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.

Learn with us

Join The Natural Dyers & Growers Academy for shared experience, questions and support from fellow dyers and growers.

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.

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.

Traceable Cochineal Dye

Dactylopius spp. · Canary Islands · Approx. 19–22% Carminic Acid

Cochineal is one of the strongest and most versatile natural dyes, producing colours from soft pinks and rich reds to purples.

Cochineal naturally produces purple. On wool and silk, lowering the dye-bath pH can shift the colour towards red. Cellulose fibres behave differently, so follow the fibre-specific guidance below.

Our cochineal is cultivated and processed in the Canary Islands and is fully traceable to its producer. I am delighted to offer this carefully produced alternative to conventionally sourced cochineal.

At a glance

• Origin: Canary Islands, Spain
• Production: Cultivated and processed in the Canary Islands
• Traceability: Fully traceable to the producer
• Dye source: Dried cochineal insects
• Species: Dactylopius spp.
• Form: Whole dried cochineal
• Carminic acid: Approximately 19–22%
• Colours: Natural purples, with reds produced at low pH, as well as pinks and related shades
• Fibres: Wool, silk, cotton and linen
• Mordant: can be dyed without, but better lightfastness if used
• Colourfastness: Generally very good when correctly mordanted, dyed and finished
• Animal origin: This is an insect-derived dye and is not vegan

How much to use

For a medium to strong shade on wool, begin with:

6-12g cochineal per 100 g dry fibre
Equivalent to 6-12% WOF - weight of dry fibre.

Cochineal is highly concentrated. Smaller quantities can produce pale shades, while deeper colours may require more dye or a stronger initial bath.

Although cochineal is an expensive dye, it continues to release colour over several baths. Depending on the strength and colour of the initial bath, an exhaust bath can often be used up to six times to create successively paler shades.

We also dry the cochineal after extraction so that it can be used again for paler colours.

Sample first when working towards a particular shade.

Basic guide for wool

• Prepare: Scour and mordant the wool with approximately 10% alum WOF, or follow your preferred wool mordanting method.
• Soak: Cover the cochineal with water and leave overnight. This helps soften the insects and prepare them for extraction.
• Blend: Blend the soaked cochineal using a dedicated stick blender to release as much colour as possible. The cochineal can also be used whole, but the resulting colour will generally be less strong.
• Extract: Add the blended cochineal to the dye bath and heat gently. Skim off any dark foam or residue that rises to the surface.
• Adjust the pH: Cochineal’s natural colour is purple. To produce reds, lower the pH carefully using a suitable acid. Test the bath as you work, as pH changes can significantly affect the final colour.
• Strain: Strain the liquid through a fine cloth and keep the extracted cochineal in a dye bag. It can be used for further exhaust baths or dried for later use.
• Dye: Add the thoroughly wetted wool and heat gently for approximately one hour.
• Finish: Allow to cool, then rinse and wash gently.

Important for cotton, linen and other cellulose fibres

On cellulose fibres, cochineal produces purple when used with a tannin, alum and soda ash mordant.

Do not use the low-pH red method described for wool and silk. Acidifying the dye bath can discharge the aluminium mordant from cellulose. Where tannin has been used, the remaining tannates can retain the cochineal and produce a beautiful pink.

Follow the dedicated cotton and linen recipe for the correct preparation and dyeing method. Follow a cellulose-specific mordanting method when dyeing cotton, linen or hemp. 

Find some suitable methods for cellulose fibres here.

Colourfastness

Cochineal is known for producing strong colour with generally very good lightfastness and wash fastness when suitable mordanting, dyeing and finishing methods are used. it is also known as an acid dye and can therefore be used without a mordant on protein fibres. However, the colourfastness is not nearly as good as with a mordant.

Performance still depends on the fibre, mordant, depth of shade, pH and aftercare. No natural dye produces identical results in every studio or on every fibre, so sampling is recommended.

An insect-derived dye

Cochineal is produced from small scale insects that live on prickly pear cacti. Their bodies naturally contain carminic acid, the colourant responsible for cochineal’s characteristic purple and red shades.

Approximately 80,000–100,000 insects may be required to produce one kilogram of dried cochineal, although the number varies.

This is an animal-derived material and is not suitable for vegan projects.

Storage & safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.
• Avoid creating or breathing dust when grinding.
• Avoid contact with eyes and prolonged skin contact.
• Cochineal and carminic acid may cause an allergic reaction in susceptible individuals.
• Wear suitable protective equipment when grinding or handling fine particles.
• Use dedicated dyeing utensils and containers—never food-preparation equipment.
• Follow the safety instructions for all mordants, acids and modifiers used.
• Keep away from food, children and pets.
• For textile dyeing and craft use only - not sold for food, cosmetic or medicinal 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.

Weld Natural Yellow Dye

Reseda luteola · Germany · Dried and Cut

Weld is one of Europe’s most highly regarded traditional yellow dyes. It produces clear, vibrant yellows with excellent colourfastness and woad or indigo blues can be overdyed with Weld to create a beautiful range of lively greens. You can also use iron to shift it into a more subtle green.

This standard weld is grown and collected in Germany and supplied as dried, cut plant material.

At a glance

• Origin: Germany
• Botanical name: Reseda luteola
• Plant part: Dried aerial parts
• Form: Dried and cut
• Colours: Clear yellows; greens when overdyed with woad or indigo; or shifted with iron
• Fibres: Wool, silk, cotton and linen
• Mordant: Required; use a fibre-appropriate method
• Colourfastness: Excellent for a flavonoid dye when suitably mordanted, dyed and finished

A traditional European yellow dye

Weld has a long history as an important European dye plant and is valued for producing particularly clear, bright yellows.

woad or indigo blue can be overdyed weld yellow to produce greens. These layered colours are historically associated with shades such as Lincoln Green and Saxon Green.

How much to use

Use approximately:

80 - 100g weld per 100g dry fibre
Equivalent to 80 - 100% WOF - weight of dry fibre.

Weld is generous in the dye pot and often releases enough colour for a second, paler dye bath. The final shade will depend on the fibre, mordant, water chemistry, extraction and dyeing method.

Sample first when working towards a particular colour.

Basic dyeing guide

• Prepare: Scour and mordant the fibre using a suitable method, then wet it thoroughly.
• Soak: Place the weld in the dye pot with water. Add approximately 7% soda ash WOF - or enough to reach a pH of 9 - and leave to soak overnight.
• Extract: Heat the weld and extraction liquid gently for approximately one hour.
• Strain: Strain the liquid through a cloth, keeping the plant material out of the dye bath.
• Dye: Add the prepared fibre and heat gently for approximately one hour. Use enough water for the fibre to move freely.
• Finish: Allow the fibre to cool, then rinse and wash gently.
• Reuse: Use the remaining dye bath for a second batch of mordanted fibre to produce a paler yellow.

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

Tips from the dye pot

Colourfastness

Weld is known for its excellent lightfastness and wash fastness when suitable mordanting, dyeing and finishing methods are used.

Performance still depends on the fibre, mordant, depth of shade and aftercare. Sampling is recommended when working towards a particular result.

Storage and safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.
• Do not consume or use in food, drinks, cosmetics or herbal preparations.
• Avoid creating or breathing dust.
• Prevent contact with the mouth, eyes and open wounds.
• Wear suitable protective equipment when handling dusty material.
• Wear gloves and eye protection when working with soda ash and mordants.
• Follow the safety instructions for every mordant, alkali and additive used.
• Use dedicated dyeing utensils and containers—never food-preparation equipment.
• Keep away from food, children and pets.
• For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of dried, cut weld, supplied in a pouch.

Mordants, soda ash, woad, indigo and other dyeing supplies are sold separately.

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 natural dyers and dye plant growers.

Organic Hibiscus Natural Dye

Hibiscus sabdariffa · Whole, Cut or Ground · Cultivated in Egypt

Create shifting pinks, purples, mauves and experimental green tones with organic Hibiscus flowers.

All three available forms - whole flowers, cut flowers and Hibiscus powder - are organic. Hibiscus is highly sensitive to pH, making it an interesting material for experimental dyeing and colour studies.

Its colourfastness is poor, however, and the resulting shades may fade or change during washing, exposure to light or contact with substances of a different pH.

At a glance

• Botanical name: Hibiscus sabdariffa
• Plant part: Flowers and calyces
• Origin: Cultivated in Egypt
• Organic status: All options are organic
• Forms: Dried whole flowers, cut flowers or powdered Hibiscus flowers
• Material: Botanical dye material - not an extract
• Colours: Pinks, purples, mauves and greens
• Fibres: Wool, silk, cotton and linen
• Mordant: Recommended; use a fibre-appropriate method
• Colourfastness: Poor
• Special characteristic: Highly sensitive to pH even after dyeing

Choosing a form

Whole organic Hibiscus flowers

• Recognisable whole botanical material
• Easy to contain and strain from the dye bath
• Use approximately 75–100% WOF as a starting point for stronger colour

Cut organic Hibiscus flowers

• Smaller pieces provide good contact with the extraction water
• Easier to measure than whole flowers
• Use approximately 75–100% WOF as a starting point for stronger colour

Ground organic Hibiscus

• Offers a larger surface area for extraction
• Can produce lighter purple or mauve shades on wool
• Creates more sediment and is best contained in a fine cloth or dye bag
• Use approximately 50% WOF as a starting point

How much to use

Use approximately 50–100g of Hibiscus for every 100g of dry fibre.

This is equivalent to 50–100% WOF - weight of dry fibre.

As a starting point:

• Ground Hibiscus: Approximately 50% WOF
• Cut or whole Hibiscus: Approximately 75–100% WOF

These quantities are guidelines only. Results vary according to the fibre, mordant, water chemistry, pH, temperature and extraction method. Sample first when working towards a particular shade.

Basic dyeing guide

1. Prepare: Scour and mordant the fibre using a suitable method, then wet it thoroughly.
2. Soak: Cover the Hibiscus with water and allow it to soak before extraction.
3. Extract: Heat gently for approximately one hour. Avoid vigorous boiling, as excessive heat may affect the colour.
4. Strain: Strain the liquid before adding the fibre. Ground Hibiscus is best contained in a fine cloth or dye bag.
5. Dye: Add the prepared fibre and heat gently until the desired colour is reached.
6. Cool: Allow the fibre to cool in the dye bath where practical.
7. Finish: Rinse gently and dry away from strong, direct sunlight.

For wool, approximately 10% alum WOF may be used, or follow your preferred wool-mordanting method.

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

Working with pH

Hibiscus is highly pH-sensitive. Depending on the water and modifiers used, its colour may move through pink, purple, mauve, grey, blue-grey or green shades.

• More acidic conditions: May encourage pinker or redder tones
• More alkaline conditions: May shift the colour towards purple, blue-grey or green
• Neutral conditions: Often produce mauve or purple shades, although results vary

Make pH adjustments gradually and test the bath regularly. Strong acids and alkalis may damage fibres.

Tips from the dye pot

Colourfastness

Hibiscus has poor lightfastness and washfastness and should be treated as a fugitive or experimental natural dye.

Colours may fade or shift over time, particularly through exposure to sunlight, repeated washing or changes in pH. Hibiscus is best suited to samples, artwork, seasonal projects and pieces where evolving natural colour is acceptable.

It is not recommended when a reliably permanent textile colour is required.

Storage and safe handling

• Store sealed in a cool, dry place away from direct sunlight.
• For textile dyeing 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 Hibiscus.
• Prevent contact with the eyes, mouth and open wounds.
• Wear suitable protective equipment when handling dusty material.
• Follow the safety instructions for every mordant, acid, alkali or modifier used.
• Use dedicated dyeing utensils and containers—never food-preparation equipment.
• Keep away from food and out of reach of children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of organic whole, cut or ground Hibiscus, supplied in a pouch.

Mordants, modifiers and other dyeing supplies are sold separately.

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 and explore natural colour alongside fellow dyers and dye-plant growers.

Black Walnut Shell Natural Dye

Juglans nigra · Cultivated in the USA · Naturally Tannin-Rich

Black walnut shells produce warm, earthy browns ranging from lighter natural shades to deep, rich tones with iron.

Cultivated in the USA, black walnut is naturally rich in tannins and has a long history of use as a textile dye. Deeper shades can be developed by using more dye, extending the dyeing time or working the fibre through a second dye bath.

At a glance

• Origin: USA
• Botanical name: Juglans nigra
• Plant part: Shell
• Form: Dried black walnut shells
• Colours: Light, medium and deep earthy browns
• Fibres: Wool, silk, cotton and linen
• Mordant: Recommended
• Colourfastness: Excellent when suitably prepared, dyed and finished

A naturally tannin-rich dye

Black walnut is a North American tree valued for its timber and tannin-rich hulls and shells. These naturally occurring tannins give black walnut a strong affinity with textile fibres and help produce lasting earthy browns.

Black walnut can colour some fibres without a mordant, but suitable preparation and mordanting can improve consistency, depth and durability.

How much to use

For a lighter earthy brown, begin with:

50 g black walnut shells per 100 g dry fibre
Equivalent to 50% WOF - weight of dry fibre.

For a deeper brown, use:

100 g black walnut shells per 100 g dry fibre
Equivalent to 100% WOF. Iron after mordant.

Shade depth will also depend on the fibre, mordant, water chemistry, extraction time and length of time in the dye bath.

Sample first when working towards a particular colour.

Basic dyeing guide

• Prepare: Scour and mordant the fibre using a suitable method, then wet it thoroughly.

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

• Soak: Cover the black walnut shells with cold water and leave them to soak overnight.
• Extract: Heat the soaked shells and liquid to approximately 80°C (176°F) and hold for one hour.
• Strain: Strain the dye liquid through a cloth, keeping the shell material out of the dye bath.
• Dye: Add the prepared fibre and hold the bath at approximately 80°C (176°F) for one hour. Use enough water for the fibre to move freely.
• Deepen: For a deeper shade, allow the fibre to remain in the cooling dye bath overnight or for up to 12 hours.
• Finish: Remove the fibre, rinse thoroughly and wash gently.

Tips from the dye pot

Colourfastness

Black walnut can produce excellent lightfastness and wash fastness when the fibre is properly prepared and the dye is suitably extracted, applied and finished.

Performance still depends on the fibre, mordant, depth of shade and aftercare.

Storage and safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.
• Do not consume or use in food, drinks, cosmetics or herbal preparations.
• Avoid creating or breathing dust.
• Prevent contact with the mouth, eyes and open wounds.
• Wear gloves, as black walnut can stain the skin and may cause irritation or an allergic reaction in susceptible individuals.
• Wear suitable protective equipment when handling dusty material.
• Follow the safety instructions for all mordants and modifiers used.
• Use dedicated dyeing utensils and containers—never food-preparation equipment.
• Keep away from food, children and pets.
• For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of dried black walnut shells, supplied in a pouch.

Mordants, iron and other dyeing supplies are sold separately.

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 natural dyers and dye plant growers.

Natural Lac Dye Powder

Kerria lacca · Thailand · Concentrated Insect-Derived Dye

Create wine reds, burgundies, violets and warm reddish-browns with this concentrated natural lac dye from Thailand.

Lac produces softer, more wine-like reds than the bright crimson commonly associated with cochineal. Its colour responds to mordants, pH, fibre and dye concentration, offering shades from violet and burgundy through red to warm brown.

Lac has a long history as a textile dye across Asia and is particularly associated with the deep crimson and burgundy shades found in traditional Himalayan textiles.

At a glance

• Origin: Thailand

• Dye source: Lac insect

• Accepted species name: Kerria lacca

• Older synonym: Coccus lacca Kerr

• Form: Concentrated lac dye powder

• Main colourants: Laccaic acids

• Colours: Violet, burgundy, wine red, crimson and reddish-brown

• Best suited to: Wool and silk

• Cellulose fibres: Possible with suitable preparation and mordanting

• Mordant: Optional at lower concentrations; alum recommended for stronger dye applications or improved consistency

• Colourfastness: Good to excellent when suitably prepared, dyed and finished

• Animal origin: Insect-derived and not vegan

Natural Lac Dye and Lac Dye Extract

Natural Lac Dye and Lac Dye Extract are the same product. They are listed in two different shop categories for convenience—one under natural dyes and one under extracts - but both listings contain the same concentrated lac dye powder from Thailand.

What is lac dye?

Lac dye is obtained from scale insects that live on the branches of suitable host trees.

During cultivation, branches carrying young insects are attached to host trees. The insects colonise the branches and produce a protective resinous secretion. The harvested material is known as stick lac.

Stick lac is crushed, washed and processed to separate the red laccaic-acid colourants from the resin. The remaining resin can be refined into seed lac and shellac, while the separated colour is prepared as lac dye.

This product is the concentrated dye powder - not shellac varnish or raw stick lac.

How much to use

For a medium to strong shade on wool, begin with:

3–5g lac dye per 100g dry fibre

This is equivalent to 3–5% WOF - weight of dry fibre.

Smaller amounts can produce softer pink, mauve and rose shades. The final result depends on the fibre, mordant, water chemistry, pH, dye quantity, temperature and length of time in the bath.

For applications above approximately 5% WOF, or when greater consistency is desired, mordant wool with approximately 10–15% alum WOF.

Sample first when working towards a particular colour.

Basic guide for wool

1. Prepare: Scour the wool thoroughly and wet it before dyeing.

2. Mordant (if required): Lac can colour wool without a separate mordant at lower concentrations. For applications above approximately 5% WOF, or if preferred, mordant with 10–15% alum WOF.

3. Dissolve: Mix the lac dye powder thoroughly with warm water, breaking up any lumps, and add it to the dye pot.

4. Dye: Add the thoroughly wetted wool. Heat the bath gradually and bring it to a gentle simmer.

5. Hold: Maintain gentle heat for approximately one hour. Move the fibre carefully to encourage even colour.

6. Steep: Turn off the heat and leave the wool in the cooling dye bath overnight for greater depth, if suitable for your project.

7. Rinse: Remove the fibre and rinse thoroughly until the water is reasonably clear.

8. Finish: Wash gently using a fibre-appropriate cleanser and allow to air-dry away from strong, direct sunlight.

Protein and cellulose fibres require different preparation. When dyeing cotton, linen or hemp, use an appropriate tannin and mordanting method.

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

Tips from the dye pot

Colourfastness

Lac can produce good to excellent colourfastness on wool and silk when the fibre is suitably prepared and the dye is properly applied and finished.

Performance varies according to the fibre, mordant, depth of shade, pH, dyeing method and aftercare. Cellulose fibres generally require more careful preparation.

Sample and test finished work when colourfastness is particularly important.

An insect-derived dye

Lac dye is obtained from lac insects and is therefore an animal-derived colourant.

It is not suitable for vegan projects. Customers wishing to avoid insect-derived materials should choose a plant- or mineral-derived dye instead.

Storage and safe handling

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

• For textile dyeing and craft use only.

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

• Avoid creating or breathing fine powder.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling fine powder.

• Lac dye may cause irritation or an allergic reaction in susceptible individuals.

• Follow the safety instructions for all mordants, acids and modifiers used.

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

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

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of concentrated lac dye powder supplied in a pouch.

Mordants, vinegar and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Rhubarb Root Natural Dye

Rheum palmatum · Cut or Ground · Collected in China

Rhubarb root is a wonderfully responsive natural dye, producing earthy yellows, yellow-browns and olive greens, as well as experimental pink and red brown shades under alkaline conditions.

The root contains tannins and anthraquinone-type colourants. Its final colour varies considerably according to the fibre, mordant, water chemistry, pH and modifiers used.

Choose from cut or ground rhubarb root.

At a glance

• Botanical name: Rheum palmatum

• Plant part: Root

• Country of collection: China

• Forms: Cut or ground

• Colours: Yellow, yellow-brown, olive green, pink and red brown

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Colour response: Highly dependent on pH and mordants

• Yellow and green colourfastness: Generally good

• Pink and red colourfastness: Medium

• Origin: Botanical and suitable for vegan projects

Choosing a form

Ground rhubarb has a greater surface area and generally releases its colour more readily than cut root.

How much to use

For a strong shade with cut rhubarb root, begin with:

100g cut rhubarb root per 100g dry fibre

Equivalent to 100% WOF - weight of dry fibre.

For a strong shade with ground rhubarb root, begin with:

50g ground rhubarb root per 100g dry fibre

Equivalent to 50% WOF.

For lighter shades, begin with approximately 25% WOF. These quantities are starting points only; sample first when working towards a particular colour.

Colour possibilities

Results vary according to the form of rhubarb, fibre, mordant, water chemistry, pH, temperature and processing time.

Basic guide for wool

1. Prepare: Scour and mordant the wool with alum using your preferred wool-mordanting method, then wet it thoroughly.

2. Soak: Cover the rhubarb root with water and leave it to soak overnight.

3. Extract: Heat the soaked root and liquid gently for one to two hours.

4. Strain: Strain the dye liquid through a fine cloth. Ground rhubarb is best contained in a dye bag to reduce sediment.

5. Dye: Add the thoroughly wetted wool and heat gently for approximately one hour. Use enough water for the fibre to move freely.

6. Deepen: Turn off the heat and leave the fibre in the cooling dye bath overnight if a deeper colour is required.

7. Modify - optional: Remove a small sample or portion of the dye bath before experimenting with iron or soda ash. Add modifiers gradually and observe the colour closely.

8. Finish: Rinse thoroughly, wash gently and dry away from strong, direct sunlight.

Protein and cellulose fibres require different preparation.

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

Modifying with iron

Iron can shift rhubarb yellows and browns towards olive, khaki, grey-green and deeper green-brown shades.

Always dilute iron before adding it to the bath. Begin with a very small quantity -approximately 1-3% WOF - and increase only if necessary.

Iron continues to darken the colour, and excessive iron can make wool and other fibres harsh or brittle. Test a sample first and use only enough to create the desired shift.

Creating pinks and reds

Rhubarb root can shift towards pink, coral or red brown in an alkaline bath.

Dissolve a small amount of soda ash separately and add it gradually while monitoring both the colour and pH. 

Strong or prolonged alkalinity can damage protein fibres such as wool and silk. For these fibres, modify a small sample first before making the full dye bath strongly alkaline.

Cellulose fibres tolerate alkalinity better, but the resulting pink and red shades are generally much less colourfast than rhubarb’s yellows and greens.

Tips from the dye pot

Colourfastness

The yellow, yellow-brown and iron-modified green shades produced by rhubarb root generally have good colourfastness when the fibre is suitably prepared, mordanted, dyed and finished.

Pink and red shades created under alkaline conditions have poor colourfastness and may fade or change during washing, storage and exposure to light.

Colourfastness still depends on the fibre, mordant, modifier, depth of shade and aftercare. Sample and test when permanence is important.

Storage and safe handling

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

• For textile dyeing 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 rhubarb root.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dusty material.

• Follow the safety instructions for all mordants, iron, alkalis and other modifiers used.

• Add iron and soda ash carefully; excessive quantities can damage fibres.

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

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

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of cut or ground rhubarb root supplied in a pouch.

Please check the selected form and pack size carefully before ordering.

Mordants, iron, soda ash and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Maya Blue Pigment

Natural Indigo · Calcium Bentonite Clay · Handmade by AppleOak FibreWorks

Our Maya Blue is a beautiful mineral-organic pigment handmade in small batches using natural indigo and finely powdered calcium bentonite clay.

Through careful preparation and controlled heating, the indigo and clay combine to create a soft, mineral-rich blue with wonderful depth. Depending on the concentration, binder and surface, it can produce shades ranging from smoky indigo and blue-grey to softer blue-green. At the moment we only have the dark blue available, please see picture with colour samples in the second picture. 

At a glance

• Product: Maya Blue pigment

• Colour source: Natural indigo

• Mineral base: Calcium bentonite clay

• Principal clay mineral: Montmorillonite

• Process: Carefully combined and heat-treated

• Colour: Mineral blue, blue-grey and blue-green, grey-green

• Type: Mineral-organic pigment

• Uses: Painting, ink, paper, canvas and mixed media
• Textile use: Not suitable for textile printing, textile painting or other textile applications

• Produced by: AppleOak FibreWorks in County Clare, Ireland

• Vegan: Yes

Inspired by an ancient pigment

Maya Blue takes its name from the remarkably durable blue pigment developed by the ancient Maya and used in murals, ceramics and manuscripts.

Its distinctive character comes from combining indigo with mineral clay—a principle that continues to inspire contemporary pigment makers.

Our small-batch version combines natural indigo with calcium bentonite to create a versatile pigment for modern artistic use.

Suitable uses

• Watercolour and gouache
• Egg tempera
• Casein and other natural paint systems
• Brush and dip-pen inks
• Natural paint making
• Painting on paper and canvas
• Decorative finishes
• Mixed-media artwork
• Paper and book arts

Maya Blue can be mixed with water for painting and other suitable applications. As an insoluble pigment, it disperses rather than dissolves, so it may settle in liquid mixtures and should be stirred regularly.

It can also be combined with a suitable binder for improved adhesion, durability or water resistance, depending on the intended use.

It is not recommended for fountain pens, technical pens or airbrushes, as the mineral particles may settle or obstruct fine mechanisms.

Maya Blue is not suitable for textiles. Do not use it for textile printing, textile painting, fabric dyeing or other textile applications.

Basic mixing guide

1. Place a small amount of pigment on a suitable mixing or grinding surface.
2. Add water gradually, or add your chosen binder if you prefer a more durable or specialised paint.
3. Mix or grind thoroughly until the pigment is evenly dispersed.
4. Adjust the consistency to suit the intended technique.
5. Test the mixture on a prepared paper, canvas or other suitable art surface.
6. Stir regularly during use, as some settling is normal.

For a rich natural paint, try mixing the pigment with soya milk. The resulting paint can be applied to paper, canvas or another suitable art surface. Soya milk is optional, and other binders, surfaces and application techniques may also work well.

The choice of mixing medium and surface affects adhesion, colour depth, transparency, finish, flexibility and water resistance.

Textile use

Maya Blue is not suitable for textiles.

It should not be used for textile printing, textile painting, fabric dyeing, surface application to cloth or other textile projects. The pigment is intended for suitable art surfaces such as paper, canvas and other prepared painting surfaces.

Important characteristics

Storage and safe handling

• Store tightly sealed in a cool, dry place away from direct sunlight.
• For ar &, craft use only.
• Not for consumption or use in food, drinks, cosmetics, body painting or medicinal preparations.
• Avoid creating or breathing fine pigment and mineral dust.
• Work in a well-ventilated area.
• Wear suitable particulate respiratory protection where dust cannot be adequately controlled.
• Wear eye protection and gloves when handling fine powder.
• Prevent contact with eyes, mouth and open wounds.
• Follow the safety instructions for all binders, solvents and additives used.
• Use dedicated art equipment - never food-preparation utensils.
• Keep away from food and out of reach of children and pets.

Not a food colour, cosmetic or textile dye.

What you receive

Your chosen net weight of Maya Blue pigment, handmade by AppleOak FibreWorks and supplied in a sealed stand up pouch.

Binders, soya milk, brushes and other art materials are not included.

Packaging

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

Learn with us

Join The Natural Dyers & Growers Academy to explore natural pigments, lake making, indigo and historical colour processes alongside fellow practitioners.

Glossy Buckthorn Bark Natural Dye

Frangula alnus Mill. · Wild-Collected in Bosnia · Cut Bark

Glossy buckthorn bark is a responsive natural dye capable of producing golden yellows, ochres and earthy greens, together with experimental pink and red shades under alkaline conditions.

The bark contains anthraquinone-type colourants. Its final colour varies considerably according to the fibre, mordant, water chemistry, pH and modifiers used.

At a glance

• Botanical name: Frangula alnus Mill.

• Recognised synonym: Rhamnus frangula L.

• Plant part: Bark

• Form: Dried cut bark

• Country of collection: Bosnia

• Collection: Wild-collected

• Colours: Golden yellow, ochre, pink, coral, red, olive and green-brown

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Colour response: Highly dependent on pH and modifiers

• Colourfastness: Yellow and iron-modified shades are generally more stable; alkaline pinks and reds are less colourfast

• Vegan: Yes

How much to use

For a medium to strong shade, begin with:

65 g glossy buckthorn bark per 100 g dry fibre

Equivalent to 65% WOF - weight of dry fibre.

For lighter shades, use a smaller quantity or work with a later exhaust bath.

These quantities are starting points only. Results vary according to the fibre, mordant, water chemistry, pH, dye quantity, temperature and processing time.

Colour possibilities

Alkaline pink and red shades are pH sensitive and may change during rinsing, washing or exposure to light.

Basic guide for wool

1. Prepare: Scour and mordant the wool with approximately 13% alum WOF, or follow your preferred wool-mordanting method.

2. Soak: Cover the bark with water and soak for approximately two days.

3. Extract: Heat the bark and soaking liquid gently for approximately two hours.

4. Strain: Strain the liquid through a cloth. The bark may be placed in a dye bag and returned to the bath if desired.

5. Dye: Add the thoroughly wetted wool and heat gently for approximately one hour.

6. Cool: Allow the fibre to cool in the dye bath. Leave it longer if greater depth is required.

7. Modify - optional: Divide the bath or remove a sample before making gradual iron or alkaline adjustments.

8. Finish: Rinse thoroughly, wash gently and dry away from strong, direct sunlight.

Protein and cellulose fibres require different preparation.

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

Creating pinks and reds

Raising the dye bath towards approximately pH 10–11 can shift glossy buckthorn towards pink, coral and red.

Dissolve soda ash separately and add it gradually. Strong or prolonged alkalinity may damage wool and silk, so modify a small sample or use a separate brief afterbath.

These colours are less stable than the yellows and iron-modified shades and may fade or change over time.

Modifying with iron

Iron can shift the yellow and ochre shades towards olive, khaki and deeper green-brown.

Dilute the iron before adding it and begin with approximately 1-3% WOF. Excessive iron may make fibres harsh or brittle.

Colourfastness

Golden-yellow, ochre and carefully iron-modified shades can provide useful, generally more stable results when properly prepared, dyed and finished.

Alkaline pink and red shades have lower permanence and may fade or shift during washing, storage and exposure to light.

Sample and test when colourfastness is important.

Storage and safe handling

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

• For textile dyeing and craft use only.

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

• Glossy buckthorn bark naturally contains biologically active anthraquinone compounds.

• Avoid creating or breathing dust.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dusty material.

• Follow the safety instructions for all mordants, iron, alkalis and modifiers used.

• Use dedicated dyeing equipment - never food-preparation utensils.

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

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of dried, cut glossy buckthorn bark, wild-collected in Bosnia and supplied in a pouch.

Mordants, iron, soda ash and other dyeing supplies are sold separately.

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 and explore natural colour alongside fellow dyers and dye-plant growers.

Black Hollyhock Flowers

Alcea rosea L. · Natural Dye and Eco-Printing Material

Black hollyhock flowers are an anthocyanin-rich botanical material used for eco-printing, natural dyeing and experimental colour work.

The dried flowers can produce purple, blue-violet, mauve, grey and charcoal-toned impressions. Results vary considerably with the fibre, mordant, pH, water chemistry, temperature and use of iron.

Hollyhock colours are not reliably permanent. They are best suited to botanical printing, sampling, artwork and projects where natural variation and gradual colour change are acceptable.

At a glance

• Botanical name: Alcea rosea L.

• Common names: Hollyhock, black hollyhock and black mallow rose

• Supplier name: Malvae arbor. Flor. tot.

• Plant part: Dried flowers and petals

• Colours: Purple, blue-violet, mauve, grey and charcoal

• Uses: Eco-printing, natural dyeing, botanical printing and colour studies

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Colour response: Sensitive to pH, water chemistry and iron

• Colourfastness: Poor to moderate

• Vegan: Yes

Colour possibilities

These are possible outcomes rather than guaranteed shades. Sample the flowers with your chosen fibre, water and mordant before beginning a larger project.

Basic eco-printing guide

1. Prepare: Scour and mordant the fabric using a method appropriate to the fibre.

2. Wet: Wet the prepared fabric thoroughly and squeeze out excess water.

3. Arrange: Position the flowers or separated petals on the fabric. Open or flatten whole flowers to improve contact.

4. Roll: Fold or roll the fabric tightly around a suitable rod.

5. Bind: Secure the bundle firmly with string.

6. Steam: Steam using your preferred eco-printing method.

7. Cool: Allow the bundle to cool completely before opening.

8. Finish: Remove the flower material, allow the print to rest and rinse gently. Dry away from strong sunlight.

Basic dyeing guide

1. Prepare: Scour and mordant the fibre using a suitable method, then wet it thoroughly.

2. Soak: Cover the flowers with cool water and allow them to soak.

3. Extract: Heat gently to release the colour. Avoid vigorous boiling.

4. Strain: Strain the liquid through a fine cloth.

5. Dye: Add the prepared fibre and heat gently, checking the colour regularly.

6. Cool: Allow the fibre to cool in the bath where practical.

7. Finish: Rinse gently and dry away from strong sunlight.

Hollyhock is a variable dye material, so no single quantity guarantees a particular shade. Begin with a generous amount, sample first and keep careful notes.

Dyeing cotton, linen or another cellulose fibre? Find suitable mordanting methods here.

Working with iron

Iron can deepen and sadden hollyhock colour, producing smoky purple, grey-violet and charcoal-toned results.

Apply it through an appropriate mordant, printing solution or brief afterbath. Begin with a weak solution and test a small piece before treating the complete project.

Excessive iron can obscure flower detail and make fibres harsh or brittle, particularly wool and silk. Iron changes the immediate colour but does not make anthocyanin-based hollyhock shades reliably permanent.

Tips from the dye pot

Colourfastness

Black hollyhock flowers contain anthocyanin-type colourants that are sensitive to light, washing, heat and changes in pH.

Colourfastness ranges from poor to moderate. Some carefully prepared prints may remain visible for years when protected from strong light and frequent washing, but permanence cannot be guaranteed.

Iron and suitable mordanting can influence colour retention and appearance, but they do not make hollyhock reliably lightfast or washfast.

Hollyhock is best suited to experimental textiles, botanical prints, artwork and projects where evolving colour is acceptable.

Storage and safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.

• For textile dyeing, botanical printing and craft use only.

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

• Avoid creating or breathing dust and loose particles.

• Prevent contact with eyes, mouth and open wounds.

• Wear suitable protective equipment when handling dusty material.

• Follow the safety instructions for all mordants, iron solutions and modifiers used.

• Use iron sparingly, as excessive iron can damage fibres.

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

• Keep away from food, children and pets.

For textile dyeing, eco-printing and craft use only - not for consumption.

What you receive

Your chosen net weight of dried black hollyhock flowers, supplied in a pouch.

Natural variation in flower size, shape, colour and fragmentation should be expected.

Mordants, iron, fabric and other printing supplies are sold separately.

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 and props are not included.

Learn with us

Join The Natural Dyers & Growers Academy to share your results and explore natural colour alongside fellow dyers, botanical printers and dye-plant growers.

Pomegranate Peel and Flowers

Punica granatum L. · Coloured Tannin · Natural Yellow Dye

Pomegranate provides two different natural colour materials: tannin-rich fruit peel and whole dried flowers.

Choose from:

• Organic cut pomegranate peel

• Non-organic ground pomegranate peel

• Non-organic whole pomegranate flowers, wild-collected in India

Pomegranate peel is best known as a rich source of coloured tannin. It is particularly useful when preparing cotton, linen and other cellulose fibres for mordanting, while simultaneously adding a yellow base colour.

When the tannin treatment is followed by an alum and soda-ash bath, the alum brightens the naturally warm pomegranate colour and can produce a vibrant, slightly cool lemon yellow. This creates a useful quick yellow without requiring a heated dye bath.

The peel can also be extracted conventionally to produce warmer yellows, golds, mustard shades and yellow-browns.

Whole pomegranate flowers produce soft to deeper yellows, but their colourfastness is poor. They are best suited to experimental dyeing and projects where gradual fading is acceptable.

At a glance

• Botanical name: Punica granatum L.

• Plant parts: Fruit peel or whole flowers

• Forms: Cut peel, ground peel or whole flowers

• Organic status: Cut peel only

• Flower origin: Wild-collected in India

• Peel colours: Lemon yellow, golden yellow, mustard and yellow-brown

• Flower colours: Soft yellow, golden yellow and occasional yellow-orange

• Fibres: Wool, silk, cotton and linen

• Principal peel use: Coloured tannin for cellulose preparation

• Mordant: Recommended

• Peel colourfastness: Generally good to excellent

• Flower colourfastness: Poor

• Vegan: Yes

Choosing your pomegranate material

Quick lemon yellow and tannin preparation

Pomegranate peel can be used as a coloured tannin when preparing cotton, linen and other cellulose fibres.

Unlike pale tannins such as tara or oak gall, pomegranate leaves a visible yellow background. The subsequent alum and soda-ash bath brightens this colour and can produce a vibrant, slightly cool lemon yellow.

No heated dye bath is required.

1. Scour: Scour the cellulose fibre thoroughly and rinse well.

2. Prepare the tannin bath: Add approximately 10–60% pomegranate peel WOF to cool water. Keep the bath no warmer than approximately 40°C (104°F).

3. Soak: Immerse the fibre for at least one to two hours or for up to 24 hours. Stir occasionally.

4. Remove: Wearing gloves, remove and squeeze the fibre gently. Do not rinse aggressively and do not allow it to dry.

5. Prepare the alum bath: Separately dissolve 12% alum WOF and 1.5% soda ash WOF in hot water. Combine the solutions carefully while stirring.

6. Develop and mordant: Add the tannin-treated fibre and leave it for at least two hours or for up to 24 hours.

7. Finish: Rinse thoroughly. The fibre may be used as a finished yellow textile, overdyed or dried for later use.

Alum brightens the pomegranate tannin, helping develop a clearer, cooler lemon yellow while completing the cellulose-mordanting process.

Read the complete guide to mordanting linen and cotton.

Conventional dyeing with pomegranate peel

For a stronger, warmer yellow, gold or yellow-brown, begin with:

100g pomegranate peel per 100g dry fibre
Equivalent to 100% WOF - weight of dry fibre.

1. Prepare: Scour and mordant the fibre using a suitable method, then wet it thoroughly.

2. Extract: Add the peel to water at approximately 80°C (176°F) and hold for one hour.

3. Strain: Strain the cut peel or remove the dye bag containing the ground peel.

4. Dye: Add the thoroughly wetted fibre to the extracted bath.

5. Develop: Leave the fibre in the cooling bath until the desired depth develops. It may remain overnight or for up to three days.

6. Finish: Remove, rinse thoroughly and wash gently.

Ground peel should be contained in a fine dye bag or stirred regularly to prevent settling and scorching.

For wool and silk, approximately 10% alum WOF may be used. Pomegranate peel can colour some protein fibres without an additional mordant, but alum generally produces a brighter, clearer yellow and improves consistency.

Basic guide for pomegranate flowers

Use approximately 50–100% WOF.

1. Prepare: Scour and mordant wool or silk with approximately 10% alum WOF.

2. Soak: Cover the flowers with water and leave overnight.

3. Extract: Heat gently for approximately one hour.

4. Strain: Strain the liquid. Return the flowers in a dye bag if desired.

5. Dye: Add the wetted fibre and heat gently for approximately one hour.

6. Cool: Allow the fibre to cool in the bath.

7. Finish: Rinse gently and dry away from strong sunlight.

Using more flowers may deepen the initial yellow or produce yellow-orange, but it will not necessarily improve permanence.

Tips from the dye pot

Colourfastness

Pomegranate peel

Pomegranate peel generally produces good to excellent colourfastness when the fibre is suitably prepared, mordanted, dyed and finished.

Performance depends on the fibre, mordanting process, depth of shade and aftercare.

Pomegranate flowers

Pomegranate flowers have poor colourfastness. Their yellows may fade or change through exposure to light, washing and storage.

They are best treated as an experimental dye rather than a dependable source of permanent textile colour.

Storage and safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.

• For textile dyeing, mordanting, printing and craft use only.

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

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

• Prevent contact with eyes, mouth and open wounds.

• Wear suitable protective equipment when handling dusty material.

• Follow the safety instructions for all mordants, iron, printing thickeners and modifiers used.

• Combine alum and soda-ash solutions carefully, as the mixture may bubble.

• Use dedicated dyeing and printing equipment - never food-preparation utensils.

• Keep away from food, children and pets.

For textile dyeing, mordanting, printing and craft use only - not for consumption.

What you receive

Your chosen net weight of:

• Organic cut pomegranate peel

• Non-organic ground pomegranate peel, or

• Non-organic whole pomegranate flowers, wild-collected in India

Please check the selected material and pack size carefully before ordering. The organic certification applies only to the cut peel.

Natural variation in colour, particle size and botanical appearance should be expected.

Mordants, soda ash, iron, guar gum and other dyeing supplies are sold separately.

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 and props are not included.

Learn with us

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

Old Fustic Hardwood Natural Dye

Maclura tinctoria · Dyer’s Mulberry · Yellowwood

Old fustic is a traditional hardwood dye obtained from Maclura tinctoria, a member of the mulberry family.

It produces bright, clear yellows and can be combined with indigo to create vibrant greens. Careful iron modification shifts the yellow towards olive, khaki and green-brown.

Fustic is a strong and economical dye material. Begin with approximately 50% WOF and retain the used wood chips, as they can often be extracted again for additional, progressively lighter dye baths.

At a glance

• Accepted botanical name: Maclura tinctoria (L.) D.Don ex G.Don

• Older synonyms: Chlorophora tinctoria and Morus tinctoria

• Common names: Old fustic, dyer’s mulberry and yellowwood

• Plant part: Hardwood

• Form: Cut wood chips

• Colours: Bright yellow, gold, green, olive and khaki

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Suggested quantity: Approximately 50% WOF

• Colourfastness: Poor to moderate

• Reusable: The wood chips may be extracted more than once

• Vegan: Yes

How much to use

For a bright, clear yellow, begin with:

50g fustic hardwood per 100g dry fibre
Equivalent to 50% WOF - weight of dry fibre.

For a paler yellow, use less material or work with a later exhaust bath.

Deeper shades may be developed by using more fustic, extending the extraction, leaving the fibre in the cooling bath or combining the first and second wood extractions.

These quantities are starting points. Results vary according to the fibre, mordant, water chemistry, extraction method, temperature and processing time.

Colour possibilities

Basic guide for wool

1. Mordant: Scour the wool and mordant with approximately 10% alum WOF, or follow your preferred wool-mordanting method. The wool may be left in the cooling mordant bath overnight.

2. Soak: Cover the fustic wood chips with hot water and leave overnight.

3. Extract: Heat the soaked wood and liquid gently at approximately 80–85°C (176–185°F) for about one hour.

4. Strain: Strain the dye liquid through a cloth and retain the wood chips for another extraction.

5. Dye: Add the rinsed, thoroughly wetted wool and hold the bath at approximately 85°C (185°F) for one hour.

6. Develop: Turn off the heat and allow the fibre to cool in the bath. Leave overnight if a deeper shade is required.

7. Finish: Remove the fibre, rinse thoroughly and wash gently.

Protein and cellulose fibres require different preparation.

Dyeing cotton, linen or another cellulose fibre? Find suitable preparation and mordanting methods here.

Reusing the wood chips

Fustic hardwood can continue to release colour after its first extraction.

1. Retain the strained wood chips.

2. Dry them thoroughly if they will be stored.

3. Label them as previously extracted.

4. Cover them with fresh water when ready to reuse.

5. Simmer for approximately 45 minutes to one hour.

6. Strain and use the liquid for a second dye bath.

Repeated extractions will generally become progressively lighter. Several extractions may be combined to create a stronger bath.

Never store damp wood chips in a sealed container, as they may develop mould.

Old Fustic Hardwood Natural Dye

Maclura tinctoria · Dyer’s Mulberry · Yellowwood

Old fustic is a traditional hardwood dye obtained from Maclura tinctoria, a member of the mulberry family.

It produces bright, clear yellows and can be combined with indigo to create vibrant greens. Careful iron modification shifts the yellow towards olive, khaki and green-brown.

Fustic is a strong and economical dye material. Begin with approximately 50% WOF and retain the used wood chips, as they can often be extracted again for additional, progressively lighter dye baths.

At a glance

• Accepted botanical name: Maclura tinctoria (L.) D.Don ex G.Don

• Older synonyms: Chlorophora tinctoria and Morus tinctoria

• Common names: Old fustic, dyer’s mulberry and yellowwood

• Plant part: Hardwood

• Form: Cut wood chips

• Colours: Bright yellow, gold, green, olive and khaki

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Suggested quantity: Approximately 50% WOF

• Colourfastness: Poor to moderate

• Reusable: The wood chips may be extracted more than once

• Vegan: Yes

How much to use

For a bright, clear yellow, begin with:

50 g fustic hardwood per 100 g dry fibre
Equivalent to 50% WOF—weight of dry fibre.

For a paler yellow, use less material or work with a later exhaust bath.

Deeper shades may be developed by using more fustic, extending the extraction, leaving the fibre in the cooling bath or combining the first and second wood extractions.

These quantities are starting points. Results vary according to the fibre, mordant, water chemistry, extraction method, temperature and processing time.

Colour possibilities

The order of dyeing affects the final green. Applying indigo over fustic or fustic over indigo can produce different balances of yellow and blue.

Basic guide for wool

1. Mordant: Scour the wool and mordant with approximately 10% alum WOF, or follow your preferred wool-mordanting method. The wool may be left in the cooling mordant bath overnight.

2. Soak: Cover the fustic wood chips with hot water and leave overnight.

3. Extract: Heat the soaked wood and liquid gently at approximately 80–85°C (176–185°F) for about one hour.

4. Strain: Strain the dye liquid through a cloth and retain the wood chips for another extraction.

5. Dye: Add the rinsed, thoroughly wetted wool and hold the bath at approximately 85°C (185°F) for one hour.

6. Develop: Turn off the heat and allow the fibre to cool in the bath. Leave overnight if a deeper shade is required.

7. Finish: Remove the fibre, rinse thoroughly and wash gently.

Protein and cellulose fibres require different preparation.

Dyeing cotton, linen or another cellulose fibre? Find suitable preparation and mordanting methods here.

Reusing the wood chips

Fustic hardwood can continue to release colour after its first extraction.

1. Retain the strained wood chips.

2. Dry them thoroughly if they will be stored.

3. Label them as previously extracted.

4. Cover them with fresh water when ready to reuse.

5. Simmer for approximately 45 minutes to one hour.

6. Strain and use the liquid for a second dye bath.

Repeated extractions will generally become progressively lighter. Several extractions may be combined to create a stronger bath.

Never store damp wood chips in a sealed container, as they may develop mould.

CREATING GREEN WITH INDIGO

Fustic produces particularly useful greens when applied over indigo-dyed fibre.

Begin by dyeing the prepared fibre with indigo. Use one or more controlled dips, allowing the fibre to oxidise completely between each dip, until the required depth of blue is reached.

Rinse and finish the indigo-dyed fibre thoroughly. Mordant it using a method appropriate to the fibre, then apply the fustic yellow.

A pale indigo base followed by a strong fustic bath generally produces a brighter green. A deeper indigo base creates darker, cooler blue-green shades.

The final colour depends on:

• The depth of the indigo base
• The strength and condition of the indigo vat
• The number of indigo dips
• The strength of the fustic bath
• The mordant
• The fibre

Modifying with iron

Iron can shift fustic yellow towards olive, khaki, moss green and green-brown.

Begin with approximately 1-3% iron WOF in a separate, diluted afterbath. Increase only if necessary.

Excessive iron can make fibres harsh or brittle. Test a small sample, observe the colour continuously and remove the fibre as soon as the desired shade develops.

Tips from the dye pot

Colourfastness

Old fustic’s colourfastness ranges from poor to moderate and depends on the fibre, mordant, dye concentration, depth of shade and aftercare.

Alum-mordanted yellows generally perform better than unmordanted shades, but fading may occur through prolonged exposure to strong light or repeated washing.

Fustic greens combine two dyes, so their performance depends on both the fustic layer and the method used to apply the indigo.

Sample and test when permanence is important. Protect finished work from strong, direct sunlight and wash gently when necessary.

Storage and safe handling

• Store tightly sealed, cool and dry, away from direct sunlight.

• Dry previously extracted wood thoroughly before storing it.

• For textile dyeing and craft use only.

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

• Avoid creating or breathing wood dust and fine particles.

• Prevent contact with eyes, mouth and open wounds.

• Wear suitable protective equipment when handling dusty material.

• Follow the safety instructions for all mordants, iron and indigo-vat ingredients used.

• Use iron sparingly, as excessive iron can damage textile fibres.

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

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of cut old fustic hardwood, supplied in a pouch.

Natural variations in chip size, colour and appearance should be expected.

Mordants, iron, indigo and other dyeing supplies are sold separately.

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 and props are not included.

Learn with us

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

Safflower Natural Dye

Carthamus tinctorius · Dried Petals · Iran

Safflower petals contain two distinctly different sources of natural colour: an easily extracted, water-soluble yellow and the traditional red pigment known as carthamin.

The soft yellow is produced with water and gentle heat and is particularly suitable for wool and silk. Creating the red is a more advanced process: the yellow must first be washed from the petals before the remaining carthamin is extracted under cool alkaline conditions and developed by carefully lowering the pH.

At a glance

• Botanical name: Carthamus tinctorius

• Plant part: Dried flower petals

• Origin: Iran

• Colours: Soft warm yellow and traditional pink-red to red

• Yellow dye: Particularly suitable for wool and silk

• Red dye: Suitable for all natural fibres, including silk, cotton, linen, wool and other animal or plant fibres; silk and cotton were especially important in traditional use

• Suggested quantity: Approximately 100% WOF

• Mordant for yellow: Approximately 15% alum WOF for protein fibres

• Red extraction: Repeated washing followed by alkaline extraction and acidification

• Colourfastness: Poor to moderate; protect finished work from strong light

Two colours from one flower

Safflower’s yellow and red colourants require different processes.

The red process is considerably more involved and is best suited to dyers who are comfortable monitoring and adjusting pH. Silk and cotton were particularly important traditional fibres for safflower red, but the colour can be used on other natural fibres too.

How much to use

Begin with:

100g safflower petals per 100g dry fibre

Equivalent to 100% WOF - weight of dry fibre.

The final result depends on the petals, fibre, mordant, water chemistry, pH, extraction method and processing time. Sample first when working towards a particular colour.

Basic yellow recipe for wool or silk

Ingredients

• 100g safflower petals

• 100g wool or silk

• Approximately 15g alum - equivalent to 15% WOF

Method

1. Prepare: Scour the fibre thoroughly and mordant it with approximately 15% alum WOF, or use your preferred protein-fibre mordanting method.

2. Soak: Cover the safflower petals with water and leave overnight.

3. Extract: Bring the petals and soaking water to a gentle simmer and hold for approximately one hour.

4. Strain: Strain the yellow liquid through a cloth.

5. Dye: Add the thoroughly wetted, mordanted fibre and simmer gently for approximately one hour.

6. Cool: Allow the fibre to cool in the dye bath where practical.

7. Finish: Rinse gently, wash with a suitable pH-neutral detergent and dry away from direct sunlight.

Traditional red process for natural fibres

The water-soluble yellow must be removed before the red pigment can be extracted. Safflower red can be used on all natural fibres, although silk and cotton were especially important in traditional dyeing.

1. Prepare the fibre: Scour the natural fibre thoroughly. Suitable fibres include silk, cotton, linen, wool and other animal or plant fibres.

2. Wash the petals: Place the petals in cool water and knead them thoroughly. A bag can come in handy.

3. Remove the yellow: Drain the yellow water and repeat the washing and kneading process with fresh cool water until the liquid becomes much clearer.

4. Prepare the alkaline bath: Dissolve soda ash separately and add it gradually to cool water. Monitor with pH strips, working towards approximately pH 10–11.

5. Extract the red: Add the washed petals and knead or agitate gently. Do not heat the red extraction.

6. Strain: Strain and squeeze the petals through a cloth, retaining the coloured alkaline liquid.

7. Lower the pH: Add diluted citric acid or vinegar gradually while stirring and testing. Lowering the bath to around pH 6—or mildly acidic conditions—helps develop the red.

8. Dye: Add the thoroughly scoured and wetted natural fibre. Work cool and agitate gently.

9. Deepen: Allow additional soaking time or repeat the extraction and dyeing process for a stronger result.

10. Finish: Rinse gently in cool water and dry away from direct sunlight.

The quantity of soda ash and acid required depends on the water volume and water chemistry. Use pH strips rather than relying on a fixed amount.

Tips from the dye pot

Colourfastness

Safflower has poor to moderate colourfastness.

The yellow may soften through repeated washing and light exposure. The traditional carthamin red is particularly sensitive to prolonged light and heat.

Dry and store finished work away from strong sunlight. Wash only when necessary, using cool water and a mild, pH-neutral detergent. Avoid alkaline laundry products.

Safflower is best suited to samples, historically inspired work and pieces where some natural evolution of the colour is acceptable.

Storage and safe handling

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

• For textile dyeing and craft use only.

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

• Avoid creating or breathing dust.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and eye protection when preparing alkaline or acidic solutions.

• Add soda ash and acids gradually and avoid splashing.

• Never combine concentrated acids and alkalis directly.

• Follow the safety instructions for every mordant, acid, alkali and modifier used.

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

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of dried safflower petals, supplied in a pouch.

Mordants, soda ash, acids, pH strips and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Homegrown Irish Weld Natural Dye

Reseda luteola L. · Grown, Harvested and Prepared in County Clare

Our Irish weld is grown, hand-harvested, dried and shredded by us in County Clare from our own carefully saved seed.

We grow it according to organic growing standards, without synthetic pesticides or herbicides. Our crop is not certified organic and is therefore not sold as a certified-organic product.

This small-scale crop has produced exceptionally strong, clear yellows in our own dye trials. When compared with German imported weld, our Irish-grown plants produced the strongest and most vibrant result.

Annual quantities are limited by the size of our crop and the growing season.

At a glance

• Botanical name: Reseda luteola L.

• Common names: Weld, dyer’s weld, dyer’s rocket and dyer’s reseda

• Plant part: Shredded dried aerial parts

• Grown in: County Clare, Ireland

• Seed source: Our own carefully saved seed

• Production: Grown, harvested, dried and prepared by AppleOak FibreWorks

• Growing method: Grown to organic standards using regenerative practices

• Certification: Not certified organic

• Colours: Clear yellow, lemon yellow, gold and green when layered over indigo

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Suggested quantity: Approximately 50–100% WOF

• Colourfastness: Excellent when suitably mordanted, dyed and finished

• Availability: Limited annual harvest

Grown by us in County Clare

Our weld begins with seed saved from our own plants.

The crop is raised, tended and harvested by hand. We follow organic growing standards and do not use synthetic pesticides or herbicides, but the crop is not independently certified organic.

Spent dye plants from our studio pass through our worm-composting system. The resulting compost is returned to the garden to help nourish future crops.

This creates a practical cycle:

Seed → Plant → Harvest → Dye → Compost → Soil → Seed

Because our weld is produced on a small scale, the available quantity varies from one harvest to another.

Why weld?

Weld is one of the most highly regarded traditional yellow dye plants.

Its principal yellow colourants produce clear, vibrant yellows with excellent lightfastness when applied to suitably prepared and mordanted fibres.

Weld is also particularly useful for creating greens. When applied over an indigo-dyed and subsequently mordanted fibre, its clear yellow combines with the blue base to produce fresh greens, historic-style greens and deeper blue-green shades.

How much to use

Begin with:

50–100g dried weld per 100g dry fibre

Equivalent to 50-100% WOF - weight of dry fibre.

Our strongest test shade was achieved at approximately 100% WOF.

These quantities are guidelines only. Results depend on the harvest, fibre, mordant, water chemistry, extraction method, pH, temperature and processing time.

Basic guide for wool

Ingredients

• 50–100 g dried weld per 100 g dry wool

• Wool mordanted with approximately 10% alum WOF

• Optional soda ash for carefully raising the pH for a stronger colour.

Method

1. Prepare: Scour the wool thoroughly and mordant it with approximately 10% alum WOF, or use your preferred wool-mordanting method.

2. Soak: Cover the shredded weld with water and leave for several hours or overnight.

3. Extract: Heat the soaked weld and liquid to approximately 80°C (176°F) and hold for one hour. Avoid vigorous boiling.

4. Adjust if required: If a clearer or stronger yellow is required, dissolve soda ash separately and add it gradually. Test the bath with pH strips and avoid excessive alkalinity, particularly when working with wool or silk.

5. Strain: Strain the dye liquid through a cloth. Alternatively, place the weld in a dye bag and retain it in the bath.

6. Dye: Add the thoroughly wetted, mordanted wool and hold at approximately 80°C (176°F) for one hour.

7. Develop: Turn off the heat and allow the wool to cool in the bath. Leave it overnight if a deeper shade is required.

8. Finish: Rinse thoroughly and wash gently with a pH-neutral detergent.

Do not automatically add 7–10% soda ash WOF. Water chemistry varies, and excessive alkalinity can damage protein fibres. Add only as much as the individual bath requires.

Protein and cellulose fibres require different preparation.

Dyeing cotton, linen or another cellulose fibre? Find suitable preparation and mordanting methods here.

Creating green with indigo

Always apply the colours in this order:

1. Dye the fibre in a correctly prepared indigo vat.

2. Allow it to oxidise completely between dips.

3. Rinse the indigo-dyed fibre thoroughly.

4. Mordant the fibre using a suitable method.

5. Apply the weld yellow bath.

Do not apply weld before indigo.

A pale indigo base followed by a strong weld bath generally produces a brighter green. A deeper indigo base produces darker, cooler or more blue-dominant greens.

The final green depends on the indigo depth, vat condition, number of dips, weld strength, mordant, fibre and water chemistry.

Modifying with iron

Iron can shift weld yellow towards olive, khaki, moss green and green-grey.

Use approximately 1–3% iron WOF, beginning at the lower end of the range. Apply it in a separate, well-diluted afterbath and remove the fibre as soon as the required shade develops.

Where possible, use iron acetate, as it is generally gentler on textile fibres than ferrous sulphate used on its own.

Options include:

• Prepared iron acetate

• Carefully made iron water

• Ferrous sulphate combined with sodium acetate

Homemade iron water varies in strength and should be tested on a small sample rather than treated as a fixed-percentage solution.

Excessive iron can make fibres harsh, brittle or vulnerable to deterioration.

Reusing the weld

Weld may continue to release colour after its first extraction.

Retain the strained plant material and extract it again with fresh water. A second extraction will usually be lighter, but it can be used independently or combined with another bath.

Dry previously extracted weld thoroughly if it will be stored. Do not seal damp plant material inside a container.

Tips from the dye garden and dye pot

Colourfastness

Weld can produce excellent lightfastness when the fibre is suitably prepared, mordanted, dyed and finished.

Washfastness and long-term performance still depend on the fibre, mordant, dye quantity, depth of shade, water chemistry and aftercare.

Greens created with weld and indigo depend on the performance of both colour layers.

Iron-modified shades may appear darker but should not automatically be assumed to be more permanent.

Wash dyed work gently with a pH-neutral detergent and avoid prolonged exposure to strong, direct sunlight.

Storage and safe handling

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

• For textile dyeing and craft use only.

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

• Avoid creating or breathing plant dust and fine particles.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dusty material.

• Wear eye protection when preparing mordant, soda ash or iron solutions.

• Make pH adjustments gradually and avoid unnecessarily alkaline conditions.

• Follow the safety instructions for all mordants, alkalis, iron compounds and indigo-vat ingredients used.

• Use iron sparingly, as excessive iron can damage textile fibres.

• Use dedicated dyeing equipment - never food-preparation utensils.

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of homegrown, shredded and dried Irish weld, supplied in a pouch.

This is a natural, small-batch plant material. Variations in stem size, leaf content, colour and appearance should be expected between harvests.

This crop is grown according to organic standards but is not certified organic.

Mordants, soda ash, iron, indigo and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Oak Bark Natural Dye

Quercus spp. · Poland · Dried and Cut

Oak bark is a traditional, tannin-rich dye material used to create warm golden beige, tan and earthy brown shades.

Its naturally occurring tannins give it an affinity with wool, silk, cotton and linen. Oak bark can therefore produce colour without a mordant, although suitable fibre preparation and mordanting can improve consistency, depth and durability.

The colour is influenced by water chemistry and pH. Mildly acidic conditions generally produce lighter beige shades, while a moderately alkaline bath may deepen the colour towards brown. Iron provides a more controlled way to produce taupe, grey-brown, charcoal and brown-black.

At a glance

• Botanical source: Quercus spp.

• Plant part: Bark

• Origin: Poland

• Form: Dried and cut

• Colours: Golden beige, tan, warm brown, taupe, grey-brown and brown-black

• Fibres: Wool, silk, cotton and linen

• Tannin content: Naturally tannin-rich

• Mordant: Not strictly required, but recommended for improved consistency and durability

• Suggested quantity: Approximately 50–100% WOF

• pH sensitivity: Shade varies with water chemistry and pH

• Colourfastness: Good when suitably prepared, dyed and finished

• Vegan: Suitable for vegan projects

How much to use

Begin with:

50–100g oak bark per 100g dry fibre

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

These results are guidelines rather than guarantees. The final shade depends on the oak bark strength, fibre, mordant, water chemistry, pH, extraction method, temperature and processing time.

Basic dyeing guide

1. Prepare: Scour the fibre thoroughly. Oak bark can colour fibre without a mordant, but suitable mordanting can improve consistency, depth and durability.

2. Soak: Cover the oak bark with water and leave it to soak overnight.

3. Extract: Heat the bark and soaking liquid gently at approximately 80–90°C (176–194°F) for two hours.

4. Strain: Strain the liquid through a cloth, retaining the bark for a possible second extraction.

5. Dye: Add the thoroughly wetted fibre and heat gently for approximately one hour.

6. Develop: Turn off the heat and allow the fibre to cool in the bath. Leave it overnight if a deeper shade is required.

7. Finish: Rinse thoroughly and wash gently with a suitable pH-neutral detergent.

Protein and cellulose fibres require different preparation.

Dyeing cotton, linen or another cellulose fibre? Find suitable preparation and mordanting methods here.

Working with pH

Oak bark colour is influenced by pH, although the result also depends on the fibre, water chemistry and individual batch of bark.

As a general guide:

• Around pH 5: Lighter golden beige and tan shades may develop

• Around neutral pH: Warm tan to medium brown

• Around pH 8: Deeper brown shades may develop

Adjust the bath gradually and test a small portion before modifying the entire dye bath.

Use a suitable diluted acid to lower the pH or a separately dissolved mild alkali, such as soda ash, to raise it.

When working with wool or silk, avoid high alkalinity, prolonged alkaline exposure and excessive heat.

Changes produced through pH adjustment may not remain completely unchanged through rinsing, washing or later exposure to a different pH. Iron provides a more controlled route when a darker result is required.

Adding oak galls

Oak galls can be added when additional tannin is required.

They may:

• Increase the total tannin content

• Deepen the response to iron

• Produce stronger taupe, grey and near-black shades

• Support the treatment of cellulose fibres within a suitable mordanting process

Oak galls are highly concentrated and should be added gradually. Sample first, particularly when iron will also be used.

Oak galls are sold separately.

Modifying with iron

Iron reacts strongly with oak bark’s tannins, shifting golden beige and brown towards taupe, grey-brown, charcoal and brown-black.

Use approximately 1–3% iron WOF in a separate, diluted afterbath. Begin at the lower end and increase only if necessary.

Where possible, use iron acetate, as it is generally gentler on textile fibres than ferrous sulphate used on its own.

Options include:

• Prepared iron acetate

• Carefully made iron water

• Ferrous sulphate combined with sodium acetate

Homemade iron water varies in strength. Test it on a small sample rather than treating it as a fixed-percentage solution.

Oak bark can react rapidly with iron. Observe the colour continuously, remove the fibre promptly and rinse it thoroughly.

Excessive iron may make fibres harsh, brittle or vulnerable to long-term deterioration.

Reusing the bark

Oak bark may continue to release colour after its first extraction.

Cover the strained bark with fresh water and extract it again for one to two hours. The second bath will normally be lighter but can be used independently or combined with another extraction.

Dry previously extracted bark thoroughly if it will be stored. Do not seal damp bark inside a container.

Tips from the dye pot

Colourfastness

Oak bark can produce good lightfastness and washfastness when the fibre is suitably prepared, dyed and finished.

Performance still depends on the fibre, mordant, bark strength, depth of shade, water chemistry, modifiers and aftercare.

Mordanting is not strictly required for every fibre, but it can improve the consistency and durability of the finished colour.

Iron-modified shades may appear darker, but excessive iron can damage textile fibres and should not be used simply to create an apparently more permanent result.

Wash finished textiles gently with a pH-neutral detergent and avoid prolonged exposure to strong, direct sunlight.

Storage and safe handling

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

• Dry previously extracted bark thoroughly before storing it.

• For textile dyeing and craft use only.

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

• Avoid creating or breathing bark dust and fine particles.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dusty material.

• Wear gloves and eye protection when preparing mordants, acids, alkalis or iron solutions.

• Make pH adjustments gradually and monitor the bath with pH strips.

• Follow the safety instructions for all mordants, acids, alkalis and iron compounds used.

• Use iron sparingly, as excessive iron can damage textile fibres.

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

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of oak bark, supplied dried and cut in a pouch.

As this is a natural bark material, variations in colour, thickness, texture and piece size should be expected.

Mordants, acids, alkalis, oak galls, iron and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Organic Heather Natural Dye

Calluna vulgaris · Croatia · Wild-Harvested Aerial Parts

Organic heather is a traditional botanical dye producing golden yellow, olive and earthy green-brown shades.

Wild-harvested in Croatia, this material contains the dried aerial parts of the plant, including stems, leaves and remaining flowers. Heather has traditionally been used to colour wool and tweed and responds particularly well to iron modification.

Its naturally occurring tannins contribute to its earthy colour range and help create deeper olive and green-brown shades.

At a glance

• Botanical name: Calluna vulgaris

• Common name: Heather or common heather

• Plant part: Aerial parts, including stems, leaves and remaining flowers

• Origin: Croatia

• Collection: Wild-harvested

• Organic status: Organic

• Form: Dried and cut

• Colours: Golden yellow, muted gold, olive and green-brown

• Fibres: Wool & Silk (Cellulose Fibres work as well, but colour can be weak)

• Mordant: Recommended; use a fibre-appropriate method

• Suggested quantity: Approximately 100–200% WOF

• Iron response: Olive, khaki and green-brown

• Colourfastness: Poor to moderate

• Vegan: Suitable for vegan projects

How much to use

Begin with:

100–200g dried heather per 100g dry fibre

Equivalent to 100–200% WOF - weight of dry fibre.

Heather is a relatively gentle dye and generally requires a generous amount of plant material.

Results depend on the plant material, fibre, mordant, water chemistry, extraction method, temperature, processing time and modifiers.

Basic guide for wool

Ingredients

• 100–200g dried heather per 100g dry wool

• Approximately 10% alum WOF

• Optional 1–3% iron WOF

Method

1. Prepare: Scour the wool thoroughly and wet it before mordanting.

2. Mordant: Mordant with approximately 10% alum WOF, or follow your preferred wool-mordanting method. The wool may be left in the cooling mordant bath overnight.

3. Soak: Cover the heather with water and leave it for several hours or overnight.

4. Extract: Heat the heather and soaking water gently to approximately 85°C (185°F) and hold for one hour.

5. Strain: Strain through a cloth or contain the plant material in a securely tied dye bag.

6. Dye: Add the rinsed, mordanted wool and hold the bath at approximately 85°C (185°F) for one hour.

7. Develop: Allow the wool to cool in the bath. Leave it overnight if a deeper shade is required.

8. Modify: For olive or green-brown, transfer the fibre to a separate, diluted iron afterbath.

9. Finish: Rinse thoroughly and wash gently with a pH-neutral detergent.

Protein and cellulose fibres require different preparation.

Dyeing cotton, linen or another cellulose fibre? Find suitable preparation and mordanting methods here.

Modifying with iron

Iron shifts heather’s golden yellow towards olive, khaki, moss and green-brown.

Use approximately 1–3% iron WOF in a separate, diluted afterbath. Begin at the lower end of the range.

Where possible, use iron acetate, as it is generally gentler on textile fibres than ferrous sulphate used on its own.

Options include:

• Prepared iron acetate

• Carefully made iron water

• Ferrous sulphate combined with sodium acetate

Homemade iron water varies considerably in strength and cannot be treated as a fixed-percentage solution. Test it on a small sample first.

Heather may respond quickly to iron. Observe the colour continuously and remove the fibre promptly once the desired shade develops.

Excessive iron may make fibres harsh or brittle and contribute to long-term deterioration.

Reusing the heather

Heather may continue to release colour after its first extraction.

Cover the strained plant material with fresh water and extract it again for approximately one hour. The second bath will normally be lighter but can be used independently or combined with another extract.

Dry previously extracted heather thoroughly before storing it. Do not seal damp plant material inside a container.

Tips from the dye pot

Colourfastness

Heather’s colourfastness ranges from poor to moderate.

Performance depends on the plant material, fibre, mordant, dye quantity, depth of shade, extraction method, modifiers and aftercare.

Suitable mordanting generally improves the consistency and durability of the finished colour.

Iron-modified shades may appear deeper, but a darker colour should not automatically be assumed to be more permanent. Excessive iron can damage textile fibres.

Wash dyed work gently with a pH-neutral detergent and avoid prolonged exposure to strong, direct sunlight.

Storage and safe handling

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

• Dry previously extracted plant material thoroughly before storing it.

• For textile dyeing and craft use only.

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

• Avoid creating or breathing plant dust and fine particles.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dusty material.

• Wear gloves and eye protection when preparing mordant or iron solutions.

• Follow the safety instructions for all mordants and iron compounds used.

• Use iron sparingly, as excessive iron can damage textile fibres.

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

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of organic, wild-harvested Croatian heather, supplied dried and cut in a pouch.

The material contains aerial parts of the plant, including stems, leaves and remaining flowers.

As this is a natural, wild-harvested material, variations in colour, texture, plant composition and piece size should be expected.

Mordants, iron and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Organic Sage Natural Dye

Salvia officinalis L. · Bosnia and Herzegovina · Dried and Cut Leaves

Organic sage leaves produce soft greenish-yellow, muted gold and earthy yellow-green shades. A carefully controlled iron afterbath can shift the colour towards olive, moss and deeper grey-green.

These dried, cut leaves are cultivated in Bosnia and Herzegovina and supplied specifically for textile dyeing and craft use.

Sage is an accessible botanical dye for wool and silk and can also be used on suitably prepared cotton and linen. The finished colour depends on the fibre, mordant, water chemistry, dye concentration and modifiers.

At a glance

• Botanical name: Salvia officinalis L.

• Common name: Common sage or garden sage

• Plant part: Leaves

• Origin: Bosnia and Herzegovina

• Organic status: Organic

• Form: Dried and cut

• Colours: Greenish yellow, muted gold, yellow-green, olive and grey-green

• Fibres: Wool, silk, cotton and linen

• Mordant: Recommended; use a fibre-appropriate method

• Suggested quantity: Approximately 100% WOF

• Iron response: Olive, moss and deeper grey-green

• Colourfastness: Good to excellent when suitably prepared, mordanted, dyed and finished

• Vegan: Suitable for vegan projects

• Product use: Textile dyeing and craft use only - not sold as food

How much to use

Begin with:

100g dried sage per 100g dry fibre

Equivalent to 100% WOF - weight of dry fibre.

These quantities are guidelines only. Sage strength varies between harvests and batches.

The result also depends on the fibre, mordant, water chemistry, extraction method, temperature, processing time and modifier.

Basic guide for wool or silk

Ingredients

• Approximately 100g dried sage per 100g dry fibre

• Approximately 10% alum WOF

• Optional 1–3% iron WOF

Method

1. Prepare: Scour the wool or silk thoroughly and wet it before mordanting.

2. Mordant: Mordant with approximately 10% alum WOF, or follow your preferred protein-fibre mordanting method. The fibre may be left in the cooling mordant bath overnight.

3. Soak: Cover the sage with water and leave it for several hours or overnight.

4. Extract: Heat the sage and soaking water gently to approximately 80–85°C (176–185°F) and hold for one hour.

5. Strain: Strain through a cloth or contain the sage in a securely tied dye bag.

6. Dye: Add the rinsed, mordanted fibre and hold the bath at approximately 80–85°C (176–185°F) for one hour.

7. Develop: Allow the fibre to cool in the bath. Leave it overnight if a deeper shade is required.

8. Modify: For olive, moss or grey-green, transfer the fibre to a separate, diluted iron afterbath.

9. Finish: Rinse thoroughly and wash gently with a suitable pH-neutral detergent.

Protein and cellulose fibres require different preparation.

Dyeing cotton, linen or another cellulose fibre? Find suitable preparation and mordanting methods here.

Modifying with iron

Iron shifts sage’s greenish yellows and muted golds towards olive, moss, khaki and grey-green.

Use approximately 1–3% iron WOF in a separate, well-diluted afterbath. Begin at the lower end and increase only if necessary.

Where possible, use iron acetate, as it is generally gentler on textile fibres than ferrous sulphate used on its own.

Options include:

• Prepared iron acetate

• Carefully made iron water

• Ferrous sulphate combined with sodium acetate

Homemade iron water varies considerably in strength and cannot be treated as a fixed-percentage solution. Test it on a small sample first.

A separate iron afterbath provides greater control and preserves the original dye bath for additional yellow shades.

Observe the colour continuously and remove the fibre promptly once the required shade develops. Excessive iron can make fibres harsh or brittle.

Tips from the dye pot

Colourfastness

Sage can produce good to excellent colourfastness when the fibre is suitably prepared, mordanted, dyed and finished.

Performance depends on the individual batch, fibre, mordant, dye quantity, depth of shade, extraction method, modifiers and aftercare.

Suitable mordanting generally improves the consistency and durability of the finished colour.

Iron-modified shades may appear deeper, but a darker shade should not automatically be assumed to be more permanent. Excessive iron can damage textile fibres.

Wash dyed work gently with a pH-neutral detergent and avoid prolonged exposure to strong, direct sunlight.

Storage and safe handling

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

• For textile dyeing and craft use only.

• This product is not sold as food or as a culinary or herbal product.

• Do not consume or use in food, drinks, cosmetics or medicinal preparations.

• Avoid creating or breathing plant dust and fine particles.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dusty material.

• Wear gloves and eye protection when preparing mordant or iron solutions.

• Follow the safety instructions for all mordants and iron compounds used.

• Use iron sparingly, as excessive iron can damage textile fibres.

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

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for consumption.

What you receive

Your chosen net weight of organic, dried and cut sage leaves, supplied in a pouch.

As this is a natural plant material, variations in leaf colour, texture and piece size should be expected.

Mordants, iron, downloadable instructions and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Oakmoss Lichen Natural Dye

Evernia prunastri · North Macedonia · Responsibly Wild-Harvested

Oakmoss is a traditional lichen dye producing soft champagne beige, oatmeal, taupe and earthy brown shades.

Responsibly wild-harvested in the forests of North Macedonia, this dried lichen has a natural affinity with protein fibres and can colour wool and silk without a mordant. Appropriate mordanting or careful modification can influence the shade and improve consistency.

Despite its common name, oakmoss is not a true moss. It is a lichen that grows on the bark and branches of oak and other deciduous and coniferous trees.

At a glance

• Scientific name: Evernia prunastri (L.) Ach.

• Common name: Oakmoss

• Material type: Lichen

• Form: Whole and broken dried thalli

• Origin: North Macedonia

• Collection: Responsibly wild-harvested

• Colours: Champagne beige, oatmeal, taupe and earthy brown

• Fibres: Particularly suited to wool and silk; may be tested on prepared cellulose fibres

• Mordant: Not strictly required; results vary with mordant and modifier

• Suggested quantity: Begin with approximately 50% WOF or more

• Extraction: Approximately three hours

• Colourfastness: Good when suitably dyed and finished

• Product use: Textile dyeing and craft use only—not cosmetic grade

How much to use

Begin with:

50g oakmoss per 100g dry fibre

Equivalent to 50% WOF - weight of dry fibre.

These results are guidelines rather than guarantees. Natural lichen material varies, and the finished colour depends on the fibre, water chemistry, mordant, extraction method, temperature and processing time.

Basic guide for wool or silk

Ingredients

• At least 50g oakmoss per 100g dry fibre

• Thoroughly scoured wool or silk

• Mordant optional

• Optional 1–3% iron WOF

Method

1. Prepare: Scour the wool or silk thoroughly. A mordant is not strictly required, but a fibre-appropriate mordant may improve consistency or alter the shade.

2. Soak: Cover the oakmoss with water and leave it overnight.

3. Extract: Heat the oakmoss and soaking water gently for approximately three hours. Maintain a temperature of around 80–90°C (176–194°F) and replace evaporated water as required.

4. Strain: Strain carefully through a cloth or contain the oakmoss inside a securely tied dye bag.

5. Dye: Add the thoroughly wetted fibre and heat gently for approximately one hour.

6. Develop: Allow the fibre to cool in the dye bath. Leave it overnight if a deeper shade is required.

7. Modify: For deeper taupe or grey-brown, transfer the fibre to a separate, diluted iron afterbath.

8. Finish: Rinse thoroughly and wash gently with a pH-neutral detergent.

Oakmoss is particularly suited to wool and silk.

When using cotton, linen or another cellulose fibre, follow a cellulose-specific preparation and mordanting method and sample before committing a large quantity.

Find suitable cellulose preparation and mordanting methods here.

Working with mordants

Oakmoss can produce colour on wool and silk without a mordant.

However, mordants and modifiers may influence the shade, depth, evenness, washfastness and long-term performance.

An alum mordant may produce a clearer or lighter beige, while iron may deepen the colour towards taupe, grey-brown and muted brown.

Because natural oakmoss varies, test each mordant or modifier on a small sample first.

Modifying with iron

Iron may shift oakmoss shades towards deeper taupe, grey-brown and muted brown.

Use approximately 1–3% iron WOF in a separate, well-diluted afterbath. Begin at the lower end and increase only if necessary.

Where possible, use iron acetate, as it is generally gentler on textile fibres than ferrous sulphate used on its own.

Options include:

• Prepared iron acetate

• Carefully made iron water

• Ferrous sulphate combined with sodium acetate

Homemade iron water varies considerably in strength and cannot be treated as a fixed-percentage solution. Test it on a small sample first.

A separate afterbath preserves the original oakmoss bath for additional beige shades and provides greater control.

Excessive iron can make textile fibres harsh or brittle and may contribute to long-term deterioration.

Tips from the dye pot

Colourfastness

Oakmoss can produce good colourfastness when the fibre is suitably prepared, dyed and finished.

Performance depends on the batch of lichen, fibre, amount used, depth of shade, water chemistry, mordant, modifier, dyeing process and aftercare.

Although a mordant is not strictly required on wool and silk, suitable mordanting may improve consistency and durability.

Iron-modified shades may appear deeper, but a darker colour should not automatically be assumed to be more permanent. Excessive iron can damage textile fibres.

Wash dyed work gently with a pH-neutral detergent and avoid prolonged exposure to strong, direct sunlight.

Allergy information

Oakmoss and oakmoss extracts contain naturally occurring substances known to cause contact allergy in susceptible individuals.

This product is supplied as an unprocessed textile dye material. It is not cosmetic grade and has not been assessed for use in soap, perfume, skincare, body products or other cosmetic formulations.

Wear gloves and avoid prolonged or repeated skin contact.

Stop handling the material if irritation occurs. Seek appropriate medical advice if symptoms persist or become severe.

Storage and safe handling

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

• Dry previously extracted oakmoss thoroughly before storing it.

• For textile dyeing and craft use only.

• Not for consumption or use in food, drinks, cosmetics, soap, perfume, skincare or medicinal preparations.

• Oakmoss may cause an allergic reaction in susceptible individuals.

• Avoid creating or breathing dust and fine particles.

• Avoid prolonged or repeated skin contact.

• Prevent contact with eyes, mouth and open wounds.

• Wear gloves and suitable protective equipment when handling dry or wet material.

• Wear eye protection when preparing mordant or iron solutions.

• Follow the safety instructions for all mordants and modifiers used.

• Use iron sparingly, as excessive iron can damage textile fibres.

• Use dedicated dyeing equipment—never food-preparation or cosmetic-making utensils.

• Keep away from food, children and pets.

For textile dyeing and craft use only - not for cosmetic use or consumption.

What you receive

Your chosen net weight of responsibly wild-harvested oakmoss lichen from North Macedonia, supplied dried in a pouch.

As this is a natural, wild-collected material, variations in colour, texture, moisture, fragment size and appearance should be expected.

Mordants, iron and other dyeing supplies are sold separately.

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 natural dyers and dye-plant growers.

Ground Alkanet Root Natural Dye

Alkanna tinctoria · India · Alcohol-Extracted Experimental Dye

Alkanet root is an experimental natural dye capable of producing purple, violet, blue-grey and grey shades. The result depends strongly on the extraction method, fibre, mordant, pH and water chemistry.

Our ground Alkanet root is harvested in India. Its principal colour is not readily extracted with water, so an alcohol extraction is required for the clearest purple and violet results.

Alkanet has poor colourfastness and is best suited to samples, artwork and projects where gradual fading or colour change is acceptable.

At a glance

• Botanical name: Alkanna tinctoria

• Plant part: Root

• Form: Ground or Cut root

• Origin: India

• Colours: Purple, violet, blue-grey and grey

• Fibres: Wool, silk, cotton and linen

• Mordant: Required; use a fibre-appropriate method

• Extraction: Requires an alcohol-based extraction

• Colourfastness: Poor

• Best suited to: Sampling, experimentation and colour studies