4. BioChromes¶

Research¶

describe what you see in this image

"the main difference in Iceland is that the country´s location as a small island far ot at at sea means that there are relatively few species here compared with many other countries. Iceland has approximatrly 500 species of vasclar plans, while there are 1,300 in Norway and 4,000 to 6,000 in Britan and Ireland. The Possibilities for plant dyeing are therefore far greater in Iceland´s neighbouring countries. Whereas they can obtan any colur from natural sources, in Iceland it is difficult to get hold of red, while a durable blue colour is probably impossible to to source naturally in Iceland. As a result Icelandic dyeing traditions inevitably rely to some extent on species brought in from aabroad, at least during the past three centuries. The history of dyeing in Iceland can be divided into four periods and these periods do not correspond to traditional historical periods." * Text reference - PLANT DYEING IN ICELAND by Guðrún Bjarnadóttir

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Mordanting¶

To keep colors from natural dyes vibrant and resistant to washing out, a mordant is used. The term mordant means "to bite," as it helps the dye "bite" into the fabric fibers, improving dye retention. A mordant is usually a natural chemical, like aluminum, which forms a bond at the molecular level with the fabric, allowing it to hold onto the dye more effectively.

In this process, I used vinegar as a substitute mordant. While vinegar isn’t a true mordant, it helps open up the fabric fibers, making them more receptive to the dye. Ideally, I wanted to use an aluminum-based mordant, but it wasn’t available locally in Iceland.

This preparatory step is crucial for achieving long-lasting, colorfast results. By preparing the fabric with a mordant, you enhance the durability and vibrancy of the colors, ensuring they don’t easily fade and preserving the beauty of your dyed pieces.

ingredients

500 ml Vinegar
500 ml Water

Fabric¶

Hemp
Cotton
Lycra

yarn¶

Cotton 2x
Hemp
Jute
Nylon
Recycled Cotton

Ribbon¶

Silk 2x
Satin 2x

Fabric Preparation and Mordanting¶

Step 1: Preparing the Fabric¶

Before mordanting, I carefully sewed the edges of the fabric to prevent it from fraying or unraveling during the boiling process. This step ensures the fabric remains intact and maintains its shape throughout the dyeing process.

Step 2: Mordanting with Vinegar¶

For mordanting, I used vinegar as a natural fixative to help the dye adhere better to the fabric. I boiled the fabric in vinegar and water, then allowed it to sit in the solution overnight. This extended soaking ensures the mordant is fully absorbed, creating a strong bond between the fabric and the dye.

Dye Extraction¶

Red Cabbage Dye¶

Step 1: Preparing the Cabbage¶

I added enough water to cover the cabbage (1700 ml) and boiled it for two hours. Once softened, I used a blender to turn the cabbage into a smooth paste. After blending, I simmered the mixture for an additional two hours to concentrate the dye, then allowed it to cool down naturally.

amount

1523.9615g

Step 2: Boiling and Blending¶

I added enough water to cover the cabbage (1700 ml) and boiled it for two hours. Once softened, I used a blender to turn the cabbage into a smooth paste. After blending, I simmered the mixture for an additional two hours to concentrate the dye, then allowed it to cool down naturally.

Step 3: Straining the Dye¶

To achieve a clean and smooth dye solution, I strained the mixture twice—first using a coffee filter and then a cheesecloth. This double filtration removed any remaining solids, leaving a purified dye ready for application.

Step 4¶

ingredients

Part 1: Salt only

100% solution: 425 ml dye + 4 tablespoons salt
50% solution: 212.5 ml dye + 212.5 ml water + 4 tablespoons salt
25% solution: 106.25 ml dye + 318.75 ml water + 4 tablespoons salt
12.5% solution: 53.125 ml dye + 371.875 ml water + 4 tablespoons salt

Part 2: Salt and baking soda

100% solution: 425 ml dye + 4 tablespoons salt + 4 tablespoons baking soda
50% solution: 212.5 ml dye + 212.5 ml water + 4 tablespoons salt + 4 tablespoons baking soda
25% solution: 106.25 ml dye + 318.75 ml water + 4 tablespoons salt + 4 tablespoons baking soda
12.5% solution: 53.125 ml dye + 371.875 ml water + 4 tablespoons salt + 4 tablespoons baking soda

During the dyeing process with Part 2, I noticed that some of the fabric turned green in the 50% and 12.5% solutions, likely due to a chemical reaction with the Teflon pot, where some areas were worn. The mixture’s pH seemed to have interacted with the exposed metal, altering the dye color.

Red Cabbage ¶

Red Cabbage Baking Soda ¶

Red Cabbage Cream of Tartar ¶

Red Cabbage Vinegar ¶

Violet Flower Dye¶

Step 1: Collecting and Storing Flowers¶

I picked fresh violet flowers from my garden, ensuring they were clean and free from debris. To keep them fresh, I stored the flowers between damp cheesecloths until I was ready to begin the dye extraction process.

Step 2: Measuring and Preparing the Dye Bath¶

I weighed the flowers (27 g) and added 300 ml of water to create the dye bath. The water-to-flower ratio was carefully calculated to achieve a vibrant color. The mixture was then gently heated to release the natural pigments from the flowers.

Step 3: Concentrating the Dye¶

After adding water to the violet flowers, I boiled the mixture for 1.5 hours. This reduced the liquid to 129 ml of concentrated dye, intensifying the color and preparing it for application.

Step 4: Straining the Mixture¶

Once boiled, I carefully strained the mixture through a coffee filter to remove any remaining solids, ensuring a smooth and clean dye solution.

Violet ¶

Dried Lupine Dye¶

Step 1: Preparing the Lupine Powder¶

I ground down the dried lupine flowers into a fine powder, resulting in 8.7 g of material. This powder would serve as the base for creating the dye.

Step 2: Creating the Dye Bath¶

I added 200 ml of water to the lupine powder and boiled the mixture for 30 minutes. This step extracted the pigments from the powder, creating a rich, natural dye.

Step 3: Measuring the Dye Yield¶

After boiling, I ended up with 48 g of extracted dye. This amount provides a concentrated pigment source, making it suitable for textile applications.

Step 4: Filtering the Dye¶

To refine the dye, I strained the mixture through a coffee filter, removing any remaining solids. This step ensured the dye was smooth and free from impurities, ready for use in fabric dyeing.

Lupine ¶

Reflection¶

This process of natural dyeing required careful preparation, patience, and attention to detail at every step. By sewing the fabric edges, using vinegar as a mordant, and extracting pigments from red cabbage and violets, I was able to create rich, natural dyes with minimal waste. These methods highlight the beauty and sustainability of working with natural materials in textile design.