Equipment & Suppliers Overview
All the equipment lists in one place so you can cross-compare and see what equipment is needed at which stage.
Soy For Dyeing Cellulose With Natalie Stopka
dye pots & spoons/tongs
strainer/sieve
filter cloth
blender
digital scale, metric
bucket/basin
drying line or rack, with drop cloth if indoors
Recommended Colour Source: Any plant, fungi, or insect dyes. Anthraquinone and naphthoquinone dyes: madder, cochineal, lac, rhubarb root, henna, black walnut (for one-pot acid dyeing without mordant). Indigo vat dyeing (resist paste)
Workspace Setup: Sink & stove access, blender (may be borrowed from the kitchen)
Recommended Fibres: cellulose yardage, paper
Soy as a Binder/Topcoat For Use With Pigments With Natalie Stopka
strainer/sieve
filter cloth
blender
digital scale, metric
bucket/basin
several small cups or jars
paint brushes
frame for stretching fabric: silk painting frame, embroidery hoop, or canvas sretcher bars and push pins
drop cloth
drying line or rack, with drop cloth if indoors
Recommended Colour Source: Earth or lake pigments. Fresh leaf indigo
Workspace Setup: Drop cloth to protect work surface
Recommended Fibres: cellulose yardage, protein yardage, paper
Making Printing Inks With Plants With Greta Facchinato
Stainless steel pots
Measuring spoons
Cooking plate or stove
Spoon for stirring
Strainer
Small scale
Funnel
Small piece of cheesecloth or fine mesh fabric
Ph paper strips
Immersion blender
Jars with lids for storage
Cloves/Thyme essential oil
Soda Ash or Baking Soda
All binders: Arabic Gum powder, Guar Gum powder, Agar Agar powder
Recommended Colour Sources: In the session, we will be focussing on pink from Avocado pits/seeds, but you can use other colours if you prefer.
Workspace Setup: Large surface protected with a tablecloth. Access to electricity and water (sink, tap, drain, etc.). I use a double hot plate for dye extractions and mixing.
Recommended Fibres: Light to medium, smooth fabric, for example: Cotton, Linen, Silk, Bamboo, Hemp ...Pre-mordanted
Making Printing Inks With Pigments With Greta Facchinato
Mortar and pestle
Glass muller and glass plate
Sieve
A few bowls
Cooking plate or stove
Funnel
Scale
Storage jars
Spoons
Spatula
Immersion blender
Measuring spoons
All binders: Arabic Gum powder, Guar Gum powder
Thyme essential oil
Recommended Colour Sources: In the session, we will be focussing on yellow colours, but you can use other colours if you prefer. Yellow-orange lake pigment: (for example from plants as: Anthemis Tinctoria, Reseda Luteola, Tanacetum, Coreopsis tinctoria, Carthamus tinctoria, Solidago, Genista tinctoria…) or Ochre earth pigment of choice
Workspace Setup: Large surface protected with a table cloth. Access to electricity and water (sink, tap, drain, etc.). Use protective gloves and mask to not inhale pigments. Work in a well ventilated space.
Recommended Fibres: Light to medium, smooth fabric, for example: Cotton, Linen, Silk, Bamboo, Hemp ...Pre-mordanted
Screen Printing Pattern with Natural Ink: Tips, Tricks, and Process With Greta Facchinato
Guar Gum in Powder
Screen Printing Frame (ideally 90-110T mesh) size of choice
Paper and pencil
Light sensitive emulsion or Stencil material (Example: Kraft paper, Acetate sheets Freezer paper, Yupo or Tyvek paper)
Printing table with padding
Spoons and a spatula
Squeegee
Cutter and Scissors
Painter’s masking tape Low tack screen tape
Natural ink pastes from previous sessions
Several samples of smooth fabrics (pre-treated)
Hair Dryer
An Iron Drying rack
Recommended Colour Sources: Both inks made in previous sessions
Workspace Setup: Padded printing table with a non-slip base (like felt, foam, or sticky printing table)
Recommended Fibres: Light to medium, smooth fabric, for example:Cotton, Linen, Silk, Bamboo, Hemp ...Pre-mordanted
Applying ochre glue paint and tannin inks to fabric and leather surfaces With Caroline Ross
permanent black ink, or to make own: oak galls whole or powdered, dyer's iron mordant, gum Arabic, jug, spoon, pan, sieve, gloves.
Ochres or natural pigments in fine powder form, including chalk and at least one colour.
Glue, either all of 'rabbit skin glue' pellets or granules form an art supplier, or culinary gelatine sheets, or home made scrap skin glue as waste from hide tanning.
Bain-marie, or heatproof bowl inside larger saucepan.
Palettes in which to mix paint and ink, sticks, brushes, penknife.
Not essential but useful: dip pen, quill pen, reed pen.
Recommended Colour Sources: Iron gall ink made to any good recipe including those in my books. Walnut husk ink, Small selection of ochre, say red, yellow and terre verte (green earth), addition of any other fine ground natural pigments also welcome. Hand ground or bought are both fine. Very fine charcoal dust from artists' charcoal, or bone black powder from burning bones are also appropriate.
Recommended Fibres: Washed chamois leather (easily and cheaply sourced as vehicle window cleaning cloths) suede, leather, old leather items such as satchels, vintage cases, handbags, etc. Insides of any discrded or thrift store leather goods such as skirts, purses, bags. Parchment,rawhide and buckskin if available. Fabrics: Artists' canvas, furnishing canvas, cotton duck, thick stage cloth, thick linen, tote bags, canvas shoes, bags, etc.
Jackson's Art (UK)
George Weil
Mordanting Painting with Mushroom Dyes With Julie Beeler
Cooking plate or stove
Electric kettle
1 quart pot
Stir spoon
Dye fungi
Measuring spoons
Scale
Citric Acid or Vinegar
Soda Ash
Tannins in powder form
Titanium oxalate
Chalk
Wheatbran
Strainer
Fine Filter
Cloth
Small bowl
Ph paper strips
Immersion blender
Gum tragacanth or print paste thickener
Small jars w/lids for storageCloves/ essential oil
Paint brushes
Frame for stretching fabric: silk painting frame, embroidery hoop, canvas stretcher bars and push pins or table surface and tape
Drying line or rack
Recommended Colour Sources: https://mushroomcoloratlas.com/mushrooms/
Workspace Setup: I set up a table with all the supplies and organize the table according to the steps. 1) cooking area 2) mixing area 3) painting area. I rinse in my sink but you can easily have a rinse bucket in the same area making it easy. I find having everything organized and in a designated area makes the process flow smoothly. I am often working outdoors and go between outdoor and indoor spaces.
Recommended Fibres: Smooth cellulose fibers, smooth and heavier silk fibers, smooth and thin wool fibers
Mordant printing - Plant Dyes - Alum and Iron With Jacqui Symons
Equipment: More details during class
Recommended Colour Sources: Adjective dyes - more details during class
Recommended Fibres: Smooth cellulose fabrics
DT Crafts
George Weil
Blotz
Whaleys of Bradford
Bailiwick Blue
Fabric Printing with Mushroom Paints With Julie Beeler
Cooking plate or stove
Electric kettle1 quart pot
Stir spoon
Dye fungi
lake pigment
Measuring spoons
Scale
Citric Acid or Vinegar
Soda Ash
Strainer
Fine Filter Cloth
Small bowl
Ph paper strips
Immersion blender
Mortar & pestle
Abraided glass plate
Muller
Palette knife
Alcohol
Gum tragacanth or print paste thickener
Small jars w/lids for storage
Cloves/ essential oil
Printing blocks, stamps or silkscreen frame with squeegee
Frame for stretching fabric: canvas stretcher bars and push pins or table surface and tape
Iron or steamer pot
Drying line or rack
Recommended Colour Sources: https://mushroomcoloratlas.com/mushrooms/
Workspace Setup: I set up a table with all the supplies and organize the table according to the steps. 1) cooking area 2) mixing/mulling area 3) printing area. I rinse in my sink but you can easily have a rinse bucket in the same area making it easy. I find having everything organized and in a designated area makes the process flow smoothly. I am often working outdoors and go between outdoor and indoor spaces.
Recommended Fibres: Smooth cellulose fibers, smooth and heavier silk fibers, smooth and thin wool fibers