Logwood chips

I have tried logwood essence in the past and was not overly happy with it – it only gave black, was prone to “caking” (I think that’s what it can be called, when the dye accumulates on the surface of the egg but comes off easily whith the wax), sort of found a solution – placing the back egg into another dye (I think I used red Sappan wood), to seal the black of logwood more to the surface of the egg, and didn’t make it again even though I do still have some of the essence powder.

Then, me being the restless experimenter, I saw the logwood chips being sold in one of the online shops, and could not resist buying them and trying them out.

According to Cardon, logwood (Lat. Haematoxylum campechianum) was the Mayan black dye, the word for logwood tree and for the color black are the same in Mayan language. It was brought to Europe along with the other South- and Central American dyes, and at the beginning caused some confusion – the lilacs, blues and purples achieved with logwood were extremely desirable but not lightfast, so at some point there was even an attempt to outlaw the logwood dye. When the Europeans finally got over their fashion desires and started using logwood for the black, the ration of quality per price of it ended up being much better than other sources of black, including the later non-natural version. It kept being used long after the invention of the chemical dyes, the last shipment of logwood logs came to England around the beginning of the second world war, and the last of that was milled sometime in the 1960-s. Logwood essence was already in use for a while and was more economical to bring over. It is still used now in medical pathology, haematoxylin which is made from logwood is a common stain used in histology.

So, here are some of my first logwood chip result. I have soaked them in boiling water with some calcium, and the first batch of dye was this soaked water, the second one was the same chips simmered in new water again, giving a very similar if not the same result. The dye I got was a bit brown-looking, and was giving a sort of cream to meauve to purplish brown. With strong yellow it produced the mustardy-green, and with alum – dark almost black purple. Some of the instructions said, if it looks brown, then the acidity of it can be reduced to result in a more bluish color, so I did add some baking soda since I did not have the suggested ammonia, and indeed the changed the outcome towards greyish-blue with alum and black with iron. Similar results on turkey eggs.

I’ll try to get some ammonia and play more with it.

Dried Cochineal (whole bugs)

About a month ago we went to a local art shop which is the home base of the amazing water-colour paints (https://stonegroundpaint.com), and as we got talking about colors, paints and dyes, the owner, Eric, brought out a container of dried cochineal and gave me some to take home. So yesterday I finally got to it and cooked up some dye with alum and cream or tartar (as suggested by some fabric dyeing recipes). The pink you see on these eggs is that cochineal dye.

The other coral-like reddish orange is coreopsis extract with alum on top of the fist cochineal. The brown is the same cochineal-coreopsis sequence finished with a dip in iron water.

I will have to play more with the next batches of the dye (I only used about a teaspoon of bugs, which I then ground not very finely), I will likely use more bugs next time (to make the color more concentrated), I’ll grind them better, and will start with no mordants, and add cautiously.

For the first experiment with the whole bugs, I think this is not bad. I have tried cochineal extract before but didn’t have a lot of it, so I used it in combination with madder.

The next few months I will be experimenting more with cochineal, both the whole bugs and the extract. My parents gave me for Christmas a gift certificate to the Maiwa online store, so I’ll order some cochineal from them.

And the season is over for now…

All of these colors were achieved with the combinations of saskatoon berries (blue), sappan wood (red, pink), buckthorn (yellow), buckthorn with iron (brown), gardenia (yellow/gold), coreopsis (gold), elderflower (yellow) (except emu where no dyes were used), plus the natural variations of eggshell color and vinegar for etching.

I’m becoming more comfortable with drop-pull technique, seeing more possibilities. While most of these eggs are trying to be strictly traditional as much as possible (mostly Ukrainian, some Lithuanian), a few patterns have just appeared out of nowhere, non-traditional (though not necessarily anti-traditional) which is nice. To write “my own” design is something that almost never happened to me in the other more common technique, so to have it happen in drop-pull after a relatively short time is rather surprising and even inspiring. 🙂

I’m getting ready to put away the dyes and tools for now, but there might be some more posts of close-up shots, and who knows when the next time will be…

Sappan wood – brasilwood from India – some history, background, and recipes

Sappan wood (Ceasalpinia sappan) has become my favourite source of red color for now. Native to Asia, it is the “older” cousin of what is now known as Brazil wood. When the Portuguese invaded what is now Brazil in 1500, the redwood trees they saw growing there reminded them of Sappan wood, which they already knew, called it pau-brasil and used for dyeing along with the rest of the Europe. Because of extensive use for dye and for violin bows, or perhaps the opposite, because the dye business was not economically profitable after the invention of the chemical dyes, or maybe due to both these reasons, the Brazil wood (Ceasalpinia echinata, Paubrasilia echinata) is almost extinct now, Wikipedia says that the trade of Brazilwood is likely to be banned in the immediate future. So now we are back to the good old Sappan wood, which is still available and abundant in India and China. It is used medicinally in both Ayurveda (where it’s called Pathimukham) and in Traditional Chinese medicine (where it’s called Su Mu). Continue reading

Coreopsis + old sappan wood

Made this egg for someone’s 60th marriage anniversary, based on the traditional design, double yolk goose egg, vinegar etch, gold- coreopsis extract, orange – old sappan wood, then egging etch to white, and backround pink – same sappan wood. The contrast between pink and orange is not clear enough, should have made the background lighter or gone for a dark dye.

Traditional patterns and their surprises, didn’t realize there’s a star at the narrow ends, until I actually made it:

Last year’s eggs

Here are some eggs that I made last year but didn’t get to post on the blog. As usual, natural dye experiments.

Smaller egg – duck, yellow-marigold, brown – dried elderberry (not particularly reliable, seems like). Bigger egg – goose, yellow– marigold, orange – madder, brown – dried elderberry.

Yellow – weld, olive green – malva, blue – cabbage, pink – old madder+cochineal after vinegar. Smallest egg is chicken, then duck, the goose.17546764_10155099642727660_3361046898600688573_o

Weld (yellow), cabbage (blue, green, teal), duck eggs.17349598_10155028475437660_8850810793684496621_o

Weld (yellow), cabbage (green/olive), and madder/cochineal (orange), duck eggs17239776_10155028478162660_7696951738701663448_o.jpg

Grandma’s style

Here is a different technique of drawing with wax on eggs. My grandma, who taught me to draw on eggs used to do these with a simple matchstick, while heating wax in a tin on the stove. I haven’t done this for probably 25 years (first attempts look a bit shaky), finally decided to try again. Not with a matchstick, but with a thing they call here drop pull tool, but who knows, now that I figured out the other components of the process, I might even try the matchstick again.

This technique comes from a very special region of Western Ukraine, Lemkiwshchyna, mainly in present-day Poland (and perhaps also partially Slovakia). It is a very tragic place, and very special place, that has been robbed of its people during and after the second word war, it had its own dialect that was very different than others, its own amazing sings, and its own manner of drawing on eggs, of course, among other things. My grandma grew up there, her father was a priest and was sent there to serve, and lived there still for a few years after marriage. My grandfather’s plan, who was also a priest, was to immigrate to US, and the tickets for the ship were already bought, but apparently my aunt got sick, and grandma refused to take a sick baby sailing across the ocean. That chance was lost and they ended up moving to the Soviet Union in the middle of the war. Even though originally we are not “from” there, my grandma’s best years were spent there and she loved the place very much and gladly shared the memories, stories, and these kinds of eggs as well.

Here, above, is the tool I used for these. This is a thick one, I have also some thinner ones somewhere in the box, I will probably explore those next time. You dip the head of this “pin” into liquid hot wax, and draw these elongated drops on the egg surface.

And here, below, the oil-heating thingy I used for heating the wax. It’s quite convenient. Someone gave it to me as a gift a while ago, and I was saving it actually for this purpose. I wasn’t sure whether a tea light candle would keep the wax hot enough, but it does.

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Now, the dyes.

The beige one is black walnut on its own. I’ve used this dye few years before, and it’s a bit strange – thick and dark brown, almost like molasses, but it doesn’t absorb well into the egg shell. Almost like henna, which gave very disappointing results. This one is more interesting though, because it seems to have the capacity to lighten the darker egg, which could be useful if one wants to use incompatible colors on the same egg. I’ll show this to you later on another egg.

The pink, or maybe scarlet is a few weeks old sappan wood dye. I wasn’t so pink in the beginning, maybe the dye is wearing out, and maybe it became a bit more sour since a few eggs have been in vinegar baths. When used on fabric, this dye apparently can change from orange and warm red all the way to crimson and even purplish. when the Ph is changed. So maybe this is what happened…

The reddish-brown is walnut over sappan wood.

The purplish-maroon is sappan wood over logwood. I played with logwood last lear a bit, there is already a post somewhere earlier about it, what I have noticed today is that while on its own logwood does not like to adhere to the shell, looks powdery and easily comes off with wax, overdoing with another dye, in this case sappan wood, helps the color stick to the egg, and saves it from wiping off with wax. I’ll play more with this and will probably show more eggs.

Now, both (or rather all three) of my yellow dyes have died, the seem to spoil very fast, I was quite disappointed that I didn’t get a chance to use buckthorn more, but I just received an order of my favourite coreopsis extract. It’s a different make, so I’m not quite sure whether it will work, but I guess we will see :).

Roger.