A Garden to Dye For. Chris McLaughlin

       Acknowledgments

       About the Author

      Introduction

      What this book is about . . . and what it isn’t.

      I’ve always thought it best to let people know what they’re getting into from the outset. After wading knee-deep into the subject of plants as they apply to natural dyes, I realized that I didn’t know any other gardeners who used their plants in this way; nor was there much talk about the topic in the gardening circles. It’s the fiber artists who were very savvy about all kinds of dyeing techniques, whether natural or synthetic.

      My plan for this book is to bridge the gap between mainstream gardeners and the world of hand crafters. It’s written solely from the perspective of a plant, animal and fiber lover, experimenter, and student of the arts.

      Of course, there are some great books out there on using botanical dyes. I’ve read them and enjoyed them. So why am I writing this one? Because I feel that none of the other books speaks directly to those who are already growing these dye plants: the gardeners! The surprising truth is, most of us have the natural materials to color other parts of our lives waiting patiently in our cottage, cutting, vegetable, fruit, and herb gardens. We may not be aware of the colorful bounty in our own backyards. More than that, we may not know what to do with it, and we could use a little friendly help getting started.

      I wanted to write a book that included simple natural dye techniques, allowing the reader to gain confidence and move on to the next level. I’ve found that it’s much easier to let yourself explore if you have at least a few good recipes under your belt.

      The goal, therefore, is not to attempt to share every scientific formula that includes every possible outcome. Instead, I want to encourage every person who picks up this book to try dyeing with plants.

      Even if it’s just once.

      So here’s what I want you to know about this little dyer’s book:

       This is a book for plant lovers.

       This is a book for people who like to create.

       This is a book for people who like surprises.

       This is a book for experimenters.

       This is a book for people who like to open doors to something much, much bigger.

      What this book is not:

       This is not a dyer’s bible.

       This is not a book for people looking to acquire a science degree. (It’s especially not that)

       This is not a chemistry book.

      You may also like to know this: I have zero background in science.

      I’m also lacking any formal education as a certified naturalist and I don’t hold any “Master Dyer” title or the like.

      On the other hand:

       I’ve been – and continue to be – a student of my plants and everything they’ve offered me for the past 35 years.

       I’m an avid garden author, writer and blogger.

       I’m hopelessly devoted to plants and just happen to be pretty darn good with them.

       I’m also driven to introduce as many people as humanly possible to what plants do and have always done for the human (and every other) race.

      I consider myself the gateway drug to a healthy plant addiction.

      This is where I shine.

       Some Key Words You’ll Come Across in the Book

       Colorfast (lightfast and washfast). Generally, when we say something is “colorfast” we mean that the color sticks to the fiber and doesn’t fade much. But for clarity’s sake, we should also be using the terms “lightfast” (retains its color after being exposed to light regularly) and “washfast” (retains its color after being washed). A color might be one and not the other.

       Dye pot or dyebath. The pot or container that you soak your fiber or fabric in, which also contains the plant materials (or color derived from said plant material).

       Fugitive. A “fugitive dye” describes a color that simply isn’t going to stay on fiber or fabric for any length of time. Good examples would be color from berries and black beans. Fugitive dyes are generally most useful for projects that aren’t expected to have lasting color, such as Easter eggs or homemade playdough.

       Modifier. This is a solution used either before or after dyeing in order to brighten, darken, or otherwise change the original color obtained on the fiber. Examples: washing soda and iron (which also happens to be a mordant; see below).

       Mordant. A mordant is a metallic compound that’s used to help bind the color to the fiber or fabric. Examples: alum, copper, tin, chrome or iron. Mordants can also be found in plants. Plant-based mordants, like acorns, oak galls, and sumac leaves are used as well. Mordants aren’t necessary for natural dyeing, but are usually desired.

       Reactive pot. Pots that are made out of aluminum, iron or copper can cause a color reaction with the color, mordant or modifier. This reaction will alter the colors of the dye. Stainless steel, glass and ceramic are all non-reactive pot materials.

       Rogue. This isn’t necessarily a dye word. I use it as a term to describe any color that shows up other than the one you were expecting. Example: “Colors can go rogue on you.”

       Scouring. Scouring