence. In many areas the use of natural
dyes is perilously close to extinction - and yet traditional techniques and cultures often use
processes which are environmentally sound and economically beneficial. Join us for an un-
forgettable exploration into the history of colour and its use. 90 minutes.
TANA BANA is our second feature-length documentary film on craft. Here you will find
works of great beauty and skill, ingenious variations, and delicate figures. Shot in rural lo-
cations in Africa, Laos, Indonesia, India, and Pakistan, this documentary takes you to the
world of looms, weaves, and artisans. 60 min.
THROUGH THE EYE OF A NEEDLE is the story of a unique group of craftswomen. Follow their
journey as they return to creating the world-class embroidery that made their ancestors
famous. The incredible stories of the women from the KMVS co-operative are recorded here
through video, song, laughter, and stitch. 30 min.
INDIGO A WORLD OF BLUE shot on location in southern India, Sindh, Pakistan; the Vientiane
District of Laos; the island of Sumba, Indonesia; Yogyakarta, Indonesia, village Dhamad-
Trailers and downloads are available ka, India; and Suleymanköy, Turkey, Featuring renowned indigo scholar Jenny Balfour-Paul
online at www.maiwa.com speaking about indigo history, traditions, superstitions and lore. 60 min.
MAIWA INFO SHEETS SOME NATURAL DYE REFERENCES

HOW TO DYE WITH INDIGO NATURAL DYES:
SOURCES, TRADITION, TECHNOLOGY AND SCIENCE
Co-authored with Michel By Dominique Cardon
Garcia, this info sheet pres-
ents a number of options for KOEKBOYA: NATURAL DYES AND TEXTILES:
reducing agents from fruit to A COLOUR JOURNEY FROM TURKEY TO INDIA AND BEYOND
other dyes such as henna.
By Harald Böhmer with Charllotte Kwon (of Maiwa)
FREE ONLINE:
THE ART AND SCIENCE OF NATURAL DYES
maiwa.com
By Joy Boutrup and Catharine Ellis
naturaldyes.ca
INDIGO ECO COLOUR

By Jenny Balfour-Paul By India Flint
WILD COLOUR
by Jenny Dean
Maiwa’s Natural Dyes

naturaldyes.ca
Everything for the Textile Arts

maiwa.com
Maiwa School of Textiles

maiwa.teachable.com
Customers are responsible for dye and paint choices and recommendations. Maiwa staff do their best to assist customers in estimating quantities, procedures and prod-
ucts. Maiwa Handprints Ltd. or its staff will not be held responsible for such advice. Dye recipes should be tested prior to all projects. Maiwa Handprints Ltd. will not be
held responsible for cost of products and/or labour to produce finished projects. Instructions are available free with each product purchased, please ensure you read and
understood them before beginning. 36.

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the maiwa guide to

WA L NUT NATURA L I ND I G O MADDER TARA SYM P L O C OS

SUMA C SE Q UO I A MAR I G O L D SA F F L OWER B U C K THORN

OSA G E C HESTNUT C O C H I NEA L Q UE B RA C HO EU P ATOR I UM

The instructions below will take you through the application of

These instructions and more are available at naturaldyes.ca.

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

If local hard water needs to be made acidic, add vinegar, lemon

At Maiwa we dye in our own studio in Vancouver, where we have

ABOUT FIBRES AND CLOTH

MEASURES, RECORDS, WOF

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

Yarns and fabrics need to be scoured before dyeing. Soured items

FOR COTTON — Use soda ash & Synthrapol

FOR SILK & WOOL — Use orvus paste soap

HOW TO: HOW TO:

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

Tannin is used to assist the mordants of cellulose fibres and fab-

• Yellow Tannins: “Ellagic”

• Red-Brown Tannins: “Catechic”

HOMEMADE ALUMINUM ACETATE

To make enough aluminum acetate to mordant 1 kilo of fabric,

• 150 g sodium acetate or calcium acetate

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

Cream of tartar (potassium bitartrate) is a salt of tartaric acid. It is

HOMEMADE FERROUS ACETATE

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

STANDARD MORDANT RECIPE

1) Weigh the fibre dry, then scour.

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

STANDARD PROCEDURE FOR DYEING

1. Measure your dyes.

3. Add your dyestuff to the dye kettle.

4. Wet out your yarns or cloth.

5. Add your scoured, mordanted, wetted yarns or cloth to your

6. Bring heat up slowly - the exact temperature will depend on

9. Some colours will benefit from staying in the dyebath overnight

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

We sell natural dyes as both raw materials and extracts. Extracts

Our general philosophy is to work with dyes in their raw form.

Directly after the dyeing process, gently wash in lukewarm water

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

For over 30 years

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

MORDANTING: Use alum mordant at 15% WOF for protein fi-

BUCKTHORN DYEING: Use dried chamomile at 50-100% WOF for medium to

MORDANTING: Use alum mordant at 15% WOF for protein fi-

DYEING: Use buckthorn ground on mordanted fibre at 15 % WOF,

The combined decantings are used to make a dyebath. Because

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

DYEING WITH THE EXTRACT: Use at 10-15% WOF for a medi-

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

NOTE: Spent henna pulp may be used as a reducing agent for an

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

We carry two types of madder Rubia tinctorum (Dyer’s madder)

The Maiwa Guide to Natural Dyes. © Maiwa Handprints Ltd. 2021.

DYEING: Use at 20-30% WOF for a medium depth of shade. Add

Onion Skins are a nice introduction to natural dyes for novices,