A LESSON TO DYE FOR
An Integrated Science-History-Art Unit On Plant Dyes
Part II

Diane Grau, Ordean School, Duluth, MN
Bruce Jones, The Blake School, Hopkins, MN
This unit introduces students to plant dyes and their history and highlights invesitgative skills as they explore variables in their own plant dyeing.

Science is more meaningful for most students when it is learned in some context which is relevant to something else they have learned or to real life. This unit was designed to do both by building on a science unit on plants that discusses flowers, roots, leaves, bark, seeds and other plant parts. The integration of plant science with stories from history gives a human touch. It connects the learning to previous learning of colonial or world history, for example. Anecdotes bring in drama, economics and geography as well. Students practice numerous scientific methods as they carry out controlled experiments and trial-and-error experiments. Connections with art are made as the students use the results of their dyeing experiments to make some handcrafted items, a real-life application. Because students are involved in gathering supplies and producing displays and handcrafted objects, they take ownership of their work. All materials are low cost.

Level: Grades 5-8
Time Frame: One day to endless

Table of Contents

This curriculum module was developed as part of a project sponsored by SciMath-MN and The Bakken Library and Museum. Click to see a directory of other curriculum modules using history and philosophy of science in this series.


EXTENSIONS

  1. Experiment with making paints, using different solvents from the refrigerator.
  2. Find out how to 'felt' wool, and make long felted strips of different colors to weave by hand on a large vertical 'loom' warped up with rope on a wooden frame. Kids will love weaving the felted fibers through the rope by hand.
  3. Visit a museum which has exhibits on plant dyes. (The Science Museum of Minnesota has an excellent display in its Anthropology Hall.)
  4. Invite a local quilter, weaver or fiber dyer to share her/his craft.
  5. Grow dye plants in the classroom: marigolds, zinnias, coreopsis, morning glory, marjoram, etc.
  6. Test dyes to see if they stay when washed.
  7. Experiment on the effect of leftover dye water on bean plants, introducing potential environmental effects of the chemical industry.
  8. Research and experiment with some ways of not dyeing something, as in batik and tie-dyeing ( a fun 1960s connection).
  9. Experiment with mordants and no mordants. Wash and compare color-fastness. Discuss why any differences occur, looking into the chemistry.
  10. Experiment with other variables: time, temperature, freshness of the plant material.
  11. Experiment with different ways of removing stains.
  12. Find out about making red cabbage indicator and how it can be used in chemistry.

APPLICATIONS

All of the following have complete directions in
Colors From Nature by Bobbi McRae.

PLANT DYES AND THEIR HISTORY

Lessons on plant dyes can esaily be integrated into a science unit on plants or a social studies unit on colonial times of Native American studies. The following paragraphs introduce different plant dye sources and their natural and historical contexts. Students may be invited to research each and complete posters for the class, or the teacher may prepare them in advance bycopying the text below. Information is readily available from the sources listed in the accompanying bibliography. The books may be found in many libraries. Pictures to complete the posters may be obtained by sketching pictures based on those found in field guides or sources such as Adrosko, Cannon, Krochmal, or Meeker. Photographs may also be taken of more common plants.

INDIGO

Indigo is a shrubby legume which may grow five feet high. It has dainty compound leaves. The pods are typical of may plants in the legume family. Records show that indigo has been used to produce a beautiful blue color for over 4000 years. Its use was probably begun in India though it is known to have been used in most of Asia, Eygpt, and West Africa. After Vasco de Gama's discovery of a trade route to India in 1498, indigo was brought into western ports. The Spanish brought seeds to Central and South America as well as the West Indies. It was an important trade item from the West Indies to Europe by 1615. Growers of woad, another plant used for blue, feared the competition because indigo made a better dye. It began to be called a 'devilish drug' and people claimed it harmed fabrics. In England during the time of Queen Elizabeth I (1558-1603), indigo was outlawed and a law was passed to allow searchers to burn it. The law was not changed until the time of Charles II (1660-1685). It was outlawed in France until 1737. German states also banned it in the late 1500s to the early 1600s.

Indigo processing: In colonial America sets of vats were needed for each 6-7 acres of plants. Two rows of these large, square vats would be constructed. The first row would contain up to 20 vats built about 3 feet above the other identical row. These vats were about 18 feet on each side and about 3 feet deep. They were made of brick coated on the inside with cement. Each vat held about 1000 cubic feet of water and about 100 bundles of plants. Each vat had pipes, spigots and drain holes at different levels. The plants were cut close to the ground in June or July just as they began to flower. About 10 plants were tied in each leafy bundle. and had to be put in the first vats the same day as they were cut. They were held down in the water with heavy timbers to press the plants together tightly. After 9-14 hours of fermentation, the water was drawn off. This yellow liquid went into the second vats which were called "beating vats". Naked slaves, entered the vats and beat the liquid with split bamboo sticks to get as much air in as possible. This might take 2-3 hours. When the liquid turned a pale green color and little, blue particles floated in the liquid, the beating stopped. The blue particles would sink to the bottom of the vats and the liquid would clear. The liquid was drained off and the particles were put into a tank and heated and boiled to prevent any more fermentation or spoiling. It would be cooled for 24 hours and then boiled again. It was then strained and the substance that was left was the true dye, indigotin. This was put into boxes and later put into a press to take out all moisture. It was then dried slowly for about 8 weeks. The cakes would be turned every few days. Finally the dye was packed for shipment. These cakes would be ground into a powder for use and mixed with wood-ash, urine, or tannic acid from tree bark so it would dissolve in water and make a long-lasting color. This mixture was discovered by trial and error. The cloth would be dipped into the mixture but did not turn color until it was taken out and exposed to air and dried. Oxygen was the mordant.

Sources: Androsko, Pettit, Krochmal. Pictures of indigo and the vats may be found in Adrosko.

WOAD

This plant is related to cabbages. It grows up to four feet high and has yellow flowers. It is thought to have been used in Israel over 2000 years ago. Julius Caesar mentioned that it was used in England: 'All Britons stain themselves with woad which grows wild and produces a blue color which gives them a terrible color in battle.' Those who painted themselves blue indeed wanted to scare their enemies by their appearance. Woad was grown all over Europe and was the major dye used to create blues until the late 1600s. At that time people began to use indigo. Woad is believed to be the first blue dye used in America.

Woad processing: The leaves of the woad plants would be picked in July just before the plants would flower. The leaves were then chopped or ground and placed in piles to dry. When the piles were still slightly moist, the ground leaves were packed into balls about the size of softballs. These balls were then dried in shaded, well-ventilated areas for up to six weeks. The dried balls were ground into a powder which awas spread 3-4 inches deep in the shade and dampened and turned often for another 8-10 weeks to allow the powder to ferment. This sticky matter was then packed in boxes for shipping.

Sources: Bogdonoff, Pettit, and Krochmal. Excellent pictures of woad are available in Krochmal.

CONEFLOWER

This plant has deeply lobed leaves. There are 3-5 lobes per leaf. The leaves are arranged alternately on stems that may grow to a height of 10 feet. The yellow flower has drooping petals and a green conical center. American Indians used coneflowers to make yellow or orange. It was used in basketry and on animal skins and feathers. The Ojibwa had additional uses for the coneflowers. They used a poltice of the blossoms for burns and a compound made from the roots for indigestion. The coneflower leaves were sometimes used in a spring salad.

Sources: Meeker and Murphey. An excellent picture may be found in Meeker.

THREE-LOBED SUMAC

The bark of the three-lobed sumac was used by some American Indians to produce a red-brown. The berries were also used after mashing and fermenting without cooking to make a dusty pink on wool.

Source: Murphey

MADDER

This plant has elliptical leaves in whorls of 4-6. It develops small, pale yellow flowers and black berries. The stems are brittle and often straggle along the ground or scramble through other plants. The stems have downward pointing thorns. The plant may grow up to 3 feet. Madder is native to western and central Asia but was brought to central and southern Europe for cultivation. Cloth found on Eygptian mummies of long ago were found to be dyed with madder. The red dye from this plant was prized in ancient Greece and Rome as well as in the Middle Ages in Europe. Madder supplied the red of the British armies redcoats. In colonial times in the U.S. it was imported from France and Holland though it was also grown in Virginia and sold by peddlars. Some American Indians used it to dye woll, quills, or horsehair. Today it can be bought at some garden centers and grown from seed.

Madder processing: The madder plants must be grown for three or more years before they can be processed for dyes. (Some roots should then be saved for replanting.) The outer covering is peeled off the roots and the inner roots are washed and pounded into a paste. The paste made a stronger color of used right away with a mordant of alum, chalk, slaked lime, or tin. The roots were sometimes dried, then peeled, and the inner roots dried again before being ground into a fine powder. This powder was fermented and diluted with sulphuric acid. Other processes used blood, rancid fat, charcoal, cow or sheep dung, or liquid from animal stomachs.

Sources: Bogdonoff, Cannon, Leggett, Lewington, and Murphey.

SAFFRON

The saffron plant is a crocus that blooms in autumn. It has 7-12 grey-green leaves and lilac flowers which are veined and stained near the base. The petals may be up to two inches long. A dye may be made from the tops of the pistils of the flowers without using a mordant. The pistils are picked before the flower wilts and dried over charcoal fires. The dye from saffron was used in ancient Persia for the robes of emperors. The dye was introduced into Spain by the Arabs in the 12th century and its use spread to Italy, France, Switzerland, Austria, and Germany. In England it became so important that the town of Saffron Walden in Essex was named for it. The dye was also used to dye hair in 16th century Venice. The hair was rubbed with a dried membrane which covers a baby's head at birth (caul), egg yolk, and honey. The head was then covered with a scarf overnight. The next day the hairs would be pulled through holes in a straw hat, and saffron and sulphur were put on the hairs. After sitting in the sun all day while the hair was repeatedly wetted and dried, the desired color was obtained. Today it is still grown commercially in Spain and bulbs may be bought from some suppliers.

Source: Cannon

BLOODROOT

This plant produces one white flower with 8-10 flowers. The flower is taller than its leaves. A single lobed leaf will wrap around the stem of the flower. The juice of the stem is orange or red. American Indians would rub fresh roots on wooden tools to dye them orange.

Bloodroot processing: Cut fresh roots into small pieces and soak for an hour before boiling. Boil for 30 minutes and strain. Heat the dye bath until it is lukewarm. Add wool that has been mordanted with alum and simmer until receiving the desired color. Rinse and dry.

Sources: Brooklyn Botanic Garden Records, Densmore, and Meeker. A good picture may be obtained from many field guides.

BUTTERNUT

Butternut trees may grow 40-60 feet in height. The compound leaves of 11-17 leaflets are rough and thin and arranged alternately on the branches. The oval, pointed nuts are covered with sticky, green, hairy husks. American Indians used roots and bark for dyes. Since butternut trees did not grow everywhere, the Chippewa would take packets of the inner bark from place to place with them. In New England the colonists used the bark for tans and browns. During the Civil War, it was used for confederate uniforms. This gave the name "butternuts" to confederate soldiers.

Sources: Bogdonoff, Cannon, Densmore, and Meeker. Meeker's book has a good picture of butternuts as does Krochmal.

PUCCOON

This plant develops flat-topped clusters of yellow flowers. Each flower has 5 petals. Bristly hairs cover the plant. Roots of the puccoon were used by American Indians for dye. The Chippewas used this dye for a face paint.

Sources: Densmore and Meeker. A picture can be found in Meeker.

LOGWOOD

This tree is native to Central America and the northern part of South America. It has a reddish, twisted and gnarled trunk that grows to a height of 50 feet and is covered with thorns. The leaves are made up of 2-4 leaflets. The yellow flowers have a sweet scent. Long seed pods form with 1-4 oblong seeds in each pod. Logwood was discovered in Mexico by Spanish conquistadores in the 16th century. In fact it was used to dye silks in Mexico as late as the 1960s. It was imported into Europe in the 16th century, but like indigo, its use was protested by the growers of woad. A law to ban its use was passed in England in 1581 but was repealed in 1661. Much smuggling occurred until the law was repealed. However, while woad was used primarily for making a blue dye, logwood was used for black. Today it is still used to dye nylon and as a stain for biological work. It is available from some dye suppliers.

Sources: Bogdonoff, Cannon, Lewington

BLACK WALNUT

The black walnut tree is native to central and eastern U.S. It is a very tall tree growing to a height of 130 feet. The trunk is covered with a dark brown to black bark. The leaves of 9-15 slightly toothed leaflets are hairy on the undersides. Thick husks protect the nuts. The roots release a chemical that prevents new seedlings from growing near the tree. Black walnut shells were used in 1st century Rome to keep hair from turning white. Pliny records boiling shells with oil, ashes, lead, and earthworms. The leaves and husks are most often used to produce the dyes, but bark, catkins, and the heartwood may also be used.

Source: Cannon

WHITE BIRCH

These trees are easily identified by their white bark which is easily peeled. The bark has layers which readily separate to reveal a bright orange inner surface. The leaves of the white birch are simple toothed leaves. In spring catkins may be seen on the branches. The trees grow from 40 to 70 feet tall. American Indians boiled bark from the white birch with ashes of cedar bark to create a red dye. It was said that no man or outsider should be allowed to look into the dye.

Sources: Densmore and Meeker. A picture can be found in Meeker.

Bibliography on History

Adrosko, Rita J. Natural Dyes and Home Dyeing. New York: Dover, 1971.

Bogdonoff, Nancy Dick. Handwoven Textiles of Early New England. Harrisburg, PA: Stackpole Books, 1975.

Cannon, John and Margaret. Dye Plants and Dyeing. Portand: Timber P, 1994.

Densmore, Frances. How Indians Use Wild Plants for Food, Medicine, and Crafts. (formerly titled: Uses of Plants by the Chippewa Indians). NY: Dover, 1974.

Krochmal, Arnold and Connie. The Complete Illustrated Book of Dyes from Natural Sources. NY Doubleday, 1974.

Leggett, William F. Ancient and Medieval Dyes. Brooklyn: Chemical, 1944.

Lewington, Anna. Plants for People. NY: Oxford U P: 1990.

Little, Elbert L. The Audubon Society Field Guide to North American Trees, Eastern Region. NY: Knopf, 1980.

Meeker, James E. and Joan E. Elias and John A. Heim. Plants Used by the Great Lakes Ojibwa. Odanah, WI: Great Lakes Indian Fish and Wildlife Commission, 1993.

Murphey, Edith Van Allen. Indian Uses of Native Plants. Glenwood, IL: Meyerbooks, 1990.

Pettit, Florence H. America's Indigo Blues. NY. Hastings House. 1974.

Pettit, Florence H. Amrica's Printed and Painted Fabrics 1600-1900. NY: Hastings House, 1970.

Polakoff, Claire. Into Indigo. Garden City, NY: Anchor Books, 1980.


BIBLIOGRAPHY

Top Choices:
Cannon, John and Margaret, Dye Plants and Dyeing, 1994, Timber Press, Portland.
A good combination of artwork, biology, chemistry and history. Many of the plants are British, but the book is a beautiful reference , especially in showing how different colors are obtained by using different mordants.
McRae, Bobbi, Colors From Nature, 1993, Storey Communications, Pownal, VT.
An excellent Òhow toÓ manual which is very approachable, with directions for beginners and advanced work. Organized with chapters on dyes from the grocery, dyes from the garden and many craft projects which are adaptable for kids.
Bliss, Anne, North American Dye Plants, 1993, Interweave Press, Loveland, CO.
A small but useful handbook, packed with summaries of the colors one might obtain with particular plant materials, information on where the plants might be found, and what parts of the plant to use. Line sketches are attractive and helpful.
Van Stralen, Trudy, Indigo, Madder and Marigold, 1993, Interweave Press, Loveland.
A beautiful book, richly illustrated with samples of materials dyed with plants which played important roles in history. Stories, practical tips and thorough directions make this book not only an inspiration, but informative as well.
Also available in libraries: Thurstan, Violetta, The Use of Vegetable Dyes, 1988, Dryad Press, London.

Goodwin, Jill, A Dyer's Manual, 1982, Pelham Books, London.

Bearfoot, Will, Dyes and Fibers, 1975, Oliver Press, Willits, CA.

Schultz, Kathleen, Create Your Own Natural Dyes, 1975, Sterling Publ., New York.

Grae, Ida, Nature's Colors, 1974, MacMillan Publ., New York.

Robertson, Seonaid, Dyes From Plants, 1973, Van Nostrand, New York.

Leggett, William, Ancient and Medieval Dyes, 1944, Chemical Publ. , Brooklyn, NY.