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4. BioChromes

Research & Ideation Overview:

This week, I explored dyeing, an area I had not ventured into before. My usual work involves pre-colored textiles, so the concept of natural dyeing was both new and exciting for me. I had previously come across videos of people dyeing with natural materials, but I never had the opportunity to experiment with the process myself. After attending the lecture, I became intrigued by the idea of creating dyes without relying on synthetic chemicals. Initially, I considered experimenting with bacterial dyes, but due to my location and the time constraints, this option wasn’t feasible. Instead, I decided to focus on natural dyes and the potential of biochromes that change color. With many ideas in mind, narrowing down my approach was challenging. For now, I have chosen to focus on natural dyes using beetroot as my primary ingredient.

Inspiration: Artists and Projects

Objective:

Research on artists and projects utilizing biochromes and sustainable dyeing methods in fashion and textiles.

Biochromes and Natural Dyeing:

Elena Garcia:

A textile artist who specializes in natural dyeing using plant materials. Her work focuses on creating vibrant colors from local flora, promoting the use of indigenous plants and sustainability in textile practices.

Indigofera:

This project explores the traditional methods of indigo dyeing (Extracted from organic Indigofera tinctoria leaves harvested in a nearby villages, the indigo arrives in the traditional form of "cakes", which are ground into a fine powder and added to vast dyeing vats with lime and fermentation 'food'.), emphasizing the cultural significance and sustainable practices of using natural indigo. The artisans involved in the project highlight the importance of preserving these ancient techniques while promoting environmental responsibility.

Picture: art meseum garden

Sophie Rutschmann:

An artist who incorporates the use of biochromes derived from living organisms. Her work highlights the potential of algae-based dyes, showcasing how these bio-based materials can be integrated into modern fashion while emphasizing their low environmental impact.

Sustainable Dyeing Practices:

Ellen MacArthur Foundation:

This initiative focuses on circular economy principles and emphasizes sustainable dyeing methods that minimize water use and pollution. The foundation supports research into bio-based dyes and eco-friendly production processes.

Rita P. Coelho:

A designer and researcher working on dyeing textiles with mycelium and mushroom-based dyes. Her work addresses the need for sustainable alternatives to synthetic dyes and promotes the use of fungi in creating a diverse color palette.

Relevant Projects:

Color of Nature:

A collaborative project that documents the use of natural dyes in contemporary textiles. It connects artisans, designers, and researchers to explore the revival of traditional dyeing techniques, aiming to reduce environmental impact through education and shared resources.

picture: Colors of nature project

References:

• Elena Garcia's Natural Dyeing Techniques

• Indigofera's Traditional Indigo Dyeing

• Sophie Rutschmann’s Algae-Based Dyes

• Ellen MacArthur Foundation's Circular Economy Guidelines

• Rita P. Coelho's Mycelium Dye Research

• Color of Nature Project Documentation

• The Living Dyes Project Overview

4. BIOCHROMES

Objective:

The objective is to integrate technology, biology, and design to create sustainable, innovative, and aesthetically unique fabrics.

DYEING:

The objective of dyeing in the Biochromes is to explore and experiment with natural and biological dyes, focusing on sustainable and eco-friendly approaches to textile coloring. Biochromes typically involve the use of: 1. Natural dyes: Extracted from plants, insects, minerals, and other organic sources, these dyes offer an alternative to synthetic dyes, reducing environmental impact. 2. Bacteria-based dyeing: Leveraging microorganisms like bacteria to produce pigments that can be applied to textiles. This method explores biodesign principles and sustainability by harnessing the power of biology in textile creation. 3. Eco-conscious practices: Participants investigate ways to minimize water usage, chemical waste, and the carbon footprint of textile dyeing processes.

Process and Workflow

Dye Preparation

Batch 1 (Color Reaction Test) To begin, I prepared a dye using red cabbage. The process involved: • Chopped beetroots: 4 beetroots • Water used: 3.5 cups • Boiling duration:15 minutes • Simmering time: 1.5 hours • Filtration: The liquid was strained after simmering.

This batch was specifically used to examine how the dye reacts to different pH levels. Below are the observed color changes: • 30 ml with No addition • 20 ml water + 3.5g salt + 10ml of water: The mixture shifted to Dark Burgundy color • 30 ml water + 3g of alum: The mixture shifted to a Crimson Red color • 30 ml water + 2.5g sodium bicarbonate: The mixture shifted to Dark Burgundy color

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Preparation

I prepared fabric samples: 8 pieces of linen. These fabrics were first boiled in a mixture of alcohol and water, then rinsed thoroughly in cold water to remove any impurirties if there were any. Mordant Treatment To enhance color absorption, 4 pieces of linen were soaked in an alum-water solution for 30 minutes. Dyeing Without Mordant The 4 linen fabric were dyed using different solutions: • Dye mixed with water + salt • Dye combined with water + alum • Dye with sodium bicarbonate • Plain dye (no additives) These fabrics were left to soak for several 1.50 hours.

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Dyeing With Mordant

The mordant-treated fabrics were placed in the same dye solutions as above. alt text

Comparison of Mordanted and Non-Mordanted Fabrics

alt text In the experiment, the top fabrics were not mordanted, while the bottom fabrics on the right were mordanted before dyeing. The following observations highlight the differences in color absorption and vibrancy:

  1. Top Fabrics (Non-Mordanted)
  2. The top-left fabric remains a natural, undyed beige tone, indicating minimal absorption of dye.
  3. The other three fabrics have a soft, muted purplish-pink shade but appear less intense and more uneven.
  4. The colors lack depth, suggesting weaker bonding between the dye and the fabric fibers.
  5. Bottom Fabrics (Mordanted, Right Side)
  6. The mordanted fabrics show deeper, richer shades of pink and purple compared to the non-mordanted ones.
  7. The color distribution appears more even, with better penetration into the fibers.
  8. Some areas show slight variations in intensity, possibly due to differences in mordant concentration or fabric texture.
  9. The overall effect is more vibrant and long-lasting, reinforcing the role of mordants in enhancing dye uptake.

Comparison

The results clearly show that mordanting significantly improves color intensity and fixation on fabric. Non-mordanted fabrics exhibit weaker dye absorption, leading to lighter and more inconsistent shades. This experiment highlights the importance of using mordants for achieving richer and more durable natural dye results.

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Ingredients:

Beetrrot: 1 cup, prepared as per the earlier method.

Binder (Gum Arabic mostly): 2 honey spoons. Suitable substitutes in the same amount include cornstarch paste, honey, agar-agar, or egg white glair.

Preservative (Essential Oil): 2 drops of clove, wintergreen, or tea tree oil.

Salt: A pinch, to inhibit mold growth.

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