4. BioChromes

Research

This week’s assignment made me wish I were attending Fabricademy in person rather than remotely. Cecilia’s lecture this week inspired me to explore natural dyes in every possible form—how to extract them, dye fabrics, and transform leftover dye baths into pigments. There’s only so much I can do within the given time, but my goal was to create something both practical and personal from these pigments. I decided to make pastel sticks that I can use in everyday life.

Understanding Biochromes Sources

From Cecilia’s lecture, I learned that natural colors can come from five main sources: animal, bacterial, botanical, fungal, and mineral. For this assignment, I focused on botanical sources—using plants and food waste collected from local restaurants. After doing a bit of research on each ingredient, I found that they all have different properties, so I adjusted my experiments accordingly.

Summary of pigment sources and material behavior for BioChromes Week — comparing stability and shelf life of local natural dye ingredients.

Understanding the Different Types of Fibers

1. Natural Fibers

   Natural fibers come from living organisms and are generally easier to dye than synthetics. They are divided into two main groups:

   1.1 Animal Fibers

   Made mostly of protein, these fibers absorb both acids and alkalis easily, creating strong bonds with mordants and resulting in rich, deep colors. Examples: Wool, Silk, Angora, Mohair, Alpaca, Camel.

   1.2 Plant Fibers

   Made of cellulose, they don’t bond as strongly with mordants on their own and often need tannins to help the dye adhere. Examples: Cotton, Linen, Hemp, Jute.

2. Synthetic Fibers

   Synthetic fibers are chemically produced, often from man-made cellulose or petroleum-based materials. When they are semi-synthetic (like rayon or viscose), they behave somewhat like plant fibers in dyeing, but fully synthetic fibers (like polyester or nylon) are usually hard to dye with natural colors unless specially treated.

Understanding Fabric Preperation

Proper fabric prep helps dyes bond better and stay longer. This week, I focused on cotton, which needs extra care to absorb color well.

1. Scouring – Cleans the fabric by boiling it in hot water with sodium carbonate to remove oils and waxes.

2. Mordant – A metal salt (like alum) that helps dye stick to the fiber more permanently.

3. Tannin – A natural agent (from tea, pomegranate, or avocado) that strengthens the mordant’s bond on plant fibers like cotton.

4. Modifier – Used after dyeing to shift color tones or improve fastness (e.g., vinegar, baking soda, iron).

References & Inspiration

In terms of process, documentation, and experimentation, I drew inspiration from Fabricademy alumni Margret Guttormsdottir and Louise Massacrier.

For color and material inspiration, I looked at Sand Suwanya, a Thai colorist who turns natural materials into oil sticks, crayons, and pigments. I love how her work connects nature, craft, and everyday creativity.

Process & Workflow

1. Making the Dye Bath

Since my fabric hadn’t arrived yet, I used the time to prepare the dye baths in advance and stored them for use a few days later.

Tools

- Stainless steel pot
- Measuring scale or spoon set
- Glass jars or containers (for storing dye baths)
- Fine strainer or coffee filter
- Wooden or metal spoon for stirring
- Stove or hot plate

Process and Result

Process and result of natural dye extraction from local materials. Each sample shows the corresponding color outcome after heating or soaking at 70–90 °C.

2. Preparing Fabric

Tools - Cotton Fabric - Stainless steel pot - Measuring scale or spoon set - Wooden or metal spoon for stirring - Stove

Process 2.1 Scouring Fabric (Cleaning the fabric)

Ingredient	% of WOF	Example for 100 g Cotton
Soda ash (sodium carbonate) or mild detergent	2–3 %	2–3 g
Water	20× WOF	2 L

2.1.1 Fill your pot with 2 L of water for every 100 g fabric.

2.1.2 Dissolve 2–3 g soda ash (or 1 tsp eco detergent).

2.1.3 Add fabric, bring to a gentle boil (~90 °C).

2.1.4 Simmer 45–60 min, stirring occasionally.

2.1.5 Rinse thoroughly until water runs clear.

2.1.6 Leave slightly damp before mordanting.

2.2 Mordanting Fabric (Making the dye stick better to the fabric)

Ingredient	% of WOF	Example for 100 g Cotton
Alum (potassium aluminum sulfate)	15 %	15 g
Cream of tartar (optional)	5 %	5 g
Water	10× WOF	1 L

2.1.1 Fill your pot with 2 L of water for every 100 g fabric.

2.1.2 Dissolve 2–3 g soda ash (or 1 tsp eco detergent).

2.1.3 Add fabric, bring to a gentle boil (~90 °C).

2.1.4 Simmer 45–60 min, stirring occasionally.

2.1.5 Rinse thoroughly until water runs clear.

2.1.6 Leave slightly damp before mordanting.

3. Dyeing Fabric

Tools

- Dye baths
- Stainless steel pot
- Measuring scale or spoon set
- Wooden or metal spoon for stirring
- Stove or hot plate

Process

Goal

To transfer pigment from the dye bath onto the mordanted fabric.

Steps

1. Reheat the stored dye bath to a gentle simmer (~80 °C) for about 10 minutes to reactivate the color.

2. Strain again if any plant particles remain.

3. Wet the fabric thoroughly before submerging.

4. Add the fabric to the dye bath and simmer for about 60 minutes at ~80 °C. (I simmered for only 30 minutes due to time constraints.)

5. Stir gently every 5–10 minutes to ensure even color absorption.

6. Allow the fabric to cool in the dye bath overnight for a deeper tone. (I skipped this step and rinsed immediately after simmering.)

7. Remove the fabric, rinse until the water runs clear, and dry in the shade (avoid direct sunlight for 24 hours).

Result

Color variation of natural dye samples before and after wash and dry

Using Modifiers (Adjusting color) Tools - Vinegar - Baking Soda - Water - Petri Dishes

Steps 1. Prepare small dye samples from each dye bath in separate Petri dishes.
2. Add a few drops of vinegar to one sample (acid modifier).
3. Dissolve a small pinch of baking soda in a bit of water, then add it drop by drop to another sample (alkaline modifier).
4. Leave one sample unmodified as a control for comparison.
5. Observe the immediate color change, then let sit for 10–15 minutes.
6. Record and photograph the color variations for documentation.

Result

pH Modifier Test on Hibiscus and Butterfly Pea Dyes

3. Making Pigment from Leftover Dye Bath

Ingredient	Ratio	Function	Example for 200 mL Dye Bath
Dye bath	—	Source of color	200 mL
Alum (potassium aluminum sulfate)	10 g per 100 mL dye bath (≈ 10 % w/v)	Forms aluminum–dye complex (pigment)	20 g
Sodium carbonate (washing soda)	2.5 g per 100 mL dye bath (≈ 2.5 % w/v)	Raises pH to precipitate pigment	5 g
Water (for dissolving chemicals)	As needed	Medium for dissolving alum and soda	~50–100 mL (split between two cups)

Step and Result

Pigment extraction and crystallization results from natural dye sources

4. Making Pastel Sticks from Pigment

Ingredient	Ratio	Function	Notes
Pigment powder	Base (main component)	Provides color	Use fully dried and finely ground lake pigment
Kaolin clay (white clay)	1 part per 1 part pigment	Acts as filler and binder	Softens texture and improves blending
Gum arabic solution	Few drops (as needed)	Natural binder	Dissolve gum arabic in warm water before mixing
Glycerin or honey (optional)	Few drops	Adds softness and prevents cracking	Use sparingly; too much causes stickiness
Water	As needed	Helps mix and shape	Add gradually until paste is moldable

Note:
Gum arabic was not used in this version. The pigment had a paste-like consistency rather than a dry powder, resulting in a softer, pliable pastel texture once mixed with kaolin and glycerin.

Step and Result