When it comes to natural dyes, it is sometimes hard to get a bright and strong red colour. The main sources for a range of reds are madder root and cochineal. I had this jar of cochineal sitting in my studio for about two years with the intention to use it one day. That day has eventually come.

Cochineal is a beetle which lives on cacti in Middle and South America. Only the female body (!) gives the dye when it is dried out and pulverized.  The substance is called carmine and can also be found in food and cosmetic industry. In the past centuries cochineal was a main dye source for red dyes, today its often used by artists and artisans in their work, who are helping to keep this traditional knowledge alive.

dried cochineal beetles

in pulverized form

For my dyeing session I prepared a couple of silk and wool fabrics, using the itajime shibori technique (clamps).

the dye pot

Here are some images of the finished pieces, the colours raspberry like on the wool, a bit more pink on silk.

I wonder why I haven’t used this amazing dye source before, I am pretty sure this source will be one of my favorites in the future.

These are two new workshops I am happy to offer in my studio, lots of learning, lots of fun!

I was always a bit nervous with indigo and had a few failures, trying to make a working vat. Discouraging every time. Not this time. I just gave it another go, using Michel Garcia’s organic vat, using indigo, lime and fructose crystals. And succeeded! I didn’t want to believe it but it really worked and its magic! How the fabric turns from white to green, teal and eventually to blue. The more often the fabric is dipped into the vat, the darker the blue shades that can be achieved.

I also love the idea that the vat can be used over a period of time, but it needs to be a bit looked after, get fed, stirred and if necessary revived!

I used a couple of shibori techniques (folding, clamping and binding) to achieve simple yet very beautiful patterns.

Dyeing in progress, the teal colour will magically turn into dark blue.

 
This one is made with black walnuts bound into the silk and resisted with rubber bands.

Bound with gum nuts, it event took a bit of the colour!

Over dyeing a silk scarf, rust dyed before.

 
This scarf is eco dyed with eucalyptus leaves, then twice dipped into the vat.

And my new pair of cotton indigo socks. Who said socks are boring x mas presents…?

 

 

 

I often get ask about eco prints. People sometimes think they are made using a screen print technique or the colour comes from synthetic dyes. I have taken this as an opportunity to give you a short overview what eco print is and why I am so passionate about it.

Eco print, also known as leaf print, is a direct contact method to make prints, drawing out pigments from plant material onto fabric (and paper) with the help of moisture and time. Moisture in form of heated water can be used either through steam or in a simmering bath; both allow the cloth to accept the dye. The lengths of time of the contact between plant material and fabric will influence the result as well.

eco print on merino fabric

Natural dyes bond particularly well with any protein fibres (silk, wool) and cellulose fibres (cotton, linen) although bonding of pigments with cellulose fibres are usually less strong and vibrant.

Eco prints can be produced from a vast variety of plant materials such as leaves, flower petals, barks and vegetable skins, the selection is endless. Applied mordents (a fixer which ensures colour and light fastness) will have an impact on the outcomes. A mix of different mordents will change the colour of the print. Other factors such as the season and location of plant collection and the mineral content of the water will help shifting and changing colours.

eucalyptus cinerea

This is what excites me about the process; experimenting with these endless combinations to achieve sophisticated and unique prints, often unexpected. Although using a two dimensional technique, the natural and unevenly colours of the prints turn them into a work with a three dimensional impression.

Living in New Zealand I am particular interested in testing eco prints from native plants of the New Zealand bush preliminary on wool and silks. This includes research about plants used by Maori as food and dye source and in traditional medicine. Gathering this old knowledge also helps to understand the world around me.

eco print with lichen

Learning about the alchemy of plants is another important aspect of eco print, but is secondary for my artistic and serendipitous explorations.

As a textile artist I am trying to find new ways of mark making onto fabrics and sometimes onto paper. My desire is to make unique eco prints is a sustainable approach to use traditional dye plants in a new way, as an art form, revealing the invisible.

eco print with ake ake and kanuka