The seeds sprout and the sun rises

Planting seeds… Every Spring as Nature awakens and comes back to life, seedlings are planted and seeds are sowed. Cause that’s how it goes. Cause that’s the way it is – standstill taking over the movement, and solution and breakthrough coming forward after the deadlock…

Since we settled at #szaryganek a few years ago, I started another dyer’s garden right away. I planted several varieties of smoke bush, couple of catalpas, tamarisk, liquid amber, and two types of sumac in addition to what was already growing there. (Some of the new plants were presented by a friend visiting at that time. Evgenia, remember?) I also arranged madder root corner in the rear end of the garden. Needless to say, rubia tinctoria is a very important dye plant, although a young plant is not so good for dye extraction, you’ve got to wait 3 years until you harvest the first batch. This Spring I have been able to draw out a few root shoots to expand my madder plantation.

Madder is one of the oldest dyestuffs. According to J.N. Liles, it extends back at least to 2000 b.c. In his book The Art and Craft of Natural Dyeing, 1990, you can find at least 10 recipes with madder root for color red. Wow, I’ve been always fascinated with madder dyeing potential, and also with its medicinal properties. At the same time, have to admit that traditional dyeing with madder has never become my thing. Maybe I am not ambitious enough…

However, enhancing the effects from leaf printing in contact dyeing with madder extract, on the contrary, has been serving me at its best from the very start. Back in those days, when an absolute newbie in botanical printing struggling to get leaf prints of decent visibility on fabric or paper, at the same time craving for eucalyptus foliage to appropriate for my studio experiments, (and eucalyptus itself had been a complete alien at the local florists) half in despair, I resolved to giving a break to squishing out wishful color from the foliage that had already proven void, and to taking an opposite approach of saturating a weak leaf with stronger potion.

The thing is that in days of the past newborn babies were traditionally bathed in herba bidentis extract bath-water in view of its antibacterial etc. properties, clothes were also treated with the extract. I did bathe my child that way too. The extract should’ve been cooked every time fresh through a time consuming process, and no steps to be skipped whatsoever. And the results were magical… So, in my studio I gave the old method a go and treated those weak leaves to the dye stuff extract. And, yes, the leaves impregnated with stronger dye print immediately even before the heat is applied. This is a pic back from that time:

What a relief it was after so many failures! And throughout the years of my exploring botanical dyeing this method never stopped surprising.

But it’s Spring time, remember? Conditioning the stage for madder root expansion in the garden was not a big deal, in fact. However, my recent urge for setting a vegetable garden (the lockdown sequela) required way more engineering intense arrangements. First came five plastic boxes for vegetable beds – yes, yes, I know, plastic… But, hey, sometimes you just have to to make do with what you got. I didn’t like the idea of poking holes in the bottoms, I wanted to keep the boxes intact. So, I thought I would make a raised mesh bottom supported with fixed wire. Water is supposed to go underneath, and I added a tube for ventilation and also for watering:

Next, I spreaded agrotextile to separate soil from the plastic walls, added some potting grit and soil.

It took me several hours to finish the construction stage. Planting and sowing took the next couple of days. However, after a period of nice weather we got the temperature dropping from +26C to +8C. Which now makes me really wonder if my efforts prove fruitful.

 

P.S. Oh, did I mention that seeds were germinated in a plastic bottle? It is a very effective and low maintenance sprouting method. XOXO

Black Poplar and Birch/ Черный тополь и береза

In my country there are over 160 dyeing plants. However, this number is not final. I have been focusing on my local resources since early years of my batik practicing. To my understanding it is natural dyes that make batik crackles and lines stand out in a very special way. Batik was an initial impulse for looking deeper into available and affordable local resources. Natural Contact Dyeing came next.

На территории моей страны насчитывается более 160 красильных растений. Однако, указанное число не является окончательным. Впервые обратить пристальное внимание на натуральные красители меня подтолкнула техника горячего батика, которая была моей основной техникой долгое время. Я не сомневалась, что применение натуральных красящих веществ наиболее удачно сочетается с батиковой линией и фактурой, придавая им особую выразительность. Таким был первоначальный импульс, заставивший меня сфокусироваться на доступных и приемлемых местных ресурсах. А затем пришло Контактное крашение.

 

In Ukraine three species grow wild—the European aspen (P. tremula; Ukrainian: osyka), the black poplar (P. nigra; Ukrainian: osokir), and the white poplar (P. alba; Ukrainian: topolia)—on the floodplains of large rivers, along lakefronts, in dried-up riverbeds, or as protective screens along roads and fields. Some poplars are cultivated as ornamentals; pollution-resistant P. italica, P. deltoides, and P. balsamifera provide green foliage in cities. Encyclopedia of Ukraine.

In Ukrainian traditional natural dyeing bark and buds from all poplar species are used to dye wool into yellow, bright yellow, brown colors; leather is dyed into yellow color. Buds contain lots of flavonoids (quercetine, chrysin, others), organic acids, essential and fatty oil, vitamine C, and other compound; bark contains chrysin, tannins, xylogen (lignin), others. Poplar is medical plant, woody plant, honey plant, tannin bearing plant, fibrous plant, vegetative reclamation plant, and forage plant.

В традиционном натуральном крашении шерсти в Украине применяется кора и почки всех сортов тополя. Шерсть окрашивают в желтый, ярко-желтый, коричневый цвета; кожу красят в желтый цвет. Почки сожержат флавоноиды (кверцетин, хризин, др.), органические кислоты, эфирные и жирные масла, витамин С и другие соединения. Кора содержит хризин, дубильные вещества, лигнин, др. Тополь-лекарственное, древесное, медоносное, танниноносное, эфирно-масличное, волокнистое, фитомелиоративное и кормовое растение.

The results of my work with black poplar foliage for the purpose of contact dyeing of silk, cotton, linen and wool fabrics have placed this plant firmly among my absolute favs! It works equally good both on iron and aluminium mordants. It yields green, yellow, brown, and black. Also, the shape of black poplar leaves is very often so elegant and refine, that it makes the figurative statement itself. The colors are very wash fast.

Результаты моей работы с листвой черного тополя по контактному крашению переместили черный тополь в число моих абсолютных фаворитов. Листья черного тополя прекрасно работают и с железом, и с алюминием. Полученные цвета: зеленый, желтый, коричневый, черный. Форма листа настолько изящна, что сама по себе доставляет эстетическое удовольствие. Полученные окраски достаточно прочные и стойкие.

 

 

Birch is the plant next to black poplar in my favs list.

Two main forms are found in Ukraine: the European white birch (B. verrucosa), which reaches a height of 25–28 m and grows separately or mixed with other species; and the pilose or swamp birch (B. pubescens), which reaches 20 m and grows in wet, swampy areas… Birch charcoal is made into black powder and filters for the paint industry. Birch sap is consumed as a beverage in the spring, and tea made of birch leaves, buds, and sap is used in folk medicine as a cure for stomach ailments and rheumatism. The white birch is also grown in protective belts against the wind, along highways for decoration, and on slopes to prevent erosion. Some forms of the birch, such as the weeping birch, are valued as decorative trees.Encyclopedia of Ukraine.

In Ukrainian traditional natural dyeing birch foliage is used to obtain yellow, brown-black, yellow-green, golden colors on wool, silk, and cotton. Birch foliage contains flavonoids, tannins, saponins, gums, vitamins, essential oil, carotin, bitter principles. Birch is a medical plant, honey plant, woody plant, resinous plants, tannin bearing plant, forage plant, essential-oil plant, ornamental plant.

Береза идет следом за черным тополем в списке моих фаворитов. В традиционном натуральном крашении в Украине используется листва березы для колорирования шерсти, шелка и хлопка в желтый, черно-коричневый, желто-зеленый, золотистый цвета. Листва березы содержит флавоноиды, дубильные вещества, сапонины, смолы, витамины, эфирные масла, каротин, горькие вещества. Береза-лекарственное, медоносное, древесное, смолоносное, танниноносное, кормовое, эфирно-масличное и декоративное растение.

Used for contact extraction birch foliage yields very nice bright colors at iron and aluminium presence, yellows and greens, black and browns. The colors are very wash fast. When used together black poplar and birch make a great golden color scheme, birch yields more of bright lemon-yellow shades, while black poplar gives more of golden shades of yellow.

При использовании для контактной экстракции листва березы дает очень яркие цвета в присутствии железа и алюминия: желтые и зеленые, черные и коричневые. Окраски прочные и стойкие. При сочетании листвы березы и тополя создается особая золотисто-желтая гамма, береза дает яркие лимонно-желтые оттенки, а тополь-золотистые оттенки.

The third partner in this golden company which I discovered as a great combination for my art work, is Catalpa tree.

Catapla is coming next!

Третьим составляющим золотой компании выступает катальпа. О ней-в следующий раз!

 

Upgrading Store Clothes/ Апгрейд Готового Платья

Utilization of Dyeing with plants method is a known thrill when it comes to introducing personality to store clothes. It works perfectly considerably due to the fact, that you are getting resuls from the Work of Nature, which is unmistakable and flawless.

The dyer acts just as a medium here, getting a thrill of opening the fabtics to the resuts.

I wanted to catch this moment with my camera, taking slowly each step as the Nature reveals its work in between the layers of fabric and leaves.

And there is something about it, not just that it is an OOAK peice of clothing you own, but it feels like you have a significant proof of your bond with the Nature, a protective shield that you’re wearing.

Метод крашения листьями сложно переоценить, когда речь идет о превращении массового в индивидуальное. И тут дело не в том, что на готовый предмет наносится некий штучный дизайн. Дело в том, что наносит его Природа, как свойственно ей, безошибочно и точно. Красильщик – только передаточное звено в этом процесс; он получает свою порцию восторга, когда разворачивает ткани.

Я постаралась с помощью фото передать захватывающий момент, когда перед тобою неторопливо разворачивается и предстает нерукотворное творение.

Что-то однозначно в этом есть, и это не только и не столько факт появления неповторимого дизайна, это как-будто в руках у тебя оказывается непосредственное свидетельство связи с природой, некая незримая защита, если хотите, не просто элемент одежды.

More on Wash Fastness

As much as I enjoy obtaining refined and unique marks from the plant material on fabric I cannot but brood over the Wash Fastness aspect, especially when it comes to wearables.

The common advice that can be most often found regarding washing and caring for naturally dyed textiles, is to hand wash it in cold water, or use a gentle cycle in the washing machine.

In my practice with natural dyestuffs I tend to meticulously run my own experiments to see how the same recipe/regularity works for me. Well, the moment I got my very first satisfying dyed pattern on a wearable item I immediately put on considering cap:

How long a garment treated with the natural dyes will serve before the increasing color fading from the multiple washes finally gives it an unappealing look?

Provided, of course, that the garment has been properly treated with mordants, as well as that the dyeing process has been carried out aptly.

For the silk accessories and such, the washing matter does not look as much uncertain as for the sportswear for instance. 

I really would have doubts as for a jersey T-shirt and a gentle washing cycle… Well, maybe I am just too lazy to consider a hand-wash, or is it just that I know that you cannot give a quality wash to a jersey T-shirt without presoaking it, which will definitely affect the natural dyes. So, why not give a try to a conventional washing then?

Still wearing the same considering cap, I got a dyed jersey shirt:

Front

Back

I decided to wear it on a regular basis from the moment I finished working on it last September, and throw it into the washing machine with the rest of my light-colored laundry; I used my usual detergent, Persil most of the time, for cotton fabrics.

These are some close-ups of the shirt pattern right after dyeing:

And now after three months and 15 to 18 washes, this is what I end up with at this moment:

Not sure how much obvious it really is from the pics, but the background color retains its corn-colored hue; while the bluish marks from the tannins have shifted towards brown color, as the result of their exposure to the high Ph of the washing powder.

Well, at this point my shirt still works for me. Which is fine. I’ll keep my further records on the gradual color shift and/or loosing color of this item.

Determining the point when the T-shirt starts looking toneless will surely give the better idea about the general shelf-life of my naturally-dyed clothes, which is essential info to be labeled on my naturally dyed collection.

So, dear colleagues, and what advice do you label your naturally dyed wearables with?

A Test for the Wash Fastness

As the Natural Dye Stuffs exploring process is so gripping it is so easy to get drifted away in search for the perfect print.

You set up test after the test, bundle after the bundle, and each time you really get more and more exciting results; sometimes yet faults occur but those serve only to urge forward the maker.

But on some point you wanna get an idea of how much you can actually rely upon your results. How long would last this color, or effect? If a color shift would happen within a time? If yes, what to expect then? 

Even if it is a framable art, or a wall piece, you would not appreciate the image varnishing in half a year, not to mention the surprise for the clientele…

Should I mention the wearables? Taking into consideration the amount of work it takes to create a decent piece, it’s kinda undesirable to get the colors bleeding after the wash, or any other discrepancies between your result and the quality standart.

 

So, no matter how much I enjoy getting a nice natural print, I have been spending quite some time on testing my dyed and printed results for all sorts of treatments. 

 

And one of the first tested objects proved to be worth the time and effort invested in it!

Not long ago I posted some close -up shots of it on my FB page

and quite a few people liked it, which I appreciate a lot!

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I did not mention in my post though, that it was a cotton jersey top, an item subject to wearing and washing, and exposing to the direct sunlight!

The prints themselves were awesome!

I was going to run the test first and then consider the results. And, as I’ve mentioned before the test object proved good, so I’ll add a few words to this story to summarize the dyeing process.

The black color resulted from this dyeing session was a sheer surprise that day, as I was chasing the reds from euca at that time, and this was one of my many trials when I was getting anything but no red!

All sorts of brown and yellow shades. But Black! Really, did not see that coming…

Well , as I learnt later on,  from all the world’s huge variety of the euca species

I was lucky enough to have “a non-red” type at my disposal.

So, for this dye bath I used crashed dried euca from the pharmacy. I did not pretreat the fabric with alum.

I added a mighty rusted pipe to the bath, as dear Irit recommended me on the FB group to add some iron.

I assume the rusty pipe affected the dye bath ratio in kinda weird way!

For the prints I rolled the presoaked in water dried euca leaves of some local Crimea euca type, the origin is unknown. The bundles from this session were curing for about a week up to 10 days maybe before opening. And it was over a month before I washed the cotton jersey top in the washing machine with a mild detergent. Not to forget that I ironed it a with steam iron prior to the treatment!

The ready to go item did not lose any color intensity, nor did any color shift occur!

 

This is all as for the report on testing color.

I believe at present I will  follow this way of estimation of my dyeing results,

presenting nice prints and colors, if any, along with the reporting on

their fastness to different sorts of treatments.

P.S. Thanks to you my friend Maggie Drake, now I know first hand that euca does yield different sorts of red and orange shades. It’s all about the euca type you’re dealing with! Thank you, my dear friend! I appreciate it very much!

xoxo

The Silk Tree Dyeing Session

The Silk Tree fluffs

This is a Silk Tree  (Albizia julibrissin) that I planted about 7 years ago. In our area we have very hot and dry summers (it has got even hotter for a few last years). The winters  are known to be mild and snowless, though in February the temp often drops below -15C / 5F and easily can stay at -23C /below 0F for a couple of weeks. Just enough to freeze some certain types of vegetation to death! That was (and still is) my concern as for the garden. Until this year we used to cover this tree for the winter, whereas last Fall I decided to give it a try and leave it unprotected for the winter, especially when it was over 3 meters tall. It seemed to have lived through the winter alright but  this summer’s unbearable heat and drought have definitely depressed my Silk Tree… Nevertheless, my tree stands tall in my garden all covered with gentle pink fluffs giving of the delightful fragrance all over the area!

Of course I had to try the fluffs for dyeing properties!

The Bundle

I rolled the bundle over a copper pipe, cotton fabric, silk tree fresh fluffs, and simmered in aluminium pot for about 2 hours, let it sit for about 10 days.

Sorry, you all patient people, who can afford 3 weeks and more for curing! I just wanna catch the most of the opportunities this season provides for My Raw List of the Local Dyeing Chances to further develop and elaborate it with the flow of  the time.

That’s when my Rolls will be left  for years unbundled!

The Silk Tree Fluffs in the Cotton Cloth

The Silk Tree Fluffs in the Cotton Cloth

I was really surprised to get such a bright color! Though these are the images of the just unrolled fabric which is still wet.

The Silk Tree Fluffs in the Cotton Cloth

My poor Fluffs! Look what happened to you!! 

The Silk Tree Fluffs Dyed Cotton Cloth. The Still Wet Version.

And now the Fabric, just unbundled and still wet,

The Silk Tree Fluffs Dyed Cotton Cloth. The Dry Cloth Version.

and after a few days, heat pressed and dry.

Well, I have no idea if this is any valuable information for the Natural Dyers. And what is more important I do not intend to make any scientific discoveries here! And I don’t think there is any good chances for that, as the Natural Dyeing existed long before all of us. Hence, most of the innovations talking in this field may sound similar to

“I invented the Bicycle!” sort of things…

But in this  Fascinating Field of the Natural Resources for Dyeing there are so many rewarding opportunities for the artistic application, not to mention the joy of communicating with the Nature!

And These I am determined to explore and describe! 

Hope you all are enjoying the change of seasons! xoxo

 

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Мое шелковое дерево –

я посадила около 7 лет назад. Наш климат примечателен очень жаркими летними температурами, еще более жаркими  в последние годы, и относительно мягкими и бесснежными зимами. Однако, зачастую пару недель в феврале может держаться очень низкая, до -23С температура, чего достаточно, чтобы заморозить насмерть нестойкие виды растений.

До недавнего времени мы прикрывали наше дерево на зиму, покуда оно не разрослось до 3-х м ввысь! Стоит мое дерево, все в цвету, источая аромат, меня радует! А где-то ленкоранская акация считается инвазивным видом!

Безусловно, я не могу не испытать цвет моей акации в части натурального крашения.

Беру: медную трубку, хлопчатобумажную ткань, розовые пушки*;

Варю/ тушу в алюминиевой посуде около 2-х ч и оставляю на 10 дней не открывая. Известное дело, есть очень терпеливые экспериментаторы, могущие ожидать до 3-х и более недель!

Я же боюсь не успеть сделать все намеченное на сезон.

См. Выше фото с результатами.

Честно говоря, яркость окраски меня потрясла! При том, что это хлопок и протравы никакие я не применяла. На фото –только что открытая ткань, все еще влажная. На последнем фото – ткань через несколько дней, проглаженная и сухая.

Однако, что стало с пушками!

Я разумеется, сомневаюсь, насколько эта моя информация может представлять интерес для опытных в натуральном крашении красильщиков! И уж тем более, не тянет она и на научное открытие. Сомневаюсь вообще в возможности таковых в области древнего ремесла натурального крашения, где всякое новаторство сродни изобретению велосипеда…

В данном случае я не преследую иных целей, кроме как описательно-повествовательных о Cвоем, ошибочно-пробном, в Натуральном Крашении, которое предоставляет столько возможностей для художественного приложения!

Надеюсь, всем по душе смена сезонов!

Рада комментариям!