4. BioChromes

A Sustainable Approach to Textile Dyeing

Introduction

The textile industry has long relied on synthetic dyes and pigments to add color to fabrics, a process that can be both environmentally harmful and resource-intensive. However, with growing concerns about sustainability and the ecological impact of textile manufacturing, researchers and designers are increasingly turning to bioChromes—naturally derived dyes and pigments—as a solution.

BioChromes offer a more sustainable alternative, minimizing chemical waste, reducing water consumption, and relying on renewable sources. This article explores the research, ideation, and key inspirations driving innovation in the field of bioChromes.

Research

BioChromes refer to colorants obtained from natural sources such as plants, algae, fungi, and bacteria. The development of bioChromes involves interdisciplinary research across the fields of biology, chemistry, and textile engineering. The goal is to not only create vibrant, lasting colors but also to do so in a way that reduces the environmental footprint of textile production. This requires a deep understanding of natural dye properties, the challenges of scaling up natural dye production, and the application of bioChromes in modern textile manufacturing.

One of the most critical aspects of bioChrome research is the identification of stable and sustainable color sources. Plants like indigo (for blue), madder (for red), and turmeric (for yellow) have been used for centuries in traditional dyeing. However, modern research focuses on improving the performance of these dyes in terms of colorfastness, scalability, and ease of application to different fibers. For example, bioengineers are experimenting with genetically modified bacteria that can produce natural pigments at higher yields, addressing the scalability issue of plant-based dyes.

In the ideation phase, many designers are incorporating bioChromes into their work as part of a broader effort to integrate sustainability into the fashion industry. The use of bioChromes not only allows for more eco-friendly production but also encourages storytelling through fashion, where the color of the garment can be linked to its natural origin.

Categories of BioChromes

BioChromes can be categorized based on their natural sources and chemical properties. Here are the primary categories:

1. Plant-Based BioChromes:

• Indigo (Indigofera tinctoria): Used historically for blue dyes.
• Madder (Rubia tinctorum): A red dye extracted from the roots of the madder plant.
• Turmeric (Curcuma longa): Known for producing yellow pigments.
• Henna (Lawsonia inermis): Used for reddish-brown coloring.

2. Animal-Based BioChromes:

• Cochineal (Dactylopius coccus): A red dye extracted from the cochineal insect, historically valuable in ancient and colonial trade.
• Tyrian Purple: Produced by sea snails, known for its rarity and high value in ancient cultures.

3. Mineral-Based BioChromes:

• Ochre: Natural clay pigments in red, yellow, and brown hues, used for painting and dyeing textiles.
• Lapis Lazuli: Used for making ultramarine, a rich blue pigment.

4. Algae-Based BioChromes:

• Spirulina (Arthrospira platensis): A blue-green algae used to create natural blue and green pigments.

5. Fungi-Based BioChromes::

• Mushroom Dyes: Certain fungi can produce natural pigments, such as the bright reds from Cortinarius species.

Key Challenges in BioChrome Application

1- Color Consistency: Natural dyes often exhibit variations in shade, which can be both a challenge and an opportunity for designers looking for unique, artisanal qualities.

2- Scalability: While bioChromes are effective on a small scale, producing them in large quantities without environmental degradation remains a significant challenge.

3- Colorfastness: Natural dyes may be prone to fading over time or in response to washing, making the development of mordants and other treatments a key area of focus in research.

Challenges and Environmental Impact of Natural Dyeing

While natural dyeing is often considered more eco-friendly than synthetic dyeing, there are still some aspects of the process that may not be entirely sustainable or environmentally friendly. Here are some key factors to consider:

1- Water Usage: Natural dyeing processes typically require large amounts of water, especially during the dye extraction, mordanting, and rinsing stages. Excessive water usage can lead to significant waste and environmental strain, especially in regions where water is scarce.

2- Mordants: Many natural dyes require the use of mordants (substances that fix the dye to the fabric) to achieve bright and lasting colors. While some mordants, like alum, are relatively safe, others, such as copper, tin, or chrome, can be toxic and harmful to the environment if not handled properly. The disposal of these chemicals can contaminate water supplies and soil if not managed responsibly.

3- Energy Consumption: The dyeing process often requires heat (boiling or simmering the dye bath) to extract the colors and fix them to the fabric. This energy consumption can contribute to carbon emissions if not done using renewable energy sources.

4- Source of Dyes: The sourcing of natural dyes can sometimes have a negative impact on ecosystems. For instance, large-scale harvesting of plants or insects (such as cochineal) used for natural dyes can lead to habitat destruction, overharvesting, or loss of biodiversity. Additionally, transporting these raw materials over long distances can contribute to a larger carbon footprint.

5- Wastewater Disposal: Although the dyes themselves are often biodegradable, the dye baths can contain organic matter and residues from mordants. The wastewater, if not treated or filtered, can still pollute water systems due to acidity, heavy metals, or concentrated organic matter, contributing to environmental harm.

While natural dyeing has clear benefits over synthetic dyes, it is essential to manage resources, use eco-friendly mordants, and treat wastewater properly to minimize the environmental impact.

References & Inspiration

The use of bioChromes is deeply rooted in historical practices but is being reinvigorated by the sustainable design movement. The ancient art of natural dyeing provides much of the inspiration for modern bioChrome innovations. Cultures around the world have long utilized natural dyes, from the use of woad in Europe for blue textiles to the vibrant reds achieved through cochineal insects in South America.

Designers such as Galya Rosenfeld, known for her work in modular construction, have also explored the potential of bioChromes in textile design. Rosenfeld’s modular, sustainable approach to fashion aligns with the ethos of using bioChromes—both seek to reduce waste and rely on renewable resources.

Another source of inspiration comes from living colors—using living organisms like algae and bacteria to produce pigments. This idea is increasingly being explored by designers looking to merge biology and fashion, where garments are colored through interactions with living systems, creating a direct link between nature and clothing.

Notable Examples and Case Studies

Living Color by Nienke Hoogvliet: This project involves using algae-based pigments to create textiles. The colors are biodegradable and free of toxic chemicals, making them a sustainable alternative to synthetic dyes. Hoogvliet's work exemplifies how bioChromes can be integrated into contemporary design.

Biogarmentry by Roya Aghighi: This innovative project used algae-based biofabric to create clothing that not only utilized natural dyes but also contributed to air purification. This forward-thinking approach demonstrates the potential of combining bioChromes with other sustainable innovations.

General Process and workflow

Here’s a general guide for creating dyes using natural bioChromes. The process may vary slightly depending on the specific plant, animal, or mineral used, but these steps outline a basic framework.

Instructions for BioChrome Dyeing

1. Gather Your Materials:

• Natural dye source (e.g., plants like indigo, madder, turmeric, or animal-based like cochineal).
• Fabric (preferably natural fibers like cotton, wool, silk, or linen as they absorb dye better).
• Mordant: A substance that helps fix the dye to the fabric. Common mordants include alum, iron, copper, and vinegar.
• Large non-reactive pot: Stainless steel or enamel-coated pots work well.
• Water: Soft water (low in minerals) is ideal.
• Heat source: Stove or outdoor burner.

2. Prepare the Fabric:

• Scour: Before dyeing, fabrics should be cleaned to remove any oils, dirt, or waxes that might block the dye from penetrating. Soak your fabric in hot water with mild soap or soda ash for at least an hour. Rinse thoroughly.
• Mordanting: This step helps the dye adhere to the fibers. Dissolve your mordant (e.g., alum or iron) in warm water and simmer your fabric in this solution for about an hour. Once done, remove and rinse the fabric.

3. Extract the Dye:

• Plant-based dyes:
• Chop up plant materials (leaves, roots, flowers, etc.).
• Soak the plant material in water for several hours or overnight to soften it.
• Simmer the material on low heat for 1-2 hours, allowing the dye to extract into the water.

• Strain out the plant material, keeping the dye bath (colored water) for use.

• Cochineal (animal-based):

• Grind the cochineal insects into a fine powder.
• Add the powder to water and simmer for about 30 minutes to extract the red dye.
• Strain the mixture to remove any particles.

4. Dyeing the Fabric:

• Add your mordanted fabric into the dye bath.
• Simmer gently for 30 minutes to an hour. Stir occasionally to ensure even coloring.
• For deeper colors, let the fabric sit in the dye bath overnight or for several hours.
• Remove the fabric from the dye bath and rinse it under cool water until the water runs clear.

5. Fixing the Color:

• Final rinse: After dyeing, you can add a fixing agent such as vinegar (for plant-based dyes) or salt (for protein fibers like wool and silk) to help the color last longer.
• Soak the dyed fabric in a solution of vinegar or salt for 15-30 minutes.
• Rinse again with water, and hang the fabric to dry in the shade.

Best Practices and Tips:

• Test swatches: Before dyeing your final fabric, test small swatches to see how the color turns out and make adjustments if needed.
• Double mordanting: For some dyes, using two mordants can help achieve a richer color or different shades.
• Over-dyeing: For more complex colors, you can layer dyes by immersing the fabric in multiple dye baths (e.g., yellow from turmeric, then over-dye with indigo for green).
• Natural color variation: Expect variation in shades, as natural dyes may shift slightly depending on the environment, water quality, and mordant used.

Safety Precautions:

• Use gloves and protective clothing when working with mordants.
• Avoid inhaling mordant powders and use in a well-ventilated area.
• Dispose of dye waste responsibly—some mordants and dye extracts can be harmful to the environment.

Ingredients & Recipes

Our visit to WoolWay Studios for the biochromes and natural dyeing assignment was a truly enriching experience, immersing us in the art and science of natural pigments and age-old dyeing techniques. WoolWay, celebrated for its expertise in natural dye practices, provided the perfect atmosphere for enhancing both our knowledge and craftsmanship. Led by the skilled Mariam Nalbandyan, we were introduced to an array of natural dyes, including cochineal, indigo, Hypericum, and pomegranate shells. The day unfolded as an inspiring exploration of ancient dyeing methods, thoughtfully adapted to fit modern aesthetics and sensibilities.

Cochineal Dye Prescription

Red to Pink

IngredientsProcedureNotes

• 25g cochineal bugs (ground)
• 4 liters of water
• 20g alum (mordant for protein fibers like wool and silk)
• 5g cream of tartar (optional, for brighter reds)

1. Mordant the fabric in alum (2 hours simmering for wool, 1 hour for silk, then rinse).
2. Dissolve the ground cochineal in hot water.
3. Add cochineal solution to a dye pot and bring it to a simmer (70-80°C) for 30 minutes.
4. Add pre-mordanted fabric and simmer for 45-60 minutes, stirring occasionally.
5. Let the fabric cool in the dye bath, then rinse and dry.

pH Level: 4-5 (slightly acidic)
Note: Adjust the pH using vinegar (for brighter pinks) or ammonia (for purple tones).
Best for: Wool, Silk, Cotton

The main red insect dyes are from plant parasites belonging to the Coccidea family and are extracted from American cochineal (Dactylopius coccus Costa), kermes (Kermes vermilio Planchon), Polish cochineal (Porphyrophora polonica L.), Armenian cochineal (Porphyrophora hamelii Brandt) and lac (Kerria lacca Kerr). The chromophores in all of these scale insect dyes are derivatives of anthraquinone.

In the case of cochineal the colourant (carminic acid) is extracted from the bodies of female insects just prior to egg-laying time and as such, may contain from 10 to 20% of their dry weight of the dye. The collected insects are dried and extracted with hot aqueous basic solution that may contain a samll amount of ethanol. It has estimated that about 25 million insects are required to make 14.5 kg of water-soluble extract.

Result

The woolen fiber displayed exceptionally vibrant and intense colors, while the results on the linen fabric were noticeably less vivid. Interestingly, a dyed piece of leather produced a striking burgundy shade, showcasing an impressive outcome. These observations align with the findings in the table below, confirming that this dye yields the best results when applied to wool fibers.

Indigo Dye Prescription

Blue

IngredientsProcedureNotes

• 25g indigo powder
• 15g soda ash (sodium carbonate)
• 10g thiourea dioxide (reducing agent)
• 4 liters of water

1. Dissolve soda ash in warm water (40-50°C), then stir in the indigo powder.
2. Add thiourea dioxide and stir carefully to avoid introducing air.
3. Let the vat rest for 30 minutes to allow the indigo to reduce (it should turn yellow-green).
4. Pre-wet the fabric and dip it into the vat for 5-10 minutes.
5. Remove and expose to air to develop the blue color (oxidation).
6. Repeat dipping until the desired color is achieved.

pH Level: 9-11 (highly alkaline)
Note: Handle with care as the indigo vat is sensitive to oxygen.
Best for: Cotton, Linen, Silk

Most of the naturally occurring indigo derivatives are insoluble in water but may become soluble in the presence of reducing agents. The fibres are therefore treated using a technique called vat dyeing such that whilst the dye is in solution the fibre is added to the dye bath and following its removal and exposure to air the insoluble dye is trapped inside the fibre.

The natural products from which indigo is obtained include indican (2a), which occurs in Indigofera species, e.g. the indigo plant itself Indigofera tinctoria L., as well as woad Isatis tinctoria L. which contains both indican (2a) and isatan (2b).

Irrespective of the starting plant source the dye extraction follows the same process. The fermentation stage degrades the glycosides by enzymatic hydrolysis to indoxyl (3) (a mixture of keto-enol tautomers) which is then oxidised to 'leuco-indigo' (6) and eventually to indigotin (1). A side reaction can occur if indoxyl is converted by oxidation to the diketone, isatin (4) that can then further react with another molecule of indoxyl (3) to produce indirubin (5).

Result

The woolen fiber absorbed the indigo dye beautifully, resulting in a deep and vibrant color, while the linen fabric displayed a less intense shade. A piece of leather also took on a rich blue tone, adding to the variety of results.

Helichrysum Dye Prescription

Golden Yellow to Light Orange

IngredientsProcedureNotes

• 100g dried Helichrysum flowers
• 4 liters of water
• 20g alum (optional)
• pH Modifier: Citric acid or vinegar (to lower pH)

1. Simmer the Helichrysum flowers in water for 45-60 minutes until you extract a rich yellow color.
2. Remove the flowers, leaving just the liquid in the pot.
3. Add the pre-mordanted fabric to the dye bath. Simmer gently for 45-60 minutes, stirring occasionally to ensure even color.
4. Allow the fabric to cool in the dye bath, then rinse well in cool water and hang to dry.

pH Level: 4-5 (slightly acidic)
Note: Adjusting the pH using citric acid or vinegar can intensify the yellow tones. You can also experiment with iron (for deeper tones) or soda ash (for brighter, more orange hues).
Best for: Wool, Silk, Cotton

Result

The woolen fiber took on a bright and vivid color from the Helichrysum dye, while the results on the linen fabric were less intense. Additionally, a piece of leather was dyed with a beautiful golden-yellow hue, which turned out remarkably well. These outcomes support the conclusion that Helichrysum dye works most effectively on wool fibers, as reflected in the table below.

Saffron Dye Prescription

Yellow to Golden

IngredientsProcedureNotes

• 1-2 grams of saffron threads (for lighter shades, less saffron is used)
• 2-3 liters of water
• 15g alum (mordant)

1. Soak the saffron threads in warm water for a few hours or overnight.
2. Simmer the soaked saffron threads in water for about 30-45 minutes, ensuring the threads release their color.
3. Strain out the saffron threads and add the liquid back to the dye pot.
4. Add the pre-mordanted fabric into the dye bath.
5. Simmer the fabric in the saffron solution for 30-60 minutes, stirring occasionally to ensure even color.
6. Remove the fabric and allow it to cool. Rinse it in cool water and let it air dry.

pH Level: 6-7 (neutral)
Note: The intensity of the color can be adjusted by the amount of saffron used. More threads will result in deeper gold tones, while fewer will produce pale yellows.
Best for: Wool, Silk, Cotton

Saffron is obtained from the stigmatas of the flowers of Crocus sativus L. and has a long history of use as a direct dye dating back to Egyptian times. It was very popular in Persia in Classical times. It was later replaced by cheaper dyes, like weld, with better fastness properties. When used as a direct dye, it gives a beautiful orange yellow colour and it can also be used with alum mordant.

Saffron contains more than 150 volatile and aroma-yielding compounds. In addition it has many nonvolatile active components, many of which are carotenoids, including zeaxanthin, lycopene, and various α- and β-carotenes. However, saffron's golden yellow-orange colour is primarily the result of α-crocin, a glucoside of crocetin, a polyunsaturated diacid.

If the rhizomes are boiled for several hours and then dried in hot ovens, They can then be ground into a deep orange-yellow powder commonly used as a spice in curries and other South Asian and Middle Eastern cuisine, for dyeing, and to impart color to mustard condiments. Its active ingredient is curcumin and it has a distinctly earthy, slightly bitter, slightly hot peppery flavor and a mustardy smell.

In medieval Europe, turmeric became known as Indian saffron, since it was widely used as an alternative to the far more expensive saffron spice.

Documenting experiments

Dyeing canvas with saffron at home can create a beautiful golden-yellow hue. Saffron is a natural dye, and although it's more commonly used in cooking, it can also be used to dye fabrics. Here’s a step-by-step guide to dyeing canvas with saffron:

Materials Needed:

• Canvas fabric (pre-washed to remove any finishes or sizing)
• Saffron (5–10 grams, depending on the intensity of color you want)
• Water
• Salt or vinegar (as a mordant to help fix the dye)
• Large pot or saucepan for dyeing
• Wooden spoon for stirring
• Rubber gloves to protect your hands from staining
• Strainer or cheesecloth

Step-by-Step Instructions:

1. Pretreatment (Mordanting) Process for Canvas:

• Materials Needed:

  1. Alum (Aluminum Potassium Sulfate) or vinegar (used as a mordant) - Cream of tartar (optional, helps to brighten colors) -
  2. Large pot for boiling - Water -
  3. Rubber gloves to protect your hands

• Step-by-Step Mordanting Process:

  Pre-wash the canvas: Before mordanting, wash the canvas with mild soap to remove any surface impurities. This will help the fabric absorb the mordant and dye evenly. Rinse thoroughly and leave the fabric damp.

• Prepare the mordant bath:

  • For alum: Dissolve 10–15 grams of alum per liter of water in a large pot. If using cream of tartar, add about 5 grams per liter as well, which helps brighten the color. Stir the solution well to ensure everything is fully dissolved.

  • For vinegar: If using vinegar as a mordant, add 1/4 cup of vinegar to every liter of water.

• Mordant the fabric:
  Submerge the damp canvas fabric into the mordant bath. Make sure the fabric is fully covered by the solution.
  

  Bring the solution to a simmer (around 85–90°C or 185–195°F). Let the fabric simmer in the mordant bath for 45–60 minutes, stirring occasionally to ensure the canvas is evenly exposed to the solution.

• Cool and rinse:
  After the mordanting process, turn off the heat and allow the fabric to cool in the mordant bath. Once it has cooled, remove the canvas and rinse it thoroughly with cold water to remove any excess mordant.
  

  At this point, the fabric is ready for dyeing.
  
  

• Why Mordanting is Important?

  • Alum helps create a bond between the fabric fibers and the natural dye, which ensures better color fastness and longevity.

  • Vinegar is a more accessible, but less effective, mordant than alum. It still helps the dye adhere to the fabric, though it may not be as durable over time.

  • Mordanting the canvas beforehand will result in a brighter, more stable saffron-dyed fabric.
    

2. Prepare the Dye Bath

• Steep the saffron: Place the saffron in a bowl with about 1–2 cups of warm water. Let it steep for several hours (preferably overnight) to release the color. The water should turn a deep yellow-orange color.

• Make the dye bath: In a large pot, bring 3–5 liters of water to a boil, depending on the amount of canvas you're dyeing. Add the saffron-infused water to the pot. Stir well to combine the dye with the water.

3. Mordant the Canvas (Optional but Recommended)

To help the dye stick to the fabric, you can mordant the canvas. Add 1 tablespoon of salt or 1/4 cup of vinegar to the dye bath to help the dye bond with the fibers. Stir well.

4. Dye the Canvas

• Submerge the canvas: Wearing rubber gloves, place the damp canvas into the saffron dye bath. Make sure the fabric is fully submerged.

• Simmer: Turn the heat to low and allow the canvas to simmer in the dye bath for 30–60 minutes, stirring occasionally. The longer you leave the fabric in the dye bath, the more intense the color will be.

5. Let the Fabric Soak

After simmering, you can let the fabric soak in the dye bath for a few more hours or overnight for a deeper color.

6. Rinse and Dry

• Rinse the fabric: Remove the canvas from the dye bath and rinse it under cold water until the water runs clear. This removes any excess dye.

• Dry the canvas: Hang the fabric to air dry in a shady area (avoiding direct sunlight, which can fade the color).

7. Set the Color

To set the color, you can iron the fabric once it's dry, using the appropriate heat setting for canvas. This will help the dye adhere better to the fibers.

Tips:

• Saffron is a relatively delicate dye and can fade over time. To prolong the color, avoid washing the canvas frequently and always wash it in cold water.
• The amount of saffron you use will influence the depth of the color. More saffron will create a richer yellow.

Discussion

I conducted an experiment using six pieces of canvas fabric, each treated with a different mordant, to assess the impact of mordant selection on natural dyeing with saffron. The following mordant combinations were used:

1. Vinegar and alum together
2. Alum alone
3. Soda
4. Vinegar alone
5. Fabric softener
6. Soda and alum together

The results revealed that the best outcome in terms of both color vibrancy and uniformity was observed in sample 6, where alum and soda were used simultaneously. This combination produced a rich, even color, demonstrating that the interaction between these two mordants enhances the saffron dye's effectiveness. Sample 4, where vinegar alone was used, showed the second-best result, yielding a vibrant yet slightly less uniform color. Sample 2, treated with alum alone, followed in third place, providing decent coloration but less saturation compared to the top samples.
This experiment highlights the importance of mordant selection in natural dyeing processes, as it significantly affects both the intensity and consistency of the final color. The combination of alum and soda proved to be particularly effective, suggesting that their chemical interactions with saffron dye can enhance dye uptake and evenness across the fabric.

Natural dyes information:

Here’s a table showing some natural dyes, their molecular formulas, and their key properties:

Natural Dye name	Molecular Formula	Source	Color Produced	Solubility	Lightfastness	pH Sensitivity	Best Fibers	Modifier	Effect of Modifier
Indigo	C16H10N2O2	Indigofera tinctoria (Indigo plant)	Blue	Insoluble in water (requires reduction)	High	Sensitive (turns red in acidic conditions)	Cotton, Wool, Silk	Iron or Copper	Darkens blue to a more grayish tone
Cochineal	C22H20O13	Cochineal insect	Red, Pink	Water-soluble	High	Stable in neutral pH, shifts with acids or bases	Wool, Silk, Cotton	Cream of Tartar or Iron	Cream of Tartar brightens red, iron shifts to purple
Pomegranate Skin	C15H12O7	Punica granatum (Pomegranate)	Yellow, Golden Brown	Water-soluble	Moderate to High	Slightly acidic	Wool, Silk, Cotton	Alum or Iron	Alum brightens yellow, iron shifts to olive tones
Madder	C14H8O4	Rubia tinctorum (Madder root)	Red, Orange	Water-soluble	High	Sensitive to alkaline pH (turns purple)	Wool, Silk, Cotton	Alum or Iron	Alum brightens, iron deepens to purple or brown
Turmeric	C21H20O6	Curcuma longa (Turmeric root)	Yellow	Water-soluble	Low to moderate	Stable in neutral pH, fades in alkaline or acidic	Wool, Silk, Cotton	Alum or Soda Ash	Alum retains yellow, soda ash brightens
Logwood	C16H14O5	Haematoxylum campechianum (Logwood tree)	Purple, Black	Water-soluble	Moderate to High	Sensitive to pH (turns blue in alkaline, red in acidic)	Wool, Silk, Cotton	Wool, Silk, Cotton	Iron or Vinegar
Walnut Hulls	C15H14O6	Juglans regia (Walnut tree)	Brown	Water-soluble	High	Stable	Wool, Silk, Cotton	Iron or Vinegar	Iron deepens brown, vinegar stabilizes shade
Saffron	C20H24O4	Crocus sativus (Saffron flower)	Yellow, Gold	Water-soluble	Low to Moderate	Stable in neutral pH, can fade with UV exposure	Wool, Silk, Cotton	Iron or Vinegar	Iron gives olive tones, vinegar deepens yellow

Conclusion

Natural dyeing is a complex process that depends on many interrelated factors: the choice of dye, the fabric being dyed, the pH, the use of mordants and modifiers, and even temperature. These factors must be carefully controlled to produce the desired color and ensure good fastness. Whether dyeing with cochineal, pomegranate skins, or logwood, each dye and textile requires thoughtful preparation and experimentation to achieve the best results in natural dyeing.

This level of flexibility and control makes natural dyeing both an art and a science, allowing for endless creative possibilities with the addition of mordants and pH modifiers.

Recycling the dye into pigments

Extracting dye pigments from wastewater after the dyeing process can be an eco-friendly approach to reuse and reduce waste. Here's a simplified method to extract powder or ink from wastewater used in natural dyeing.

1. Leaching

• Purpose: To remove large particles and undissolved materials.
• Use a fine mesh filter or a coffee filter to filter the wastewater. This will remove any remaining plant material, fibers, or residues from the dye bath.

2. Precipitation

• Purpose: To precipitate the dye molecules from the wastewater.
• Adjust the pH of the wastewater to help precipitate the dye. For most natural dyes, lowering the pH by adding an acid (like vinegar or citric acid) will cause the pigment to separate.
  Ethanol is also often used in the extraction of pigments from plant materials because it helps dissolve and extract colorants that are not water-soluble.
• Procedure: Slowly add vinegar or citric acid to the filtered wastewater while stirring. You’ll notice the pigment settling at the bottom.

3. Separation and Collection

• Allow the solution to sit for several hours to let the dye particles fully settle at the bottom.
• Once settled, carefully decant the clear liquid from the top, leaving behind the concentrated dye sediment.

4. Drying (for powder extraction)

• The concentrated dye sediment can be dried to create a powder.
• Spread the sediment in a shallow tray or container.
• Leave it to air dry in a warm, well-ventilated area (or use a dehydrator).
• Once completely dry, grind the dried pigment into a fine powder using a mortar and pestle or a coffee grinder.

5. Ink Preparation

• To make ink from the extracted dye:
• Dissolve the concentrated dye sediment in a small amount of glycerin or gum arabic.
• Add a little water to achieve the desired consistency.
• If you want a more viscous ink, you can boil it down to reduce the water content and increase the pigment concentration.

6. Optional – Additional Filtration

• If you want a smoother ink or finer pigment, you can pass the solution through a finer filter after it has been extracted and dissolved.

7. Storage

• Store the dye powder in an airtight container.
• For ink, store in a small glass bottle to prevent evaporation.

Summary of the Process

• 1. Leach the dye wastewater.
• 2. Precipitate the dye with an acid.
• 3. Separate the precipitated pigment by decanting the liquid.
• 4. Dry the pigment to create powder or dissolve it in a binder for ink.

This method allows us to reclaim the dye from wastewater, either for reuse as a pigment or ink, contributing to more sustainable dyeing practices.

Ingredients & Recipes

Prepare this recipe by collecting the ingredients necessary, to be found in the list below:

Cochineal Wastewater Pigment Extraction

Red to Pink

IngredientsProcedureNotes

• Wastewater from cochineal dyeing
• 15g soda ash (sodium carbonate)
• Water (if dilution is needed)

1. Initial Collection: Collect the wastewater after dyeing with cochineal. Allow it to settle for a few hours to let larger particles sink.
2. Precipitation: Slowly add citric acid or vinegar to lower the pH of the wastewater, which helps precipitate the cochineal pigments. Stir gently to mix.
3. Leaching: Filter the solution using a fine mesh or coffee filter to remove any undissolved material.
4. Evaporation (optional): If desired, gently heat the filtered solution to evaporate some water, concentrating the pigment further.
5. Storage: Store the extracted pigment in a clean, airtight container, ideally in a cool, dark place.

Note: The extracted pigment can be used for dyeing fabrics or as a natural ink.

Indigo Wastewater Pigment Extraction

Blue

IngredientsProcedureNotes

• Wastewater from indigo dyeing
• Soda ash (pH modifier)
• Water (if dilution is needed)

1. Initial Collection: Collect the wastewater after dyeing with indigo. Allow it to settle for a few hours to let larger particles sink.
2. Precipitation: Gradually add soda ash to raise the pH of the wastewater, facilitating the precipitation of indigo pigments. Stir gently to mix.
3. Leaching: Filter the solution using a fine mesh or coffee filter to remove any undissolved material.
4. Evaporation (optional): If desired, gently heat the filtered solution to evaporate some water, concentrating the pigment further.
5. Storage: Store the extracted pigment in a clean, airtight container, ideally in a cool, dark place.

Note: The extracted pigment can be used for dyeing fabrics or as a natural ink.

Saffron Wastewater Pigment Extraction

Yellow to Golden

IngredientsProcedureNotes

• Wastewater from saffron dyeing
• SCitric acid or vinegar (pH modifier)
• Water (if dilution is needed)

1. Initial Collection: Collect the wastewater after dyeing with saffron. Allow it to settle for a few hours to let larger particles sink.
2. Precipitation: Slowly add citric acid or vinegar to lower the pH of the wastewater. Stir gently to mix.
3. Leaching: Filter the solution using a fine mesh or coffee filter to remove any undissolved material.
4. Evaporation (optional): If desired, gently heat the filtered solution to evaporate some water, concentrating the pigment further.
5. Storage: Store the extracted pigment in a clean, airtight container, ideally in a cool, dark place.

Note: The extracted pigment can be used for dyeing fabrics or as a natural ink.

Result of painting with ink

This piece showcases the result of painting with ink made from natural dye waste. The subtle hues and organic texture created by the Saffron pigment add a unique, earthy quality to the artwork, enhancing its depth and authenticity. Using waste materials like Saffron dye not only brings a sustainable element to the creative process but also connects the artwork to nature’s own palette, adding an extra layer of meaning to each stroke. This approach celebrates resourcefulness and transforms what might otherwise be discarded into something beautiful and impactful.