Chapter Six
DIRECTIONS FOR DYEING
Diamond dyes
A few hints with regard to dyeing raffia, cheese cloth, white cord for hammocks, and other materials, may be found useful. For raffia use the Diamond dyes which are intended for wool or silk. Wash the raffia first. The color will be improved by soaking the raffia a day in alum water, one-half pound to the gallon. Dye once used can be kept in an air-tight dish and reheated whenever needed.
Vegetable dyes
Should one be interested in vegetable dyes much information can be obtained at the public libraries. Dr. Washington Matthews speaks of Indian dyes in his article on the Navajo weavers mentioned in this book. "How to Make and How to Mend" also contains some good suggestions about dyes.
Mrs. Candace Wheeler's pamphlet
In her little pamphlet, Home Industries and Domestic Weavings, published by the Associated Artists, 115 East 23d Street, New York City, Mrs. Candace Wheeler has an interesting chapter on "Rag-Carpet Weaving." Her suggestions for dyeing rags apply equally to yarns and to other materials which may be used on hand looms for children. Through her kind permission I am allowed to quote the following suggestions:
Uses of the indigo tub
"In the early days of this present century a dye tub was as much a necessity in every house as a spinning-wheel, and the reëstablishment of it in houses where weaving is practiced is almost a necessity; in fact, it would be of far greater use at present than in the days when it was only used to dye the wool needed for family knitting and weaving. All shades of blue, from sky-blue to blue-black, can be dyed in the indigo tub; and it has the merit of being a cheap as well as an almost perfectly fast dye. It could be used for dyeing warps as well as fillings, and I have before spoken of the difficulty, indeed almost impossibility, of procuring indigo-dyed carpet yarn.
Blue universally used
Green
"Blue is, perhaps, more universally useful than any other color in rag-rug making, since it is safe for both cotton and wool, and covers a range from the white rug with blue warp, the blue rug with white warp, through all varieties of shade to the dark blue, or clouded blue and green rug, also, upon white warp. It can also be used in connection with yellow or orange, or with copperas or walnut dye, in different shades of green; and, in short, unless one has exceptional advantages in buying rags from woolen mills, I can hardly imagine a profitable industry of rag-weaving established in any farmhouse without the existence of an indigo dyeing tub.
Red
Copperas
Dull green
"The next important color is red. Fortunately, red warps can be bought which are reasonably fast, but the only way to procure red rags in quantity is to dye them, and, although the dye is somewhat expensive, there are two colors, turkey red and cardinal red, which are extremely good for the purpose. Probably these could be bought at wholesale from dealers in chemicals and dyestuffs at much cheaper rates than by the small paper from the druggist or the country store. Copperas gives a fast nankeen-colored dye, and this is very useful in making a dull green by an after dip in the indigo tub.
Domestic dyes
Nut stains
Leaf stains
Iron rust
Ink stains
"There are some valuable domestic dyes which are within the reach of every country dweller, the cheapest and best of which is walnut or butternut stain. This is made by steeping the bark of the tree or the shell of the nut until the water is dark with color, and setting it with alum. It will give various shades of yellow, brown, dark brown, and green brown, according to the strength of the decoction or the state of the bark or nut when used. If the bark of the nut is used when green, the result will be a yellow brown; and this stain is also valuable in making a green tint when an after dip of blue is added. Leaves and tree-bark will give a brown with a very green tint, and these different shades used in different rags woven together give a very agreeably clouded effect. Walnut stain will itself set or fasten some others; for instance, pokeberry stain, which is a lovely crimson, can be made reasonably fast by setting it with walnut juice. Iron rust is the most indelible of all stains, besides being a most agreeable yellow, and it is not hard to obtain, as bits of old iron left standing in water will soon manufacture it. It would be a good use for old tin saucepans, and various other house utensils which have come to a state of mischievousness instead of usefulness. Ink gives various shades of gray according to its strength, but it would be cheaper to purchase it in the form of logwood than as ink.
Vegetable dyes
"There is a strong and well-founded preference among art producers in favor of vegetable dyes, and yet it is possible to use certain of the aniline colors, especially in combination, in safe and satisfactory ways.
The variety of shades
"Everyone who undertakes domestic weaving must know how to dye one or two good colors. Black, of course, and the half-black, or gray, which a good colorist of my acquaintance calls a light black. Indigo blue equally, of course, in three shades of very dark and light. Here are seven shades from the three dyes, and when we add white we see that the weaver is already very well equipped with a variety of color. The eight shades can be still further enlarged by clouding and mixing. The mixing can be done in two ways, either by carding two tints together before spinning, or by twisting them together when spun.
Carding and twisting
"Carding together gives a very much better effect in wool, while twisting together is preferable in cotton.
Blue
Pink
Gray
Clouding
"Dark blue and white and medium blue and white wool carded together will give two blue grays which cannot be obtained by dyeing, and are most valuable. White and red carded together give a lovely pink, and any shade of gray can be made by carding different proportions of black and white or half-black and white. A valuable gray is made by carding black and white wool together, and by black wool I mean the natural black or brownish wool of black sheep. Mixing of deeply dyed and white wool together in carding is, artistically considered, a very valuable process, as it gives a softness of color which it is impossible to get in any other way. Clouding, which is almost an indispensable process for rug centers, can be done by winding certain portions of the skeins or hanks of yarn very tightly and closely with twine before they are thrown into the dye pot. The winding must be close enough to prevent the dye penetrating to the yarn. This means, of course, when the clouding is to be of white and another color. If it is to be two shades of one color, as a light and medium blue, the skein is first dyed a light blue, and after drying, is wound as I have described, and thrown again into the dye pot, until the unwound portions become the darker blue which we call medium."
Mrs. Albee's manual
Through the courtesy of Mrs. Helen R. Albee, who has done much to revive an interest in rug-weaving, I am allowed to quote the following detailed suggestions on the subject of dyeing from her helpful manual, Abnákee Rugs. This little manual treats fully of the "Abnákee Rug Industry," the "Materials," "Methods of Work," and "Dye Formulas." It was issued through the Riverside Press in 1901.
Speaking of combinations of color, Mrs. Albee says:
Combinations of color
Safe tones
Colors in rugs
Use of white
"A careful study of the effects of colors upon each other will show that colors which are in themselves beautiful are often inharmonious when combined. Also, a little of a color may be good, when a larger proportion seems to destroy the balance or harmony. Success in this matter is largely a matter of close observation and experience, although some persons have a natural feeling or instinct regarding color which is seldom in error. Strong colors should never be used, especially greens. Though they may be modest in the piece, when worked in with other colors, they have an unfortunate way of becoming intensified tenfold. The safest tones for an amateur to deal with are dull gray green, yellow green, and a soft, full, but dark olive. In striking a certain key in color it should be maintained throughout. Thus, if a full rich color predominates, rich dark colors should be used through the whole scheme. If a light tone is the body color, soft light tones of other colors will be found most harmonious. Thus, for example, a rug for a library, or a hall, in which a good deal of rich terra cotta appears, should have a border or design worked in dark blues, full shades of olive green, and dull yellow. There is an apparent exception to this in the use of dull reds, old ivory, and black as seen in Bokhara rugs. But if studied, the cream color is very dull, and is used in such small quantities as to be quite subdued by the black that is used freely in the pattern. Old rose, warm golden browns, and olive may be used effectively. A light Gobelin blue may be worked with ivory, old pink, light dull olive, and the outlines can be either a dark yellow brown or very dark bronze green. An ivory center is lovely with an old pink border worked in green. A tan center may be combined with old rose, sage green, bronze green, light yellow, cream color, and dark brown outlines. Indigo blue, forest green, and dull yellow are excellent colors when combined. A great variety of beautiful rugs may be made by using only blue and white, and unless one wishes to go extensively into dyeing, it might be well to choose a certain simple color scheme such as blue and white, red, black, and ivory, and abide by it. Let it be remembered that white in rugs is not white, neither is it a delicate cream. Unless it is decidedly yellowish or even grayish in tone, when in combination with other colors, it becomes a staring white that is anything but artistic. I dye my cream colors, just as much as I do dark reds or greens.
Planning a color scheme for a rug
"I have been asked many times what is the best way to plan a color scheme for a rug. This is a point I cannot determine for another. Some may find help in making water color sketches of what they wish to do. In my own work I never use them, as it requires making a reduced drawing of great accuracy, and much time to color it. Often I plan a combination mentally, and match it up from the dyed flannels I always have on hand. Other times I vary the scheme of some rug I have already made, experimenting with different combinations, using other rugs as if they were books of reference. I have discovered one rather curious thing, which is, that when all my experimenting is done I find some particular color scheme fits a certain rug as no other does. It seems to clothe or to fulfill the pattern as if it belonged personally to it. When I once discover this elective affinity of a pattern for its special coloring, I never make it again save in that one guise.
Shading
Directions for shading
"Much skill can be shown by an artistic worker in the use of slight shades of difference in the same color. For example, in the plain center of a rug, several tones representing shades of the same color will give the effect of a play of light on a silky surface, which is very beautiful. By using material that has been dyed a trifle darker at one end of the rug, and working in gradually lighter tones, the result is surprisingly effective. To do this, each three or four yards should be dyed with these slight differences of tone; then when within thirty strips of the end of one color (more or less, according to the width of the rug), work in a broken line of the next tone all across the rug. Then use a few rows (not worked in single rows, however) of the first color across the entire rug, then a wider broken line of the second color. Broken lines blend better than continuous lines do. The portions of the second line should fall above the broken spaces left in the first line (in the same way that masons lay bricks), then a little more of the first color, using less and less of it, and increasing the width of the second in masses, until the first color has become only broken lines upon the ground of the second color. All the way through, any changes of color should be merged in this way. Be sure to work this method from side to side across the rug, as the frameful is filled.
Coloring
"This is the most difficult feature of the whole handicraft, the actual coloring, and yet for fine effects I should recommend only the use of hand-dyed materials. Goods dyed by professional dyers are perfectly uniform in color throughout, and rugs made of such material will have nothing of that difference of tone, that play of color, that is absolutely necessary for beauty.
Dye kettles
"In dyeing use only brass, copper, granite, or porcelain kettles, unless one goes into it on a large scale and uses regular machinery. Brass and copper vessels are to be preferred, while iron, or tin showing iron, are to be carefully avoided, as the mordants have a great affinity for iron and ruin the color. I use a large brass kettle holding about five gallons.
Mordants
"For mordants I use Glauber salts and sulphuric acid, and with the weight of cloth I use, it takes 3 oz. of Glauber salts and 3/4 oz. of sulphuric acid (full strength) to each six yards of flannel. I use a one-ounce Phenix graduate (American standard) measuring glass, and as full strength sulphuric acid has about twice the specific gravity of water, one should measure by the scale engraved on the right-hand side of the glass. The left-hand scale is based upon the standard unit of weight, which is water.
Uses of acids
"In using sulphuric acid I dilute it in a little cold water in a cup by pouring the acid on to the water, as sulphuric acid in uniting with water causes a chemical reaction. Where a large quantity of acid is used this reaction is accompanied by a sudden burst of steam, if the water falls upon the acid. But in a small quantity as this, there is no possible danger of accident if the acid is poured on the water. Sulphuric acid should be closely stoppered and used with care, as it is corrosive, eating holes in cotton or linen fabrics. With ordinary precautions it can be used without the least difficulty.
Salts set the dyes
"Glauber salts are too well known in commerce to need description, and are used to neutralize the acid. The two in combination do not injure woolen fabrics, but merely set the dyes.
Preparation of a dye bath
"In preparing the dye bath allow three gallons of water, and 3/4 oz. of sulphuric acid; stir thoroughly and add 3 oz. Glauber salts to six yards of cloth. Then add the dyestuff in required proportions. Stir thoroughly as each ingredient is added, for the evenness of the dye depends upon the thorough distribution of the mordants and color in the dye bath. Generally it is advised to strain the dye before it is added, but, as an even tone is not the desired result for this special handicraft, I never follow this suggestion.
Coloring depends on temperature
"The proper temperature for introducing the color in the bath is not over 150° F., but if one has not a bath thermometer, the temperature must be very hot, yet far below boiling point. Temperature plays a great part in dyeing, for if the dye bath is too hot when the cloth is introduced, the dye, having a great avidity for wool, will be absorbed unequally by the cloth, the ends and outside folds of the cloth absorbing more color than is desired, and the inner folds will have less. I am not discussing the process of dyeing as it should be done on a large scale with vats and suitable reels, etc., but as it is likely to be done by an amateur, in a small way. When the bath is too hot, the cloth takes the dye unequally and is quite spotted. A little irregularity is necessary for a play of color, but it should be secured in a definite way and only to a certain degree, and not as the result of accident. If the cloth has come out spotty, it may be redipped, having added more dye and mordants to the bath, but it will come out a darker shade. If the bath is anywhere near the boiling point before the cloth is dipped, reduce it by adding a quart or two of cold water."
Process of dyeing yarn or raffia
Clear days are best for dyeing
Before dyeing yarn or raffia, bind the skeins loosely in several places to prevent tangling. "Having prepared the bath, gather the cloth in the right hand at half a dozen places along one selvedge, and drop it in, spreading it at once, using two stout sticks, lifting it up and down continually so as to expose all parts to the dye. The temperature should be increased to the boiling point and continued for three-quarters of an hour. Then lift the cloth up and drain it, then rinse in cold water, wring dry, but do not press with an iron, as the soft wooly texture is very desirable. When a quantity of the same color is desired, the same water can be used again by adding acid and Glauber salts, together with more dyestuff with each fresh dip of cloth. It must be stated, however, that the color will not be so clear with succeeding dips, but that does not matter, as a difference is desired. The process of dyeing is very delicate, and the utmost precision must be observed in following proportions and directions regarding temperature, etc. Dyeing is more successful in clear weather than on rainy days, and soft water is required to get good results. If water contains much lime or earthy salts it is unfit for dyeing, and must be neutralized by acetic acid. In such cases it would be still better to use rain water.
Vegetable dyes and chemical dyes compared
"There is a curious conviction prevailing in some quarters that beautiful durable colors are obtainable only from vegetable dyes. My first experiments were with barks, mosses, etc., but the difficulty of getting them, the enormous amount necessary to dye any quantity of goods, the tedious process in their use, and the fact that after all only a narrow range of colors is obtainable from them, compelled me to abandon them altogether. I began to investigate chemical dyes, and to gain information I applied to one of the largest woolen mills in New England, one which maintains a high reputation for the class of goods it manufactures; also to two wholesale houses dealing in all kinds of dyestuffs; and finally to one of the best experts in color in the country. Their verdict was unanimous, and is summed up in the opinion of the expert which he expressed in a letter to me on this question:
"'In regard to the use of vegetable dyes, I would say that they have almost disappeared from commerce, certainly for the purpose of dyeing fabrics.
Aniline colors
"'We know, of course, that there are strong prejudices still existing in the layman's mind in regard to the use of aniline colors, who supposes that they are not only fugitive, but that the resulting tones are harsh and unattractive. This, unfortunately, was so twenty-five years ago, and the impression made then upon the layman's mind has not been changed during all these years; but I can assure you that all the beautiful silk goods, tapestries, cloths, and all the colors which we see in fabrics to-day, are made, without exception, from aniline colors, which are immeasurably more permanent than are the vegetable dyes used up to, say, 1875.'
Formulas to be followed
"In using my range of eight colors I provide myself with large, strong glass bottles in which I keep my diluted colors. I use a pint measure for diluting the dyes. In preparing the fluid I put one half or one quarter of an ounce of dry color, whichever amount the formula calls for, into the pint measure and mix it thoroughly with a little cold water. The reason for using cold water is that the dyes are a tar product, and if mixed with hot water first, they are apt to grow waxy under the heat and not dissolve readily. Having dissolved them, I fill up the measure with hot water, stirring all the time. This makes a pint of liquid which is of uniform strength under all circumstances, and every formula is based upon this invariable pint measure of water. These formulas I have tried over and over again. They are made with special reference to the grade of flannel I have adopted, and doubtless will vary in results if used on other weights or weaves of wool goods."
DYE FORMULAS
NO. 1. DARK TERRA COTTA
Dark terra cotta
Dissolve 1/2 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Take full pint measure of dull red dye and 4 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts. Boil 3/4 of an hour.
NO. 2. FULL TERRA COTTA
Full terra cotta
Dissolve 1/2 oz. of dull red in 1 pint of water.
Use full pint measure of dull red dye to 6 yds. of cloth.
Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.
NO. 3. LIGHTER TERRA COTTA
Lighter terra cotta
Dissolve 1/2 oz. of dull red in 1 pint of water.
Use 22 tablespoonfuls of dull red dye to 6 yds. of cloth.
Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.
NO. 4. RICH OLD RED
Rich old red
Dissolve 1/2 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 24 tablespoonfuls of dull red dye and 3 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: Same as No. 1.
NO. 5. DULL OLD ROSE
Dull old rose
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of bright blue in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Use 16 tablespoonfuls of dull red dye, and 1 tablespoonful of bright blue dye, and 3 tablespoonfuls of dull yellow dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 6. OLD PINK
Old pink
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1 oz. of dark blue in 1 pint of water.
Use 6 tablespoonfuls of dull red dye, and 3 tablespoonfuls of dull yellow dye, and 1-1/2 teaspoonfuls of dark blue dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 7. FULL YELLOW
Full yellow
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 6 tablespoonfuls of bright yellow dye, and 5 tablespoonfuls of dull yellow dye, and 2 tablespoonfuls of green dye to 6 yds. of cloth.
NO. 8. RICH DULL YELLOW
Rich dull yellow
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 12 tablespoonfuls of yellow dye and 6 tablespoonfuls of dull red dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 9. DARK TAN YELLOW
Dark tan yellow
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Use 14 tablespoonfuls of dull yellow dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 10. LIGHT OLIVE TAN
Light olive tan
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1 oz. of dark blue in 1 pint of water.
Use 6 tablespoonfuls of bright yellow dye, 4 tablespoonfuls of dull yellow dye, 1-1/2 tablespoonfuls of dark blue dye to 6 yds. of cloth.
NO. 11. OLD IVORY
Old ivory
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of drab in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 1 teaspoonful of yellow dye, and 1 teaspoonful of drab dye, and 1/4 teaspoonful of dull red dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 12 RICH NAVY BLUE
Rich navy blue
Dissolve 1 oz. of dark blue in 1 pint of water.
Use full pint measure of dark blue dye to 6 yds. of goods.
Mordants: 1 oz. sulphuric acid, 3 oz. Glauber salts. Boil 1 hour.
NO. 13. DARK PERSIAN BLUE
Dark Persian blue
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 10 tablespoonfuls of dark blue dye, 6 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: Same as in No. 12.
NO. 14. GOBELIN BLUE
Gobelin blue
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 6 tablespoonfuls of dark blue dye, 4 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: Same as in No. 12.
NO. 15. LIGHT GRAY BLUE
Light gray blue
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 3 tablespoonfuls of dark blue dye, 2 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: Same as in No. 12.
NO. 16. LIGHT SAGE GREEN
Light sage green
Dissolve 1/4 oz. of green in 1 pint of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 10 tablespoonfuls of green dye, 2 tablespoonfuls of bright yellow dye, and 1-1/2 tablespoonfuls of dull red dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 17. LIGHT OLIVE
Light olive
Dissolve 1/4 oz. of green in 1 pint of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 16 tablespoonfuls of green dye, 4 tablespoonfuls of bright yellow dye, and 3 tablespoonfuls of dull red to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 18. DARK MOSS GREEN
Dark moss green
Dissolve 2 level teaspoonfuls of green in 1 pint measure of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Use full pint measure of green dye and 15 tablespoonfuls of bright yellow dye to 6 yds. of cloth.
Mordants: 3 oz. of Glauber salts and 1 oz. of sulphuric acid. Boil 3/4 of an hour.
NO. 19. GOLDEN BROWN
Golden brown
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 20 tablespoonfuls of dull yellow dye, 5 tablespoonfuls of dull red dye, 15 tablespoonfuls of green dye to 6 yds. of cloth.
NO. 20. DARK BRONZE
Dark bronze
Dissolve 1/4 oz. of green in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Use 8 tablespoonfuls of green dye, 12 tablespoonfuls of dull red dye, 4 tablespoonfuls of dark blue dye to 6 yds. of cloth.
Mordants: Same as in No. 18.
Redip in 4 tablespoonfuls of green dye and 5 tablespoonfuls of bright yellow dye.
Mordants: Repeat the one above.
These formulas are the basis for numerous tones
"These formulas can be taken as the basis of many other tones and shades which can be secured by a slight alteration of proportions. By adding a trifle more dull red, green, indigo, or drab liquid dyes, a color can be darkened. By using less of these than the formulas call for, the colors will be lighter. By using more of dull or bright yellow a color can often be made richer without darkening it. Beginners are cautioned against making changes until they become familiar with the dyes. In making new experiments, try them on yard lengths, carefully subdividing any given formula for both dyes and mordants, and increasing the proportion of any particular color desired. If the cloth should fail to take up the dye properly after boiling the full time, increase the quantity of acid, lifting the cloth out when adding the acid to the dye bath."
Excellent suggestions by Miss Albee for color schemes in stripes may be found on pages 64 and 65.
[Mrs. Albee is prepared to furnish any of the foregoing dyes at 20 cents an ounce. Her address is Mrs. Helen R. Albee, Pequaket, Silver Lake P. O., N. H.]
A deep blue wool rug made of carpet yarn