My fascination with natural pigments started in an experimental class I took for my undergraduate degree in studio art. Professor Gonchoroff gave us demos of different textile techniques and a demonstration of using natural materials to dye cotton and wool. This sparked my exploration of my surroundings and experimenting with natural and non-natural materials to research what result I would receive in using them as pigment to dye wool.
For my initial project, I used the wet felting method on 100% natural wool as opposed to needle felting and making hand-spanned yarn By using wet-felting to create sheets of fabric made out of natural wool, I connected my background experience in textiles that I had learned through my mother and my interest in making quilts through crocheting. The initial project was in the exploration of what pigments I could achieve from materials in my surroundings, without expanding too much into the use of different mordants.
Wet Felting Process
Materials
100% natural wool
Dawn soap
Hot water
Grip shelf liners
Plastic surface
Drum carder
Pet brush
Ladle
Technique
Washing the Wool:
Begin by washing the natural wool with water and a small amount of Dawn soap to remove any grime and dirt from the fibers.
Rinse thoroughly and let the wool dry completely on a rack.
Carding the Wool:
Once the wool is dry, pass it through a drum carder to align the fibers and remove any remaining grime or tangles. A pet brush can be used for small amounts or to touch up the wool.
Preparing the Workspace:
Boil water in a pot, and prepare a work surface covered with a plastic sheet.
Cut the cleaned and carded wool into small pieces.
Layering the Wool:
Lay out a grip shelf liner on the plastic surface.
Place pieces of wool on the liner, laying them in one direction to form a thin, even square layer.
Add a second layer of wool, with fibers placed in the opposite direction, creating a crisscross pattern.
Repeat with 3–4 layers, alternating directions each time for strength and uniformity.
Adding Water and Soap:
In the hot water, add a small amount of Dawn soap.
Using a ladle, pour a small amount of the hot, soapy water over the layered wool, ensuring it’s dampened but not saturated.
Rolling the Wool:
Roll the shelf liner tightly with the wool layers inside.
Place the roll on a table surface and roll it back and forth with firm pressure 20 times.
Unroll, flip the wool square, re-roll in the shelf liner, and repeat the rolling process 20 more times.
Finalizing the Fabric:
Continue flipping and rolling until the wool fibers begin to felt together into a cohesive piece of fabric.
Once felted, rinse the fabric in cool water to remove any soap and let it dry completely.
Creating Natural Dyes:
Step-by-Step Instructions for Wool
Natural dyeing is a rewarding process where botanical ingredients are used to create earthy, vibrant colors on natural fibers. Below is a guide covering everything you need, from preparing the fabric to finishing the dye.
Materials Needed
Fibers: Cotton, wool
Dye Materials: Botanical ingredients (listed below for color options).
Mordants: Alum (potassium aluminum sulfate) is the most commonly used for setting colors. Vinegar or salt can work with certain fabrics and dyes.
Dyeing Pot: Stainless steel or glass, designated for dyeing only to avoid contamination with other cooking equipment.
Spoons, Tongs, and Gloves: To handle dye and fabric without staining your hands and tools.
Water
Materials used for this project:
Natural Dye Materials
Red rose
Turmeric
Blackberry
Ketchup packets
Blue cape plumbago
Mesquite pod
Classic medium roast coffee
Knorr de res (beef bouillon)
Yellow onion skins
Plumberry
Chalk
Chile ancho
Pozole
Chile guajillo
Pink Crayola
Blue markers
Oregano & salt
Red serrano pepper
Brown paper & glue
Carrots, apple cider vinegar & salt
SpaghettiOs
Prickly red pear
Hibiscus flowers
Sour orange & ferrous sulfate
Beets
Step 1: Preparing the Fabric
Before dyeing, the fabric needs preparation to ensure good color absorption and lasting results.
Mordanting (for colorfastness and brightness):
Alum Mordant:
Dissolve alum in hot water at a ratio of 1-2 teaspoons per liter for wool or 5-8% of the fabric's weight for cotton. Alum helps set the dye for both wool and cotton.
Soak your fabric in this alum solution for at least an hour to allow the fibers to absorb the mordant.
Rinse the fabric thoroughly after mordanting and gently wring out the excess water.
Pre-wash Fibers:
Clean the fibers with a gentle soap or a small amount of soda ash to remove any oils, waxes, or dirt that could prevent the dye from adhering properly. Rinse well before proceeding to the dye bath.
Step 2: Extracting the Dye
Chop and Simmer Plant Material:
Place the chopped dye material in your pot and cover it with water.
Bring the water to a gentle simmer (avoid boiling) and let it cook for 30-60 minutes. This allows the color to be fully released from the plants.
Strain the dye liquid to remove any plant matter, leaving only the dyed water. The more plant material you use relative to water, the richer the resulting color will be.
Step 3: Dyeing Process
Prepare Dye Bath: Add your pre-mordanted fabric to the dye bath, ensuring the fabric is completely submerged.
Simmer the Fabric: Keep the dye bath on low heat, allowing it to simmer gently for 30-60 minutes. Stir occasionally to promote even coloring. The longer you let the fabric soak, the more intense the color will become.
Cooling and Rinsing: Once the dye bath has cooled down with the fabric still inside, remove the fabric and rinse it in cold water until the water runs clear. This step removes any excess dye, ensuring the color stays more vibrant over time.
Step 4: Finishing the Fabric
Drying: Hang the dyed fabric in a shaded area, as direct sunlight may fade the colors. Allow the fabric to dry thoroughly before use.
Tips for Experimentation
Exploring Color Variations:
Different types of plant materials can yield various shades, and combining materials (like onion skins with black tea) can create unique hues.
Vary the amount of dye material and the fabric’s soak time to adjust the color intensity.
Adding Iron for Altered Tones:
For shades of gray and black, add a small amount of iron to the dye bath. You can create iron water by soaking nails in vinegar, and then adding a small amount to your dye bath.
Adjusting pH Levels:
Baking soda can be added to the dye bath to shift pH, which can alter the final color slightly. For example, certain plant dyes may turn darker or take on different tones with a slight pH change.
Due to this experiment, I was able to submit a proposal to the Engaged Scholar and Artist Awards provided by the University of Texas Rio Grande Valley. For my proposal, I collaborated with two of my friends from the same class, Clarrissa Sifuentes and Jacob Reyna. We were awarded this scholarship grant to purchase materials and receive wages during the summer. This funding allowed us to explore natural dyes further and expand the time we could spend in the studio during the Summer of 2024.
We started our project by exploring our own homes, parks, and areas that we would frequent often. as a team and individually we explored and admired the environment around us.
After we gathered materials we separated, cut, and stored materials in different containers.
these containers were labeled and stored in the fridge and a cabinet depending on the material.
while Clarry and I were separating materials, Jacob was taking apart wood pallets for frames to display results from the experiments.
Once we finished separating the materials, we began making dye from them and stored the resulting liquid in the freezer for safekeeping, preventing mold growth. We stored the dye in plastic containers with lids and in Ziploc bags, labeling each with its contents to avoid mixing the results and to prevent confusion during the dyeing process.
Our wool had just arrived when I had to go study abroad and during this time Clarry was wet felting the natural wool we received. we made squares that were 11in X11in and when I returned it was my turn to make all squares 10x 10 in to leave enough materials for the samples and the squares big enough for the quilt blanket.
After cutting the wool squares, we labeled them to separate them by the mordants we would be using for this project:
Mordants:
No mordant
Alum
Acorns
Baking soda & vinegar
Copper & vinegar
Following the advice provided by our mentor, Professor Gonchoroff, we were able to mordant 25 squares for each mordant. This approach allowed us to use 5 mordant squares in one dye bath once they were dry from the mordant bath.
By taking this route, we experienced less trouble and wasted less time compared to making one mordant square in a dye bath at a time. This method enabled us to observe the reactions that different mordants had with the dye.
While Clarry and I were working on a mordant portion of the project Jcob putting together the frames and making some paper.
Clarry and I began using the dye on the wool. Once we had dyed all the wool, Jacob and Clarry cut portions for our test pieces for the frames while I was sewing together the quilt.
For the final installation, we decided to use one wall to display all the frames with the sample pieces and information on the mordants and materials used for those squares. On the opposite wall, we hung the quilt. This display was made public in the Virtual Arts building at UTRGV.
We used this flyer for this project and we added a Qr code to a PowerPoint that would allow the viewers to get a glimpse of the work and steps taken to complete this project.
Results of exhibition
Comments