This time my eco prints are on some longer pieces of silk charmeuse, silk and wool mixture (80-20) and a small piece of silk twill. Two lengths of silk – wool, 24″ x 100″ were pre-mordanted in 25% alum , and the charmeuse and twill were post-dye mordanted in a 25% alum bath…am hoping for the best because I made a mistake in thinking that these two had been pre- mordnated. The collection:
From the left: 1. Sweet Gum and Japanese Maples on silk twill; 2. “Silver Dollar” eucalyptus on silk-wool mix bundled over cherry branches; 3. Red Cabbage, Rooibos tea, blackberry vine and leaves, dried tagetes petals and black tea (Taylor’s of Harrogate “Bungalow” blend) on silk-wool bundled over some very old iron rebar 4. Japanese Maple, Cotinus Coggygria, Sweet Gum and red Chokecherry bundled over copper. All steamed for at least an hour; the eucalyptus bundle was steamed for over three hours.
Some close ups and some details:
The sought-after reds from eucalyptus have arrived here in small measure, in stripes, outlines and spots here and there, adding sparkle and vivacity to the oranges and chartreuses of the leaf and stem prints, as touches of red are wont to do. I used the whole eucalyptus branch (from the florist) and like how it looks printed, better, in fact, than isolated ovals printed from leaves torn from the stem .
But to obtain red prints of the whole branch? My understanding is that I need to soak the leaves several days before printing them; to use dry as opposed to fresh leaves; and to be patient while they cook, under steam or in a dye bath of water. Longer than other leaves…that means over two hours, for sure. Next time. Meanwhile, chartreuse and orange with just splashes of red will do nicely:
I love the broken-up look of the leaf prints here. That effect comes from how I folded the cloth over the branches. I like how the red dye has drawn lines around the oranges and yellow-greens of the eucalyptus leaves in places and filled in small parts of the print but without colour blocking the whole area. More Monet than Morris again!
I scrunched up the length of silk to get the photo – I like it better than the long “table shot”. You can see the incredible variety in the marks made by the dye stuffs and know that no two areas will show the same sets of marks or colours. Blues from the cabbage, greens from the marigold mixing with the cabbage; greens from the blackberry; rusty brown red from the Rooibos tea; blacks and dark greys from the black tea and the iron rebar; yellows and oranges from the dried tagetes petals, of course.
A couple of detail shots:
Great detail of the blackberry and the iron rebar.
Rooibos (“Red Bush” in Afrikaans), red cabbage and tagetes meet and mingle.
A range of gentle blues and greys from Japanese Maple, soft browns and ochres from Sweet Gum and more blues from Cotinus Coggygryia (I think I have misspelled that last word a hundred times in this blog – just can;t make it stick in my head… better stick with “Smokebush”… I can spell that…)
And a detail:
The darker blue values are from Chokecherry leaves (burgundy red all year) and the darker browns from Sweet Gum.
Next post: More eco prints on watercolour paper.
Honour Roll for this post:
Why, India Flint of course, the Great Queen of Eucalyptus Dye lore. Her book on eco prints has taken me on this fascinating journey of discovery.