4. BioChromes

goals of the week & contents

• Produce at least one natural dye or bacterial dye.
• Produce at least one botanical or bacterial ink.
• Document the recipes, the ingredients and process.
• Name all materials, classify them by typology and display them in a systematic order of samples.
• Submit some of the swatches to the analog material library of my lab. (20cmx20cm aprox)

Bacterial dye refers to natural pigments produced by bacteria, such as Janthinobacterium lividum (purple) and Serratia marcescens (red-orange). These dyes provide an eco-friendly alternative to synthetic dyes, as they are renewable and biodegradable. They are used in textiles, art, and food coloring, but their colorfastness can vary and may require specific techniques for durability.

Biochromes are natural pigments produced by living organisms. Unlike the harmful chemical dyes used in the textile industry, which negatively impact both human health and the environment, biochromes offer a sustainable, eco-friendly alternative. They are locally positive, biobased, compostable, and decompose naturally, aligning with zero-waste principles and minimizing environmental harm.

Biochrome sources:

• Botanical (seeds, fruits, leaves, flowers, bark, wood, roots, berries)
• Bacterial (bacteria)
• Minerals (oxides, ochre, clay, soils)
• Animal (insects, mollusks)
• Fungal (mushrooms, mould)

Biochrome forms:

• Ink (dense, soluble liquid)
• Dye (soluble, liquid bath)
• Pigment (insoluble powder) - from pigments you can do Screen printing paste, Tempera, Oil paint, Watercolor, Textile painting paste.

You can dye Fibers, Yarn, Cloth, Garments:

• Fibers (single)
• Blends (melange, gradiant)
• Yarn (single, gradiants, patterns)
• Fabric (dyeing, prints, patterns)
• Garments (piece dyeing, printing)

Material	Details
Natural Dyes	madder roots, alkanet roots, turmeric roots powder, hibiscus flowers, onion peels, campeche wood, weld plant, annatto seeds
Mordants/Scouring agents	alum & cream of tartar, copper liquor - copper pipes+vinegar or in crystals form, iron liquor - rusty irons+vinegar or in crystals form, Na2Co3 (sodium carbonate)
Ph modifiers	acids: vinegar, lemon / base: sodium carbonate
Bacterial Dyes	janthinobacterium lividum, Serratia (bio safety lvl 2) - (ONLY if you have a biolab environment and are prepared to use biosafety lvl 2 organisms), micrococcus luteus, LB Broth & Nutrient agar, animal fibers/textiles, wool, silk, camel hair, angora, vegetable fibers/textiles, cotton, linen, hemp, ramie
Inks	arabic gum, salt, ethanol 96%, pipettes, natural dyes and bacteria

mordant dyes process

Weight of fibers (WoF):

1. Weight the textiles and fibers.
2. Calculate tannin, scouring agent, mordant and dye stuff.
3. Weight tannin, mordant and dye stuff.

Step by step:

• Weight Dry Fibers: Begin by measuring the weight of your dry fibers (WoF).
• Wash and Scour Fibers: Clean the fibers thoroughly to remove any impurities. If necessary, prepare the fibers in a tannin solution.
• Mordanting: Select a mordant suitable for your fiber type and based on its WoF. Apply the mordant to your fibers.
• Prepare Dye Bath: Create a dye bath using the WoF as a guide. Ensure there is enough dye to completely submerge the fibers.
• Measure pH: Test the ph of your dye bath.
• Rinse: After dyeing, rinse the fibers gently with lukewarm water to remove excess dye.
• Adjust Color: Re-mordant the fibers for a different shade. Modify the color by using a different mordant. Change the pH of the rinse water to achieve a specific color outcome.

research & ideation

This week has been an incredible journey. I had experimented with making coffee dye once before, but I had no idea about the transformative power of mordants and the vast spectrum of colors you can achieve through natural dyes. There's often a misconception that natural dyes only produce muted shades of browns and greens, but in reality, you can create the entire rainbow and more.

The process is endlessly fascinating, and it's something I’m eager to continue exploring, potentially even incorporating into my final project. I’m particularly interested in researching ways to create traditional patterns, animal prints, and exploring various textile printing techniques using bacterial dyes, natural dyes and other tools. The possibilities for sustainable and creative design are really exciting!

1. FLORAL PATTERNS.
2. NATURAL DYES IN INDIA, sample book.
3. SOIL TO STUDIO, botanical dyes.
4. RUST DYEING.
5. LOUISE UPSHALL, eco-printing on paper.
6. MOLD SILHUETTES.
7. ISSEY MIYAKE , floral patterns and printing techniques.
8. SHEILA HICKS, weaving.
9. MIX FELTING AND BEADWORK.
10. SAMPLE GARMENT.
11. DYED WOOL.
12. PETAL PLUM, eucalyptus and rusty iron dyeing.

Daria Fedorova incorporates bacteria and mold into her textile art, utilizing them to create unique dyeing processes and textures. She primarily works with Janthinobacterium lividum, which produces a purple pigment called violacein. This bacterium thrives on organic matter, allowing her to harness its natural coloring properties without synthetic dyes.

Fedorova also explores molds like Aspergillus, which contribute to color and texture through their growth patterns. This approach highlights the interplay between decay and beauty, reflecting natural processes. By integrating these microorganisms into her work, she raises awareness about biotechnology's potential in art and emphasizes sustainability in creative practices.

workflow

When we arrived at the textile lab, our workspace had been transformed into a natural dye lab, everything was clean and organized to start. But as we got to work, our workstation quickly turned into a colorful mess! It was crucial to clean all our tools at the end of each day, making sure we could jump right back in the next morning. Our very ambitious plan was to create a full color wheel. With Cecilia's guidance, everything fell into place, and by the end of the first day, we already had a gorgeous collection of shades!

These are all the dried materials we used for our dye baths. Each one produced a unique color, and we encountered a few surprises along the way, some pleasant, some less so. But every unexpected result was a valuable part of our color wheel and the learning process!

1. Cochineal
2. Campeche (Logwood)
3. Mallow (Holyhock)
4. Dyer's Chamomile
5. Phragmites
6. Weld
7. Madder
8. Annato
9. Chinese Rhubarb
10. Horse Chestnut

essentials and safety guidelines

Ingredients:

• Natural dye stuff
• Sodium carbonate
• Aluminium Potassium Sulfate
• Iron sulfate
• Citric acid
• Water
• Vinegar
• Ethanol

Materials:

• Plant Fibers: 100% Cotton Fabric, 100% Cotton Paper (acid free).
• Animal Fibers: Dutch Wool, Silk.

Tools:

• Hob
• Pots with Lids
• Beakers and Container of Various Sizes
• Sieves
• Spoons, Ladles and Tongs
• Weighing Scales
• Thermometer
• Mortar and Pestle
• Labels/ Paper tape
• Camera
• Scissors and Ruler
• Cotton Thread
• Clamps

Safety Guidelines:

• Ensure that no food or drinks are present at your workstation, and always wash your hands thoroughly after handling dyes to maintain hygiene and safety.

• If you have sensitive skin, it’s recommended to wear gloves and dark-colored clothing, to avoid irritation and prevent noticeable stains.

• When foraging for dye materials, always ask for permission. Be mindful of nature by researching responsible harvesting methods beforehand, ensuring that your foraging is sustainable and does not harm the environment.

color wheel process

1 WEIGHING THE FIBERS

The most important step is Weight of Fibers (WoF). This concept is foundational to the dyeing process. We weigh the materials we plan to dye, as this measurement is essential for calculating the appropriate amounts of dye stuff, mordants, tannins, and scouring agents, all of which are based on a percentage of WoF.

In our collective experiments, we established a standard unit for each material to ensure consistency across our dyeing practices. By adhering to specific weights for our dye experiments, we can accurately replicate results and adjust our recipes as needed. This method not only helps in achieving the desired colors but also in understanding the relationships between the materials involved in the dyeing process.

For example, if we decide to use 10% of WoF for our dye, knowing the exact weight of our fibers allows us to calculate the precise amount of dye and mordant needed, which is crucial for achieving consistent outcomes.

Dutch Wool:

• Individual - 12g
• Total - 120g (1 group per dye pot, 10 dye pots)

Cotton Fabric:

• Individual- 0.75g
• Total - 37.5g (50 pieces)

Cotton Paper:

• Individual - 0.75g
• Total - 34g (45 pieces)

Total Vegetable Fibers: 72g

Total Animal Fibers: 120g

Total Fibers: 192g

2 SCOURING AND MORDANTING

Scouring is the process of cleaning textiles to remove dirt, oils, and any residual chemicals, preparing them for dyeing. This step is crucial as it helps the fibers absorb the dye more effectively, ensuring vibrant and even coloration.

1. The first step is to cleaned the plant fibers using sodium carbonate as a scouring agent. We boiled the plant fibers for 25 minutes in hot water mixed with sodium carbonate, which effectively breaks down any impurities.
2. For the wool, we opted for a gentler approach, rinsing it in warm water instead of boiling, as the wool we sourced was already clean. It’s essential to use warm water as an intermediary step to prevent shocking the fibers, which can lead to shrinkage or felting when transitioning to boiling water.
3. In our experiments, we determined that scouring was unnecessary for the paper, as it was acid-free and cleaned during the manufacturing process.
4. After the scouring process, we thoroughly strained and rinsed the fibers to remove any remaining scouring agents, ensuring they were clean and ready for the dyeing phase.

A Mordant serves as a crucial connector between the textile and the dye, facilitating the bonding process. While the definition of a mordant is not fixed and ongoing research continues to explore its various roles, it can be understood as an intermediary substance that allows the dye to adhere effectively to the textile.

Mordants can be categorized as either metallic or plant-based, each offering different properties and effects on the final color. In our experiments, we used Aluminium Potassium Sulfate (alum) as our mordant of choice.

To determine the appropriate amount of mordant to use, we calculated 15% of our total Weight of Fibers (WoF), which amounted to 27.75g.

1. We dissolved this amount in a pot of water, heating our textiles in the solution for 45 minutes. During this process, we made sure to gently move the materials around to ensure even uptake of the mordant without agitating the wool too much, which could lead to felting.
2. It’s worth noting that if you decide to reuse your mordant water, it typically retains about 50% of its mordanting power. You can adjust the amount you add for subsequent uses based on this reduced strength, allowing for more efficient use of resources.
3. After the mordanting process, we carefully removed the textiles and rinsed them in tepid water to eliminate any excess mordant, ensuring they were ready for the dyeing stage.

3 DYE BATHS

Our first step involved calculating the amount of material needed for each dye pot, as we aimed to create 10 dye baths. This calculation allowed us to prepare the immersion dye baths efficiently and determine the appropriate quantity of dye stuff required to color all our textiles effectively.

Cotton: +/-50, divided in 10 groups of 5. (each) 0.75g \ (total) 3.75g

Paper: +/-50, divided in 10 groups of 4. (each) 0.75 \ (total) 3g

Wool: divided in 10 groups. (each) 1g \ (total) 10g

Total: 16.75g

We rounded this up to 25g to ensure we have extra dye for future experiments and testing.

After weighing the dye materials, we added water to the dye stuff and transferred the mixture to a pan for gentle heating. It’s important to note that the heating process activates the dye compounds and we monitored the temperature closely, as too high a heat could degrade the dyes.

Once we were satisfied with the intensity and hue of the dye, we proceeded to dip our textiles into the pot. We also took some notes on the times and materials used, as this documentation is invaluable for replicating successful results in future dyeing projects. Additionally, we ensured to keep a portion of the dye bath unchanged, allowing us to compare the outcomes of our experiments with modifiers.

recipe table

Dye Stuff	Source	Colour	(%) of WoF	Amount (g)	Modifier/Notes	Outcome
Cochineal	Animal, Insect	Pink	10%	2.5g	Ground to powder first
Campeche (Logwood)	Plant, Wood	Purple	50%	12.5g	Added Ethanol
Mallow (Holyhock)	Plant, Flower	Green/ Blue	50%	12.5g
Dyer's Chamomile	Plant, Dried	Yellow	200%	50g
Phragmites	Plant, Reeds	Green	100%	25g	Added Sodium Carbonate
Weld	Plant, Dried	Yellow	50%	12.5g	Soak beforehand
Madder	Plant, Root	Red	100%	25g	Soak beforehand. Must be kept below 67 degrees celsius
Annato	Plant, Seed	Orange	100%	25g	Added Sodium Carbonate
Chinese Rhubarb	Plant, Dried	Orangey Yellow	100%	25g
Horse Chesnut	Plant, Husks	Brown and Black		100g	Added Sodium Carbonate

modifier experiments

We explored the use of modifiers to expand the color palette available from a single dye bath. It's a great idea to keep a portion of your dye bath unchanged, while working with smaller batches to experiment with various modifiers and see how they shift the color.

Modifiers we used to achieve a wider range of shades:

• Iron Sulfate: Often deepens and darkens colors, giving them a more muted, "sadder" tone.
• Copper Sulfate: Adds cooler tones and can shift colors towards greens or blues.
• Citric Acid: As an acidic modifier, this helps brighten colors and can shift hues towards the yellow end of the spectrum.
• Vinegar: Another acidic modifier, vinegar can subtly enhance and soften colors.
• Sodium Carbonate: An alkaline modifier that can lift colors, making them more vibrant and bolder.
• Chalk (Calcium Carbonate): Another alkaline modifier that helps soften shades and lighten the overall tone of the dye.

For best results, introduce each modifier gradually, observing the changes as the dye reacts with the fibers. It’s helpful to keep records of your experiments so you can replicate or refine your process later. This approach allows for a truly diverse range of colors from just one dye bath, making the process both efficient and sustainable.

In the first clip of the video below, Cecilia demonstrates how to modify the color of an Alkanet dye mixed with Ethanol (which initially produces a rich red hue) by adjusting the solution's pH. Using Soda (Sodium Carbonate), she shifts the red to blue, showcasing how alkaline modifiers impact the dye. When added water, the pH becomes more neutral, changing the color to purple.

In the second clip, using Madder dye with Vinegar as a modifier alters the color from a yellow to a pink. This transformation occurs due to the acidic properties of vinegar.

In the first clip of the video above, we also experimented with Iron Sulfate in some different natural dyes. This mordant darkens colors, and its what you can use to achieve black.

In the second clip, when Copper Sulfate is mixed with Campeche dye, it transforms into a rich blue hue.

Dye Stuff	Source	Colour	(%) of WoF	Amount (g)	Modifier/Notes	Outcome
Campeche (Logwood)	Plant, Wood	Blue	50%	12.5g	Added Copper Sulfate
Campeche (Logwood)	Plant, Wood	Low-saturated Blue	50%	12.5g	Added Copper Sulfate and Iron Sulfate
Campeche (Logwood)	Plant, Wood	Green	50%	12.5g	Strong Campeche/ Copper mixed with a little weld (top left)
Campeche (Logwood)	Plant, Wood	Green	50%	12.5g	Weaker Campeche with lots of Weld dye added (bottom left)
Campeche (Logwood)	Plant, Wood	Green	50%	12.5g	Campeche and Copper then dipped in Weld (bottom right)
Cochineal	Animal, Insect	Peachy Pink	10%	2.5g	Added Citric Acid (top right)
Cochineal	Animal, Insect	Lighter Pink	10%	2.5g	Added Soda (bottom left)
Cochineal	Animal, Insect	Pink	10%	2.5g	Added Chalk (bottom right)
Chinese Rhubarb	Plant, Dried	Orangey Yellow	100%	25g	Added Soda
Chinese Rhubarb	Plant, Dried	Brown	100%	25g	Added Campeche dye and iron
Madder	Plant, Root	Orangey Brown	100%	25g	Add Iron Sulfate

On day 1 we left the lab with all this amazing shades!

ink

We made a Natural Ink using Oak Galls, which are abnormal growths on oak trees caused by oak gall wasps. These galls are rich in tannins, making them an excellent base for ink production. We specifically selected galls that had small holes, indicating that the wasp had already left.

To begin, we ground the oak galls into a powder, which helps to release their tannins more effectively. We then combined this powder with iron sulfate and water. The iron reacts with the tannins in the galls, producing a striking black-purple ink.

What sets this ink apart is its stability—unlike some iron gall inks that can be corrosive over time, this formula is balanced and safe for use on paper, ensuring it won’t degrade the material.

A beautifull abstract masterpiece by Issy, with a few final touches added by me.

pigments

After fully exploring the potential of our dye baths, we were ready to precipitate them! This sustainable practice not only minimizes waste but also has endless exploration. Each transformation is a chance to discover unique hues, making the entire process environmentally friendly.

1. To begin this process, we first strained the remnants of our dye baths through a piece of cotton fabric, carefully capturing the liquid while leaving any solid residues behind. We then combined the strained dye with a metal (aluminum potassium sulfate) and an alkali (sodium carbonate). The challenge lies in determining the right amounts to add, as the dye concentration can vary significantly between batches. We decided to eyeball it, experimenting with approximately 5-10 grams of each component. However, it’s helpful to note that a small scale can be used for more precise measurements, especially if you aim to replicate results later.

2. We began by dissolving the aluminum potassium sulfate in boiling water, creating a concentrated solution. This step is crucial, as it ensures that the metal is fully integrated into the mixture. Once dissolved, we added this solution to our dye bath and stirred thoroughly to ensure an even distribution.

3. Next, we repeated the process with the sodium carbonate, adding it slowly while stirring. This reaction produces a significant amount of effervescence, which indicates that the alkali is reacting with the dye components. You’ll notice the dye beginning to separate and the mixture changing in appearance.

4. Allow the mixture to sit undisturbed for several hours, observing how the pigment settles at the bottom of the container while clear water rises to the surface.

5. Once the separation is complete, carefully pour off the excess water, ensuring not to disturb the settled pigment. You can collect the pigment on filter paper to dry it out completely.

These are our final pigments palette! Some were still drying, and we had even more dye baths waiting to be transformed into pigments. I love the final colors, they turned out beautifully. It’s been such an amazing experience, and it’s incredible to see how we can make this entire process zero waste and circular.

bacterial dye

We used Janthinobacterium lividum bacteria to dye 100% silk fabric. This bacteria is typically found in soil, freshwater environments, and on amphibian skin, especially in cooler climates. It produces a purple pigment called violacein, which has antimicrobial properties and helps protect amphibians from harmful pathogens.

Our Biolab operates at Biosafety Level 1, meaning we exclusively work with bacteria that pose no harm to humans or the environment. However, it remains crucial to follow responsible practices and uphold safety protocols to ensure a safe working environment when handling any type of bacteria or lab equipment.

Lab Safety Guidelines:

• Secure hair by tying it up.

• Avoid loose clothing and jewelry. Wear a lab coat for added safety.

• Keep food and drinks out of the lab to maintain a clean and safe environment.

• Leave personal devices like phones, cameras, and notebooks outside, there are designated ones available in the lab for your use.

• Disinfect your hands when entering and exiting the lab, and wash them thoroughly as soon as you leave.

• Close all doors and windows during experiments to prevent contamination and maintain safety.

1 FABRIC PREPARATION

With the silk our goal was to manipulate it and create patterns, by folding the fabric and controlling which surfaces were exposed to the bacteria. To achieve this, we experimented with sewing the fabric together using cotton thread. My folding intentions were to create a striped print. However, because the areas of the fabric in contact with the petri dish prevented bacterial growth, I needed to adjust the folds to make the fabric smaller. Once we were satisfied with the design, we placed the fabric in a petri dish.

2 GROWING MEDIUM PREPARATION

Next, we prepared the growing medium for the bacteria, which serves as their food source. We carefully weighed the ingredients below, using analytical scales and mixed them in a bottle with 250 ml of distilled water.

Standard Nutrient Agar: 7.5g

LB Broth (Miller): 6.75g

Glycerin (99.5%): 2ml

Distilled Water: 250ml

3 STERILIZATION PROCESS

Next, we placed the bottle, petri dishes, and fabric into the Autoclave Machine, which functions like a pressure cooker to sterilize the materials and eliminate any risk of contamination from ourselves or the environment.

It's crucial not to fully close the lid of the bottle while placing it in the autoclave, as this poses a risk of explosion. We then closed the air release valve and allowed the pressure and temperature to rise. Once the temperature reached 120 degrees Celsius, we set a timer for 20 minutes to ensure complete sterilization of the materials. Don't forget to periodically check the pressure gauge during this time to ensure that it remains stable.

4 COMBINING FABRIC AND MEDIUM

After sterilization, we carefully removed the materials from the autoclave using heat-resistant gloves and allowed them to cool in a clean area. It's advisable to work in a draft-free environment to minimize the risk of airborne contamination.

We then combined the fabric with the growing medium in a sterile manner, taking care to avoid talking or breathing on the petri dish during this process to prevent contamination.

1. Hold the bottle of growing medium with a heat-protective glove and unscrew the lid.
2. Sterilize the lip of the bottle by passing it through the flame of a Bunsen burner to kill any potential contaminants.
3. Open the petri dish with one hand while pouring the growing medium over the textile with the other, keeping the lid positioned above the textile at all times to shield it from contaminants.
4. Ensure that the pouring is done slowly and carefully to avoid spills, which could introduce contaminants.
5. Finally, close the petri dish lid and the bottle securely. Label the petri dish with the date and contents for future reference, and store it in a suitable environment for bacterial growth.

5 INOCULATION

Inoculation is the process of introducing microorganisms, such as bacteria, viruses, or fungi, into a suitable growth medium.

To begin, we thoroughly disinfected our workspace to eliminate any potential contaminants and then set up a Bunsen burner to create a sterile environment for the inoculation process.

We applied a ring of ethanol around the base of the burner. As the ethanol evaporates, it creates a thermal current that rises and falls with the heat, forming a sterile zone around our working area. This effectively minimizes the risk of airborne contamination while we handle the materials.

Before proceeding with the inoculation, we ensured the following important steps were taken:

• Ensure that all necessary tools are sterile and within easy reach to avoid unnecessary movement during the process.
• Prior to using any inoculating tools, we heated them in the flame of the Bunsen burner until they were red-hot to kill any existing contaminants.
• During inoculation, work quickly and efficiently, minimizing the time the petri dish or other materials were exposed to the open air to further reduce contamination risk.

The video above is a visual demonstration on how to inoculate the fabric and growing medium in a petri dishes. Here below is the step by step process:

1. We began by sterilizing an inoculation loop in the flame of the Bunsen burner until it glowed red-hot to eliminate any contaminants.
2. With one hand, we carefully opened the lid of the petri dish, ensuring to work quickly to minimize exposure to the air.
3. Using our other hand, we tapped the inoculation loop against the side of the petri dish to cool it down, listening for a slight sizzling sound as it interacts with the growing medium.
4. We then lightly scraped the loop over the bacterial culture to pick up a sample, ensuring that we obtained enough bacteria for inoculation.
5. Next, we opened the lid of the petri dish containing the fabric and gently tapped the loop on both the textile and the growing medium, distributing the bacteria evenly across the surface.
6. After inoculating, we re-sterilized the inoculation loop in the flame to eliminate any residual bacteria.
7. We securely closed the lid of the petri dish to contain the inoculated fabric and growing medium.
8. Finally, we sealed the petri dish with Parafilm tape to prevent any bacteria from entering or escaping. We then placed the dish in the incubator for several days, allowing the bacteria time to grow and multiply.

6 OUTCOME BACTERIAL DYE

Unfortunately, our bacterial dye experiment didn’t work, likely due to an issue with the incubator temperature. When time allows, I’d love to try again and make another test!

outcome

display

Our initial brainstorming session led us to the exciting idea of creating a sample book that showcases our textile experiments. We envisioned having the color wheel, featuring all our cotton fabric samples on the first page.

Following that, we planned to categorize the wool and paper samples by color and source, creating a visually appealing and organized presentation. This structure highlights the diversity of materials we used.

Because we wanted to infuse a bit of creativity into the project, and, again, the laser cutter, we decided to shape the entire book like a star.

1 RHINO8

I began by designing the star-shaped book cover¹ and all the sheets² in Rhino 8, preparing everything for the laser cutter. It was an enjoyable and quick process where I experimented with various star designs, aiming for a unique look rather than a symmetrical star shape. After brainstorming with Issy, we found ourselves perfectly in sync, as always!

Next, we focused on measuring the height of the book and determining the length of the straps. This step was essential to ensure the overall functionality and aesthetics of our design.

The color wheel proved to be a bit more challenging to do, but with Asli's expertise, everyhing went perfectly. After some thoughtful deliberation and a bit of trial and error, we successfully figured out the precise cuts needed to create the color wheel display in Rhino. Below is a video with the process.

2 LASER CUTTER

After finalizing the files for the laser cutter, we got to work. We diligently followed all the safety protocols and guidelines for using the machine.

For the book cover, we sourced a piece of leather from the lab inventory and opted for a glossy black paper with some thickness for the inner sheets. Since we had never laser cut either of these materials before, we conducted several test runs to determine the best settings. We did both engraving and cutting in both materials.

Settings for the leather | paper:

Engraving settings:
- Speed (mm/sec): 150.00 | 
- Max Power (%): 15.00 | 
- Min Power (%): 12.00 |

Cutting settings:
- Speed (mm/sec): 45.00 | 
- Max Power (%): 35.00 | 
- Min Power (%): 20.00 |

Above is the structure of the final sheets for our sample book. The first two images show the standard layout for the front and back of the sheets. On the front, you’ll find the paper sample with the corresponding wool sample on the right. At the top, we’ve labeled the dye stuff and mordant used to achieve that particular color. On the back, we’ve included a recipe for the dye: the source of the color, the percentage of WoF (Weight of Fiber), the amount used, and any modifiers applied.

The image on the left showcases the color wheel page, which displays all the cotton samples we dyed. This gives a clear visual of the range of colors we achieved through different dyes and techniques.

finished product

This is the final sample book, and I am really happy with the outcome! Despite the time constraints, we managed to create a stunning variety of shades, and the process was incredibly fun. One of the most important lessons I learned, and the biggest piece of advice I can give, is the importance of staying organized. We labeled every single sample we made, without exception.

For each dye bath, we had to produce three samples for each material: cotton paper, cotton fabric, and wool, so that we could have a sample for Issy, myself and the lab. That meant 6 samples for each color, plus an additional wool sample. We ended up creating around 25 dye baths, so you can imagine how quickly things could get out of hand if we weren’t meticulous with our labeling.

In the end, everything went smoothly and I’m really proud of the work we did. Cecilia and Issy were fantastic teammates, and we completed all our goals for the week.

fabrication files

Both Rhino8 files that I createad for the sample book are available for download.

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1. File: Star Book Cover ↩

2. File: Sheets File ↩