I was going to try some new dyestuffs, so I tried this Indian madder, manjistha (Rubia cordifolia). I had dry roots bought from a herb store, used a usual recipe for madder-like things: soaked for a while (about a day), added some calcium, then simmered for a few hours, then left for a while still, then strained, added alum and tried dyeing. After a few long (multiple hour) dyeing sessions, in-between which I let the egg dry out, here is what I got. It’s a bit more orange that a brown egg would be. It took very slowly, and the shade it not very deep.
It’s possible that I messed up something with the recipe, perhaps I should have chopped the roots up to make them finer (I’ve seen that recommendation somewhere). Manjistha is supposed to be less afraid of heat than regular madder (the main dyeing component, manjisthin, is present in madder too, but in a much smaller proportion), so I don’t thing that I overheated it. I used distilled water this time, who knows, maybe manjistha doesn’t like that. I din’t like the smell very much from the beginning, and after a few days the dye has started fermenting, so I ditched it. I dryed out the used roots and kept them in case I want to use them again – this is recommended with roots in general. Still have half of the original amount of unused roots, but probably won’t try it again any time soon – too much effort for a result that is too weak.
Anyway, one more thing was tried.
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
Made this egg few weeks ago, when sappan wood dye was still fresh. Brown chicken egg, etched with vinegar, then sappan wood. Inspired by Natalie Kit and her brown eggs that I saw at Pysanky Toronto.
The pattern is from Odarka Onyshchuk’s album, I already the same pattern in malva and buckthorn and posted earlier. Here’s the photo of both eggs with this pattern together, who knows, I might make more of these still, love that pattern this year.
I wanted to keep using the dyes I made for the Pysanky Toronto retreat. The dyes were not very cooperative at the event, but when they came back home and relaxed a bit, they were dyeing just fine, so it would be a shame to not use them. Still working on the strokes, and starting to work on the variety of patterns. All these patterns are from the Lithuanian book.
- Top-left, coreopsis extract then sappan wood
- Top-right dyer’s broom extract, then mulberry, then sappan wood (red)
- Bottom: coreopsis extract, then sappan wood, then vinegar etched to white, then dyer’s broom to bright yellow and immediately after mulberry.
For those of you who are wondering, what different mordants can do to the dye, here is sappan wood with alum (red) and the other half of the same dye with iron mordant (purple-grey-black).
Besides changing the colour (or tone) itself, in some cases mordants used of fabric also improve, sometimes dramatically, light- and wash-fastness of the dye. I don’t know what will happen with eggs, I guess, the time will tell.
Here’s the iron mordant I got and used:
Technically speaking, you could just use the edible grade iron sulphate supplement from a drug store, it’s the same formula most of the time.
Another proof that not all that works for fabrics works for eggs also: the iron added to coreopsis dye did nothing, in fact, it just killed the dye, even though iron seems to work well with coreopsis for both plant and animal based fibres.
More exercises with what can well become my two favorite dyes, and with the drop-pull method. I’m discovering that there is much more potential for different strokes than I initially thought. My grandma only did simple dot and straight line circles, but the actual variety of patterns and stroke combinations is amazing, especially once you hit the google image search. Of course, my hand is still not very steady, needs more practice, but I’m looking forward to it. If someone knows a good book on these Lemkivski eggs, point me to it please!
Yellow – coreopsis extract, a new/different source, seems darker than the first one, I might consider diluting it more, and I ordered seeds, will attempt to grow some in a planter.
Red – still the same sappan wood. This dye is few weeks old now, has developed clumps and stuff, but still smells fine, doesn’t appear to be spoiled, and still gives the color, albeit not as easily or evenly as before.
I love these kinds of patterns from the North-East of Ukrainian ethnic territories, this area is now in Russia, and this is where one of my great-grandfathers was killed during World War II. These are so earthy and so sky-ey at the same time. I sometimes think, if birds were to make pysanky (the decorated eggs), this of what they would look like. Maybe it’s the abundance of pine-branch motif, that look so much like feathers. They also remind me the patters of native Americans.
The dyes: yellow is probably buckthorn (though maybe still weld? When you make and throw out 3 yellow dyes in 10 days, things become a bit confusing). The red is sappan wood. Then things became somewhat complicated. I was going for dark brown and put it into walnut, but it actually managed to eat out the darker red and gave me quite light brick-brown.
I didn’t mind the color, but for this egg preferred it to be traditional rather than experimental, so the egg waited for about a week till I made logwood. This time, as also previously, logwood on other eggs was coming off with wax, so I made an experiment. After logwood was dark enough, I let the egg dry, and next day put it back into sappan wood hoping the the coat of another dye will keep the logwood from pealing off (that seemed to have worked OK with the dark purple egg in the previous post). Voila! Seems to have worked just fine. Now let’s hope the logwood dye doesn’t spoil before I want to use it again – I have to make new yellow, and possibly also new red, and I used up all of the logwood extract I had left from my first purchase of natural dyes few years ago.
Here’s another take, where you can see the side-band also.