Tag Archives: Cotinus

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…

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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.

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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.

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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:

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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.

 

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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

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The Time Factor: a Day versus Two Months

As we all are aware of the extreme importance of the Time in the dyeing process, an awfully generalized instruction ‘The longer the time, the better the results” is very often applied, especially by the newbies, to all stages of the process unquestioningly and with no doubts

Some novices are certain that the reason for not getting the right color and/or print is them having been impatient and not letting the roll of dyed fabric sit for too long…

Of course, Time and Temperature are the two key factors of the dyeing process!

But there are also such inputs, as fibers condition, plant material quality, mordants, length of bath after all… Though the last value is the least popular aspect I’d say… All these and quite a few other things may influence the outcome. 

Nevertheless, the question that I am asked more often is about Time! Specifically about that sort of the Time which, say, starts right after you take off your pot from the heat source and ends up when you open the dyed fabric.

To finally separate the wheat from the chaff and not to rely upon the random outcome, I decided to run a comparative test to see how the Curing Time affects the result of the dyeing process in terms of the color yield/intensity and the sharpness of the prints, if any. In this test I was going to estimate only the visible side of the deal, not dwelling upon the Colorfastness at this point.

Fabric: Two lengths of silk previously sandwiched in between rusty sheets of iron, sprinkled with vinegar and cured for up to one week.

Plant material:My local favs – Sumac, Cotinus, vine leaf, Prunus Padus, maple leaf.

Process: The fabric folded with plant material and steamed. One length was left overnight and opened the next day; the other was left for two months.

The Visual Part: the Fast and the Slow Piece

The Fast Piece

The Fast Piece

The Slow Piece

The Slow Piece

And here are some details of the Fast Piece:

Sumac Print in the Fast Piece

Sumac Print in the Fast Piece

Various Plant Material in the Fast Piece

Various Plant Material in the Fast Piece

An Outstanding Maple Leaf Print in the Fast Piece

An Outstanding Maple Leaf Print in the Fast Piece

The details of the Slow Piece:

Cotinus Print in the Slow Piece

Cotinus Print in the Slow Piece

Cotinus and Prunus Padus in the Slow Piece

Cotinus and Prunus Padus in the Slow Piece

Various Plant Material in the Slow Piece

Various Plant Material in the Slow Piece

Now as we see, there is a very distinct difference in these two pieces. Using my sight as the only measuring instrument assigned for this experiment, I can tell that

  • The background in the Fast Piece is whiter;
  • The background in the Slow Piece is more muted;
  • The multicolor palette achieved in the Fast Piece is bright and crisp;
  • The color combination in the Slow Piece is more of the earthy tones, yet clear and intense

Of course, I have just scratched the enormous area of the Time Factor in the Dyeing Practice, and to positively state any consistent pattern here one should have run numerous number of tests and experiments.

But at this point I come to conclusion that not only it is an illusion to believe that the longer curing time gives better results, there is NO universal recipe in terms of Time use;

Time is one of the variables of the dyeing process, altering which we can get varied results. 


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