Alkanet
Alkanna tinctoria
Dyer’s alkanet is a very attractive purple colourant that is found in the roots of plants belonging to the borage family. It grows uncultivated throughout central Europe and extends to central Asia and North Africa. The extracted pigment is often used in cosmetics, soaps and pigments. The violet colourant from alkanet is not soluble in water. Before a dyebath is made the alkanet root must be soaked in a solution of alcohol and hot water – colourless rubbing alcohol or methylated spirits can be used (some dyers who do not like the smell of either of these solvents use vodka!). The colours produced on mordanted fabric and yarns are shades of grey, lavender and purple. The colours achieved are beautiful but have moderate light fastness.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: use dried alkanet at 75-100% WOF for a medium to dark depth of shade. First, soak the alkanet in alcohol (or methylated spirits) for several days to extract the colour. When the liquid has developed a strong colour, add enough water for the fibres to move freely in the solution. Add the mordanted fibres and gently heat this dyebath - no higher than 60ºC (140ºF) - until all the colour has been taken up.
Options: Adding iron to the dyebath at 2% WOF creates a range of greys and grey-violets.
Below: Alkanet 100% WOF
Eastern Brazilwood (Sappanwood)
Cæsalpinia sappan
Brazilwood is from the heartwood of trees of the genus Caesalpinia. Originally an old-world dye, the country of Brazil was named after the species Cæsalpinia echinata found on Brazilian coastlines. Historically harvested (then overharvested) brazilwood is now protected.
Sappanwood Cæsalpinia sappan is found throughout east Asia and is also known as Eastern Brazilwood. This wood is high in tannin and the colourant brazilian. The dyebath can be used multiple 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. Fabrics dyed with brazilwood are fast to washing but somewhat fugitive to light.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: Brazilwood develops best in slightly hard water. Adding finely ground chalk (or a Tum’s tablet – 1 to each 4 liters of water) brightens the brazilwood colour, especially if there is no lime in the local water. Adding osage extract will yield rich warm reds and iron will turn the fabric to a mulberry wine colour. A dip in indigo will produce purples. Change the pH level to an acid to get an orange red or use an alkaline (like soda ash) to get blue-red to brilliant purple.
Dyeing with the extract: the extract will produce lovely warm reds when dyed at a 2-5% WOF and deep crimson reds when dyed at 5-10%.
Dyeing with the wood: Use at 25-50% WOF. This dye takes time to be extracted - simmer of the wood chips for 1-3 hours and 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 and the next dye bath can be used to achieve beautiful shades of pink and coral.
Below: Eastern Brazilwood (wood) 50% WOF.
Below: Eastern Brazilwood 5% WOF and Weld 6% WOF
Buckthorn
Rhamnus saxatilis
Buckthorn species such as Rhamnus infectorius, R. amygdalinus, and R.oleodies are native to the Middle East and the Mediterranean. The fruits of Buckthorn are also known as Persian berries and the juice of these unripe berries is historically used to make the pigment known as "sap green."
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%. The addition of 5% cream of tartar during mordanting will improve light fastness.
Dyeing: Use Buckthorn ground on mordanted fibre at 15% WOF.
Use buckthorn extract on mordanted fibre at 4-10% WOF.
Below: Buckthorn extract 10% WOF
Chamomile
Anthemis tinctoria
Dyer's Chamomile Anthemis tinctoria is part of the daisy family. It grows throughout North America, Europe and throughout the Himalaya region. It is often used in Turkish carpets for warm, strong yellows and is mixed with madder for tangerine colours. Chamomile is best on protein fibres with an alum mordant.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: use dried chamomile at 50-100% WOF for medium to 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.
Options: Adding madder to the dyebath gives some of the most beautiful tangerine colours.
Below: Chamomile 50% WOF
Chestnut
Castanea sativa
Chestnut Extract Chestnut trees grow in many parts of the world and contain a great source of tannin. They dye a warm brown colour. This dye is also well known for it’s ability to dye silk black with the addition of logwood and an iron mordant. Dyeing: Use extract on mordanted fibre at 5-10% WOF.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: Use extract on mordanted fibre at 5-10% WOF for a medium depth of shade.
Below: Chestnut extract 10% WOF
Cochineal
Dactylopius coccus
Cochineal is the most important of the insect dyes. The females of Dactylopius coccus colonize the prickly pear (nopal) cactus native to Mexico, Central and South America and the Canary Islands. Peru is currently the primary export country, shipping out over 4000 metric tons annually. This dye is a common additive to food, drugs and cosmetics. Cochineal has excellent light and washfastness and produces a powerful range of fuchsias, reds and purples. Although expensive, cochineal has a high concentration of carminic acid and only small amounts are needed.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing with the extract: Use at 0.5 to 2% WOF for a medium depth of shade.
Dyeing with the bugs: Only 3-8% WOF is needed for a medium depth of shade. The colourant is first extracted from the dried insects as follows: Gently grind the insects in a blender or 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 more times. Some dyers will then keep the remaining pulp in a jar of water for several weeks and use it for future dyebaths.
The combined decantings are used to make a dyebath. Because Cochineal is sensitive to acids and bases soaps used to pre or post wash your fibres must have a neutral pH.
Options: If cream of tartar at 6% WOF is added to the alum mordanting bath or the dyebath, the colour achieved will be more 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 towards purple. Cochineal can be shifted to orange with the addition of an acid (citric acid) and to a deep fuschia with the addition of an alkaline (soda ash).
Below: Cochineal Bugs 8% WOF
Below: Cochineal Bugs 8% WOF with 6% cream of tartar
Below: Cochineal Bugs 8% WOF and Iron 2% WOF
Below : Cochineal Bugs 8% WOF and Madder 30% WOF
Cutch
Acacia catechu
Cutch Extract – This powder is an extract prepared from steeping the wood of the Acacia catechu tree in hot water until a syrupy liquid emerges. This is dried and then ground into powder. Cutch is common to most parts of India, Burma, Indonesia and Peru. Indian cutch is by far the most beautiful. It is a good source of colourfast shades of cinnamon, nutmeg, and clove. Cutch extract contains tannins as well as the dye component catechu. It is easily soluble in water. Cutch has excellent light and washfast properties.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres.
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.
Dyeing with the extract: Use cutch at 15-30% WOF to dye a medium depth of shade. Completely dissolve the powdered cutch (it may be a little sticky) in boiling water and add it to dyebath.
Options: Deeper colours can be achieved by first soaking cutch extract in a weak mixture of caustic soda. Add 1 tsp lye or sodium 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 this neutral solution to the dyebath. Fibres are then added and the dyebath is kept at a low simmer for at least two hours. Cutch is not easily exhausted and dyebaths can be used multiple times for lighter shades.
An alum mordant yields toffee browns. The addition of iron at 2-4% WOF yields chocolate browns, while a 5% soda ash or calcium hydroxide rinse will redden the cutch colour. The addition of 2% WOF hydrogen peroxide during the final 15 minutes of dyeing will darken cutch considerably. Allowing the fibre to cool down and sit in the dyebath overnight will give the darkest shades.
Below: Cutch 30% WOF
Below: Cutch 30% WOF and Iron 2% WOF
Below: Cutch 30% WOF finished with calx (calcium hydroxide)
Below: Cutch 30% and Madder 20% WOF
Cutch extract before grinding into a powder.
Eupatorium
Ageratina adenophora
Eupatorium Extract – 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. Eupatorium adenophorum is a synonym. There are many species of the genus Eupatorium that contain colourants; interestingly, the 1882 bulletin of the Royal Gardens, Kew, records two species known as Paraguay indigo. Eupatorium gives soft egg-yolk yellows that range into oranges.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing with the extract: Use at 10-15% WOF for a medium depth of shade.
Dyeing with the ground leaves: Use 20-30% WOF for a medium depth of shade.
Options: When used with an iron mordant eupatorium can give earthy moss greens, when overdyed with indigo it provides a satisfying range of yellow to blue-greens.
Below: Eupatorium 10% WOF
Below: Eupatorium 10% WOF and Iron 2% WOF
Fustic
Chlorophora tinctoria
An extract prepared from the heartwood of a tree from the Mulberry family, Chlorophora tinctoria. Fustic produces a range of colours from daffodil yellow to deep gold to orange. When used as an underdye with indigo Fustic yields forest greens and teals. Fustic has a high light and washfastness and exposure to strong sunlight may actually darken colours.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting for yellows & browns: Use alum mordant at 15% WOF for protein fibres and then, in a separate bath, use fustic (see below).
For cellulose fibres either 1) Just use fustic 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 separate fustic dyebath (see below)
Dyeing with the extract: Use at 4-6% WOF for a medium depth of shade. Keep the dyebath temperature at about 85ºC (185ºF) for wool and cotton and 77ºC (170ºF) for silk. At a higher temperatures the colour will turn to a dull brown yellow.
Options: With the addition of iron at 2-4% WOF fustic yields beautiful sage greens. By dyeing in a copper pot or adding clean 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.
Below: Fustic Extract 5% WOF
Gallnut
Quercus infectoria
Gallnut (oak gall) is used to mordant cellulose fibers and fabrics before an alum mordant. Gallnuts from oak trees are a rich source of natural clear tannin. A gallnut is produced by oak trees as a defense against parasitic wasps who deposit their eggs in small punctures they make on young branches. The tree excretes a tannin-rich substance that hardens and forms a gallnut. These are collected and ground to be used in dyeing. Use at 10-15% WOF.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting with the extract: Use at 6-8% WOF.
Mordanting with the ground gallnuts: Use at 10- 15% WOF.
Gallnut is a clear tannin. It does not add a tone to fabric or yarns.
Henna
Lawsonia inermis
Henna leaves are harvested from the shrub Lawsonia inermis. The dye comes from leaves that are dried and ground into a powder. Henna produces a brown colour tending toward a red-orange on protein fibres. Henna bonds well with protein, hence it is used to dye skin (mendhi), hair, fingernails, leather, silk and wool. On cellulose fibres henna yields light yellow greens.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: When using ground henna at 20-50% WOF on mordanted fibres, rich browns are achieved on protein fibres and “latte” like colours to soft greens on cellulose fibres. There is no need to make an extract, just add the powder directly to the dyebath. Simmer the fibres in the dyebath until the desired colour is obtained – approximately 1-2 hours.
Options: Iron at 2-4% can slightly enrich the brown colour. Altering 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).
Below: Henna 20% WOF
Himalayan Rhubarb
rheum emodi
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. Use alum mordant at 15% WOF for protein fibres. For cellulose, mordant with tannin at 8% WOF and then either alum at 15% or aluminum acetate at 8%.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: Use at 10-30% WOF for medium to dark depth of shade. Simmer mordanted fibres gently for 1 hour.
Below: Himalayan Rhubarb 20% WOF
Natural Indigo
Indigofera tinctoria
We have a complete set of instructions on how to dye with indigo — including several recipes for organic vats.
Indigo (natural) – Natural indigo powder is an extract prepared from Indigofera tinctoria. Indigo is the legendary source of colourfast blues. Its ability to produce a wide range of shades has made it the most successful dye plant ever known. Indigo grows all over the world but flourishes best in hot tropical climates. Indigo can give clear blues that range from the tint of a pale sky to a deep navy that is almost black. Maiwa’s indigo comes from a farm in South India. It is very strong and reduces beautifully in an indigo vat.
Iron
FERROUS SULPHATe
Iron is not a dye or a tannin — it is a metal mordant and colour modifier.
We have included it here because it shows up so often in our colour samples. Iron will always interact with tannin to form a black. In fact the formation of a black is a test for the presence of tannin. Depending on the concentrations the results may be light greys. Iron will darken or “sadden” the colours of other dyes while increasing their fastness. Iron may have an adverse effect on both cellulose and protein fibres. We recommend never using it above 4% WOF. In our colour samples it is used at 2% WOF. The unwanted presence of iron can stain cloth, create blotches, spotting and ruin dyeing. For this reason cracked enamel and rusted pots are to be avoided. When using iron, be meticulous about cleaning. Ferrous may also be used as a reducing agent in an indigo dyebath.
See the MAIWA GUIDE TO NATURAL DYES
Below: Iron 2% WOF
Below: Cochineal Bugs 8% and Iron 2%
Below: Cutch 30% and Iron 2%
Below: Eupatorium 10% and Iron 2%
Below Marigold 30% and Iron 2%
Below Pomegranate 20% and Iron 2%
Below: Logwood Extract 2%, Weld Extract 6% and Iron 2%
Below Weld Extract 6% and Iron 2%
Kakishibu Persimmon Dye
A TANNIN-RICH DYE EXTRACT OF THE JAPANESE PERSIMMON FRUIT
Kakishibu has a rich cultural heritage that dates back centuries in ancient Japan. This natural dye, derived from fermented unripe persimmon fruit, holds a special place in Japanese traditional crafts of textiles, paper and woodwork. Renowned for its rich amber colour, durability, and eco-friendly properties, kakishibu continues to captivate artisans.
The dyeing process involves first extracting tannins from the unripe fruit of the kaki (persimmon) tree, specifically the astringent variety known as ‘shibu’. The fruits are collected, peeled, and left to ferment in water for several months to several years. The process of fermentation allows for the release of tannic acid, which gives kakishibu its distinct characteristics.
Kakishibu on textiles has been used for centuries. The dye can be applied through various techniques, including direct application, stencil dyeing, and immersion dyeing. The result is not only a stunning colour but imbues natural fibres with enhanced durability, water repellency, and resistance to insects.
Kakishibu is used extensively in traditional Japanese fine woodworking. Wood artisans use the dye to protect and beautify a variety of wooden objects such as furniture, flooring, and tools. The tannins in kakishibu act as a natural wood preservative and offer protection against insects, fungi, and moisture. The dye enhances the natural beauty of wood by deepening its colour and creating a rich, aged, weathered appearance.
Unopened kakishibu can last for many years. Once opened, it is best to remove as much air in the container as possible, cap tightly and store in a cool dark place.
Kakishibu becomes darker with time as it is exposed to sunlight.
Kakishibu does not require a mordant.
It is important to avoid contact with iron metals while the kakishibu is wet as it will turn black. However, an after bath of a weak iron (2% WOF) will turn the kakishibu rich amber colour to stunning browns and greys - see below for instructions.
The scent of kakishibu can be quite strong – especially on thick fabric. This will disappear after the final washing and drying.
Dyeing:
1. Scour your fabric to remove any starch or dirt.
2. Soak cloth in warm water for 30 minutes before dyeing.
3. Dilute the kakishibu with water – we like a ratio of 1:2 for direct application. 1:3 or 1:4 for immersion depending on the size of your cloth.
4. Kakishibu can be applied to cloth directly with a brush or by immersing the cloth in a kakishibu bath. We like to work the kakishibu solution into the cloth by massaging it for a minute or two before squeezing out. Kakishibu can be combined with shaped resist techniques.
5. Once the cloth dries, this processes of painting or immersing can be repeated to obtain deeper colours.
Note: To get the deepest and richest colour from your kakishibu, it is best to expose the cloth in the sun, rotating the cloth every hour or so to get even sun exposure. Depending on the strength of the sun - you will need to expose the cloth for more or less time. On a warm summer day this can be achieved in a few hours. Otherwise it is best to give it a few days.
6. The red-brown colour of kakishibu can be shifted with an alkaline solution in several ways. One is to dissolve 5g (1 tsp) of soda ash into 250 ml (1 cup) of warm water. Wearing rubber gloves, wet out the kakishibu dyed cloth and immerse in this mixture. The colour will shift quickly to rich mahoganies. Remove after 1-2 minutes and rinse.
7. Another shift can be done with iron (ferrous sulphate). We recommend dissolving 2-4% WOF ferrous sulphate into warm water. Wearing rubber gloves, wet out the kakishibu dyed cloth and immerse in this mixture. The colour will shift quickly to rich warm brown/blacks. Remove after 2-4 minutes and rinse. An iron shift on kakishibu that has been exposed to sun will shift to a deep olive green. An iron shift on kakishibu that has not been exposed to sun will shift to a slate grey.
8. After final application, the cloth should be washed in a mild detergent and hung to dry.
Note: If the texture of the cloth becomes crisp after the final dry, it will soften with warm water machine wash and warm dry.
Kamala
mallotus philippinensis
Kamala is a powdery substance obtained from the fruit of Mallotus philippinensis, a small evergreen that is also known as the monkey-face tree (because monkeys are said to rub their faces in the fruit). Kamala is found throughout tropical India. Kamala dye is very similar in behavior and colour to annatto. Kamala dyes golden yellows to tangerines with moderate lightfastness on cotton.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: Kamala yields rich vibrant oranges at 20% WOF. Slightly deeper shades are obtained on protein fibres.
Kamala is not very soluble in water, so it is necessary to extract the colourant before dyeing. To extract with alcohol, soak the powder with twice its volume of isopropyl or ethyl alcohol. Let stand for 2 hours stirring occasionally. Add the alcohol/kamala mixture to the dyebath.
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 occasionally. Add the entire mixture to the dyebath. After dyeing rinse first with a vinegar solution and then thoroughly with water. Kamala dyes a beautiful orange yellow on silk and wool. It dyes lighter yellow shades on cotton.
Options: When iron at 1-2% WOF is added deep moss greens are obtained. Over or under dyed with indigo produces forest greens.
Below: Kamela 20% WOF
Lac
Laccifer lacca
Lac Extract – From the scale insect Kerria lacca found throughout India, south east Asia, Nepal, Burma, Bhutan and south China. Lac is found in the wild and is also cultivated. The female lac insects invade host trees and the insect secretes a resin that covers its colony. When harvested, the covering is broken off the branches and is known as stick lac. The resin is used to make shellac. The dye must be extracted from the stick lac before it can be used to colour cloth.
Lac extract yields crimsons to burgundy reds to deep purples. The colours are similar to those from cochineal but warmer, softer, and more muted. The lac dye has high light and washfastness on silk and wool. Only small quantities are needed for a medium depth of shade.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%. Note that lac extract has reduced light and washfastness on cellulose fibres.
Dyeing with the extract: Use at 5-10% WOF for a medium to dark depth of shade. Dissolve extract in water and simmer with fibre for 45 minutes, leave overnight for richest colours.
Options: Lac is very sensitive to pH. A beautiful red can be obtained by adding cream of tartar at 6% WOF. Alternatively, adding an alkali like soda ash will yield plum purples. The addition of iron at 1-2% WOF will give blackened purples.
Below: Lac 20% WOF
Logwood
Haematoxylon campechianum
Logwood - The heartwood of Haematoxylum campechianum. Logwood yields deep, rich, red-purples to orchid blues and has been prized as a dyestuff since the 16th century. The logwood tree grows in Mexico, Central America, The Dominican Republic, Venezuela, Brazil, the Guyannas, Madagascar, and India. When mixed with iron, logwood gives good blacks – a colour difficult to achieve with natural dyes. Logwood has good washfastness but moderate lightfastness – a bit of iron improves the lightfastness dramatically.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing with the extract: Use at 1-2% WOF for a medium shade.
Dyeing with the wood: Logwood chips will give a medium depth of shade at 10-15% WOF. Pour enough boiling water over the logwood to make a dyebath and soak overnight. Pour off this liquid and use for the first (and strongest) dyebath. Simmer fibres for about one hour, keeping the temperature between 77-83ºC (170-180ºF). If a darker colour is required leave fibres in dyebath overnight. The logwood chips can be soaked again and the liquid used for lighter shades.
Logwood develops best in slightly hard water. Adding finely ground chalk (or a Tum’s tablet) brightens the logwood colour, especially if there is no lime in the local water. Cream of tartar can be added (at approximately 6% WOF) to push logwood to a purple-navy, adding osage or fustic gives grey-greens, cochineal gives purples, coffee bean browns are obtained by adding cutch, navy can be had with a dip in indigo, greys to blacks are made with the addition of iron.
Below: Logwood Extract 1% WOF
Madder
Rubia Tinctorium & Rubia Cordifolia
Madder – 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 terracotta. In combination with other dyes madder can give crimson, 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 dyestuff 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.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%. For deep brick reds on cellulose choose the aluminum acetate at 8%.
Dyeing with the extract: Use at 3-8% WOF for a medium depth of shade. To achieve reds and avoid browns keep the dyebath under 180°F (82°C).
Dyeing with the powdered roots: Madder is dyed at 35-100% WOF for a medium to dark depth of shade. Madder develops to its deepest and richest reds in hard water – water containing calcium and magnesium is ideal. If the water is soft add calcium carbonate (a single Tum’s tablet to 4 litres of water works well). Add dye material to dye pot and cover with water. Bring up to about 60ºC (140ºF) and hold for an hour. Add fibres and continue cooking for another 1-2 hours.
Rubia tinctorium Alizarin is the primary dye molecule, it gives the famous warm Turkey red colour. Also present are munjistin, purpurin, and a multitude of yellows and browns. For clear reds of rubia tinctorium do not let the temperature go above 72ºC (160ºF). At higher temperatures the browns of this madder plant come out and dull the colour.
Rubia cordifolia Munjistin is the primary dye molecule, it gives the famous reds found in Indian chintz and painted cottons. Also present in the roots are small quantities of alizarin, purpurin, as well as many yellows and browns. Rubia cordifolia is not as affected by high temperature. The madder dyebath can be reused two or three times for lighter shades.
Options: Madder, in combination with cochineal yields a true red, with iron yields garnet, bright orange with alum and cream of tartar, brick red with alum mordant and a higher heat (cordifolia only), the addition of acetic acid or vinegar plus iron will push the colour to a rich brownish-purple.
Note: Spent madder pulp may be used as a reducing agent for an indigo vat (see our indigo instructions).
Below: Madder 100% WOF
Below: Madder 20% WOF and Cutch 50% WOF
Below: Madder 30% WOF and Cochineal 10% WOF
Below: Madder 10% WOF and Marigold 50% WOF
Marigold
Tagetes
Marigold - This dyestuff consists of dried and ground flower heads of the Tagetes species. It yields rich vibrant yellows, green-yellows and oranges with 20 -30% dried marigold to WOF. Marigold is cultivated all over the world for its decorative flowers, for religious festivals and for its colourant. Marigold has a moderate light and washfastness.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: Use at 20-30% WOF for a medium depth of shade. Add the dried flowers (in powder form) to the dye pot, cover with water and simmer for half an hour to extract the colour. Strain the dye liquid and add to dye pot. Add fibres and simmer for 30 - 60 minutes. With the addition of iron at 2% WOF warm olives can be made.
Below: Marigold 20% WOF
Below Marigold 20% WOF and Madder 10% WOF
Marigold 20% WOF and Iron 2% WOF
Marigold 20% WOF and Indigo 1 Dip
Mimosa
acasia mearnsii
Acacias have been used as a source of tannins since the times of ancient Egypt. Acacia nilotica is also known as Egyptian Mimosa. Our Mimosa comes from Acacia mearnsii (also know as black wattle) it is cultivated extensively for this purpose and is one of the world’s most important sources of vegetable tannin. It is heavily used in the leather tanning industry. Mimosa is a catechic or red-brown tannin like quebracho and cutch. It will impart a light peach colour when used as a tannin at the recommended strength of 8-10 % WOF.
See the MAIWA GUIDE TO NATURAL DYES
Mimosa does not add a tone to fabric or yarns.
Myrobalan
Terminalia chebula
Myrobalan - This dyestuff consists of ground nuts of the Terminalia chebula tree. This tree grows in Nepal, India, Sri Lanka, Burma, Thailand, Indochina and south China. Myrobalan may be used in the mordant procedure or as a dye, giving a light buttery yellow. It is an important 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 procedure, myrobalan requires 15-20% WOF. If using to create a soft butter yellow use 20-30% WOF.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting for the yellow colour: Use alum mordant at 15% WOF for protein fibres and in a separate bath Myrobalan at 20% WOF.
For cellulose fibres either 1) Just use myrobalan 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 a separate myrobalan dyebath at 20-30%.
Dyeing: Add myrobalan powder to the dye or mordant bath, bring bath up to 55ºC (130ºF) and then add fibre. Continue heating bath to a high simmer (approximately 83ºC (180ºF)) hold for one hour. Adding iron (2-4% WOF) to the bath will produce soft lichen greens to deep grey-greens. Over or underdyeing with indigo produces clear teal shadows.
Below: Myrobalan 30% WOF
Below: Myrobalan 20% WOF and Indigo 1 Dip
Onion Skins
allium cepa
Allium cepa are a nice introduction to natural dyes. Ours come from India and give a strong colour.
Onion skins can be fun to work with and are often used by those who delight in getting colour from kitchen waste. Maiwa’s onion skins give shades of clear maroon-brown to golden yellow on protein fibres and lighter equivalents on cellulose fibres.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing: To obtain satisfying colours from onions skins use at 20% WOF. Simmer for 1 hour, remove the skins and add your mordanted cloth to the dye pot. For a more thorough extraction simmer for an hour then let stand overnight before dyeing. Onions skins have medium fastness.
Below: Onion Skins 20% WOF
Osage
Maclura pomifera
Osage consists of the shredded wood of the tree Maclura pomifera. Osage contains a yellow dye similar to fustic and black oak and yields clear, true yellows to soft yellow greens that have a high light and wash fastness. It yields good depth of shade at 15-30% WOF. Osage grows throughout the south and central United States. The tree was originally planted to help with wind erosion, the wood was used to build fences and was hard enough for wagon 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.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing with the extract: The liquid extract may be added directly to the dyebath. Use at 5-8% WOF for a medium depth of shade. When using the extract, the yellow develops fairly quickly, leaving goods in the dyebath for extended periods of time will result in a duller colour.
Dyeing with the wood: When using the osage sawdust, use at 15-30% WOF for medium shade. Soak it in water for a few 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 for the dyepot. Add the fibre and simmer for about 45-60 minutes.
Options: Dyeing in a copper dyepot or adding a few clean copper pennies to the dyebath will brighten the yellow. Adding 2-4% iron to the dyebath will produce olive greens. Over or under dyeing with indigo yields bright emerald and leaf greens.
Below: Osage 30% WOF
Below: Osage 30% WOF and Iron 2% WOF
Pomegranate
Punica granatum
Pomegranate - An extract or a powder from the rinds of pomegranates Punica granatum, this dyestuff is high in tannin and improves the light and washfastness of any dye with which it is mixed. In India and south east Asia it is used as both a dye and in the mordant process. Pomegranate yields soft yellows to green-yellows when used as a dye.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
For cellulose fibres either 1) Just use pomegranate alone at 15-20% 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 separate pomegranate dyebath (see below for WOF)
Dyeing with the extract: Use at 5-8% WOF.
Dyeing with the powdered rinds: Use at 15-20% WOF. Add to hot water, ensure it is thoroughly mixed and then add the fibre. Simmer for about 1 hour. If a darker colour is required leave in the dyebath overnight.
Options: When combined with iron, pomegranate yields yummy warm cement greys and deep moss greens. It is often mixed with the more fugitive turmeric dye to brighten the yellow and make it lightfast.
Ground Pomegranate 10% WOF
Ground Pomegranate 20% WOF Iron 2% WOF
Ground Pomegranate 20% WOF and 1 Indigo Dip
Quebracho
Schinopsis quebracho-colorado
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 brown, yellow or green depending on the species.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting for the brown colour: Use alum mordant at 15% WOF for protein fibres and then, in a separate bath, use quebracho (see below).
For cellulose fibres either 1) Just use quebracho alone at 15% 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 separate quebracho dyebath (see below)
Dyeing with the extract: Use extract on mordanted fibre at 5-10% WOF for a medium depth of shade.
Dyeing with the powder: Use 20-30% WOF or a medium depth of shade.
Options: To deepen the quebracho colours add an alkali or iron mordant.
Below: Quebracho 10% WOF
Safflower
Carthamus tinctorious
Safflower – Carthamus tinctorious, is an annual thistle. This plant is most known for the oil that can be derived from it’s seeds, however, the petals are a most magical dyestuff. Yellows, surprisingly sharp pinks, orange-reds, and corals can be extracted from safflower. Soaking petals in water at room temperature gives a yellow which can be collected and used to dye any modanted natural fibre. Repeated soaking will exhaust the yellow at which point pinks may be obtained by “turning the bath” (drastically changing the pH to alkaline and then back to slightly acidic).
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
Dyeing yellow: Use 100-200% WOF for a medium to dark depth of shade – Put the safflower in cold water for a minimum of one hour. Use a pillow slip or make a bag of closely woven cloth that can fit the inside a large pot. Strain the safflower through this bag and gently squeeze. Set the liquid aside for dying. Repeat the procedure twice more, each time starting with fresh water and saving the yellow water.
Combine the water from the first three soakings in a dye kettle. Add mordanted fibre (protein or cellulose) and simmer with the extracted yellow dye for 45 minutes. Note: this is the only time heat is applied.
Dyeing pink (cellulose and silk only): Start as above with 100-200% WOF – Repeat the soaking of safflower until the water has very little yellow. This may take an additional four or five soakings. Each time start with fresh water. You may discard the waste water after soaking.
After the final soaking, thoroughly squeeze the bag containing the 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 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 this now reddish water and turn it slightly acidic (pH 6) by adding an acid such as white vinegar. Now add your fibres (these do not need to be mordanted) to the bright red liquid and leave overnight. Note: There is no heating in the procedure to get pink.
Wool will not take the pink colourant.
Below: Safflower 100% WOF
Sequoia
sequoia sempervirens
Sequoia comes from Californian Coastal Redwoods. The dyestuff occurs in minute quantities in the seed cones, and only reaches useable quantities as a by-product of seed collection and reforestation programs. Sequoia yields rich purple browns when dyed at 15% WOF. Shades achieved are beautiful but with moderate lightfastness.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum acetate at 8%.
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.
Below: Sequoia 15% WOF
Sumac
rhus coriaria
Sumac is a small tannin-rich tree which was used by many of North America’s indigenous peoples to obtain a variety of browns and blacks. D. Cardon relates a process from 1881 that included a sumac extraction, bloodroot and roasted ochres, to achieve a deep black on wool. Sumac is often used as an alternative to other tannins and its use in combination with iron will give a grey with a slightly pinkish nuance. Sumac can also be used on its own as a dye. No other tannin is needed. Use at 20% WOF.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting for the light brown colour: Use alum mordant at 15% WOF for protein fibres and then, in a separate 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 tannin (like oak gall) and then alum at 15% and soda ash at 2% and then a separate sumac dyebath at 20% WOF.
Below: Sumac 20% WOF
Symplocos
symplocos racemosa
Symplocos is a bio-accumulator of aluminum. The leaves naturally store alum and so by harvesting the plant, drying and grinding the leaves, dyers can access an organic supply of this important mordant. Our symplocos is obtained through the Babali Foundation (plantmordant.org) a group dedicated to preservation of the plant and cultural ecosystems. Maiwa has a separate instruction sheet for symplocos.
Tara
caesalpina spinosa
Tara Caesalpinea spinosa, commonly known as tara, is a small and thorny tree with red pods that grows in the dry areas of Peru. It belongs to the pyrogallol group. In its natural state, the concentration of tannins is 35-55%. After the extraction process, the content may increase to 72-75%.
This vegetable tannin is used in the leather industry to obtain very 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 fabric printing process, as a mordant, and to make dyes using ferric salts. It is often used for vegetable tanned leathers that need to be light-resistant. Use at 15% WOF.
See the MAIWA GUIDE TO NATURAL DYES
Tara is a clear tannin, it does not add a tone to fabric or yarns.
Walnut
juglans nigra
Walnut (Eastern Black Walnut) – This dyestuff is obtained from the bark of the tree and also from the green husks of the fruit. Domonique Cardon has called walnuts “great living laboratories of dye production.” Walnut is a substantive dye and can be used without a mordant. It can be used alone to produce warm deep taupes or to give extra depth in combination with other dyes.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres and cellulose fibres (there is enough tannin in walnut that mordanting with tannin is not required).
Dyeing: Maiwa carries dried walnut husks and powdered walnut husks. Each can be used at 30-50% WOF for a medium depth of shade.
Options: Historically walnut has been used with madder (both rubia cordifolia and rubia tinctorum) to produce mahogonies. Walnut responds well to overdyeing with iron producing rich grey/browns.
Below: Walnut 50% WOF
Weld
Reseda Luteola
Weld – Reseda Luteola is also known as Dyers Weld, Dyers Rocket, and Dyers Mignonette. It produces an excellent light and washfast yellow and is a strong clear yellow to combine with indigo for emerald and leaf greens. Traditionally cultivated throughout Europe as a yellow dyeplant it still flourishes on embankments or beside railways and roads. Weld gives strong intense yellows which are clear and bright.
See the MAIWA GUIDE TO NATURAL DYES
Mordanting: Use alum mordant at 15% WOF for protein fibres. For cellulose, first mordant with tannin at 8% WOF, then either 1) use alum at 15% with soda ash at 2% or 2) use aluminum 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 medium depth of shade. Pour boiling water over the plant material 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 temperature will dull the yellow. Strain off the dye liquor into the dyebath. The plant material can be reused two or three times for light shades. Add the fibre to the dyebath and simmer below 160 F for about one hour.
Weld develops best in slightly hard water. Adding finely ground chalk (or a Tum’s tablet – 1 to each 4 litres of water) brightens the weld colour, especially if there is no lime in the local water.
Options: The strength of weld makes it a good choice for overdyeing with indigo to obtain teals and greens.
Below Weld 6% WOF
Below: Weld 6% WOF and Eastern Brazilwood 5% WOF
Below: Weld 6% WOF and Iron 2% WOF
Woad
isatis tinctoria
Woad is the common name of Isatis tinctoria. In Medieval Europe it was the only source of blue dye for textiles. The leaves of the woad plant contain the same dye molecule as Indigofera tinctoria, although in much weaker concentration and needing a different extraction process. This makes colouring 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.
A fresh woad ball - made by Dominique Cardon at her home in Languedoc, France
Bleu de Lectour, Lectour, France - Woad painted shutters
ABOUT COLOUR AND SWATCHES
COLOUR
Colour is a living thing. The apparent colour of a textile will change with the quality of light falling on it: daylight, shadow, florescent, incandescent, soft or harsh.
Photographing a textile will result in a colour interpretation by the camera’s sensor, or by the colour balance of the film being used.
A computer monitor will also interpret colours. Apparent colour will vary depending on the monitor, software and viewing conditions.
And so we encourage a generous interpretation of the colours presented on these swatches and yarns when you view them on your screen.
The colours produced by natural dyes are not like paints. Natural dyes do not give an exact colour on a fibre, rather they will change depending on the colour of the fibre, the fibre type, the dyeing method and even the season and harvest of the dyestuff. Many dye plants (like madder) contain multiple colourants that can give a range of colours from yellows to browns to reds. And finally, even a single colourant may shift its tone depending on the pH of the dyebath.
We’ve photographed these swatches under carefully controlled conditions. They are a good indication of how the same dyestuff behaves on a variety of fibre types and surfaces.
YARNS
Naturally grey wool from Blue Faced Leicester sheep.
Organic Merino wool.
SWATCHES
Linen - organic linen
Hemp - twill weave organic hemp
Cotton - organic cotton fabric
Silk - crepe de chine, georgette, jaquard, charmeuse
Wool - Dorr Mill