I’ve been working on creating color samples of all the flower dyes I’m offering this season so you can see the beautiful colors that each dye may yield. When I finished the dye work and put the samples altogether to take this photo they looked like an idyllic autumn day. They’re so yummy and I’ve found it completely impossible to choose a favorite because they’re all my favorite!

In my textile art I primarily work with cellulose fibers which require a tannin bath treatment before being mordanted with alum. Different tannins impart different shades onto fibers—some tannins are clear, some are yellow and some are brown—and I’ve discovered that these tannin shades can be used as an amazing tool to create foundational base layers that influence the dye colors. To achieve richer more saturated colors you can choose dark tannin bases or dye the colors on dark fibers such as unbleached linen or gray sheep’s wool without having to increase the amount of dyestuff.

If you’re new to natural dyeing check out this blog post series I wrote which will guide you through the basics of scouring, mordanting and natural dyeing. The leftover dye baths (exhaust baths) can be used to dye more fiber which I explain in the third post of the series. If you would like a more in depth version of it all including more information about working with tannins to influence colors, you can purchase a copy of my book Farm & Folk Quilt Alchemy.

So let’s talk about the flower dyes! Please note that you might achieve totally different color results than I did! Most of the flower dyes are sensitive to subtle differences in water pH and temperature which will influence the colors. There’s a multitude of variables when working with natural dyes and it’s best to perceive this as the fun part! The first flower to bloom in the spring dye flower garden is dyer’s chamomile so let’s begin with her.

Dyer’s Chamomile

Dyer’s chamomile yields beautiful warm yellow shades on cellulose fibers such as organic cotton, hemp, and bleached linen. On dark unbleached linen it yields beautiful dark ochre colors! If you choose a dark tannin base color it will yield deep golden colors. Natural dyes have an affinity for protein fibers so the dyes are more saturated on them. On white wool you can expect to achieve warm saturated yellows and on gray wool a dark olive green. If you prefer more subtle pastel colors simply use less flowers in the dye pot. Use about 25% WOF for pastel shades and 50% WOF for medium shades. For darker shades use the same amount but on dark tannin treated fabric or on dark unbleached linen. For protein fibers you can use half those amounts. Take a look at the sample card to see what the shades may shift to by dipping them into an indigo vat or by modifying with iron at a small percent.

In the photo on the right the 3 strips of fabric represent a clear gall tannin base on white organic cotton on the left, a dark cutch tannin base on white organic cotton in the middle, and a clear gall tannin on unbleached dark linen on the right.

Dyer’s Coreopsis

Dyer’s coreopsis yields beautiful dark orange colors on white fibers and dark rusty oranges on darker tannin or fiber bases. If you modify the colors with iron they will shift to warm orangey-browns. Protein fibers yield the most saturated yummy shades. I love the rust color that dyer’s coreopsis yields on gray sheep’s wool! As you can see from the samples below it yields a similar color on unbleached linen. For medium shades on cellulose fiber use at 50% WOF and for saturated shades use the same amount but on dark tannin or linen base layers. For lighter orange shades use only 25% WOF. On wool fibers you can use about half as much to achieve the same shades on white or gray wool.

Sulfur Cosmos

Sulfur cosmos yields bright true orange colors that make me think of Buddhist monk’s robes. On dark tannin or fiber bases they yield dark oranges to orangey-browns. When modified with iron the colors shift to warm browns. Of course on protein fibers the warmest most saturated shades are produced. For a medium shade of orange on cellulose fiber use about 50% WOF. If you prefer pastel shades use 25% WOF or less. To achieve darker shades use the same WOF ratio but on dark tannin or unbleached linen bases. For protein fibers you can use about half as much to create the same shades on either white or gray wool.

Rudbeckia

I love the shades that rudbeckia yields! They’re a perfect mix of green and yellow on cellulose fiber and on a dark tannin or linen base they’re gold and bronze. On a white protein base they’re the most luxurious gold and on gray sheep’s wool a greeny-bronze. Gosh they’re good! If you dip the rudbeckia colors in an indigo vat you’ll get varying shades of green. Iron will shift them to greeny-browns. Use rudbeckia anywhere from 25% WOF for light yellow greens and 50% for golds. For the deeper bronze colors use those same amounts on dark tannin or unbleached linen base layers. For protein fibers you can expect to use only half those amounts to achieve the same shades.

Black Scabiosa

Black scabiosa is a fun dye because it yields such unexpected colors. The deep purple flowers yield shades from sage and minty green to bright vibrant greens. On a white base cellulose fiber it will yield soft minty greens. On a dark tannin you get more of a juniper green and on dark unbleached linen you get a nice dark green. Iron shifts the colors to darker greens and a dip in the indigo vat will shift to shades of teals. Look at that froggy green you can get on white wool and the warm dark green on gray wool. Use the flowers at 50% WOF for cellulose fibers to achieve soft minty greens. For darker colors use dark tannin or unbleached linen base layers. Use between 25-50% WOF on wool and silk fibers.

Black Hollyhock

Black hollyhock yields soft bluey-green gray shades at lower WOF ratios on white cellulose fibers. When dipped in a weak indigo vat these shades will shift to teal, and when modified with iron they will shift to grayer shades. On a dark tannin base you will achieve dark teal shades and on dark unbleached linen you will get warm saturated teals. On white wool you get an almost leaf green and on gray wool a dark blue tinted green. Set up a dye bath at 50% WOF for the lighter shades on white cellulose fibers. The same ratio will yield darker shades on dark tannin and unbleached linen base layers. Use only half these amounts when working with protein fibers to achieve the same shades on either white or gray wool.

Marigold

Marigolds will yield yellows from pastel to primary to dark gold or bronze. I most often achieve dark golden yellows with them but most dyers seem to achieve bright primary colors. When dipped into the indigo vat the yellows will shift to beautiful greens and when modified in an iron bath the colors shift to warm browns. Use 25% WOF for lighter more pastel yellow shades and 50% WOF for warmer more saturated yellows. For dark golds use fiber that’s been treated with a base layer of dark tannin or dark unbleached linen. On protein fibers you can expect to use about half as much dyestuff to yield the same shades.

Weld

Weld is a dye that I frequently use in my textile work. I didn’t like it at first but then it grew on me and I really liked it. It yields bright and at times even spicy neon yellow shades (those are the ones I’ve come to love). On a white cellulose fiber base at 50% WOF weld yields those fun bright yellow shades which will shift to spring greens when dipped into the indigo vat and mineral-olive greens when modified with iron. On a dark tannin base layer at the same 50% WOF ratio you can expect warm khaki colors and on a dark unbleached linen base we get the best chartreuse green—another color that I can’t seem to live without these days. On protein fibers at 25% WOF we get warm yummy saturated yellows and greens (on gray sheep’s wool). So good! For lighter shades use less, it’s as simple as that as you may have figured out by now.

Hopi Black Dye Sunflower Seeds

Last but not least we have Hopi Black Dye Sunflowers. These are pH and temperature sensitive (most of the flower dyes are!) so you may achieve totally different results than I do. I’ve seen some dyers achieve purples and maroons but I consistently achieve a lovely grayish tan. I prefer to boil the seeds in water for at least an hour to extract the dye. I feel like this method gets rid of the less colorfast anthocyanin constituents and leaves me with the more colorfast tannin based dye constituents. Use Hopi Sunflower seeds at 50-100% WOF. On a white cellulose fiber base the seeds yield a grayish-tan color which presents as a warm light brown on a dark tannin base, and an almost green brown on dark unbleached linen. Take a close look at the sample card to see what happens when you modify with indigo and iron. Of course protein fibers yield the most saturated shades.

I’m looking forward to seeing what you create with these special flower dyes! Please tag me on Instagram if you share your projects so I can see what you’re up to. These flower colors that began as seeds will never cease to amaze me! I hope you can feel the magic as you work with them. If you have any questions please ask in the comment section of this post.

Natural Dyeing With Dye Flowers