Alum Mordant

Potassium Aluminium Sulphate Dodecahydrate

Potassium Alum is the most commonly used mordant for wool, silk and many natural dyes. It helps suitable plant dyes bond with the fibre and generally produces clear, bright colours without darkening them.

For protein fibres, use 7.5–15% WOF - weight of dry fibre.

Cotton, linen and other cellulose fibres require a different mordanting method. Alum should not be used alone on cellulose.

At a glance

How much to use

For wool and other protein fibres, begin with:

• 7.5% WOF for paler shades or minimum mordant residue
• 10% WOF as a general starting point
• 12–15% WOF for deeper shades

WOF means weight of dry fibre. For example, 10% WOF is 10g Alum for 100g dry fibre.

More Alum does not automatically produce stronger or more colourfast results. Use the lowest amount that works well for your fibre and dye.

Cold mordanting wool

Cold mordanting is our preferred method for wool.

1. Weigh the dry fibre and calculate 7.5–15% WOF Alum.
2. Soak the fibre thoroughly in water.
3. Dissolve Alum in a small amount of hot water.
4. Add it to a container of cool water and stir.
5. Add the wetted fibre and ensure it is fully immersed.
6. Leave for 24–72+ hours, moving the fibre occasionally.
7. Remove, rinse and dye immediately, or dry for future use.

Cream of tartar is not required for cold mordanting.

Hot mordanting wool

1. Weigh the dry fibre and calculate 7.5–15% WOF Alum.
2. Soak the fibre thoroughly.
3. Dissolve the Alum in hot water and add it to the mordanting pot.
4. Optional: add up to 5% WOF cream of tartar.
5. Add the wetted fibre.
6. Slowly raise the bath to approximately 80°C.
7. Hold for one hour, moving the fibre gently.
8. Allow it to cool before rinsing.

Avoid boiling or excessive movement, as this may felt wool.

Silk

For silk, begin with 7.5–10% WOF Alum.

Cold mordanting is particularly suitable. Handle delicate silk gently and sample first.

Cotton, linen and other cellulose fibres

Alum alone is not a complete mordant for cellulose fibres.

For cotton, linen and hemp, use one of our complete cellulose methods:

• Tannin followed by Alum and soda ash
• Aluminium acetate followed by chalk

Do not use the wool recipe directly on cotton or linen.

Good to know

• Dissolve Alum completely before adding the fibre.
• Wet the fibre thoroughly for even uptake.
• Alum is not required for indigo or woad vats.
• When layering indigo with mordanted colours, apply indigo first.
• Alum supports many natural dyes but cannot make a naturally fugitive colour permanent.
• Used mordant baths may retain Alum and can often be saved for reuse.

Storage and safe handling

• Store sealed in a cool, dry place.
• Avoid creating or breathing dust.
• Wear eye protection when handling powder or concentrated solutions.
• Wear gloves where appropriate.
• For textile dyeing and craft use only.
• Not for consumption or cosmetic use.
• Use dedicated dyeing equipment.
• Keep away from food, children and pets.
• Do not release concentrated solutions into drains or natural waterways.

What you receive

Your chosen net weight of potassium aluminium sulphate dodecahydrate, supplied in a sealed pouch.

Cream of tartar, soda ash, tannins and other dyeing materials are sold separately.

Display jars, dyed fibres and photographic props are not included.

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Madder Dye – Cut or Ground

Rubia tinctorum · Natural Reds & Oranges

From soft peaches and warm oranges to brick reds, madder offers plenty to explore. Your water, fibre and dyeing method all influence the colour.

At a glance

• Origin: Wild-harvested in Eastern Europe
• Material: Dried root, cut or ground—not an extract
• Colours: Peaches, oranges, pinks and reds
• Fibres: Wool, silk, cotton and linen
• Mordant: Recommended; use a fibre-appropriate method
• Colourfastness: Can produce lasting colours; lightfastness and wash fastness depend on preparation and process
• Safety: Madder root is not food-safe and may be acutely toxic if swallowed. Treat all forms - including dust and particles - as hazardous and use only for dyeing or craft purposes.

Cut or Ground?

How much to use

50–100 g madder per 100 g dry fibre
Equivalent to 50–100% WOF—weight of dry fibre.

Start with a small sample. Lower quantities generally give lighter shades.

Basic dyeing guide

• Prepare: Scour and mordant your fibre, then wet thoroughly.
• Soak: Cover the madder with water and leave overnight.
• Extract: Heat gently to 60–70°C (140–158°F) for approximately one hour or longer.
• Dye: Strain if desired, add the fibre and hold at gentle heat for 1–2 hours. Allow room for the fibre to move.
• Finish: Cool in the dye bath for better colour, leave overnight where practical, then rinse and wash gently.

Dyeing cotton, linen or other cellulose fibres? Find suitable mordanting methods here.

Storage & safe handling

• Store sealed, cool and dry, away from direct sunlight.
• Do not consume madder or use it in food, drinks, cosmetics or herbal preparations.
• Avoid breathing dust and prevent contact with your mouth, eyes and open wounds. Wear suitable protective equipment when handling ground madder.
• Use dedicated dyeing utensils and containers. Do not use them for food preparation.
• Keep away from food, children and pets.
• If madder is swallowed, seek urgent medical advice or contact your local poison centre. Do not induce vomiting unless instructed by a medical professional.
• For dyeing and craft use only - not for consumption.

Packaging

We pack as sustainably as we can while protecting your dye materials. Pouch types vary with pack size and availability of our preferred options.

Display jars are not included.

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Oak Gall – Natural Tannin for Cellulose Fibres

Quercus infectoria G.Olivier · Whole, Cut or Ground

Oak galls, also known as oak apples, are tannin-rich growths collected from the Aleppo oak in Turkey.

Exceptionally rich in light-coloured hydrolysable tannins, oak gall is particularly useful as the first stage of a two-step mordanting process for cotton, linen, hemp and other cellulose fibres.

Oak gall generally produces a light beige base colour. It introduces slightly more colour than Tara but considerably less than many darker tannin sources, making it a useful choice when preparing cellulose for pale or delicate natural dyes.

Choose whole galls for crushing, historical processes and long-term storage, cut galls for easier extraction and straining, or ground galls for the quickest and most thorough tannin release.

At a glance

What is an oak gall?

Oak galls are abnormal plant growths formed on the young twigs and branches of certain oak species in response to the activity of gall wasps.

The developing gall creates a protective structure around the insect larva. During its formation, the oak concentrates large quantities of tannins within the gall tissue.

The galls used for this product are collected from the Aleppo oak, Quercus infectoria, in Turkey. They are among the richest natural sources of hydrolysable tannins and have been traded for centuries for tanning, textile dyeing and ink making.

Despite the common name “oak apple,” the gall is not a fruit or acorn.

Oak gall as a tanning product

Aleppo oak galls are particularly rich in hydrolysable tannins, principally gallotannins.

Their tannin content is frequently reported at approximately 50–70%, although the precise amount varies according to the gall, maturity, collection, processing and storage.

Because oak gall contains a high proportion of comparatively pale tannins, only a relatively small quantity is required for cellulose preparation.

The resulting base colour is generally light beige. It is slightly more noticeable than Tara but remains considerably paler than many bark, fruit and leaf tannins.

Why cellulose fibres need two mordanting stages

Cotton, linen and other cellulose fibres do not naturally form a strong bond with aluminium mordants.

For this reason, our cellulose preparation uses two complementary stages:

1. A tannin treatment

2. A second mordanting treatment using alum with soda ash, aluminium acetate or aluminium lactate

The tannin stage and the aluminium stage work together. Tannin by itself does not complete the mordanting process, and the aluminium treatments are not sufficient by themselves either.

During the first stage, tannin is held by the cellulose fibre through affinity. It can still be removed if the fibre is rinsed aggressively or allowed to pass through an incomplete process.

During the second mordanting stage, the tannins are converted into insoluble tannates within the fibre. This creates the complete mordant system used to prepare the cellulose fibre for the subsequent dye.

Colour and its influence on the final shade

Oak gall produces a light beige base colour on cellulose fibres.

With pale, delicate or very clear dyes, this base colour may remain visible and gently warm the final shade.

With medium and strong dyes, its influence is usually subtle. This makes oak gall particularly useful where a high-tannin preparation is required without the stronger yellow or brown background associated with many other botanical tannins.

The final effect depends on:

• The amount of oak gall used

• The selected form

• Extraction time

• The fibre and its preparation

• The main dye colour

• Water chemistry

• The temperature of the tannin bath

• The second mordanting treatment

• Rinsing and finishing

Always prepare a sample when working towards a pale, bright or colour-sensitive result.

Choosing a form

Whole oak galls

• Suitable for historical processes, ink making and long-term storage

• Must be crushed or broken before textile extraction

• Require a longer soak than cut or ground material

• Easy to store with minimal dust

• Naturally vary in size, shape and colour

Cut oak galls

• Offer a larger surface area than whole galls

• Suitable for cold soaking and longer extractions

• Easier to strain than ground material

• Produce less sediment in the tannin bath

• Can be contained inside a cloth dye bag

Ground oak galls

• Provide the greatest surface area

• Release tannins more quickly and thoroughly

• Best for short cold extractions

• Produce more sediment than whole or cut material

• Should be made into a smooth paste before being added to the bath

• Require care to avoid creating airborne dust

The three forms are the same raw botanical material. Ground oak gall is not a concentrated extract.

How much to use

For general cellulose preparation, begin with:

10g oak gall per 100g dry fibre

Equivalent to 10% WOF - weight of dry fibre.

Whole galls must be crushed before use. Cut galls benefit from a longer cold soak, while ground galls release their tannins more readily.

Because oak gall is naturally very high in tannin, increasing the quantity is not always necessary. Excess material may deepen the beige base without improving the complete mordanting process.

These quantities are starting points. Natural tannin strength can vary between batches.

Suggested tannin treatment

1. Scour: Scour the cotton, linen or other cellulose fibre thoroughly to remove oils, waxes, sizing and processing residues.

2. Weigh: Weigh the dry fibre and calculate approximately 10% WOF oak gall.

3. Prepare the material: Crush whole galls thoroughly. Cut galls may be soaked before use. Mix ground galls into a smooth paste with a small amount of water.

4. Dilute: Add the prepared oak gall to enough cold water for the fibre to move freely and stir thoroughly.

5. Add the fibre: Add the thoroughly wetted cellulose fibre and ensure that it is completely immersed.

6. Treat: Keep the textile in a cold bath or at no more than approximately 30°C. Leave for at least 1–2 hours and up to 24 hours, moving the fibre occasionally.

7. Remove: Wearing gloves, remove the fibre and gently squeeze out the excess liquid.

8. Do not rinse: Tannin is held initially by affinity and can be removed by aggressive rinsing.

9. Do not dry: Proceed to the second mordanting stage while the fibre remains damp.

10. Second mordant: Complete the process with alum and soda ash, aluminium acetate or aluminium lactate, following the instructions for the chosen mordant.

11. Rinse: Once the second stage is complete, rinse the textile thoroughly to remove unattached mordant.

12. Dye: The textile may now be dyed immediately or dried and stored for future use.

Do not treat the oak gall bath as a complete mordanting process by itself. The second mordanting stage is essential.

Dyeing cotton, linen or another cellulose fibre? Find our complete cellulose mordanting guide here.

Choosing the second mordant

After the oak gall treatment, complete the mordanting process with one of the following:

Alum with soda ash

Our traditional two-stage method uses 12% WOF alum and 1.5% WOF soda ash after the tannin treatment.

The alum and soda ash solutions are prepared separately and then combined before the damp, tannin-treated textile is added.

Leave the textile in the second bath for a minimum of two hours and up to 24 hours. Rinse thoroughly after this stage.

Aluminium acetate

Aluminium acetate can be used as the second mordanting stage after the oak gall treatment.

Follow the appropriate quantity and method for the particular aluminium acetate product. A chalk afterbath may be required where specified by the recipe.

Aluminium lactate

Aluminium lactate is another option for the second stage of suitably prepared cellulose fibres.

Apply it after the oak gall treatment, following the correct quantities and safety guidance for the product.

Do not combine quantities or instructions from unrelated mordanting methods.

Tips from the dye pot

Using oak gall with iron

Oak gall reacts strongly with iron to produce grey, blue-grey, charcoal and black.

For a grey or black textile process, the tannin-treated fibre can be moved into a carefully measured iron bath without completing the alum stage. This is a different process from preparing cellulose for bright natural dye colours.

If iron is used as a modifier, begin with a very small quantity. Excessive iron can make colours harsh and may damage fibres over time.

The reaction between oak gall tannins and iron is also the basis of traditional iron-gall ink.

Iron-gall ink

Oak galls have been used for centuries in the preparation of iron-gall inks.

A concentrated oak gall extraction is combined with an iron salt, traditionally ferrous sulphate, to produce a dark iron-tannate colour. Gum arabic may then be added as a binder and to adjust the flow of the ink.

Iron-gall ink can be acidic or corrosive if poorly formulated. Use a researched recipe, measure all ingredients accurately and test the finished ink before applying it to valuable paper, textiles or artwork.

Tannin performance

Oak gall is used primarily to support the mordanting and subsequent dyeing of cellulose fibres rather than as a strong standalone dye.

The effectiveness of the complete preparation depends on:

• Thorough scouring

• Correct preparation of the chosen oak gall form

• Even tannin application

• Keeping the tannin bath cool

• Avoiding rinsing and drying between stages

• Completion of the second mordanting stage

• The chosen aluminium mordant

• The dye and dyeing method

• Water chemistry

• Rinsing, washing and aftercare

Oak gall’s light beige colour may remain visible beneath very pale dyes. With medium and deep colours, it generally provides a comparatively neutral tannin base.

Natural variation

Oak galls are insect-induced natural growths and vary considerably in size, form, colour and surface texture.

Whole galls may have natural holes where the mature gall wasp emerged. They may also contain small quantities of woody material or natural insect residue.

Colour can range from pale beige and grey-green to olive, brown or almost black. These differences are normal and do not necessarily indicate the strength of the tannin.

Particle size in cut and ground material may vary between batches. Tannin strength is also affected by maturity, harvesting, storage and processing.

Always sample before beginning an important or colour-sensitive project.

Storage and safe handling

• Store sealed in a cool, dry place away from direct sunlight.

• For textile dyeing, tanning, ink making, paper and craft use only.

• Not for consumption or use in food, drinks, cosmetics or herbal preparations.

• Avoid creating or breathing dust, particularly when handling ground oak gall.

• Work in a well-ventilated area.

• Wear suitable respiratory and eye protection when dusty material may become airborne.

• Avoid contact with the eyes, mouth and open wounds.

• Wear gloves where appropriate.

• Follow the safety instructions for alum, soda ash, aluminium acetate, aluminium lactate, iron salts and every other auxiliary used.

• Use dedicated dyeing and ink-making utensils—never food-preparation equipment.

• Keep away from food and out of reach of children and pets.

What you receive

Your chosen net weight of Turkish Aleppo oak galls in whole, cut or ground form, supplied in a sealed pouch.

Alum, soda ash, aluminium acetate, aluminium lactate, iron salts, dyes and other mordanting materials are sold separately.

Display jars, dyed textiles, inks and photographic props are not included.

Learn with us

Join The Natural Dyers & Growers Academy to share your results and explore natural colour alongside fellow dyers and growers.

IRON MORDANT ~ Mordant, Colour Changer, increased light fastness

Iron (Ferrous Sulfate) is used alone as a mordant, influencing Colours and to increase light fastness when used in combination with other natural dyes.

Iron is best known for shifting yellows into greens, keep in mind that this is not given and doesn't work with every yellow plant dye, in which case it will be more of a brown. it is used to increase light fastness for weaker plant dyes, bu it will always sadden and/or darken the colours. 

---------------------------

Basic recipe:

When adding Iron to your dye bath start of with 3% and use it at the end of your dye bath or as an after bath. Allow to oxidize for 10 min for full colour development.

*If you like your colours darker, increase the Iron amount by 1-2% at a time. 

**Leave for 10min than remove from dye bath - Iron will make wool brittle.

Natural Indigo Pigment

Indigofera tinctoria · Traditional Indian Indigo · Approx. 35 - 42% Indigotin

From pale sky blue to deep navy, natural indigo offers an extraordinary range of blues. This high-quality indigo is traditionally prepared in India and analytically checked to verify its natural origin.

At a glance

• Origin: India
• Botanical source: Indigofera tinctoria
• Plant part: Leaves, processed to extract the pigment
• Form: Natural indigo pigment powder
• Indigotin content: Approximately 35–42%
• Colours: Pale blue through to deep navy
• Fibres: Cotton, linen, hemp, wool and silk
• Mordant: Not required
• Preparation: Requires a suitable indigo vat
• Production: Traditional pigment extraction
• Traceability: Batches analytically checked for natural origin

How indigo works

Indigo is an insoluble pigment - it will not dye textiles simply by being mixed with water.

For textile dyeing, it must be reduced in an alkaline indigo vat. This changes the pigment into a soluble yellow-green form that can enter the fibre. When the fibre is lifted into the air, the indigo oxidises and turns blue.

“100% natural indigo” refers to its natural origin - not 100% indigotin purity. This product contains approximately 35 - 42% indigotin, the main blue colouring component.

Choosing a vat

Choose a complete recipe suited to your fibre. Temperature, pH and ingredient quantities vary between vat systems.

Wool and silk require particular care with alkalinity, temperature and time in the vat.

How much to use

The amount of indigo needed depends on:

• Your chosen vat recipe and working volume
• The size, strength and condition of the vat
• The quantity and type of fibre
• The depth of blue required

Follow a recipe intended for natural indigo. A maintained vat can be used for several dyeing sessions and replenished when needed.

For a hydros or thiourea dioxide vat, plan the amount of indigo according to the depth required in the first dip, as colour is not generally built up gradually through repeated dips in the same way as with other vat systems.

Basic dyeing guide

• Prepare: Scour the fibre thoroughly and wet it before dyeing. Indigo itself needs no mordant. Wet out the indigo powder.
• Build the vat: Follow a complete recipe suitable for your chosen fibre and vat system.
• Reduce: Allow the vat to reduce and settle before dyeing.
• Dip: Lower the fibre gently into the liquid, avoiding splashing and touching any sediment at the bottom.
• Oxidise: Lift it out carefully and allow the colour to turn fully blue in the air.
• Build colour: With fermentation, sugar or urine vats, repeat the dipping and oxidation process until you reach your desired shade. With a hydros or thiourea dioxide vat, aim to achieve the desired depth with the first dip.
• Finish: Rinse and wash thoroughly, following guidance appropriate to your fibre and vat.

Colourfastness

Indigo can produce excellent lightfastness and good washfastness when properly applied and finished - Heat setting recommended.

Colourfastness varies according to the vat method. Fermentation and urine vats can produce particularly strong colourfastness and deep shades. Hydros and other chemical reducing-agent vats are convenient and fast, but generally produce poorer colourfastness.

Some surface colour may rub off, particularly with very deep shades. Controlled dipping and thorough washing can help reduce this.

Other creative uses

Natural indigo can also be used as a pigment with a suitable binder in:

• Paints
• Inks
• Decorative finishes
• Woodwork

Mixing indigo with water alone will not create a durable surface finish. Check out our Maya Blue listing if you like to use Indigo for painting.

Storage & safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.
• Avoid breathing fine powder and prevent contact with eyes.
• Handle in a well-ventilated workspace.
• Use suitable particulate respiratory protection where dust cannot be adequately controlled.
• Wear gloves and eye protection when preparing alkaline vats.
• Follow the safety instructions for every reducing agent and additive used.
• Use dedicated dyeing equipment—never food-preparation utensils.
• Keep away from food, children and pets.
• For textile dyeing and craft pigment use only - not for consumption or cosmetic use.
• When preparing a urine vat, work outdoors and consider the effect of strong odours on neighbours.

Packaging

We pack as sustainably as we can while protecting your dye materials. Pouch types may vary according to pack size and the availability of our preferred lower-impact options.

Display jars are not included.

Learn with us

Join The Natural Dyers & Growers Academy to explore indigo vats, share your results and learn alongside fellow natural dyers and growers.

POTASH – pH ADJUSTER & SCOURING AGENT

Chemical name: Potassium Carbonate (K₂CO₃) | Grade: Textile | Use rate: 3–10%

No natural-dye studio is complete without potash (Pottasche in German). This alkaline powder (K₂CO₃) is slightly stronger than soda ash and is traditionally used to raise the pH of dye baths and indigo vats, scour cellulose fibres, and intensify plant yellows such as weld by increasing alkalinity.

💡 Note: This product was previously listed as Soda Ash (Sodium Carbonate). We have updated the listing to Potash (Potassium Carbonate) to reflect the correct material.

Uses

• Boost pH in indigo, woad, or fructose vats
• Add to your scouring bath
• Intensify weld yellow and other plant yellows
• Balance acidic dye baths when needed

In a nutshell

• Material: Potash (Potassium Carbonate K₂CO₃)
• Function: pH enhancer & cellulose scour
• Dose: 30–100 g · L⁻¹ (3–10% owf) dissolved in hot water or dye liquor
• Compatibility: All natural dyes; indigo & woad vats
• Packaging: Resealable moisture-proof pouch
• Safety: Wear gloves & mask; store cool, dry, and away from acids

Basic directions

Dissolve the required potash in hot water (or directly into a hot dye bath) at 3–10%. Stir until clear, then add to the dye pot or fibre scour. For indigo vats, add potash after the pigment to adjust alkalinity before introducing a reducer.

Safety & storage

Potash is strongly alkaline. Avoid inhaling dust and protect eyes and skin. Store sealed and dry; keep away from children and acids. Dispose of effluent according to local regulations.

💡 Tip: Pair potash with our Natural Indigo Powder or Indigo Kits for a complete dye setup.

Potash vs Soda Ash Table

Logwood Dye – Cut or Ground

Haematoxylum campechianum · Natural Purples, Blues & Blacks

From violet and blue-purple, logwood is a powerful, pH-sensitive natural dye. This wild-collected Haitian heartwood is available cut or ground. Please see our extracts for Logwood extract.

At a glance

• Origin: Wild-collected in Haiti
• Botanical name: Haematoxylum campechianum
• Plant part: Heartwood
• Form: Cut or ground - not an extract. Please see our extracts for Logwood extract.
• Colours: Violet, purple, blue-purple, fades to purple grey - grey
• Fibres: Wool, silk, cotton and linen
• Mordant: Required; use a fibre-appropriate method
• Colourfastness: Poor - Medium with Alum & Iron. Generally better to washing, poor prolonged light exposure
• Sensitivity: Colour varies with pH, water chemistry and mordant

Cut or ground?

Both forms are raw dye materials rather than concentrated extracts. Logwood extract requires different quantities and preparation. Please see our extracts for Logwood extract.

How much to use

For a strong initial dye bath, use approximately:

65 g logwood per 100 g dry fibre
Equivalent to 65% WOF - weight of dry fibre.

Logwood is a strong dye, so smaller quantities may be sufficient for pale or medium shades. Sample first and adjust according to your fibre, mordant and desired colour.

Basic dyeing guide

• Prepare: Scour and mordant the fibre using a method suitable for the material, then wet thoroughly.
• Soak: Cover the logwood with water. Soak ground wood for up to two days or cut wood 2 days or longer.
• Extract: Heat gently for approximately 1–2 hours.
• Strain: Strain through a fine cloth, retaining the coloured liquid. Place the material in a dye bag if returning it to the bath.
• Dye: Add the prepared fibre and heat gently for approximately one hour, ideally around 80°C (176°F).
• Finish: Allow to cool, leave in cold dye bath overnight for stronger colour, then rinse thoroughly and wash gently.

Dyeing cotton, linen or other cellulose fibres? Find suitable mordanting methods here.

Colourfastness

Logwood can produce good washfastness when prepared and mordanted correctly, but many purple shades are sensitive to prolonged light exposure and may fade or change.

For textiles that will receive regular sunlight, test a sample under the expected conditions before beginning a larger project.

Using logwood with other dyes can help create rich blacks, but a darker shade is not automatically more lightfast - the complete dyeing method matters.

Storage & safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.
• Avoid creating or breathing dust, particularly when handling ground logwood.
• Avoid contact with eyes and prolonged skin contact.
• Wear suitable protective equipment when handling fine powder.
• Use dedicated dyeing utensils and containers—never food-preparation equipment.
• Follow the safety instructions for every mordant and modifier used.
• Keep away from food, children and pets.
• For textile dyeing and craft use only—not for consumption or cosmetic use.

Packaging

We pack as sustainably as we can while protecting your dye materials. Pouch types may vary according to pack size and the availability of our preferred lower-impact options.

Display jars are not included.

Learn with us

Join The Natural Dyers & Growers Academy to share your results, ask questions and explore natural colour alongside fellow dyers and growers.