Read Ebook: A Book on Vegetable Dyes by Mairet Ethel

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Dyeing has almost ceased to exist as a traditional art. In this 20th century the importance of colour in our lives seems to be realized less and less. It has been forgotten that strong and beautiful colour, such as used to abound in all every day things, is an essential to the full joy of life. A sort of fear or nervousness of bright colour is one of the features of our age, it is especially evident in the things we wear.

There is unfortunately good reason for it. We fear bright colour because our modern colours are bad, and they are bad because the tradition of dyeing has been broken. The chemist has invaded the domain of the dyer, driven him out and taken over his business, with the result that ugly colour has become the rule for the first time in the history of mankind. It is not that chemists never produce beautiful colour. Dyeing as a chemical science has not been studied for the last 50 years without producing good results. But there is this great difference between the chemical commercial dyes and the traditional dyes--that with the commercial dyes it is very easy to produce ugly colours, the beautiful colour is rare; but with traditional dyes it is difficult to make an ugly colour, and good colour is the rule.

It was in 1856 that mauve was produced from coal tar by an English chemist, and this began a new era in dyeing. The discovery was developed in Germany, and the result was the creation of a science of chemical colouring.

The advantages of the new colours were ease and simplicity of use, general reliability with regard to strength and composition, and certainty in reproducing the same colour again without trouble. With regard to fastness, to light and to washing there is practically little difference between the two. It is more the method by which they are dyed and not the dye itself that determines their fastness. The natural dyes are more trouble and take longer time to prepare. Chemical colours can be dyed now as fast as the natural colours, although at first this could not be done. Some of the chemical colours as well as the natural, are not fast to light and washing, and ought never to be used; but there are natural colours, such as madder, some of the lichens, catechu etc., which are as fast as any chemical dye, if not more so. BUT there is this general difference between the results of the two methods,--that when a chemical colour fades it becomes a different colour and generally a bad one: when a natural colour fades, it becomes a lighter tone of the same colour.

Since the middle of the 19th century our colour sense has been getting rude shocks. At first came the hideous aniline colours, crude and ugly, and people said, "How wonderful, are they really made out of coal!" They were told to like them and they did, and admired the chemists who made them. Then came more discoveries, and colour began to go to the opposite extreme, and the fashion was muddy indeterminate colours--'art' colours as they were called, just as remote from pure good colouring in one direction as the early aniline colours were in the other. We are now emerging from the mud colours, as I would call them, to the period of the brilliant colouring of the Futurist. Here we have scientific colouring used with real skill. The Futurist has perhaps indicated a possible way in which chemical colours may be used by the artist and is teaching people the value of simple combinations of brilliant colour.

And yet do they satisfy the artist? Are they as beautiful as the colours in a Persian Khelim? Is there a blue in the world as fine as the blue in a Bokhara rug, or a red to touch the red of a Persian brocade or Indian silk?--the new fresh colours as they come out of the dyer's vat, not as they are after years of wear and tear, though that is beautiful enough. And yet they are not more beautiful than the colours once made by dyers in England. They are as brilliant as the chemical colours, but they are not hard and unsympathetic and correct. They are alive and varied, holding the light as no chemical colour can hold it; and they are beautiful from their birth to their old age, when they mellow, one with the other, into a blend of richness that has never yet been got by the chemical dyer and never will be.

Perhaps it is the scientific method that kills the imagination. Dealing with exactly known quantities, and striving for precise uniformity, the chemist has no use for the accidents and irregularities which the artist's imagination seizes and which the traditional worker well knew how to use.

William Morris says that "all degradation of art veils itself in the semblance of an intellectual advance," and nothing is truer than this with regard to the art of dyeing. As a tradition it is practically dead in Britain, and is threatened with gradual extinction all over the world. It will not recover itself as an art till individual artists set themselves to make beautiful colours again, and ignore the colour made for them by commerce and the chemists.

The way to beauty is not by the broad and easy road; it is along difficult and adventurous paths. Every piece of craft work should be an adventure. It cannot be an adventure if commerce steps in and says "I will dye all your yarn for you; you will always then be able to match your colour again; there need be no variation; every skein shall be as all the others; you can order so many pounds of such a number and you can get it by return of post; and you can have six or seven hundred shades to choose from." It is all so easy, so temptingly easy,--but how DULL! the deadly yards of stuff all so even and so exactly dyed; so perfect that the commerce-ridden person says, "this is almost as good as the stuff you can buy in a shop, it is as perfect as machine made stuff."

What would have been the use of all this to the great colourists of the world, the ancient Egyptians, the medi??val Italians or the great Oriental dyers? They could not get six hundred shades to order; six was more like their range, they did not need more, and in those they could not command precise uniformity. They knew that the slight variations caused by natural human methods add to the beauty and interest of a thing, and that a few good colours are worth any number of indifferent ones.

It may be objected that life is not long enough; but the handicrafts are out to create more life, not out to produce quantity nor to save time.

The aim of commerce is material gain; the aim of the crafts is to make life, and no trouble must be spared to reach that end. It must always be before the craft worker. Dyeing is an art; the moment science dominates it, it is an art no longer, and the craftsman must go back to the time before science touched it, and begin all over again.

The tradition is nearly lost in England.

It lingers in a few places in Scotland and Ireland. In Norway, Russia, Central Asia, India and other places where science has not entered too much into the life of the people, it is still practiced. Is dyeing as a tradition to be doomed, as traditional weaving was doomed? Yes, unless it be consciously studied again and remade into an art.

This book is intended for the use of craftsmen and others who are trying to dye their materials by hand and on a small scale. Information and recipes, useful to such workers, are to be found in books and pamphlets dating onwards from the 17th century, and in this book I have drawn largely upon these sources of dyeing knowledge, as well as upon the traditions still followed by present workers, and upon the experience of my own work.

All dyeing recipes, however, should guide rather than rule the worker; they are better applied with imagination and experience than with the slavishness of minute imitation. Every dyer should keep a record of his experiments, for this will become invaluable as it grows, and as one thing is learnt from another. The ideal way of working is not by a too rigid accuracy nor by loose guess-work, but by the way which practice has proved best: nevertheless, some of the greatest dyers have done their work by rule-of-thumb methods just as others have certainly worked with systematic exactness.

The dyer, like any other artist, is free to find his own methods, subject to the requirements of good and permanent craftsmanship, provided that he achieves the effects at which he aims. But it is supremely important that he should aim at the right effects; or, rather, at the use of the right materials, for if these are right the effects may safely be left to take care of themselves. In order to develop the taste and temperament of a good colourist, it is necessary to use good colour and to live with good colour. In this book I attempt to show where good colour can be obtained. But one may begin to live with good colour which has been found by others.

This part of the dyer's education is not prohibitively costly, even in these days of inferior colour. Indian and Persian embroideries are still to be obtained, though care must be taken in their selection, as most modern pieces are dyed with chemical dyes and are very ugly. Persian Khelim rugs are cheap and often of the most beautiful colours. Russian embroideries and woven stuffs, both old and new, are obtainable, and are good in colour, as are most of the embroideries and weavings of Eastern Europe and the East. What are popularly known as "coffee towels" are often embroidered in the finest coloured silks. Bokhara rugs and embroideries are still to be purchased, and many of the weavings of the far East, although, alas, very few of the modern ones are of good colour. I would say to dyers, do not be satisfied with seeing beautiful coloured stuffs in museums. It is possible still to get them, and to live with a piece of good colour is of much more use than occasional hours spent in museums.

WOOL SILK COTTON LINEN

Various kinds of wool. Wool from goats. Fleeces. Wool dyeing. Scouring of wool. Silk, preparation for dyeing. Cotton, cleansing and galling of. Indian methods of preparing cotton and linen for dyeing. BANCROFT on the preparing of cotton and linen for dyeing. Linen. On water for dyeing.

ON WOOL.--The quality of wool varies considerably. British wools are of various kinds:--

The colour of wool varies from white to a very dark brown black, with all shades of fawn, grey and brown in between. The natural colours are not absolutely fast to light but tend to bleach slightly with the sun.

ON WOOL DYEING.--There are four principal methods of dyeing wool.

A separate bath can be used for each of these processes, in which case each bath can be replenished and used again for a fresh lot of wool.

Wool can be dyed either in the fleece, in the yarn or in the woven cloth. Raw wool always contains a certain amount of natural grease. This should not be washed out until it is ready for dyeing, as the grease keeps the moth out to a considerable extent. Hand spun wool is always spun in the oil to facilitate spinning. All grease and oil must be scoured out before dyeing is begun, and this must be done very thoroughly or the wool will take the colour unevenly.

The principal detergent known from earliest times is stale urine. In the Highlands this is used in the proportion of 1 part to 5 of water. It is the best scouring agent and leaves the wool soft and elastic. Carbonate of soda is also used. But a good pure soap is the most convenient scouring agent. A suds should be made with hot water, and the wool, which has been soaked in warm water previously, should be well squeezed and worked in the suds till all the grease is removed. This should be done two or three times if needed, and then the wool rinsed out thoroughly in clean water. Soda is apt to make the wool harsh and should be avoided. A little Ammonia added to the washing water helps.

To prevent yarn felting when it is scoured, it should be first steeped in hot water and left to cool. Soft soap is best for long fine wool. Urine for short wools; or urine and soda ash.

Raw silk is that directly taken from the cocoons. Waste silk is the silk from cocoons that are damaged in some way so that they cannot be reeled off direct. They are therefore carded and spun, like wool or cotton.

Silk in the raw state is covered with a silk gum which must be boiled off before dyeing is begun. It is tied up in canvas bags and boiled up in a strong solution of soap for three or four hours until all the gum is boiled off. If it is yellow gum, the silk is wrought first in a solution of soft soap at a temperature just below boiling point for about an hour, then put into bags and boiled. After boiling, the soap is well washed out.

Generally speaking, the affinity of silk for dyes is similar but weaker in character to that of wool. The general method for dyeing is the same as for wool, except that in most cases lower temperatures are used in the mordanting. In some cases, soaking in a cold concentrated solution of the mordant is sufficient. The dyeing of some colours is also at a low temperature.

ON COTTON.--Cotton is the down surrounding the seeds in pods of certain shrubs and trees growing in tropical and semi-tropical countries. It was first introduced into Europe by the Saracens and was manufactured into cloth in Spain in the early 13th century. Cotton cloth was made in England in the early 17th century. The colour of cotton varies from deep yellow to white. The fibre differs in length, the long stapled being the most valued. Cotton is difficult to dye and requires a special preparation. It is first boiled with water till thoroughly softened and wetted. Then alumed in the proportion of 1 of alum to 4 of the cotton . It is then galled. The galling is done with different proportions of gall-nuts and other astringents according to the quality of the astringents and the effect wished to be obtained. If gall-nuts are used they are bruised, then boiled for about two hours in a quantity of water. The bath is then allowed to cool till the hand can bear it. The cotton is worked well in this solution and then left for 24 hours. After which it is wrung out and dried.

Cotton is sometimes boiled in sour water in order to cleanse it: sometimes an alkaline ley is used: the cotton must be boiled in it for 2 hours, then wrung out and rinsed in clean water and dried. Cotton dyeing has been carried on for centuries in the East. In India "before a cloth is ready to be dyed with a fast colour, it has generally to undergo a preliminary process of preparation more or less elaborate, the different stages of which may be recited as washing, bleaching, dunging, galling, aluming, or mordanting, and again washing." It is washed first of all to remove all impurities, whether those naturally belonging to the fibre or those purposely introduced during the processes of spinning and weaving. The bleaching removes grease, etc. This is done in India by the sun, air and moisture. The dunging process consists of passing the cotton through a hot solution of cow dung, which renders the dye fast. This is sometimes replaced by substitutes, such as the phosphates of soda and lime, silicates of soda, etc. The next operation of galling is an important step in the Indian process of dyeing. It is applied to cotton, linen and silk. Vegetable infusions containing tannin are applied to the cloth. Those mostly used are myrobalams, pomegranate rind, tamarisk galls, and pistachio galls. The cloth is then alumed, washed, and is then ready to be dyed.

A few of the natural dye stuffs are capable of dyeing cotton direct, without a mordant, such as Turmeric, Barberry bark, safflower, annatto. For other dyes cotton has a special attraction, such as catechu, fustic, logwood.

ON LINEN.--Linen is flax, derived from the decomposed stalks of a plant of the genus of Linum. It grows chiefly in Russia, Belgium, France, Holland, and Ireland. The plants after being gathered are subjected to a process called "retting", which separates the fibre from the decaying part of the plant. In Ireland and Russia this is usually done in stagnant water, producing a dark coloured flax. In Belgium, Holland and France, retting is carried out in running water, and the resulting flax is a lighter colour. Linen is more difficult to dye than cotton, probably on account of the hard nature of the fibre. The same processes are used for dyeing linen as for cotton.

"Linen thread is dyed in the same manner as cotton, only, that previous to its being purged like cotton thread, it is usual to boil it in water, adding for every pound of thread a quarter pound of chopped sorrel. Oil of vitriol is, however, more convenient and better than sorrel."--D'Apligny.

ON WATER.--A constant supply of clean soft water is a necessity for the dyer. Rain water should be collected as much as possible, as this is the best water to use. The dye house should be by a river or stream, so that the dyer can wash with a continuous supply. Spring and well water is as a rule hard, and should be avoided. In washing, as well as in dyeing, hard water is altogether injurious for wool. It ruins the brilliancy of colour, and prevents the dyeing of some colours. Temporary hardness can be overcome by boiling the water before using. An old method of purifying water, which is still used by some silk and wool scourers, is to boil the water with a little soap, skimming off the surface as it boils. In many cases it is sufficient to add a little acetic acid to the water.

FOOTNOTE:

From a dye book of 1705.

MORDANTS

Definition of mordant. The principal mordants. The mordanting of silk and wool. Of linen and cotton. Astringents for cotton. Alum. Various examples of using alum for wool, silk, cotton and linen. Iron. Examples of iron mordants. Tin. Examples of tin mordants. Chrome. Examples of chrome mordants. Copper. Examples of copper mordants. General observations. Tannin and the galling of cotton and linen. Examples of various galling processes.

There are thus two processes concerned with the dyeing of most colours; the first is mordanting and the second is the colouring or actual dyeing. The mordanting prepares the stuff to receive the dye-- The early French dyers thought that a mordant had the effect of opening the pores of the fibres, so that the dye could more easily enter; but according to Hummel and later dyers the action of the mordant is purely chemical; and he gives a definition of a mordant as "that body, whatever it may be, which is fixed on the fibre in combination with any given colouring matter." The mordant is first precipitated on to the fibre and combines with the colouring matter in the subsequent dye bath. But, whether the action is chemical or merely physical, the fact remains that all adjective dyes need this preparation of the fibre before they will fix themselves on it. The use of a mordant, though not a necessity, is sometimes an advantage when using substantive dyes.

In early days the leaves and roots of certain plants were used. This is the case even now in India and other parts where primitive dyeing methods are still carried on. Alum has been known for centuries in Europe. Iron and tin filings have also been used. Alum and copperas have been known in the Highlands for long ages. Stale urine is also much used in Scotland and Ireland, but perhaps more as a clearing agent than as an actual mordant.

Silk and wool require very much the same preparation except that in the case of silk high temperatures should be avoided. Wool is generally boiled in a weak solution of whatever mordant is used. With silk, as a rule, it is better to use a cold solution, or a solution at a temperature below boiling point. Cotton and linen are more difficult to dye than wool or silk. Their fibre is not so porous and will not hold the dye stuff without a more complicated preparation. The usual method of preparing linen or cotton is to boil it first with some astringent. The use of astringents in dyeing depends upon the tannic acid they contain. In combination with ordinary mordants, tannic acid aids the attraction of the colouring matter to the fibre and adds brilliancy to the colours. The astringents mostly used are tannic acid, gall nuts, sumach and myrobalams. Cotton has a natural attraction for tannic acid, so that when once steeped in its solution it is not easily removed by washing.

ALUM. --This is the most generally used of all the mordants, and has been known as such from early times in many parts of the world. For most colours a certain proportion of cream of tartar should be added to the alum bath as it helps to brighten the ultimate colour. The usual amount of alum used is a quarter of a pound to every pound of wool. As a rule, less mordant is needed for light colours than for dark. An excess of alum is apt to make the wool sticky.

"For dyeing worsted and stuffs yellow, you make use of the usual preparation, viz., of tartar and alum. You allow four ounces of alum to every pound of wool, or twenty-five pounds to every hundred. With regard to the tartar, one ounce to every pound is sufficient for yellow, though it requires two for red."--Hellot.

The usual length of time for boiling with alum is from ? 1/2 an hour to 1 hour; but some dyers give as much as 2? 1/2 hours.

IRON.

Iron is one of the oldest mordants known and is largely used in wool and cotton dyeing. It is almost as important as alum. With wool it should be used in combination with cream of tartar. The temperature of the mordanting bath must be raised very gradually to boiling point or the wool will dye unevenly. A general method of dealing with copperas is to boil the wool first in a decoction of the colouring matter and then add the mordant to the same bath in a proportion of 5 to 8 per cent. of the weight of wool: and continue boiling for half an hour or so longer. With some dyes a separate bath is needed, such as with Camwood or Catechu. If used for cotton, the cotton is first dyed in a boiling decoction of the dye stuff and then passed through a cold solution of ferrous sulphate. Probably the commonest way of applying copperas in cotton dyeing is to prepare the cotton with tannin, pass through clear lime water and then through a copperas solution. Great care is needed in the using of copperas, as, unless it is thoroughly dissolved and mixed with the water before the wool is entered, it is apt to stain the wool. It also hardens wool if used in excess, or if boiled too long.

Copperas is mostly used for the fixing of wool colours to produce brown shades by the "stuffing and saddening" method , the wool being boiled first in a decoction of the dye for about an hour, and then for ? 1/2 an hour with the addition of 5 to 8 per cent. of copperas. If used for darkening colours, copperas is added to the bath, after the dyeing, and the boiling continued for 15 to 20 minutes.

TIN.--

CHROME.

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