A GUIDE TO
NATURAL DYEING
February 2010
Contents
A Few Words About Natural Dyeing .....................................................................................3
Dyeing In the Viking Era .......................................................................................................4
Basic Dyeing techniques ......................................................................................................6
Dye Recipes .........................................................................................................................8
Plants to Achieve Dye Colours ...........................................................................................13
Points to consider when gathering dye materials ...............................................................14
Bibliography .......................................................................................................................15
A Few Words About Natural Dyeing
When you begin with this craft, try out anything you think might give you a colour. Most
plants will give some colour – usually a yellow- but there are exciting surprises. You will find
out by trial and error that some plants do not give a fast dye. When you rinse the dyed wool,
a little surplus colour will come away in the rinsing water and after that the colour should be
fast to washing, but if the colour keeps running out as you rinse the dyed wool, the dye
material must have been what is known as a “fugitive dye” and you will know not to use that
again. To test for fastness to light, cover part of your dyed sample and leave part exposed to
sunlight. Label it with the appropriate information as to dye plant used, if the plant was fresh
or dried, where and when the plant was collected, mordant used, date of dyeing etc. From
time to time, check the colour of the exposed part against that which was protected from
direct sunlight. With experience, you gradually become selective and use only those plants
which give you reliable colours and fast dyes. Weld (Reseda luteola), Woad and Madder are
examples of plants which have been proven through the centuries to produce good, fast
dyes. Although dye books will advise you to use plants in their prime, I have obtained good
colour from dead flower heads. Experiment!! Berries, however, will have to be ripe.
Dyeing In the Viking Era
(taken from http://www.cs.vassar.edu/~capriest/vikdyes.html)
Based on chemical analyses of actual wool textiles, the following plants were more or less
certainly used to dye wool textiles of the Viking Age.

Galium boreale (northern bedstraw)

Isatis tinctoria L. (woad)

Juglans regia (English walnut)

Rubia tinctorium L. (madder)

Xanthoria parietina (common yellow wall-lichen, also called shore lichen)

at least one lichen that yields purples, possibly from Ochrolechia tartarea
Based on chemical analyses of actual imported silk textiles, the following dyestuffs were
more or less certainly used to dye imported silk textiles available in the Viking Age.

Kermes vermilio (a red insect dye)

Reseda luteola (weld)

Rubia tinctorium L. (madder)

indigotin from woad or indigo

a lichen purple, possibly from Rocella tinctoris
The following additional plants were most likely used to dye textiles of the Viking Age. Either
they sport appropriate chemical proportions of the colorants listed below, or they have been
found in Viking Age archaeological contexts suggesting use as dyestuffs.

Calluna vulgaris L. (heather)

Diphasium complanatum (also called Lycopodium complanatum, a type of clubmoss
probably used as a mordant due to its aluminum content)

Genista tinctoria L. (broom)

Reseda luteola L. (weld)
The following unidentified colorants were definitely used to dye textiles of the Viking Age.
The following chemical colorants were definitely used to dye textiles of the Viking Age.

Alizarin

Flavone (on silk)

Indigotin

Luteolin

Pseudopurpurin

Purpurin
The following mordants are fairly certain to have been used to dye textiles of the Viking Age.

alum

copper (from bronze dyepots)

iron

tannin (possibly from elm bark, Alnus glutinosa)
Basic Dyeing techniques
Mordanting
All yarn that is to be dyed must be thoroughly washed first, it must then be rinsed and can be
left wet (wetted) ready for mordanting. A mordant is a chemical which allows the colour from
the dyestuff to attach itself to the yarn.
1. In the dyebath, heat 6-8 pints of water to blood heat.
2. Dissolve 1 ounce (25 grammes) Alum (double salts of aluminium such as hydrated
potassium aluminium sulphate) in a small amount of water and then add to the
dyebath.
3. Add the wetted yarn and bring to the boil, taking half an hour.
4. Simmer for one hour.
5. Allow the yarn to cool in the mordant liquor.
6. Yearn can either be used immediately, stored damp for a short while, or dried and
stored for future use.
Mordants: per 4oz (100gm) yarn
MOHAIR
SILK
WOOL
ALUM
COPPER
TIN
IRON
1oz (25g)
1oz (25g)
1oz (25g)
0.25oz (6g)
0.25oz (6g)
0.25oz (6g)
¾ teaspoon 1 teaspoon
¾ teaspoon 1 teaspoon
¾ teaspoon 1 teaspoon
Extracting the Dyestuff
1. In plenty of water, (enough to loosely cover yarnby several extra inches) boil up your
chosen dyestuff.
a. Flowers - boil 20 minutes; strain off the water to make the dyebath.
b. Barks, roots, dyewoods - If the dyestuff is woody, it should be soaked overnight
in soft water (rainwater or hard water with Calgon added). Again, the exception
is madder which should be added to hard water. Boil up the dyestuff in the
water it was soaking in plus a little more, for about one hour. Cool and strain
the extract (this is the dye solution), add more water and boil again. Do this
boiling and saving three times to make the dyebath. -or more times, as long as
dye continues to extract.
Basic Dyeing Process
1. Weigh yarn
2. Wet the yarn
3. Add enough additional water to the dye solution so the yarn will be able to move freely
in the dyebath.
4. Make up to correct ratio of liquor to dyestuff (liquor in pints : dyestuff in ounces
5. Add wetted yarn to the dyebath.
6. Slowly bring to the boil (the exception to this is madder (Rubia tinctoria), which should
never be allowed to boil or it will turn the yarn brownish-red).
7. Simmer for one hour or until the colour is the desired depth. Remember, the colour will
lighten after it is rinsed and dried.
8. Allow yarn to cool in the dyebath.
9. Rinse twice in water which is the same temperature as the dyebath.
As a general rule of thumb, you should use the same amount of dyestuff as you have yarn,
again the exception is madder which is used as 1 part madder : 2 parts yarn.
Adjusting the Colour
Iron "after-mordant" to modify colours:
Dissolve about 1 tablespoon of ferrous sulphate per pound yarn. Add to the dyebath, or fill a
bucket with warm water, add the iron and transfer the textile to this "after mordant" bath.
Iron will turn golds to moss greens, reds to plum and maroon colours, and will darken
browns. Many leaves and plants will make grey with iron as the only mordant needed.
After a dyeing session, you may find that the liquor left in the dyebath is not exhausted i.e.
there is still some dye left. It is sometimes worthwhile storing this for future use. It can be
frozen in a polythene container but label it well so that it is not mistaken for a fruit drink. If it
is stored on a shelf ensure it is out of the reach of children. Label it well, giving the details of
the original dyebath and date. When you come to use it again, if there is an unpleasant smell
when you open the container, do not heat it but pour down the foul drain (toilet) with plenty of
water.
Dye Recipes
(per 4oz/100gm wool)
1. Bark of Trees – Apple, Ash, Bird Cherry
The bark is used either fresh or dried. The bark is chopped up and boiled for 2 hours
or longer, and then the mordanted wool is put in and dyed until the required depth of
colour is obtained.
Mordant: Alum
Colour: Apple and Ash give varying shades of dull yellow to deep gold depending on
the length of time it is boiled, Bird cherry gives a light chocolate colour if it is boiled for
a long time.
2. Birch (Betula sp.)
a. Leaves – these may be used fresh or dried. If fresh, use 2lb leaves to 1lb wool.
If dried, double the quantity of leaves if necessary.
Mordant: Alum
Colour: yellow
b. Bark
Mordant: Alum or Iron
Colour: Reddish-brown. If mordanted with Alum, dull yellow to deep god. If
mordanted with Iron, purple.
3. Blackberry (Rubus fructicosus)
a. Shoots
Mordant: Iron
Colour: Black
b. Berries – 1lb berries to 1lb wool of a deep shade is required. Strain berry pulp
before adding to dyebath
Mordant: Alum or Alum plus Cream of Tartar (2oz/50gm per 4oz/100gm wool)
plus salt (1oz/25gm)
Colour: Bluish grey for wool. Slate blue for silk. Wool mordanted with Alum brownish-grey, silk mordanted with Alum plus Cream of Tartar - rose-pink.
4. Bracken (Pteris aquilina)
Shoots and roots – pick in early June. Soak in cold water for an hour, bring slowly to
the boil and leave to simmer for 2 hours.
Mordant: Alum
Colour: Yellow or yellowish-green.
5. Elder (Sambucus nigra)
Leaves
Mordant: Alum
Colour: Green
Berries
Mordant: Alum or alum plus salt
Colour: Mordanted with Alum - violet. Mordant with alum plus salt - blue-lilac.
Bark
Mordant: Iron
Colour: Black
6. Onion (allum cepa)
Outer skins – boil for 2 hours to create dyestuff. Mordanted wool is then boiled for 1
hour. This is not a very fast dye.
Mordant: Alum
Colour: Golden brown
7. Weld (Reseda luteola)
This Mediterranean herb is the oldest yellow dye plant in the world. Combined with
woad, weld makes Lincoln Green (usually the woad is done first); this is called Lincoln
Green. It is also the basis of Saxon green, which is weld over Saxon blue (a light blue
created by indigo dye treated with sulphuric acid [oil of vitriol]). Weld dyed the clothes
of the common people in Great Britain and the imported silks of wealthy Vikings.
Leaves - Six to seven first-year rosettes or two second-year blooming plants will dye a
pound of wool and can be used fresh or dried. Chop the plant. If using dried leaves,
crumble and soak in warm water for six hours before using. Use dried leaves equal to
1/2 the weight of fabric as a measurement. Simmer, don't boil, for one hour, and strain
out the herb. Add some washing soda to make the dye bath alkaline, then add wet
fibre to the bath and simmer for an hour. Keep stirring, because this dye tends to sink
to the bottom of the pot. Don't boil, or it will turn brown.
Mordant: Alum, copper or iron
Colour: Mordanted with alum - lightfast lemon yellow on wool and silk, mordanted with
copper - greenish yellow, mordanted with iron - olive.
8. Indigo
Historically, indigo was a natural dye extracted from plants, and this process was
important economically because blue dyes were rare. Nearly all indigo dye produced
today is synthetic. In temperate climates, Indigo can be obtained from woad (Isatis
tinctoria) and dyer's knotweed (Polygonum tinctorum), however use of the synthetic dye
does not involve collecting mens’ urine first thing in the morning.
To make the stock solution of dyestuff
a. In a jar, mix 1oz (25gm) powdered indigo and 1oz (25gm) sodium dithionite.
b. Slowly add water to make a paste, leave for 10-20 minutes.
c. In a separate container add 1oz (25gm) sodium hydroxide (caustic soda) to 1
pint water. Stir until dissolved.
d. Add to the Indigo mix and stir well.
e. Put on a lid and leave to stand until liquid has cleared (20-30 minutes).
Dyeing Method
This should be undertaken in a well ventilated room or, preferably, outdoors,
i.
Fill dyebath ⅔full will hot water, MA temp 140°F (60°C).
ii.
Add 1 teasp. Sodium dithionite, stir and leave for 20 mins (this removes the
oxygen from the water).
iii.
Gently add ½ the dye stock to the water, do not splash otherwise oxygen will be
re-introduced to the water.
iv.
Stir gently and leave for 20 minutes.
v.
Add wetted fibre (wool, cotton etc) to the dyebath, sliding it gently into the liquid.
Leave for 5 minutes.
vi.
Remove fibre by slowly sliding it up to the side of the dyebath, trying not to let any
drips fall into the bath (to avoid adding oxygen).
vii.
Squeeze carefullyand shake in the air to oxidise. The colour should change from
green-yellow to blue.
viii.
If the colour is not deep enough, repeat steps 5-7.
ix.
Wash in water to which 2 tablespoons of vinegar has been added.
Note – if the dyebath begins to look blue, oxygen has got into it and step 2 must be repeated.
As the dyebath gets depleted, add more dye stock, starting at step 2.
9. Kermes
The Kermes beetle is plentiful in some parts of Eastern Europe and would have been
imported into England either as the dyestuff or as ready dyed cloth. A brilliant red dye
is extracted from the shell of the female insects.
10. Cochineal
This is prepared from the dried bodies of an insect, the Coccus Cacti, which lives on
the cactus plants cultivated for this purpose in Mexico and the Canary Islands
amongst other places. The insect produces carminic acid that deters predation by
other insects. Carminic acid, which occurs as 17-24% of the weight of the dry insects,
can be extracted from the insect's body and eggs and mixed with aluminum or calcium
salts to make carmine dye (also known as cochineal). The carmine dye was used in
Central America in the 15th century for colouring fabrics and became an important
export good during the colonial period. As Kermes is not readily available, this can be
used as a substitute. alum is added to the clear salt solution of carminic acid to
precipitate the red aluminium salt. Purity of colour is ensured by the absence of iron.
To dye mordanted wool, place 2oz (50gm) of cochineal with 1 desert spoon of salt into
a pot of tepid water and stir until dissolved. Add 1lb (450gm) mordanted wool and
slowly bring to the boil. Let it simmer for an hour or until the required depth of colour is
reached. The colour will be a little deeper, and more even, if the wool is allowed to
grown cold in the dye liquor. Take out the wool, wash and dry.
To dye unmordanted wool, dissolve 4oz (100gm) Alum and 1.5oz (40gm) Cream of
Tartar and when the water is warm, add the wool. Bring to the boil and simmer for
about 20 minutes. Remove the wool and add the cochineal. Stir well until dissolved
and replace the wool. Simmer just under boiling point for ¾ hour, or until the desired
shade is reached.
Mordant: Alum, alum plus cream of tartar,alum plus lime (Calcium carbonate) or iron
Colour: Mordanted with Alum – magenta, with alum plus cream of tartar - deep
crimson, with alum plus lime - purple. Mordanted with iron – deep purple-grey.
11. Madder (Rubia Tinctoria)
Madder has been used since ancient times as a vegetable red dye for leather, wool,
cotton and silk.
Roots - for dye production, the roots are harvested in the first year. The outer brown
layer gives the common variety of the dye, the lower yellow layer the refined variety.
Add 8oz (225gm) madder root – if dried, first grind and soak for several hours to form
a paste – to the dyebath. If water is soft, add a little powdered chalk. Stir well as
brought slowly to the boil then simmer for about 1 hour (do not allow to boil as this will
turn the final colour to brown). Allow the 1lb (450gm) mordanted wool to cool in the
liquor, then wash in several waters and pass through a boiling soap bath – this
brightens and improves the colour.
Mordant: Alum, alum plus cream of tartar or iron
Colour: When mordanted with alum – brownish-red. When mordanted with alum plus
cream of tartar – orange. When mordanted with iron – purplish-brown.
Plants to Achieve Dye Colours
Colour
Yellow
Green
Brown
Black
Red
Blue
Orange
Purple
British Dye Plants
Alder
Dog’s Mercury
Apple
Dyers Greenwood
Ash
Dwarf Birch
Barberry
Fig leaves
Bedstraw
Golden Rod
Birch bark
Gorse
Bog Asphodel Heather
Bog Myrtle
St John’s Wort
Bracken
Lichen
Broom
Ling
Camomile
Marigold
Alchemilla
Elder
Alder
Horse Tail (Equisetum)
Bearberries
Lily of the Valley
Bracken
Ling
Buckthorn
Privet
Birch bark
Juniper
Bird Cherry
Larch
Blackberry
Lichen
Buckthorn
Oak
Foreign Dye Plants
Pear
Flavine
Pine Cones
Fustic
Plum leaves
Kutch
Poplar leaves Persian Berries
Privet
Quercitron Bark
Ragwort
Tansy
Weld
Yellowwort
Reeds
Sorrel
Tamarisk
Tansy
Onion skins
Pine Cones
Sloe
Walnut
Fustic
Indigo
Fustic
Kutch
Logwood
Madder
Myrobalans
Sumach
Valonia acorns
Blackberry
Dock root
Alkanet
Bedstraw
Elder
Iris
Blackberry
St John’s Wort
Bearberries
Blackberry
Buckthorn
Carrot
Lichen
Cornflower
Devil’s Bit
Dog’s Mercury
Meadow Sweet Logwood
Walnut
Lichen
Cochineal
Sorrel
Kermes
Madder
Red Woods
Sloe
Indigo
Whortleberry
Logwood
Woad
Onion Skins
Weld
Birch bark
Bryony
Damson
Elderberries
Pontellia
Flavine
Fustic
Madder
Tumeric
Cochineal
Cudbear
Logwood
Orchil
Points to consider when gathering dye materials
1. Pick only plants which are abundant, for example cow parsley, ragwort, nettles, and
not all from the same place
2. Preferably use plants, weeds, berries etc from your own garden. If you plan to
continue dyeing with plants over a considerable time period then I am sure you will
want to grow your own dye plants anyway.
3. Some rare plants in the wild are protected by law and it is illegal to pick, uproot, or
destroy any of these. A leaflet listing the protected plants and an information sheet
can be obtained from: The Council for Nature, Zoological Gardens, Regents Park,
London, NW1 4RY or visit
http://www.legislation.gov.uk/uksi/2010/490/schedule/5/made. Furthermore, it is illegal
to uproot any wild plant unless you own the land on which it is growing or have the
landowners permission.
4. Some lichens take many years to grow, please protect them in the interests of
conservation. The Lichen Society recommends that, if you wish to experiment in
dyeing with lichens, you use only those growing on trees or branches which have
fallen or been cut down.
5. Some of the plants we use for dyeing are potentially dangerous. The best advice is to
check out the plants that you use for dyeing so that you can take the necessary
precautions if they are likely to irritate the skin or the mucous membranes of the eyes,
nose or mouth. Many plants are toxic, but generally only if swallowed in large
amounts. Such plants should be kept away from children, and help children be aware
of the danger in handling poisonous plants, teaching them not to put unknown plants,
seeds and berries into their mouths. Let your children be aware of the reasons for the
precautions you take when handling hazardous materials. Useful books to consult are
‘Poisonous Plants and Animals’, Chatto Nature guide and ‘Human Poisoning from
Native and Cultivated Plants’ by Hardin and Arena.
Bibliography
HEMP! for Textile Artists - Cheryl Kolander
The Use of Vegetable Dyes – Violetta Thurstan, Dryad Press
Natural Dyes, Fast or Fugititive – Gill Dalby
The Cautious Dyer (a Guide to Mordanting) – Olive May
Natural Dyes – Mary Hill
Poisonous Plants and Animals - Chatto Nature guide
Human Poisoning from Native and Cultivated Plants - Hardin and Arena