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BioChromes

Research

WHAT BIOCHROME IS

A biochrome is a biological pigment — a natural coloring substance produced by living organisms. It’s like the pigment that nature uses to paint life — plants, animals, even small microorganisms. Biochromes absorb some light waves and reflect others, so that’s how we see colors in nature.

We have five types of biochrome sources

  • Animal
  • Botanical
  • Mineral
  • Bacterial
  • Fungal
A few words about this

Animals This part is a bit strange but really interesting. Some animals can give colors too. Like small insects or shells — they have natural pigments inside them. For example, that deep red color from cochineal bugs… yes, it’s really from bugs! Sounds a bit crazy but it’s true. Nature always surprises — even animals can paint.

Botanical Plants are like natural artists. Leaves, flowers, fruits, roots — all of them can give color. It’s like every part of the plant keeps its secret ink inside! Beets make pinks, turmeric makes yellow, indigo plants make the most magical blue. And the best part — it’s all growing around us. Sometimes you don’t even need to buy, just look down and there’s your next dye!

Mineral Minerals are one, wich comes from the earth. Stones, dust, and metals — everything that lives deep and doesn’t move. You can heat or crush them and get strong, natural colors. It’s like working with the power of planet. The colors are calm, heavy, and always natural.

Bacterial Bacterial start making pigment like small artists. Feels like mixing biology and art in one jar. It’s so futuristic but still natural — that’s why I like it.

Fungal And here come the mushrooms! They’re not only good for food or fairy tales — they’re full of pigment potential. Some fungi make soft earthy tones, others bright orange or deep purple. You never know what you’ll get until you try. Feels like going on a color adventure in the forest!

A littel about animal sources. The Armenian cochineal (Porphyrophora hamelii), also known as the Ararat cochineal or Ararat scale , is a scale insect indigenous to the Ararat plain and Aras (Araks) River valley in the Armenian Highlands, including East of Turkey. It was formerly used to produce an eponymous crimson carmine dyestuff known in Armenia as vordan karmir (Armenian: որդան կարմիր, literally "worm's red") and historically in Persia as kirmiz.

WHAT ABOUT BIOCHROME FORMS

I came across a great image by Isobel Jo Leonard — it shows how the different forms of biochromes are created.

What is Ink?

Ink is a colored liquid or paste used for writing, drawing, or printing, and is made by mixing a coloring agent, such as a dye or pigment, with a liquid or paste called a vehicle. It is used with tools like pens, brushes, and printing presses to create marks on a surface.

Composition of ink:

✻ Coloring agent: This can be a dye (which dissolves in the vehicle) or a pigment (which is a solid that is suspended in the vehicle).                                          
✻ Vehicle: This is the carrier liquid or paste that the coloring agent is mixed with. The vehicle can be water, oil, or other chemical compounds.                                       
✻ Other components: Inks also contain other additives that control their properties, such as solvents, resins, lubricants, and thickeners.

Uses of ink:

✻ Writing and drawing: Used with pens, brushes, and quills to write or draw on paper.                                 
✻ Printing: Thicker, paste-like inks are used in printing processes like letterpress and lithography to transfer images to paper.     
✻ Marking: Special inks are used for marking textiles, and magnetic inks are used in some banking applications.

Types of ink:

✻ Dye-based: Uses soluble dyes for vibrant colors, often used for sketching or work that won't be exposed to a lot of light. 
✻ Pigment-based: Uses insoluble pigments suspended in a clear binder, which are more resistant to fading. 
✻ Specific types: Includes India ink (a traditional black drawing ink), printer's ink (a semi-solid ink for printing presses), 
and marking ink (indelible ink for marking clothes).

What is Dye?

A dye is a colored substance, often a soluble organic compound, used to impart color to a material by chemically bonding with it. Unlike pigments, which are insoluble solids that are suspended in a liquid, dyes are typically applied in a liquid solution and penetrate the material, becoming a permanent part of it. They are used to color a wide range of products, including textiles, paper, leather, and hair.

How dyes work:
The chemical structure of a dye molecule determines the color that we see. 

✻ Chemical bonding: Dyes form a chemical bond with the material they are coloring, which is why the color is often permanent and resistant to washing, light, and heat.  
✻ Solubility: Dyes are usually soluble in water or other solvents, allowing them to be applied as a liquid solution. 
✻ Mordants: Sometimes, a mordant (a chemical fixative) is needed to help the dye adhere better to the material, improving its colorfastness.

Natural vs Synthetic dyes
Dyes can be categorized by their origin.

✻ Natural dyes: These are derived from plants, animals, or minerals and were the only source of color for centuries. Examples include indigo from plants, cochineal from insects, and madder from roots.
✻ Synthetic dyes: The majority of modern dyes are produced synthetically from petrochemicals. These were first developed in the mid-19th century and offer a wider range of colors, greater stability, and a lower cost than natural dyes.

Common applications
Dyes are used across a vast number of industries and products. 

✻ Textiles: This is the most common application, coloring fibers like cotton, wool, and polyester for use in clothing and home furnishings.
✻Food: Food dyes are used to restore, enhance, and standardize the color of foods and beverages.
✻ Cosmetics: Dyes add color to cosmetic products like lipstick, lotion, and hair color.
✻ Pharmaceuticals: The coatings of tablets and capsules are colored with pharmaceutical dyes for identification and branding.
✻ Paper and printing: Dyes are used to create colored paper and are a key ingredient in printing inks for newspapers, packaging, and magazines.
✻ Medical science: Certain dyes are used to stain cells and tissues in laboratories, or as contrast materials in medical imaging to highlight abnormal areas.

What is Pigment?

A pigment is a substance that absorbs and reflects specific wavelengths of light, giving other materials color. Unlike soluble dyes, pigments are insoluble and must be dispersed in a medium using a binder. Pigments can be naturally occurring organic compounds (like chlorophyll in plants) or inorganic minerals, and are used in everything from paints and cosmetics to inks and plastics.

Key characteristics:

✻ Insoluble: Pigments do not dissolve in the medium they are used in. They require a binder to be dispersed, which is the primary difference between pigments and dyes. 
✻ Light-absorbing: They work by selectively absorbing certain wavelengths of light and reflecting others, which is what we perceive as color. 
✻ Physical substance: Pigments have a physical body or "substance" that can be ground into a powder, which adds bulk and opacity to the material.

Types of pigments:

✻ Organic pigments: These are carbon-based compounds that can be derived from natural sources or are synthetically produced. 
✻ Inorganic pigments: These are typically mineral-based and often have simpler chemical structures. Examples include ochre and iron-based synthetic blues. 
✻ Biological pigments: These are compounds produced by living organisms to provide coloration. Examples include chlorophyll in plants, hemoglobin in blood, and carotenoids in algae.

THE DIFFERENCES BETWEEN INK, PIGMENT AND DYE

Even though ink, pigment, and dye all bring color, they work in different ways — they have their own nature, texture, and soul.

  • Dye sinks into the material. It bonds with the fibers and becomes part of them. That’s why dyed fabrics feel soft and natural — the color lives inside, not on the surface. But dyes can fade faster with sunlight or washing, since they are so deeply alive.

  • Pigment stays on top of the surface. It doesn’t melt or mix into the material — instead, it needs a binder (like oil, gum, or resin) to stick. Pigments create strong, stable, matte colors and don’t fade easily. You can almost feel their texture.

  • Ink is the liquid storyteller. It can hold pigments or dyes inside it. Its purpose is to flow — through pens, brushes, or printers — making writing and drawing possible. The nature of ink depends on what it carries: if it’s pigment-based, it’s more permanent; if it’s dye-based, it’s brighter but softer.

So — Dye colors from within, Pigment colors on the surface, and Ink carries the color where it needs to go.

Inspiration

My inspiration comes from watercolors and their unique drawing technique. I love working with them — mixing, layering, and creating new shades, enjoying every step of the process while discovering colors that feel truly my own.

When I first saw how fabrics are dyed, it instantly reminded me of the emotions I felt while painting with watercolors on paper. That same excitement and curiosity came back — a desire to explore, to experiment, and to learn something new through color, texture, and transformation.

My works in watercolor technique:

Techniques Involving Watercolor

There are various techniques involved with watercolors. Some of the most popular techniques are as follows:

  • Wet-on-wet technique: This means that the rush and paper both are wet with water. It allows a more pigmented finish as compared to the usual lighter finish.

  • Wet-on-dry technique: It is the usual dry paper and wet brush technique that every novice knows.

  • Splattering: It is what the name suggests. You can splatter the watercolor paint on paper in a controlled manner to create an art piece. Splattering itself has different techniques involved like tapping, flicking, or using a stencil.

  • Watercolor blooms: This involves adding wet paint to a nearly dried area of painting. The liquid displaces the primary pigment and creates these pleasant, sporadically shaped specks.

  • Feathering: This technique is good for creating gradients. It involves diffusing the strong stroke of pigment to create an ombre gradient.

  • Texture with Salt: Sprinkling salt on a wet wash adds texture to the painting. The salt begins to accumulate the pigments in the watercolor, making the surface look amazing. The effect depends on the size of the grains of salt and the moisture on the paper. Once the paint has dried, simply whisk off the excess salt.

Great Artists Who Painted With Watercolors

John Singer Sargent (1856–1925) – An American painter known for his elegance and fluid brushwork. His watercolors capture light and movement with effortless grace, turning ordinary scenes into luminous moments.

Vasily Surikov (1848–1916) – A Russian master, Surikov is better known for large historical paintings, but his watercolors reveal a softer, more intimate side of his genius, capturing landscapes and studies with delicate precision.

Mikhail Vrubel (1856–1910) – Known for his mystical and decorative style, Vrubel’s watercolors blend dreamlike fantasy with bold colors. His works feel like glimpses into another world.

Winslow Homer (1836–1910) – Famous for his landscapes and seascapes, Homer used watercolors to show the raw power of nature. His work often feels alive, with waves crashing and skies full of emotion.

Artist Who Inspire Me: Svetlana Khachatryan

My biggest inspiration is one of the Armenian participants — Svetlana Khachatryan She’s an amazing person with incredible knowledge and experience in natural dyeing processes. During the previous week, we learned so much from her, used many beautiful natural colors, discovered new techniques, and became more and more inspired by her every day.

My favorite project created by Svetlana is called “NAROT.” It includes 13 pieces, all naturally dyed, forming a collection of kimonos and other garments with truly unique textures, colors, and forms. Each piece feels alive — full of natural energy and quiet beauty.

You can see her work on her portfolio page svkh.art/projects.

One of "NAROT" project pices.

Artist Who Inspire Me: Shihoko Fukumoto

Indigo is the Color of My Dreams

I learned about this artist from Svetlana Khachatryan’s documentation. Shihoko Fukumoto is an artist who works with indigo dye. Just as Ararat cochineal is meaningful in Armenian traditions, indigo holds a special place in Japanese culture. Blue is often called “the color of Japan” — especially the deep natural indigo that has been used for centuries. Indigo has been applied to many everyday and cultural objects, from farmers’ clothing and noren shop curtains to handmade paper and summer yukata garments.

Achieving the deep tone known as “eggplant blue” is difficult, and reinterpreting traditional dyeing methods for contemporary audiences is equally challenging. Shihoko Fukumoto is one of the few artists who preserves traditional indigo dyeing standards while developing contemporary artistic interpretations. By combining shibori (tie-dyeing) with bokashi tonal gradation, she creates subtle and atmospheric works. For Fukumoto, ai — natural Japanese indigo — is not only a color but also a symbol of depth, space, and personal poetic vision.

IT'S TIME TO DIVE INTO PROCESS

Dyeing is a traditional technique and it is really inspiring. Every old country has a deep history of natural dyeing, and being even a small part of that process feels meaningful. Natural dyeing is labor-intensive and takes a long time, but the final result is always worth it.

This week our coach was Svetlana Khachatryan, who has been working in this field for around 10 years. We had a small practical workshop in the Fab Lab in Dilijan.

For dyeing we chose only natural fabrics. They were: Linen, Cotton, Wool Skein, Cotton Muslin, Tussar Silk, Indonesian Silk, and Silk Viscose.

Weighing the Fibre

This was our first step, and it is very important for further calculations (WOF — Weight of Fibre). The fabrics are always weighed dry.

What we have:

  • Linen- 310g
  • Cotton- 650g
  • Wool Skein- 350g
  • Cotton Muslin- 65g
  • Tussar Silk- 22g
  • Indonesian Silk- 45g
  • Silk Viscose- 130g

Scouring

This is the second step. Here we remove dirt and any substances that might still be inside the fabric. We divided the fibres into two groups so we could clean them separately.

The first group consists of more sensitive fibres like wool and silk (cellulose fibres).

The second group includes less sensitive fibres such as cotton, linen and rayon (Protein fibres).

  • The sensitive fibres were cleaned with neutral soap in room-temperature water, very gently.

  • The less sensitive fibres were cleaned using soda ash and neutral soap at a high temperature (around 90°C, but not boiling) for about one hour.

Tanin

For cellulose fibres we made a tannin bath with 7% WOF Oak Gall Powder. On the internet you can find information that tannin can be anywhere from 10–15% WOF, but we decided to use 7% because we are working with natural dyes, and most of them already contain tannins (some more, some less).

We mixed the oak gall powder with hot water in a container and let it sit for around half an hour. When our fibres were ready, we took them out, squeezed them gently, and placed them into clean room-temperature water. Then we added the tannin solution, slowly heated it up to 50°C, turned off the heat, and left the fibres in this bath overnight.

Photo by Mariam Baghdasaryan.

Mordant

For mordanting we used Aluminum Acetate for cellulose fibres and Alum for protein fibres. We added 8% WOF, dissolved it in hot water, then added room-temperature water and finally placed the fibres inside.

Important: we needed to stir and poke the fibres every 10–15 minutes, because it is very important that the mordant distributes evenly. The fibres should not touch the bottom or the sides of the pot — they must float and move freely. We slowly heated the bath up to 60°C, kept it at that temperature for around 2 hours, then turned off the heat and left the fibres in the pot overnight.

Only after all these steps the fabrics were fully ready for dyeing.

Dye Bath

We made five types of natural dyeing materials that are Armenian and seasonal.

The colors on the background correspond to the color obtained from these products.

Ingridients

  • 150 g walnut hulls
  • 200 g pomegranate peel
  • 40 g red onion skin
  • 120 g madder root
  • 42 g marigold flower

Put all the ingredients in separate pots with water and start heating. The temperature must be around 60°C, and we keep them for 2 hours in this temperature (we couldn’t keep it stable because of technical problems, but if everything is done right, the color will be more saturated). Be most careful with Madder roots.

Because we wanted a deeper color, we used 150–200% of natural dyes from WOF. The more common amount is 100%.

Protein fibres take the color intensively and become brighter. Unlike them, cellulose and rayon get lighter and softer color tones. Thanks to this, each fabric becomes completely different and unique.

Process of Dying

Result

We took the dyed fabrics out of the dye bath and hung them on a rope. It is very important to hang them in a non-sunny place, in the shade, so that the sun does not eat the color and the fabric keeps its tone.

This list of photographs is based on Svetlana Khachatryan's photos.

Experiments

Photo by Mariam Baghdasaryan.

We made some experiments with chalk and iron powder. We dissolved these two components in water separately and soaked the fabrics in each liquid for a few seconds. After that, they changed their colors — with iron powder the fabrics became darker and more brown shades, and with chalk they turned lighter and more rosy tones.

Results Of All Shades

In Mariam Khachatryan’s page you can see the full table of all colors and shades.

NATURAL INK

We needed to create the pigment and choose between our colors. It wasn’t a hard choice, because every one of us really liked the marigold dye.

Recipe:

  • 400 ml marigold dye
  • 5–10 g Alum
  • 5–10 g Soda Ash

First we poured the marigold dye into a separate container (the liquid was still warm, so we didn’t need to heat it again). We added the alum and started mixing it. After it settled a bit, we added the soda ash. A reaction started immediately. We mixed it again and checked the pH level.

pH checking::

With a coffee filter we strained the liquid and waited until the liquid part slowly drained through. We repeated this process again and again until everything was fully filtered. It took almost a full day. What stayed on the filter is our pigment. We left it to dry — and after that, you can already use it.

It is great, I really fell in love with this pigment, and I guess I will try to make it again.

The result: