FAN Eco Dye Final

BUILD YOUR FIBER ART LIBRARY
ECO DYE
Traditional Dye Work through
a Contemporary Lens
Fiber Art From our archives

now VOLUME 2
W
elcome to
Eco Dye,
our second
Fiber Art Library download!
We hope that this eBook
will provide inspiration and
information for you, whether you are looking for dyeing
resources or are just ready to be inspired by the work of
other artists.
You will find stories related to natural dyeing that have

been previously published in Fiber Art Now and a full
natural dyeing resource, researched and assembled by
artist, teacher, and author, Wendy Feldberg.
The FAN team is looking forward to sharing more

free eBooks with you in the coming months, each
PHOTO COURTESY OF WENDY FELDBERG

concentrating on different areas of fiber arts and
textiles. CLICK HERE if you missed out on
Fiber Art Now downloads, Volume 1: Book Reviews
from the Archives.
Fondly,
Marcia Young
Marcia Young ABOVE: Purple smokebush and fall leaves on paper.
& The FAN Team
“Eco dyeing is fiber art with elemental

appeal, combining simplicity of technique
with enticing complexity of outcome.
With eco dyeing, even a first print can bear
amazing results!”
CREDIT 1
—Wendy Feldberg, Researcher, Eco-Dyeing Expert
2 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use
contents
LIBRARY DOWNLOAD VOL. 2 2016: ECO DYE
ARTICLES
4 STEAMING & SIMMERING
6 ECO PRINTING
Fiber Art Now, Spring 2012
8 UNEARTHING ECO DYES

Fiber Art Now, Summer 2013
14 DYEING: CORROSION TO CREATION

Fiber Art Now, Spring 2012
RESOURCES
20 Artists
22 Plants
23 Publications: Articles, Journals and Magazines, Books
25 Tutorials & Demonstrations
26 Sources for Natural Dyes, Mordants, Fabrics
& Fibers
26 Links & Resources
26 Health & Safety
26 Permissions
Fiber Art
now
EBOOK PRODUCTION STAFF
Marcia Young .................Publisher and Editor in Chief

Leanne Jewett ..........................Managing Editor
Rosemarie Steele ....................................Editor
Larissa Davis .....................................Designer

This eBook was developed by Fiber Art Now, a print
and online magazine, resource, and community with a
passion for contemporary fiber arts, textile design, and
mixed media.
ABOVE: Sumac leaf eco print.

COVER PHOTO: Plants and dye powders on linen by Wendy Feldberg.
©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 3
ARTICLES
STEAMING
& Simmering BY WENDY FELDBERG
E
CO DYEING (also known as eco printing) is a form of direct or contact printing, usually on cloth or paper. Steaming,
simmering, soaking, or composting plant materials with water or dye extracts their pigments and produces strong
spontaneous prints, both lifelike and abstract. Metals, minerals, and soils are also materials that produce eco prints.
BINDING: Plant materials are wrapped tightly

in fabric–creating thick textile bundles–and tied
CREDIT 1
with string, which give it interesting marks, prior

to steaming.
ARTICLES
To obtain the basic eco-dye print with

plants, these (and other) materials are
bundled or layered in firm contact with
pre-mordanted cloth or paper, placed in
a covered cooking vessel, then steamed
or simmered in water or natural dye, or
perhaps soaked or composted for a time, in
or out of the sun. Even a first print can be
successful!
Ready to explore
eco dyeing?
Eco dyeing is fiber art with elemental
appeal, combining simplicity of technique
with enticing complexity of outcome. It in-
volves the whole person in creative processes
that are earth-friendly, mindful, meditative,
and kinetic. Body, mind, and spirit engage ABOVE: Plant leaves and flowers on silks and papers.
in harmonious cycles of activity: growing
dye plants in the garden and/or foraging
them in season, tending a simmering dye
pot, perhaps stitching stories, ideas, and
feelings into fragrant, dyed cloth or as-
sembling printed papers into artist books to
satisfy mind and hand. With second-hand
equipment, recycled fabrics and papers,
easily-obtained local plants, and non-toxic
mordants, ecology-conscious artists with a
love of experiment can create extraordinary
art that derives from and respects nature,
and delights them with its surprises.
Use this eBook to access a wide range of
information relating to the work of artists
and natural dyers who are not only delving
deeply into the eco-dye genre but also
generously sharing their experiences,
inspiration, and practical direction.
ABOVE: Rust and maple eco-printed scrolls on paper.
HERE: Yvonne Dalton, Untitled (eucalyptus stained drapes); 2009–2012; torn cotton sheeting stained by eucalyptus species; E. cladocalyx; E.
cneorifolia; E. diversifolia; E. leucoxylon; various lengths approx 260 x 45 cm. RIGHT: Fabienne Dorsman Rey, Vulnerability Cloth; 2013;
organza silk, pongee 05 silk and wool gauze, hand dyed tussah silk threads, eco dyed and eco prints (leaves of eucalyptus, maple, and goldenrod,
onion skins, logwood, madder), iron, and copper scraps; hand-stitched and intuitive embroidery; 25 x 34 in.
“My printed and stitched textiles

and papers, like scrolls, become
botanical records uncovering nature’s
mysteries—making art, like science,
in order to reveal the invisible.”
— artist and author, Wendy Feldberg
UNEARTHING
Eco Dyes
BY WENDY FELDBERG
Eco printmakers work in slow rhythm with the seasons, using materials they grow, find, share,
or responsibly forage, discovering in them wide artistic applications. They juggle many variables,
balancing their control of the process with the chance dye-magic of natural colors that surprise
with varied shades and tones. These are challenges to relish. The originality, immediacy, and
directness of eco printing complements creative and frugal re-use of secondhand, natural
materials such as linen, cotton, silk, wool, and other materials as substrates.
The artists intend that each element, including concept, material, and process, contributes
meaning to the whole work. A print may seem finished as soon as the bundle is opened, or
it may become the first stage in an art journey that continues with traditional techniques to
make art for display or to wear such as wall art, sculpture, artist books, garments, or textiles
for the home.
From a wider perspective, eco printing links contemporary fiber art, not only to respect for
natural environments, but also to the recovery of lost dye- and plant-knowledge, and to an
appreciation for handwork carried out from the heart and without hurry.
Gleaning Techniques
Making art with non-toxic and environmentally friendly materials “in” and “of ” the Earth
is the objective of the seven international fiber artists featured here. They have adopted eco
printing as a technique for direct or contact mark making on textiles or paper, employing a
variety of approaches. Using kitchen-friendly extraction processes and readily available materials,
the artists utilize natural dyes from plants, lichens, fungi, soils, mineral-rich rocks, and rusted
metals to obtain a print. Their work is a contemporary application of traditional dye knowledge
gleaned from natural dye practitioners such as Dominique Cardon, Karen Diadick Casselman,
Jenny Dean, India Flint, Lois Jarvis, J.N.Liles, and Kimberly Baxter Packwood, among others.
The artists use various terms besides “eco printing” (e.g., “eco dyeing”, “natural printmaking”,
“organic printmaking”) to refer to their individual methods of obtaining nature’s marks.
The Mark Making Process

The mark making processes begin in nature. Arlee Barr forages along railroad tracks and down
FAYE MC GOLDRICK
Canadian river ravines for leaves, berries, fungi, and lichens to mark fabric that she later richly
embroiders; Yvonne Dalton shins up Australian acacia and eucalyptus trees to swaddle their
dye-rich bark in old cotton sheeting with art in its future; Fabienne Dorsman
Rey, in the Netherlands, grooms organic garden dye plants and textile
fragments for printed and stitched collages; Irit Dulman gathers native Israeli
soils and eucalyptus leaves, bundling them together in cotton and felted wool
garments, sometimes mordanting them in the sea; Elena Ulyanova explores
fields and shores near the Black Sea in search of bounty to investigate for
natural printing potential; Patricia Vivod hefts old chunks of American farm
machinery to wrap, rust, and ingeniously pattern lustrous silk panels; I study
boreal landscapes for native plants to print in scrolls and artist books.
To obtain a print, the artists wrap or layer dye materials closely with textiles or
paper, perhaps steam their bundles over water, simmer them in a dye-pot, or just
leave them for a time to work things out with nature.
Complex Outcomes
The complexity of results obtained from the simple processes is astonishing.
Many factors cooperate to produce captivating layers of forms and nuanced
colors that change with each printing. The outcomes vary with the age and part
of the dye plant, water properties, growing conditions, fiber structure (cellulose
or protein), processing temperatures, and duration. If used, chemicals or dye
assistants are also known to produce, modify, or fix dye colors safely (e.g. alum,
soya milk, a copper pot or iron pieces, etc.).
By sharing their mindful journeys, the artists hope to return with gratitude
what they have received from teachers, mentors, and companions on the
same road.
Featured Artists
Arlee Barr, Calgary, Alberta, Canada
“I create with natural forces in mind—you can’t escape the attrition marks
in these surface design techniques. In perceptions of a mark, a day’s change
brings new potential to images on the cloth. Stitch augments the designs,
a method I call “Finding the Image.” Natural dye marks and eco prints are
innate graffiti to be interpreted on the cloth. Even an eco print that doesn’t
work is subtext for telling a story. I use the Japanese principle of ‘Shizen’
when naturally occurring patterns and rhythms form part of the design:
being of nature, but distinct from it because of my translation.”
Yvonne Dalton, Kenyeton, South Australia

“A very important consideration and obligation for me is to minimize my
impact on the environment, as concerns of landscape are central to my art
practice. I use mostly discarded cotton sheeting and clothing to wrap the local
eucalypt and acacia trees. Over winter, the frequency and quantity of rainfall,
HERE: Patricia Vivod, Pond Ripples (gallery view, Jacoby Arts Center); 2010; shibori
rust printed silk dupioni, black tea leaves, vinegar, fermented sumac juice, elderberries,
PHOTO CREDIT: ANDREW DOBSON
string. Direct object printed using adapted arashi shibori technique on rusted pipe;
175 x 55 in. RIGHT: Fabienne Dorsman Rey, The Elves Garden; 2011; pongee 05
silk shawl, eco printed with logwood, eucalyptus, and iron scraps;18 x 72 in.
the species of tree, the length of time the fabric is left in situ, and the type
of material used, all influence the stains produced. No chemicals are added
to influence the results. I use the fabric in my sculptural work, to stitch wall
pieces, build vessels, and sew clothing.”
Fabienne Dorsman Rey, Den Dolder, The Netherlands

“Combining my acupuncture background and my work in textiles, I
explore the way we mend ourselves and heal, using eco dyed stitched cloth
as an analogy. I make soft garments for protection. I gather plants from my
garden and, with scraps of metals, I imprint the cloth. Adding a layer, by
hand-stitching, mirrors how we piece ourselves together into a beautiful
cloth of experiences and emotions. The stitched marks are reminiscent of
long walks through inner emotional landscapes, revealing beauty, hope,
and finally peace.”
Irit Dulman, Tel Aviv, Israel

“To print the garments I make in cotton and felted wool, I need balance
between investigation and chance, freedom and control; a deep and
sympathetic bond with the chosen tree or plant; a kinship with the earth
where it grew in a particular season or sunlight. My garments give their
wearer a new skin, printed with symbolic, tattoo-like images that clarify their TOP: Irit Dulman,
Wild Thing; 2012;
bond with the body, making connections between primitive and modern. I cotton, eucalyptus bark.
give the materials non-verbal experiences, allowing the fabric as art object to ABOVE: Elena Ulyanova,
speak a language of my making. I let the thing live and happen.” Untitled-1; 2013; silk,
leaves, sea water, contact
Elena Ulyanova, Kherson, Ukraine dyeing (eco printing);
27 x 35 cm.
“Seeking independence from non-renewable materials, I searched for RIGHT: Wendy
more organic ways to make art. Wax batik and rust were the turning Feldberg, Sumac; 2012;
Rhus typhina and Prunus
points that moved me to explore the dyeing and printing potential of virginiana eco print on
everything that comes from the earth. This is my way of “finding a bridge watercolor paper;
10 x 14 in.
to nature” (F. Hundertwasser). I translate my experience into an art form,
thus opening myself to a world without mistakes, where anything is
possible. I enjoy communicating my findings; this is how I can pass on
inspiration and help others on their path.”
Patricia Vivod, Troy, Illinois, United States RIGHT: Arlee Barr,
Mother’s Heart;
“I fell in love with rust as a graduate student in printmaking over a decade ago 2013;“failed” rose
leaf and iron eco
after burying three yards of silk under walnuts and berries for a month, later print, natural dyes
overprinting the fabric with old farm tools. Organic printing with rust, tea, and rust on cotton,
hand embroidery,
and other tannins inspired spontaneity and began to inform my ideas about dimensional appliqué,
process as well as my farming heritage. Now working larger, and treating the 12 x 12 in.
fabric as a vast landscape, I have adapted shibori to wrapping rusted pipes, BELOW: Shibori in
tucking leaves and sometimes elderberries into folds, creating rich color, the process of rusting
on a pipe in Patricia
contrast, resists, and prints that develop from the inside out.” Vivod’s outdoor
studio with other
Wendy Feldberg, Ottawa, Ontario, Canada rusting tools in the
background.
“Eco printing and dyeing with plants from my garden and environs keep me
close to nature in every season. I print seed heads also intended for sowing
next season; blossoms to make summer color and perfume reappear in
new forms in a winter dye-pot; fallen leaves so as to bring out unexpected
pigments. My printed and stitched textiles and papers, like scrolls, become
botanical records uncovering nature’s mysteries—making art, like science, in
order to reveal the invisible.”
Wendy Feldberg prints, dyes, stitches, gardens, and forages in Ottawa,

Ontario. She writes about eco printing and textile art at
www.wendyfe.wordpress.com, www.wendyfeldberg.ca.
e r A r t
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mbracing
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WEAR
and of nature
s vivaria, irregular, sculptor
meticulou her findings: ordered and interprets
her
lifes, her presents , time, Amy Genser of paper.
box still feet, she s, molecules with her medium developed
half impressions she has
her shadow and a bs, mushroom
STUDIOS
through seven orchids Using techniquestears, cuts, rolls, stacks,

she to
life. And n reaching and honeycom off rare of and refined, of papers
GRAYSTONE
examined an installatioparts, bees g tangle small tubes

s for showing and collages of natural,
lives an Mutatus, body a transpirin abstractions LEFT &
with Victorianfar from present intricate celestial interpretations. BACKGROUND
A
my Gross Spora red flowers, and
Peacock;
2015; brass, :
recently
most and embroide n. , so popular . Although geographic, tends
color coated
copper,
maginatio terrarium specimen inspiration plastic
filaments
beaded a closed is a precious Her key environmental from above. dyed fishing and
poetry—i water viewed cloth weavingline, double
visual It resembles glass dome to be flowing topographical and aerial 23 x 23 method;
of
The influences views from space, are clear.
FIBER HAPPENING
x 8 in.
out a vivarium.
AR !
a sparkling OPPOSITE
COMM
d under as
points maps, as well physical world PAGE
Gross Suspende
or burrs observing the eyes of others
UILT
CENTER:
Angle
or ferns. of coral of Constantly
it through
the Close; Up
2006; patina
artist Josh
V
types meaning and seeing copper
or various of irony, points to glass and fishing
as well, Genser interpretations of earth
double
apples despite vivarium’s cloth line,
ns, sense his iewing All of Everything: Todd Oldham Fashion archived the ensembles, along with purses, shoes, hats, weaving
and jewelry.
method;
g hedge long. But Simpson and taken by his
astronaut
On the walls of one of the galleries at RISD,bracelet
approximate
ts resemblin inch ns, ruminatio photographs those (April 8–September 11) at the Rhode Island School videossize.
feature
an from Genser uses
rths of Gross’s observatio of Design (RISD) Museum you wouldn’t guess that Cindy Crawford, Tyra Banks and Naomi Campbell BOTTOM: swishing
componen wife. However,jumping-off point rather jewelry Azure’s
of
with round three-fou multi-talented designer had given up fashion. That’s down the runway in Oldham’s designs. Turn around and metals
youstation.
see
s. a
flies, just references as application. She has done
ART QOSPECTIVE
constructmysteriou
botanical, detailed we see is a and makes a
how timeless his designs are. mannequins wearing the real togs: the Tuft Print Faux Fur with a
seem
are even familiar than as a direct work that faux fur leopard coat, printed blouse with Swarovski crystals, and
it does What
but prefers
greens, kind. There is no life here. g—both some commission
to authenticity, and flow, Oldham learned how to sew and embroider by watching his satin pants bedecked with beads and sequins; and the Tuft Print, a
of some life,” there It is fascinatin School commitment
work the free
ebb grandmother and mother. While growing up in Corpus Christi, quilted coat, dress, and purse, all studded with Swarovski crystals.
of for detail. nt allow her to reflect
“place
at Arrowmo on on to a composition Texas in the 1960s he designed his own clothes from thrift store
and penchant residency a presentati She and so to change Viewers may and trash can finds. Adding to the glimmer are cases exhibiting 40,000 buttons
a 2015 Gross gaveand methods.textile imagination. rock
her own stream or a in
During and Craft, as a bend in a and belt buckles made in white metals and porcelains at
recognize a themselves
of Art ns, approach,ur years from hand can imagine Fast forward to 1989, it’s New York City and Todd Oldham has Oldham’s studio.
formation and
COURTESY OF DAN LECCA FOR TODD OLDHAM STUDIO
moving
her inspiratio her twenty-fo shifting was using keeps the eye taken the fashion world by storm with his glittering styles. His
DIMARZIO
graduallyfelt like I as a way
Get Connected
of the composition designs were a tiered process: He would create the patterns, do Kate Irvin, the RISD curator, said this about him: “Todd Oldham
described the work . “I me manipulation destination.
she told tion. Her Yet the masterful some future while an
DEANNA
the cutting, and whatever is my favorite designer.” She

designer, generated
hand,” dissatisfac was of a memory. traveling through it to School of Design “I never
to computeron each the serene setting almost as if at Rhode Island stitching was needed. After went on to say, “Todd is gifted,
F
When I’m through the sculpture
words,
with texture same paper in a class looked back. In Genser’s with the paper
two fingers her increasing touch about the working with never that, everything was shipped to very giving, always curious, and
of explaining back in At South enamored of with the medium. She profound to say. But playing I saw in the rom her
deep into Genserstudent, where she fell in loveI didn’t feel I had anythingI saw in my head, and and
a 400-year-old textile business so respectful of the expertise of
to get jewelry. City to lush first became of the beauty studio
Rhode Island, in a restored
first step embroidered New York e is both been open to
creative in India where the hand other artists.” The main gallery
RETR
Anastasia mill outside
making moved from abundanc
MFA fine artist. creating the
images class, in jewelry
myself as a clearly reflected embroidering was done. From showcases the RISD Ensemble,
a project thought allowed me to find the turn had I not taken
of Azure combines of Providence,
of a way that papermaking that is conventionalmetal arts with
time she where nature’s and texture of there the designs went to an a dress designed by sixty
benign, color, pattern, has hundred woven sculptures. floor her instincts her experience
sculpturally taken home studio
I feel like world. I neverShe admits to an ongoing
g. would have obsession with artist in Texas to be coordinated. RISD textile students under In Azure’s loom to create in weaving
T, ROLL
Florida, is usually outdoors dimensional
paper, her third-floorshe shares. on
and threatenin with nature walk says. with mulberry my pigment,” work Once the ensembles were Oldham’s tutelage. The linen and I also fabric. I weave words, “Essentially,graceful, undulatinga
she works mainly “I treat the paper as canvas. The breathe shape the fabric
and integrate
I can’t in her art. Although
simple ,” Gross exploration.” my
contact even a returned to Oldham he hand skirt was hand painted in hues structural work is woven
ALL OF EVERYTHING
and the world. textured painted and is painted life when afterward.
“Our
TEAR, CU
, but and subjectiveis chosen from all over of a highly stitched beads and sequins or of greens, blues and pinks, the they exist form into
composed led stories.” papers collected layered effect on the dimensions, layer of texture Azure’s in the thirdI feel that my weavings fabric
takes on the
work fast Each rolled and shaped sectionof substrate, canvas oforacrylic
our senses l life walkway. wood depending creates the first embedded Swarovski crystals. top knitted with strips of the workspace
FORG
dimension.”
is multi-leve
catches individuaby the and gel mediumcut or torn into about
12-inch artist and is tucked truly
if it skirt material. The students divided business community. in a corner
“What d by our papers to
SER
fallen with a choice A mixture Pieces are studio of
gait, wonders The usually begins of a composition. the papers are rolled. from her stash of multi-colored In 1997 Oldham walked away hand embroidered the dress her
a weaving studio into In this long,
T O D D O L D H A M FA S H I O N
OF AMY GEN
an active,
heightene a tree branch attention
enough. as various a jewelry-makin urban
with the beginnings to. Next effect needed narrow
FIBER ED
careful er’s colors from fashion saying it was with sequins. awaiting space. Upon the space, she
Consider with Another’s will be adhered with other mind the overall other. The rolls are then
images of strips of varying widths
g and metals
and then stackedeach roll. She keeps in
woman, her exercise. by a woodpeck the arrival has
the faint that the paper each “too noisy.” He put his creative sparkle in of a second
writing
of this area and
THE WORK
One limb within are rolled with room to her eye, “I have floor loom. article, she is
G
will impede broken She can hear observe and visual interest ways as they talents to work in other ways: Fashions here run the gamut
to the She remarks eagerly
I
. and snug the measured
the provide contrast combined in ever-changing authoring twenty-four books, from the Old Master-New
what
ERIN
new one
is drawn or colorationinsects, smell can’t see s. are BY FRANCES
provide the “pigment” J. FOLSOM Azure began up next
carefully
and have with a
of but she levels of color into varying sizes to hosting “Todd Time” on MTV, Mistress dress with a sheer to the current just
&
tapping g” noise ition, ’s mushroom of and cut the Revere focusing on loom. I can’tenough
make sealed becoming creative director taupe blouse set off by jewelry
want to
“skritchin decompos tomorrow jewelry metalAcademy of Jewelry making in wait!”
VAN DYKE
paper
at a time. The
REV ’S
images for placement. at Old Navy, and designing 24-karat gold buttons, a skirt high school.
the wood’s making a three-year arts at the CaliforniaArts in San
reveal but
BY TRUDI on one composition
PAPERD MEDIA
A stint
busily y can naked eye, lly, tends to work
in groupings furniture for La-Z-Boy, to name adorned with sequins and artist-in-reside College Francisco, a major at
spores the
and technolog to only conceptua constantly Amyare arranged, rearranged,
and manipulatedto the canvas.
are moved a few. With Tony Longoria, his beads, and an embroidered
at the Appalachian
nce position of the Arts in
THE SCU
exist. made for (CCA),
Science worlds invisible for us
rolls and then they can visualize
the over twentyCenter for Craft for the Fibers and
ash through until
LIFESEEN ES:
don’t are is satisfied that she partner in life and business, he struck a deal with Target to sell image of the Mona Lisa, to the skimpy Love Ball dress of when she
she Department
intricate they exist , such as scale, way so the cut rolls years. At informs
“My plants to work this pieces. How
Oldham’s Kids Made Modern art kits for children. interlaced red pipe cleaners, to the Peek-a-Boo Ensemble, a Cook. Thathad the opportunityCCA she explored the jewelry
OF ANA LPTURAL WEA

She prefers adhering the interplay with each other
my mind. possibilities before
because standards takes over. I’ve learned,” she
ty seemingly simple, elegant black dress of Chinese lace until initial instinctexperience to take larger-scale has
objective the artistsee and what theatricali determines
how they color, and patterns. According to All of Everything curator Kate Irvin: “This exhibit viewed from the back, when it becomes satin hot pants beneath 16-gauge was to dress
fundamentally a weaving
class from
work
where I the changed
sense of change, next to each other
STASIA
This is d by what ed a bit by n with are arranged
UNEASUR
steel Lia
with ikat-dyed wire warp. Shethe loom with her life’s
AZURE VING
fascinatio by – Amy Genser and provide even more small tubes It is not
took two years to put together. Todd was given an honorary an open-weave lace panel. work.
engineere “heighten g my out shaped now individual degree from RISD in 2014. I heard him talk about these
BY MARCIA yarns, nylon honed this indigo-dyed silk Her
Placing the and relationships. to monofilamenttechnique to
says Gross, on. Translatin they come sense of movement and off repeatedly fashions and saw them as they came out of their storage boxes All of Everything offers visitors the opportunity to see how far Azure was and
make jewelrya
of imaginati develops a pieces on She will YOUNG to search ready to push , and metals.
into sculpture, or reef Genser to move for the composition. 23 at his New York City studio. I thought this would be a perfect Todd Oldham pushed the fashion-design envelope. For more out the
busiest fishingmaterials that capabilities of the
a body from unusual for she sees
HAP SAKWA
nature right juxtaposition process on and off as
TR Work
PAGE 2016 • FIBERARTNOW.NET story to tell here.” information visit: risdmuseum.org. had more loom.
my stories.” showcases ranges and OPPOSITE
find just the rolling SUMMER she was ports in “give.” Living She continued
color russet, TOP: Beeswax; go back to the craving. the United
g Vivarium The and 2012; paper on
and continue to The seventy-two fashions in the 26
exhibit were previously seen by
a walk along She stumbled States gave near one
of the
Aggregatin ed forms.to maroon opposite acrylic FIBERARTNOW.N
discovered the New Bedford upon a fishingher the solution
The y Gross
of embellish tints of
red
and dark
denote overripe.
to Masonite
board;
in.
the public only once—on the runways of shows in ETNew York
• SUMMER Fran Folsom
is a journalist who writes about arts and culture. She best qualitiesthe possibilities Harbor. supply
of commercial This is where store after
that
the fairest g light freshly opened shapes, 18 x 18 x 1.5 from 1990 to 1997. After each of the shows Oldham boxed and 2016particularly admires artists who incorporate textiles into their designs. that the of both
of cutting transparent metal and fibers. fishing line. Azure first
the contrastin from
E
when dyed Even better, It offers the
the shift hours fishing line
of Am
requires and that enthusiastically she discovered
STUDIOS
“sides,” it. And

with that, color is enhanced
object accepts
COURTESY OF DAN LECCA FOR TODD OLDHAM STUDIO
Each color, unexpected her new when light vivid color

Y OPPOSITE PAGE
GRAYSTONE
IX
work
ARNE sewn TOP LEFT: Love Ball Dress created by interweaving and looping red pipe cleaners together. 1991 Image courtesy of RISD beginning three-dimensio was born, travels through
or end. nality, and replete with luminous
beading,polymer
TOP RIGHT: Cindy Crawford wearing Todd Oldham’s Positano Tile Dress from his Spring 1996 collection. Oldham hand stitched sequins, beads and
SMITH embroidery, plastic,
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MORREL:
RUST DYEING:
Corrosion to Creation
BY WENDY FELDBERG
BACKGROUND: Rio Wrenn,

Inventory; 2010; silk, rust, patina,
stainless steel; 24 in x 70 ft.
FAR TOP RIGHT: Cecilia Heffer,

Identidad; 2010; rusted silks and
cottons, eucalyptus and natural dyes;
photo transfer, machine stitched onto
a soluble substrate; 950 x 1200 mm.
FAR BOTTOM RIGHT:Alice Fox,

Tide Marks Book #29 (detail);
2013; artist’s book: paper, rust print, collagraph
print; hand stitch;
15 x 210 cm.
14 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net
F
amiliar themes in fiber art, concepts such as decay,
impermanence, and the fleeting nature of memories,
have found apt expression–literal and figurative–in
works that use pigments obtained from rusted metals
exposed to ageing conditions such as heat, acid, weather, etc.
Rust’s (iron oxide) long history in mark-making across cultures
continues to excite interest among contemporary fiber artists,
including those using other natural dyes.
REGINA BENSON _______________________

A committed environmentalist, fine artist Regina Benson has
developed an impressive body of rusted art textiles distinguished
by carefully planned, complex markmaking and an enveloping
physical presence. Her large-scale rust-pigmented and printed
PAUL PAVLOU
environmental installations celebrate nature and the history
of human culture and, while mourning losses, warn us about
future dangers.
For Benson, art, like science, reveals the invisible. Her mastery
of complex processes (many of which she freely shares), rooted
deeply in expert knowledge of dye chemistry, local Colorado
geology, terrain, and plant life, allows her to replicate results
without stifling artistic spontaneity. Burying, burning, painting,
folding, and successively layering her textiles with rust are
methods she uses to communicate powerful and passionate
messages about the preservation of beauty and value in human
culture in general and in her own natural surroundings in
particular. Benson tells us: “As in much of my work, I marry
image to process.” Thus, the iron oxide pigment (which she
prepares after harvesting it from her “rust garden”) that prints,
stains, and dyes her textile substrates is intended as both
messenger and message.
In works that call attention to the threat of environmental
pollutants such as acid rain, Benson presents a paradox
via beautiful textiles that surround the viewer with their
presence. Hard Rain and Western Rain express her
profound attachment to Colorado naturescapes. Though digital communication age? Explore more of Regina Benson’s
seductively attractive in terms of color and markmaking, work at www.reginabenson.com.
rust in these works stands not only for the pleasure
of standing in a heavy downpour, but also for the ALICE FOX _____________________________
destructive effects of acid rain as it leaches into Alice Fox’s art practice combines traditional textile genres such as
the soil. Representing loss but with the hope of hand embroidery and weaving with print processes that include
recovery, the rust-marked works Unearthed, natural dyeing and eco printing.
Ancient Message, and Eroded Message
OSI PHOTOGRAPHY
witness to cultural values scarred and Rust printing is one of several processes in Fox’s mark-making
eroded yet surviving in new form. repertoire, chosen to convey a personal message about time and a
Benson’s treatment of ancient sense of place. During her recent art residency at Spurn Point
structures seems to express a in northeast England, the coastal landscape attracted
contemporary concern: Fox to use rusted metal objects washed up on the
What have we lost or shore nearby. Because Spurn is a nature reserve
gained since the and plants are protected, Fox sought other
advent of natural or found materials, not only
the for their interesting mark-
making potential,
©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 15
REGINA BENSON
ALICE FOX
THIS PAGE
ABOVE: Alice Fox, Tide Line (one of 25
units); 2013; tapestry weave in cotton with
found metal and seawater; 6 x 12 cm.
RIGHT: Regina Benson, Western Rain;
2009; silk; dimensional curved concave work
hangs from ceiling; 54 x 42 x 21 in.
OPPOSITE PAGE
TOP: Cecilia Heffer, Abuelo; 2010;
rusted silks and cottons, natural dyes; photo
transfer, machine stitched onto a soluble
substrate; 18500 x 1650 mm. Photo image:
Mapuche Indian in Chile, 1860s by Odber
Heffer Bisset
PAUL PAVLOU
but also for their capacity to convey an authentic sense of place, In Heffer’s series Rust Suite, rust is employed as a signifier
especially the coastal landscapes of Spurn: “I wanted to make color and token of memory. Pictorial and abstract “lace postcards”
that was of the place. I couldn’t pick the plants but there was loads entitled Abuelo, Retrato, and Identidad tell the story of Heffer’s
of rusty stuff on the beach.” transition from Chile to Australia, with memories represented
by rectangular fragments of travel documents, rusted textiles,
In Spurn Cloth, Shifting Sands, Tide Line, and Tide Marks, Fox used
and old sepia-toned photographs stitched together. The lace-like
shoreline flotsam and jetsam, seaweed, and seawater to make marks
openwork structure, symbolic of lost memories, contains gaps
on textiles and papers, incorporating the prints into artworks.
to be filled in like postcards yet to be written to herself as she
Using natural fibers and dyes, Fox usually colors her collections of recalls a receding past through the fractured records of her earlier
printed and stitched textiles and artist book papers in a soothing range cultural identity.
of neutral grays, tans, soft reddish-browns, gentle blacks, creams, and
Notably, it is the colors of rusted metals imprinted on cloth
whites. Hand-stitched encrustations, rich and full and melded with
that represent traces of distant memories while stronger, newer
layers of seaweed, rust, and tea-tannin printed marks, offer tactile
impressions often appear in parallel reds and browns of the
and visual experiences of simplicity, minimalism, and purity of line.
Australian landscape. Heffer’s work could be read as colored
Fox is prudent when working with rusted metals and natural dyes, rectangles signifying windows in the heart, simultaneously
aware of the need for studio safety and using rust cautiously, chiefly opening onto all the landscapes so far traversed on her personal
in the context of found materials on the seacoast. As for her art’s journey. Her metaphors suggest that diverse memories of home
longevity: she believes that both she and her rusted works come can merge into one overarching and universal memory of a
naturally with a “Best Before” date. longed-for place, as yet unattainable.
As a new member of the prestigious UK Textile Study Group, Fox Rust dyeing (achieved by composting textiles with metals,
is planning collaborative works as well as a book about her artistic sometimes combined with eucalyptus dye and tannins) features
processes, including rust printing. Visit www.alicefox.co.uk to keep strongly as both material and metaphor in some of Heffer’s
up with Fox’s new work. larger textile works. Her installations of “alternative” lace panels
integrate traditional textiles with emerging technologies: “My
CECILIA HEFFER _________________________ work pays homage to the history of antique lace; I rework it
into new lace forms as tokens of its origin.”
Rust pigment prints and dyes in Cecilia Heffer’s work act as
changing signifiers of home: the home in Chile she left as a child, Lace Narratives: Rust is a rusted lace panel made of strips. Lace
and her beloved adoptive home in Australia. Narratives: Ebony Lace alludes to the naturally deconstructive,
CARMEN OBRIEN
CECILIA HEFFER
HERE:
Rio Wrenn,
Demeter Slip;
RIO WRENN Collection 2009;
silk/cotton, rust.
“lacefying” effects of rust on metal and is made of hundreds of silks as metaphor for human skin and her use of rust to allude to
hand-cut circular motifs, irregular in shape and traced from stones masculine-industrial power, she treats the female body as canvas
collected from remote Australian beaches. The motifs embed in her RAW Underwear Collection of rust-printed underwear,
the abstract markings found on the stones. Both “alternative corsets, dresses, skirts and bustles. Her sense of humor emerges
lace” panels are outcomes of Heffer’s deliberate deconstructionist powerfully in skilled and provocative rust prints made from old
manipulations: the circles and strips are reassembled onto a soluble Chevy car parts in Indigenous Autos.
substrate and then free-motion machine stitched; a new lace work
The artist’s rusting process mirrors her concepts in art that speak
emerges as the substrate backing dissolves in water.
of birth, death, decay, and re-emergence under new forms which,
Cecilia Heffer is Senior Lecturer and a researcher in textiles in turn, re-enter the cycle of life. She composts her substrate
and new technologies at the University of Technology, Sydney, materials with everyday metal objects, often including plants as
Australia. Learn more about her lace work and other creative additional pigment sources, and leaves marks to develop from the
undertakings at www.ceciliaheffer.com. effects of heat and time.
Wrenn’s current interests are in the historical roots of textile art
RIO WRENN ___________________________
and iron oxide print traditions of several cultures, including Italy,
Discovering rust as an art medium provided Rio Wrenn with India, Japan, parts of Africa, and others. Explore Wrenn’s mixed
powerful metaphors that continue to underpin a conviction that media, installations, and other work at www.riowrenn.com or
“personal strength grows in courageous acceptance of one’s own learn about her production dye studio at www.rawtextiles.com.
fragility.” Trained in fine art and sculpture, for many years Wrenn
has been exploring the potential of rust pigments in combination Capturing personal realities through the use of rust, works by
with natural plant dyes to mark materials, especially silks, as these four artists convey spiritual intent and contribute maturity
records of cycles of human existence. Her works invite the viewer of thought, feeling, and expression to the contemporary genre of
to share a spiritual viewpoint that we are each in and of the earth, eco-dyeing.
and that one day, we must return there.
Wrenn’s works sensitively, but with wry humor, depict aspects of
human life in stages of natural decay; her Saturation series of huge
rust-printed skeletons on silk is an example. Touching delicately
Fiber artist Wendy Feldberg creates eco printed and embroidered art
cloth and artist books as botanical records of natural dyes from native
but firmly on the irony of association between her use of fragile plants. www.wendyfeldberg.ca, www.wendyfe.wordpress.com.
ABOVE: Regina Benson,
Unearthed; 2010; silk,
cotton & polyester;
dimensional wall work;
44 x 44 x 8 in.
LEFT: Alice Fox,

Shifting Sands (detail);
2011; rust and seaweed
dyed silk, wool felt;
hand stitch;
15 x 15 cm.
RESOURCES
Artists
The following artists’ websites and/or blogs offer informative content about eco dyes, eco
prints, and natural dyeing. Several among these artists have also written books, offer classes,
made YouTube videos, etc.
Arlee Barr Michel Garcia

Embroidered eco-printed textiles; shop; Natural-dye expert; information, classes,
workshops. instructional DVD.
www.albedoarlee.wordpress.com http://naturaldyeworkshop.com
Regina Benson Sherry Haar

Large-scale rust-printed textiles and Professor, Department of Apparel, Textiles
installations. and Interior Design, Kansas State University
www.reginabenson.com Sustainable textiles and eco-printing
research.
Irit Dulman http://krex.k-state.edu/dspace/browse?v
Felted, eco-printed and dyed wearable art; alue=haar%2c+sherry+j.&type=author
workshops; video/demonstration.
http://iritdulman.blogspot.co.il Cecilia Heffer
Innovative openwork lace structures;
Wendy Feldberg analogue textiles and digital technologies;
Embroidered eco-printed textiles, papers, rust printing and natural dyeing.
and artist books; plant lists; tutorials. www.ceciliaheffer.com ABOVE: “Tattoo” by Irit Dulman. Eucalyptus on
www.wendyfe.wordpress.com cotton.
www.wendyfeldberg.ca Lois Jarvis
Rust printing and instructions.
Alice Fox http://rust-tex.com Mary Marlowe Leverette
Embroidered, woven, and rust-printed Organic natural dyes organized by color;
papers, textiles, and artists’ books. dye colors with corresponding plants.
www.alicefox.co.uk http://laundry.about.com/od/
naturalfabricdyes/a/how-to-dye-fabric-
with-natural-dyes.htm
Kimberly Baxter Packwood

Natural dyeing; eco or bundle dyeing; rust
printing; YouTube videos; instruction books.
www.kbaxterpackwood.com
Elena Ulyanova
Eco-printed textiles and wearable art;
scientific approach to natural dyeing; health
and safety information for natural dyers and
rust printmakers; shop; workshops.
www.pddblog.wordpress.com
Patricia Vivod
Eco-printed (including rusted) large-scale
textiles.
www.patvivod.blogspot.com
ABOVE: Detail of “Not A Hive Mind” by Arlee Barr.
RESOURCES
BELOW: Eucalyptus.
Sandy Webster Celia Wilson

Earth pigments as art materials; artists’
books, shifu threads.
Eco color with earth pigments.
www.celiawil.wordpress.com GET SOCIAL
www.sandywebster.com
Many eco dye artists also
Rio Wrenn
Isabella Whitworth Rust-printed textiles; large-scale maintain accounts on
Silk painting and resist-dyed textiles with installations; wearable art; shop; blog; social media sites such
natural dyes; sources and talks; historical process notes.
as Facebook, Twitter,
dye studies. www.riowrenn.com
https://isabellawhitworth.com www.rawtextiles.com Flickr, Tumblr, Instagram,
www.rawtextiles.wordpress.com and Pinterest. So next
time you are browsing
for inspiration,
take a moment to
look them up.
RESOURCES
Many eco dye artists also maintain accounts on social media sites (Facebook, Twitter, Flickr, Tumblr, Pinterest, etc.)
Plants
Plants not traditionally used for dyeing can I extract natural dyes from plants, soils, and Documentation of my experiments can be
yield a colored eco print, while traditional minerals by various non-toxic processes, found on my blog “Threadborne.” This blog
dye plants can yield unexpected color when inducing them to mark textile and paper provides an “in-progress” alphabetical list
eco dyed. Commonly used flowers, trees, substrates. Many plant pigments can be and photos of plants that I use successfully
and herbs include: alder, sedum, yellow modified with iron, ammonia, or vinegar, to eco print textiles and paper.
goldenrod, iris, clematis, marigold, basil, which is added to the dye pot or selectively
and eucalyptus. Some plants will reveal applied to the fibers, pre-, during, or post https://wendyfe.wordpress.com/plants-
several colors in a single print. processing. for-eco-dyeing-and-eco-printing/
lilac eucalyptus alder
violets basil golden marguerite
PHOTOS COURTESY OF WENDY FELDBERG
rose pot marigold crabapple tree
RESOURCES
Publications
ARTICLES JOURNALS
AND MAGAZINES
Feldberg, Wendy. “The Alchemist.” Hand Swantko, Kathlyn. “From Garden to Fiber Art Now Magazine
Eye Magazine. (January 2011). Garment.” Textile Insight (November Print and digital magazine created to
A description of eco dyeing and a tutorial. 2011): 18 inspire and connect the contemporary fiber
Article about Dr. Sherry Haar on natural arts and textiles community.
Feldberg, Wendy. “Revealing the Eco dye research conducted at Kansas State www.fiberartnow.net
Print: Contact Dyeing with Plants on University.
Textiles.” The Journal for Weavers, http://digital.turn-page.com/ Hand Eye Magazine
Spinners and Dyers (Summer 2014): issue/48673/18 Textiles, especially in sustainable
17–21. international development.
Print article about eco printing and Whitworth, Isabella and Christina www.handeye.org
instructions. Chisholm. “Growing and Dyeing with
www.thejournalforwsd.org.uk Japanese Indigo.” The Journal for The Journal for Weavers, Spinners and
Weavers, Spinners and Dyers. (Winter Dyers
Feldberg, Wendy. “Eco Printing with 2011): 14–17 Journal of a UK fiber arts association with
Native Plants.” The Turkey Red Journal Article with growing and dyeing instructions an international readership.
(Winter 2014) for Japanese indigo. For free download, www.thejournalforwsd.org.uk
Eco prints with dyes from North American search back issues, article index.
native plants. www.thejournalforwsd.org.uk Shuttle Spindle & Dyepot
www.turkeyredjournal.com/archives/ A journal of the Handweaver’s Guild of
v18_i2/index.html America, Inc.
www.weavespindye.org
Flint, India. “Yvonne Dalton’s Dyeing
Technique.” Hand Eye Magazine.
Yvonne Dalton’s technique of wrapping
trees with fabric to obtain pigment stains.
http://handeyemagazine.com/content/
wrapping-trees
Kadolph, Sara J. and Karen Diadick

Casselman. “In The Bag: Contact Natural Use the following resources for information about
Dyes.” Clothing and Textiles Research potential plants for your dyeing experimentation.
Journal. (January/March 2004): 15–21
Plants For A Future Plants
An academic report on eco dyeing
This comprehensive database also notes A U.S. government online database
(Casselman’s original term) as a sustainable
plants used for dyes, inks, and paints. USDA, NRCS. 2014. The PLANTS
technique for textile creation.
www.pfaf.org Database, 14 October 2014). National
http://ctr.sagepub.com
Plant Data Team, Greensboro, NC
Dye plants (with images), a website 27401-4901 USA.
Kritis, M., & Sherry J. Haar, S.J. “Material
for eco printing http://plants.usda.gov
Benefits: Textile Printing.” Printmaking
http://wendyfe.wordpress.com/dye-plants-
Today. (Summer 2012): 30–31.
for-eco-printing-and-eco-dyeing/ Dyes From American Native Plants:
Technical paper with 6 images.
A Practical Guide. Portland, Oregon:
Timber Press, 2005
Most useful as a reference for North
American plants that yield dyes.
Richards, Lynne and Ronald J. Tyrl.
RESOURCES
BOOKS
Beresford-Kroeger, Diana. Bioplanning Diadick Casselman, Karen. Craft of the
a North Temperate Garden. Kingston, Dyer. New York: Dover,1993.
Ontario: Quarry Press, 1999. Dye plants to forage and/or grow; dye
Ecologically-sensitive gardening with methods; classic reference for North
regional plants. American and northern European dyers.
dianasjourney.com
Duerr, Sasha. The Handbook of Natural
Buchanan, Rita. A Dyer’s Garden: From Plant Dyes. Portland: Timber Press,
Plant to Pot, Growing Dyes for Natural 2011.
Fibers. Colorado: Interweave Press, Everyday plants for dyeing.
1995. permacouture.org
Growing dyes for natural fibers.
Flint, India. Eco Colour: Botanical
Burgess, Rebecca. Harvesting Color. Dyes for Beautiful Textiles. Colorado:
New York: Workman, 2011. Interweave Press, 2008.
How to find plants and make natural dyes. High inspiration for eco printing; irresistible
fibershed.com eye candy images.
prophet-of-bloom.blogspot.com
Cannon, John and Margaret Cannon.
Dye Plants and Dyeing. London: A&C Hardman, Judy and Sally Pinhey. Natural
Black, 2002. Dyes. Marlborough: The Crowood Press,
Reliable information and beautiful 2009
illustrations for common dye plants, despite Thorough instructions, plant and dye
non-current advice on using toxic mordants, process information; exquisite botanical
tin, and chrome. illustrations; excellent health and safety
advice.
Cardon, Dominique. Natural Dyes. www.sallypinhey.com
Sources, Tradition, Technology and
Science. London: Archetype, 2007. Lambert, Eva and Tracy Kendall. The
Indispensable reference on dye chemistry Complete Guide to Natural Dyeing:
and dye plants worldwide; information Techniques and Recipes for Dyeing
about available pigments to suit technical Fabrics, Yarns and Fibers at Home.
and non-technical readers alike. Colorado: Interweave Press, 2010.
Natural dyeing on all kinds of natural fibers;
Dean, Jenny and Karen Diadick comprehensive coverage.
Casselman, Consultant. Wild Colour: www.thistleandbroom.com
The Complete Guide to Making and
Using Natural Dyes. New York: Random McGrath, Judy Waldner. Dyes from
House, 1999. Lichens & Plants: A Canadian Dyer’s
Discussions and instructions (with images) Guide. Toronto: Van Nostrand Reinhold
of useful dye plants, materials, equipment, Ltd., 1977.
techniques, methods and safety Natural dyeing with plants of the Arctic
www.jennydean.co.uk
McGuffin, Nancy, Ed., 2004. SPECTRUM:
Densmore, Frances. How Indians Use Dye Plants of Ontario. Burr House
Wild Plants for Food, Medicine and Weavers and Spinners Guild: 2004.
Crafts. New York: Dover, 1974. An Ontario fiber arts guild’s
Native American dye plant knowledge. recommendations for gathering and
ABOVE: A sampling of favorite flowers and processing common dye plants, with
leaves in Wendy’s dye garden. caveats.
burrhousew.blogspot.ca
RESOURCES
Tutorials & Demonstrations

McLaughlin, Chris. A Garden to Dye For. Dharma Trading Wendy Feldberg
How to Use Plants from the Garden to Videos and instructions on natural dyeing. Tutorials on eco prints on cloth and paper.
Create Natural Colors for Fabrics and www.dharmatrading.com www.wendyfe.wordpress.com
Fibers. Pittsburgh, PA: St.Lynn’s Press,
2014. Irit Dulman Kimberly Baxter Packwood
Gardening, dye plants, natural dyeing. Demonstration video on eco printing. YouTube videos and demonstrations on
http://iritdulman.blogspot.co.il natural dyeing and bundle dyeing.
Moerman, Daniel E. Native American www.kbaxterpackwood.com
Ethnobotany. Portland: Timber Press, Sherry Haar
1998. Dyeing and Printing with Plants powerpoint Cassandra Tondro
Encyclopedic academic work on the use presentation on eco prints; various Leaf monoprints on paper tutorial.
of native plants (including natural dyes) techniques for eco printing, including www.tondro.com
by First Nations/native peoples of North flower pounding.
America. http://krex.k-state.edu/dspace/browse?v Sandy Webster
www.timberpress.com/author/daniel_e_ alue=haar%2c+sherry+j.&type=author Demonstrations and YouTube videos on
moerman/253 earth pigment printing.
www.sandywebster.com
Vejar, Kristine. The Modern Natural
Dyer: A Comprehensive Guide to Dyeing
Silk, Wool, Linen and Cotton at Home.
New York, NY: STC Craft, 2015.
User-friendly techniques for natural dyeing. WEB RESOURCES
Baxter Packwood, Kimberly.
Webster, Sally. Earthen Pigments: Compost Dyeing and Other
Handgathering and Using Natural Colors Fermentation Techniques.
in Art. Atglen, PA: Schiffer, 2012. Numerous aspects of natural dyeing,
Eco dyeing with pigments from soils. including bundle or eco dyeing;
sandywebster.com self-published instruction books
and YouTube videos demonstrating
natural dye techniques.
Visit your favorite online bookstore www.kbaxterpackwood.com
for more resources on eco dyeing
Material Color
Resource-based site with links
to natural dyers, suppliers,
conferences, etc.
www.materialcolor.org
PHOTO: “Walking the Earth,” eco-dyed and hand-

stitched tunique by Fabienne Dorsman-Rey. .
RESOURCES
Sources for Natural Dyes, Mordants,

Fabrics & Fibers
NORTH AMERICA UNITED KINGDOM
Botanical Colors Maiwa, Vancouver, B.C, Canada DT Craft and Design
Natural dyes, tutorials, workshops and A full range of natural dyes, mordants and dtcrafts.co.uk
resources. modifiers; instructions; classes; symposia.
www.botanicalcolors.com Fabrics. Handweavers Studio and Gallery
www.maiwa.com www.handweavers.co.uk
Dharma Trading, USA.
Natural dyes, fabrics, books, instructions Michele Wipplinger, USA The Woad Centre
and videos. Natural dyes, instructions, classes, dye www.thewoadcentre.co.uk
www.dharmatrading.com culture.
www.earthues.com Jane Deane Pure Tinctoria Dyes
G&S Dye, Toronto, Canada www.earthhuescolors.blogspot.com www.janedeane.co.uk/puretinctoria.
Wide selection of natural fabrics (especially html
silks); pre-reduced indigo; dye thickeners, Prochemical and Dye, USA
etc. Dyes for a variety of fibers and reactive and
www.gsdye.com painting dye kits. EUROPE
www.prochemicalanddye.com
Couleurs de Plantes
www.couleurs-de-plantes.com
Links & Resources

Every effort has been made to ensure current links are used. However, the internet is fluid,
so links cited may change without notice. Have you found an out-of-date resource here?
Please let us know: submissions@fiberartnow.net
Health & Safety

Readers should ensure that the plants and chemicals they use for natural dyeing are safe
for them to handle, and that established safe studio practices are observed. The terms
natural dyeing, eco dyeing, eco printing and rust printing do not imply safe or non-toxic.
Permissions
Permissions to gather certain plants locally or from the wild may be required. Sometimes,
propagation or collection of certain species may be prohibited by local law. Readers are
therefore advised to check regulations for their area regarding protected, invasive, and
toxic plant species.
ABOVE: Green from the leaves of sumac, a trusty

dye source.
26 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fiberartnow.net
Fiber Art NEW IN 2016!
now Selected work will have the opportunity
EXCELLENCE IN
to be shown at two museums in the US.
Venues to be announced.
Multiple jury groups will ensure even

representation of all fiber areas.
SUBMISSION DATE
OCTOBER 1, 2016
a juried exhibition in print
2016
A portion of the revenues from
EXCELLENCE IN FIBER 2016 will go toward:
Craft Emergency Relief Fund

www.craftemergency.org
Selected works will appear in an exhibition catalog, part of the
Fiber Art Now Winter issue (Sent to all FAN subscribers, sold on Friends of Fiber Art International, Inc.
www.friendsoffiber.org
over 400 Barnes & Noble newsstands in the US, 200+ Chapters
Books in Canada, and on select newsstands in the UK). The catalog Kiva
also will be presented to curators and directors of 200+ museums Kiva (kiva.org) microloans help
grow and support businesses
and galleries that feature fiber work and a select group of fiber and around the world. Kiva is a
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FAN Eco Dye Final

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BUILD YOUR FIBER ART LIBRARY

Fiber Art From our archives

You will find stories related to natural dyeing that have

The FAN team is looking forward to sharing more

PHOTO COURTESY OF WENDY FELDBERG

“Eco dyeing is fiber art with elemental

—Wendy Feldberg, Researcher, Eco-Dyeing Expert

8 UNEARTHING ECO DYES

14 DYEING: CORROSION TO CREATION

Marcia Young .................Publisher and Editor in Chief

Larissa Davis .....................................Designer

ABOVE: Sumac leaf eco print.

BINDING: Plant materials are wrapped tightly

with string, which give it interesting marks, prior

To obtain the basic eco-dye print with

ABOVE: Rust and maple eco-printed scrolls on paper.

“My printed and stitched textiles

The Mark Making Process

Yvonne Dalton, Kenyeton, South Australia

Fabienne Dorsman Rey, Den Dolder, The Netherlands

Irit Dulman, Tel Aviv, Israel

Wendy Feldberg prints, dyes, stitches, gardens, and forages in Ottawa,

through seven orchids Using techniquestears, cuts, rolls, stacks,

examined an installatioparts, bees g tangle small tubes

graduallyfelt like I as a way

the cutting, and whatever is my favorite designer.” She

OF ANA LPTURAL WEA

nature right juxtaposition process on and off as

“sides,” it. And

Each color, unexpected her new when light vivid color

fabric, ; 2011; fabric,8 in. BOTTOM:A

BACKGROUND: Rio Wrenn,

FAR TOP RIGHT: Cecilia Heffer,

FAR BOTTOM RIGHT:Alice Fox,

REGINA BENSON _______________________

LEFT: Alice Fox,

Arlee Barr Michel Garcia

Regina Benson Sherry Haar

Kimberly Baxter Packwood

ABOVE: Detail of “Not A Hive Mind” by Arlee Barr.

Sandy Webster Celia Wilson

lilac eucalyptus alder

violets basil golden marguerite

PHOTOS COURTESY OF WENDY FELDBERG

rose pot marigold crabapple tree

Kadolph, Sara J. and Karen Diadick

Tutorials & Demonstrations

PHOTO: “Walking the Earth,” eco-dyed and hand-

Sources for Natural Dyes, Mordants,

Links & Resources

Health & Safety

ABOVE: Green from the leaves of sumac, a trusty

Multiple jury groups will ensure even

Craft Emergency Relief Fund

www.fiberartnow.net/Excellence through microfinance, helping

It’s all happening .BSDI"QSJM 

Get Inspired & Connected.

A fiber arts magazine & community

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It’s all happening .BSDI"QSJM