Natural Dye Workshop

with Michel Garcia

CHAPTER NOTES
DISC ONE
INTRODUCTION: COLORS OF PROVENCE
**Please note that these notes were taken by master workshop participants.**
All plants give color, many give very bright colors. However not all plants give color that can be used for
dyeing textiles. A lovely Iris is attractive and in the past the petals yielded inks for drawing maps,
however it is not appropriate for dyeing textiles as the color does not withstand washing. However an
ordinary European Indigo / Woad plant, which is not nearly as colorful will release a lot of color and
provide blue for dye purposes.
Dyeing has been a tradition in Provence for many centuries, dating back to when the Lords of Lauris who
settled in the town built a business around supplying the precious Carmine Red or Kermes Pigment which
is extracted from a small insect much like Cochineal. To celebrate their success in pigment and dye
manufacturing they build a castle-like complex on the top of the hillside with scenic view that extends for
miles. In the tiers of the castle they planted many colorful plants to celebrate their business and
surroundings.
It was no accident that our DVD Instructor, Michel Garcia, who has been living around the town of
Lauris, became interested in Natural Dye Processes. Surrounded by historical dye centers in LanguedocRoussillon, and Provence, and aided by a curiosity towards how the polychromatic colors and artistic
effects were fixed on colorful fabrics that were centuries old, Michel took it upon himself to devote his
life work towards understanding, first, how the textile industry produced colors from nature in the 17th,
18th and 19th Centuries, and second, developing modern day methods to achieve the same or similar
results, without the accompanying use of often toxic and corrosive elements.
The Workshop Michel teaches on this DVD is a celebration of his success as a historian, chemist,
ecologist, and botanist as he provides a foundation in the understanding of how Natural Dye processes
work, and how they were achieved by our forebears to great success at a time when there were no
laboratories and understanding of chemical or physical properties in nature was limited .

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

INDIGO WORKSHOP
There are about ten different plants from around the world which have enough Indigo coloring matter in
them to be practical for harvesting and producing dye for the color blue. In the gardens in Lauris, we find
True Indigo or African or Indian Indigo (Indigofera tintoria), Japanese or Chinese Indigo (Polygonum
tinctorum), Chinese Indigo (Strobilanthes cusia), and European Woad (Isatis tinctoria). Michel will
demonstrate quick organic reduction methods to kick start the fermentation process using the latter two in
Indigo Workshop.

Introduction
Hammering Leaves:
Extracting Indigo Pigment from a Chinese Indigo Plant
Indigo is a substantive dye; it requires no mordant or fixative to remain permanent in the fabric. This is
due to the fact indigo is insoluble in water. To be dissolved, it must undergo a chemical change called
reduction which converts indigo into "white indigo" (leuco-indigo). When a submerged fabric is removed
from the dyebath, the white indigo quickly combines with oxygen in the air and reverts to the insoluble,
the stable color blue which is the indigo blue. The process is called reduction and oxidation and also the
dyeing process is termed mechanical bonding versus chemical bonding the dyeing process in other
dyes such as acid dye, fiber reactive dye, direct dye, etc. Mechanical bonded colors on cloth tends to be
weak against friction, thus fading and whiting of blue jeans along the seams, knees, bottoms - the areas
which receives more wear and tear.
The unique characteristics of indigo dye is demonstrated by using leaves from Chinese Indigo
(Strobilanthes Cusia), which when hammered between two layers of cotton fabric, release their colorant
into the fabric. The color appears green, but with washing and oxidization, the chlorophyll is removed
from the fabric and indican (a coloring matter, colorless, water soluble, derivative of the amino acid
tryptophan) in the fabric binds with oxygen and turns into stable color blue.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Indigo Pigment Extraction with Woad - Step by Step

Step One: Infuse the Indigo
1.
2.
3.
4.

Pick fresh leaves from an Indigo Plant. The leaves must be very fresh and used immediately after
picking
Place in a large beaker.
Fill the beaker with boiling water to make an infusion and extract the sap from the leaves.
Set aside (WAIT 15 MINUTES or Longer).

Step Two: Prepare the Reagent: Lime Water

1.
2.
3.

Fill a second large beaker 3/4 full with room temperature water.
Add 1-2 cups finely ground lime (calcium hydroxide)
Stir the beaker very well.
Note: Michel uses oyster shells he collects from local restaurants which he bakes until
the shells will fall apart like ash, usually about 1 hour at 1000 degrees C.
The oyster shells are a natural form of lime and ideally suited for the process.
4. Wait until the lime settles to the bottom of the beaker in order to obtain an aqueous solution that can
be separated from the lime sediment at the bottom.
Step Three: Remove Liquid from Woad Leaves
1. After 15 minutes or more, the liquid is ready. It is a dark amber (yellowish) color.
2. Pour the liquid into a third new beaker, straining off the leaves. Discard or recycle leaves in garden.
3. Oxygenate the liquid by adding air. Pour the liquid back and forth 10-20 times in order to oxygenate
it. If you have a lot of liquid, use an air pump to add air to the liquid.
4. Add the lime water. Michel refers to using a small amount, which is a ratio of 1 part Lime Water to
3-4 parts woad juice liquid.
5. Immediately you should notice the color shifting from amber to a greenish color.
6. Continue oxygenating the liquid until the foam at the surface turns a bit bluish.
Note: The green liquid is a combination of yellow coloring matter (Flavonoids) from the
plant, and Indigo. Indigo is not soluble in water, it appears in the solution as microparticulate matter. So there is both Flavonoids and Indigo in the solution, together.
Because the Indigo is not soluble in water, it will either settle to the bottom, or it can be
removed using a filtration process afterwards.
7. Continue oxygenating until the color is a dark color, and then wait for several minutes until the foam
at the surface appear blue.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Step Four: Filtering the Indigo Matter

1. Place a plastic or metal funnel over a beaker large enough to contain the liquid.
2. Place a piece of cloth inside the funnel, forming a cone for filtering.
3. Carefully pour the liquid into the filter. The Indigo will be trapped in the cloth filter, and the soluble
materials will pass through with the water to the beaker below.
4. Some Indigo particles may pass through the filter the first time, so repeat Step #3 to do the process 2
times or until the liquid runs yellow.
Note: by examining the liquid as is passes through the filter, we want to only see yellow. If
we see a greenish color, that means a significant amount of the Indigo coloring matter is
still in the liquid. Continue the process until the liquid is running yellow through the
bottom of the cloth filter.
5.
The pigment will be appearing at the top of the cloth filter as a very dark blue. Now you are
done.
6. Rinse the pigment to the base of the filter to solidify it and separating it from any remaining yellow
flavonoids in the cloth filter.
7. Allow the pigment time to dry completely. The Indigo Pigment is ready for use or storage.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Indigo Vat 1-2-3! with Fructose - Step by Step

For Preparing the Indigo (Dye) Vat 1-2-3! with Fructose, you just need three things:
One Part Dried Natural Indigo Pigment or the Paste Produced in the Previous Section
Shellfish Lime (Calcium Hydroxide) as an interesting, natural base You may also purchase calcium
hydroxide in the grocery store - it's used for pickling. Also you can obtain calcium hydroxide
from a gardening supply store but be careful that it does not have ferrous present.
An Anti-oxidant which will remove the oxygen from the vat, in this case, Fruit Sugar or Fructose
Note: It cannot be ordinary table sugar, it must be Fructose, because the
Fructose, being a natural sugar from fruit juice, is loaded with the anti-oxidant
which is not found in ordinary table sugar.
Step One: Measure your Materials
In the following ratio for a 10 Gram Indigo Pigment Vat with Fructose:
1 Part Indigo
2 Parts Lime
3 Parts Fruit Sugar
+ Hot Water, (boiling)

x1
x2
x3

= 10 grams Indigo Pigment

= 20 grams crushed Shellfish Lime (calcium hydroxide)
= 30 grams Fructose

= Vat 1-2-3! with Fructose

Note: There is no right or wrong concentration for your Vat. Michel is familiar
with the dilution of a 10 Gram Vat in a liter of water, the amount of time it takes
to dye the fabric, and the color blue that will result. It is a matter of preference
how much Indigo you use, with the understanding of less Indigo for a lighter
shade, and more indigo for a darker shade, always retaining the ratio of 1-2-3
for the vat to work consistently.
Step Two: Crush your Indigo and Lime to render them soluble in water.
Note: The Indigo is crushed in a plastic jar with marbles and water, hydrating it,
so it will form a suspension in the dye vat solution. If you do not hydrate the
Indigo, you will waste about 90% of your pigment.
The shellfish lime is crushed in a brass mortar until it is a consistent, very fine
powder.
Fruit sugar is very soluble in water and will easily dissolve; there is no
preparation required.

Step Three: Preparing the Indigo Vat

1.Begin with a pot that is tall/deep and narrow. Michel chooses a stainless steel pot that is about 12
tall to 7 wide. In the USA, we call it asparagus steamer which comes with a basket liner inside
which is very suitable for indigo dyeing as fabric being dyed will not disturb the sediment in the
bottom of the pot.
Note: the reason for a tall/narrow pot is to reduce the possibility of oxygenating the vat
during the mixing process. A wide bowl would have a large surface area, and a larger
DISC ONE: INDIGO WORKSHOP
CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

possibility of oxygen entering and spoiling the vat. Therefore a tall/narrow pot is ideal
for the process.
2.Add hot water to the pot.
Note: Michel does not work with exact concentrations in this demonstration, but
appears to be adding enough hot water to fill the empty vat
initially full. He later decides to top it off because of the quantity of fabric
samples he wishes to dye (see #6 notes below).
3.Add the crushed and very well hydrated indigo to the water in the vat. In order not to waste, rinse
the marbles afterwards and add the remaining indigo hydration to the vat.
4.Add the sugar, stirring gently in order to dissolve it.
5.Add the finely crushed Lime powder to the vat, thereby achieving the vat.
6.Stir the liquid with a long spoon in the middle only, to make sure the lime is not at the bottom of
the pot. Stirring in the middle creates movement at the bottom of the vat, but not so much at the
top. This will mix the lime into the liquid but reduce the amount of oxygen added at the surface.
WAIT ABOUT 10 MINUTES before improving the vat.
Note: Michel decides to top off the vat with water, not to change the recipe, but instead
to make the vat larger in volume for the next section where he will dip samples. He
emphasizes that the ratio is always the same, 1-2-3, and the amount of water you use is
a function of the shade of blue you wish to achieve, as well as the amount of fabric you
wish to dye.
7.Stir again from the middle gently. Observe the Vat.
Three things must be present before we proceed to use the vat:
The surface must be shiny with a copper-like coating.
Dark bubbles, metallic and a bit reddish, will have appeared at the surface.
A small sampling with a spoon will show the liquid is a dark green or golden brown.
8.Wait about 15 minutes to improve the vat before proceeding.
Note: Michel waits a minimum of 15 minutes in order to use the Indigo Vat for the
purposes of the demonstration. In fact the vat may sit for several days improving over
time.

Step Four: Inspecting the Indigo Vat

Using a small white bowl or cup, scoop out a few teaspoons of liquid, and stir it
around quickly in the bowl or cup to oxidize it. When exposed to air, the yellow
matter should turn to blue. The vat is ready for dyeing purposes.
Note: Do not reuse this sample, it is oxidized. Throw it away in order not
to add oxygen to the vat.
Step Five: Dye a sample fabric
1.Take a small piece of fabric and gently introduce it to the vat so not to add oxygen.
2.Allow the fabric to sit in the vat for about 3-5 MINUTES.
DISC ONE: INDIGO WORKSHOP
CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

3.Remove the fabric from the vat. It should appear as a greenish shade, which is the
intermediate stage between reduced/colorless indigo, and oxygenated indigo
which is blue. The fabric gradually changes from greenish yellow to blue.
4.To improve the process, rinse it in a bowl of clean cold water to help it oxidize
more quickly. The fabric is now turning a bright green, and gradually more and
more blue.
5.To achieve a deeper blue shade, wait until the fabric is fully oxidized, dip the fabric
again, and repeat the rinsing process.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Dyeing Various Fibers

Michel explores the results of identical sets of fiber samples in two dye vats: the first he has just prepared
in the video (the fresh dye vat), and the second was prepared three days earlier (3-Day old dye vat).
The purpose of the experiment is to see how the different fibers respond to a fresh dye vat compared to a
3-day old dye vat.
He begins with the fresh dye vat that is now below 50C. It is important that the dye vat has cooled down
to this temperature for the optimal dye results.
Experiment No. 1: Testing of Fibers Using A Fresh Dye Vat
1.Select Fibers for testing.
Fibers tested:
Rough (rug) wool, smooth (knitting) wool, naturally colored wool, wool/
elastic cloth, silk, cotton, artificial cellulose (viscose) velvet, and linen.
2.Dip Fibers in water to help in absorbency.
3.Place fibers in a mesh/wire container in the Vat, making sure to not let the container touch the
bottom of the Vat. WAIT FOR 3-5 MINUTES.
Note: the bottom of the Vat has sediment which will stain or pollute our
fiber samples, so we must take care to not allow the fibers to reach this
portion of the Vat. A wire cylinder with handles or as Michel
demonstrates the wood handle of a stick or chopstick can be used to
prop the wire cylinder up inside the vat to avoid the bottom.
4.Squeeze the fibers to return dye to the Vat.
5.Immediately place fibers in a bowl of cold water to rinse and oxidize at the same time.
Michel then waits for several minutes, perhaps 4-5 minutes, in order to
allow the fibers to oxidize in the bowl of water before proceeding.
The results on the fibers range from a pale blue to a sort of greenish shade, and some color variance
depending on the color of the fibers, the dryness, and the weave.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Experiment No. 2: Testing of Fibers Using A 3-Day Old Dye Vat

Michel has prepared the same vat three days earlier, and for comparison, dyes a
new set of identical fibers in the 3-day old vat using the same process as described
above.
Results:

Fresh Dye Vat

3-Day Old Dye Vat

Rough Wool
Silk Fabric
Viscose Velvet
Linen
Greasy Wool
Brownish Wool

Pale Blue
Jade Green
Teal Green
Pale Blue
Faded Green
Darker Brown

Deep Blue
Very Saturated Blue
Very Saturated Deep Blue
Deep Blue
Deep Blue
Even Darker Brown/Blue

Comments:
The greasy wool is taking much more colorant in the 3-day Vat than the raw wool, which performed
better in the Fresh Vat.
Viscose velvet which did not produce a nice shade of blue in a Fresh Dye Vat is now producing a
deep blue color, not because of the fiber type, but because of the structure of the fabric. Velvet
fabric will take on substantially more colorant and benefit from the mature Vat.
The same dye Vat will produce a variety of results depending on the type fiber, the structure of the fiber/
fabric, and other elements such as the pH of the Vat which will be explained later.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Indigo Vat 1-2-3! with Henna - A Concentrated 30g Vat -- Step by Step
As with Fructose in the earlier demonstration, Henna, a small flowering tree, is a readily available
product which can be used for the Vat 1-2-3! Henna has some excellent antioxidant values like Fructose,
and can be used to prepare an Indigo Dye Vat as well.
Michel chooses to prepare a very concentrated Vat, and will triple the portions of each ingredient.
For Preparing the Indigo (Dye) Vat 1-2-3! with Henna, you just need three things:
One Part Dried Natural Indigo Pigment or the Paste Produced in the Previous Section
Shellfish Lime (Calcium Hydroxide) as an interesting, natural base
An Anti-oxidant which will remove the oxygen from the vat, in this case, Henna
Step One: Measure your Materials and Place in the Vat.
In the following ratio for a 30 Gram Concentrated Indigo Pigment Vat with Henna:
1 Part Indigo
2 Parts Lime
3 Parts Henna
+ Hot Water, close to boiling

x1
x2
x3

= 30 grams Indigo Pigment

= 60 grams crushed Shellfish Lime
= 90 grams powdered Henna

= (Concentrated) Vat 1-2-3! with Henna

Sequence: First add the henna, then the indigo, and last the lime directions according to p. 5
Step Two: Crush your Indigo and Lime to render them soluble in water.
The Indigo is crushed in a plastic jar with marbles and water as before.
The shellfish lime is crushed in a brass mortar until it is a consistent, very fine powder, as
before.
Henna is very soluble in water and will easily dissolve; there is no preparation required.
Step Three: Preparing the Indigo Vat
The vat is stirred from the middle as before, and allowed to sit for 15 minutes before observing
the results.
Step Four: Observe and Test the Vat
The Vat is ready. It has a coppery/oily surface and bubbles are appearing. Michel tests the Vat by dyeing
some viscose fabric in the Vat as previously described. He stresses that the Vat will be exceptional if
allowed to sit for 2-3 days, but that some good results will appear at this time as well.
The Results Observed:
The fabric when rinsed shifts from green to a very very dark blue in a matter of minutes. The
concentrated Vat achieves strong results with one dyeing cycle only.
The Concentrated Vat can be used as a kind of mother vat -- it can be diluted in various ratios and
concentrations later on and for very very dark shades.
The Concentrated Vat is ideally suited for pressed or tied fabrics such as tie dyed and clamped
fabrics, Shibori fabrics and resist fabrics such as batik.Indigo with Resist:
DISC ONE: INDIGO WORKSHOP
CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Shades of Blue with Clay Paste

Michel introduces us an ingenious clay resist paste to use with indigo vat in order to achieve a variety of
blue shades from the same dye vat. The process is very striking and very simple:
Prepare the Paste
Apply it to the Fabric
Dye the Fabric in the Indigo Vat
Dry the Fabric
Repeat the process to achieve attractive patterns from the same Indigo Dye Vat.
The result is white sections, with a variety of blue sections on the same fabric.
Making the Clay Resist 1-2-3!
To prepare the Clay Resist, you will need 3 things according to the volume of water you are using. For
100ml of water, Michel recommends following the formula below:
1 Part or
2 Parts or
3 Parts or
+ 100ml Water =

10 Grams Magnesium Salt (Magnesium sulfate or Epson Salts)

20 Grams Arabic Gum
30 Grams Herbal Ghassoul Clay
(You may also use a combination of kaolin and bentonite clays)
100ml Indigo Clay Resist 1-2-3!

For other volumes, use the ratio above according to the amount of water you are using.
For example for 200ml of water:
20 Grams of Magnesium salt,
40 Grams Arabic Gum
60 Grams of Herbal Ghassoul Clay
How it works: The Magnesium Salt gives a chemical effect, preventing the Indigo
from bonding with the fabric fibers. The Arabic Gum gives a physical resist, acting
much like a glue, preventing the indigo from bonding as well. And finally, the Clay
provides a mechanical coating to the fabric fibers, providing even further resist against
the Indigo on the fabric.
Step One: Crush the Arabic Gum
Arabic Gum comes from the Acacia Tree, and it may come ground or it may be in
chunks. It must be crushed to a fine powder.
Step Two: Crush the Ghassoul Clay
The Clay needs to be reduced to a fine powder, and Michel prefers a Mortar for a
demonstration on grinding it down to a powder.
The Magnesium Salt does not require preparation, it is soluble and already ground.
Step Three: Combine Ingredients to Prepare the Resist
DISC ONE: INDIGO WORKSHOP
CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

1.Dissolve the 10 Grams of Magnesium Salt in the 100ml of water first. Allow it to dissolve for
several minutes.
2.Transfer the Magnesium Salt-Water solution to a magnetic mixer if one is available.
3.Add the 20 Grams of Arabic Gum and dissolve using a magnetic mixer if one is available because
it will take some time and effort. Otherwise stir constantly while adding the gum and give it
plenty of time to dissolve - even overnight if necessary. Allow the Arabic Gum to fully dissolve
before adding the Clay, about 5-10 minutes using the magnetic mixer. The solution should be
milky at this time.
4.Add the Clay to the mixture. The clay will expand in the solution, and will thicken it considerably.
The right point is when the texture is syrupy and smooth. A mortar and pestle is useful after you
add the clay
Step Four: Apply the Clay Paste Resist and Dye the Fabric
1.Using a brush (or other applicator), apply the Clay Paste to the white cotton fabric liberally.
2.Dry the paste pattern on the fabric completely.
3.Carefully add the fabric to the Indigo Vat to dye it.
Michel says for the effect I am after, 1 minute in the Indigo Vat is sufficient dye time.
4.Remove the fabric from the Vat, squeezing out excess dye into the Vat.
5.Transfer the fabric to a bowl of clean water to oxidize the Indigo and to dissolve the Clay Paste.
Allow the fabric to soak for several minutes or until the clay paste is dissolved.
6.Remove the fabric for inspection.
A pale blue shade pattern appears against a blue background.
7.Dry the fabric completely before continuing.
Step Five: Repeat the Process (Step Four) to achieve more shades of blue and a more complex
pattern on the cloth.
By applying the resist Paste to some paler areas and overlapping the solid blue areas, it
is possible to get now two (2) shades of blue from the next dip in the Indigo Vat -- a
deeper shade on the paler area where held with resist, and an additional shade on the
solid blue background.
To achieve a stronger and more noticeable effect, leave the dyed fabric in the Indigo Vat
2-4 Minutes on this second dipping, to allow the fabric to absorb more dye. Oxygenate
and rinse as before, again spending a bit more time in the water, maybe 2-4 minutes.
Observe the interesting results, a combination of Clay Resist Paste and Indigo Dye.
The paste can be preserved for several days. Cover it to prevent evaporation.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada

Indigo Use and Maintenance

Mr. Garcia feels these vats have a slower rate of oxidation and tend to remain viable longer than the
chemical reduction vats.
Dyeing Temperature
Dye cellulose and silk fibers at any temperature. Dye wool in a warm 40 C bath. Remember there is no
need to dry the cloth between dips.
Use the ferrous bath at room temperature and only for cotton.
Soak all your fibers (cotton too) in a weak room temperature vinegar bath after your last dip. This will
neutralize the lime that could be in the fiber.
Maintaining the vat
If the bubbles on top of the vat are pale and do not have a coppery color then the vat does not have
enough reduction agent. Add fructose or hot henna solution.
If the bubbles on top of the vat are small and pale copper then the pH is too low. Add lime water.
The fructose and henna vats may struggle to stay in reduction in cold weather. They will perform better
when warm. This is achieved through a variety of methods:
Dye in the warm season
keep the vat in a container that can be warmed as a double boiler on top of the stove
wrap the exterior of the indigo vat vessel with an electric blanket or seed starter mat (and cover
with plastic to prevent the blanket or mat from getting wet,)
insert an aquarium heater into the vat
Prolong the life of the vat
When the vat is not in use tightly cap the top of the vessel with a lid. A crusty film will develop on the
surface of the vat. This is ok. The vat produces its own seal to prevent the contents of the vat from
oxidizing too quickly. Just stir the vat when you are ready to use and feed accordingly.
Revive the vat
Dip a spoon in to the vat to check and see if the vat is watery or dark in color. If its watery and light in
color then discard the vat and begin a new vat. If it is a dark in color and is dark green or turning blue
then make additions. Heat the vat, or a portion of the vat on the stove and add lime water (calcium
hydroxide) and hot henna solution or fructose equal to the amount when you first made the vat. Stir and
check in 15 minutes or so for reduction to begin, and wait overnight or longer for better reduction before
dyeing.
When to start a new vat
When the indigo begins to get used up in the vat, the resulting colors will be lighter. You can add
additional indigo, paying attention to the original vat proportions, but Mr. Garcia recommends keeping
this vat for lighter colors (and over dyeing) and start a new, stronger vat.

DISC ONE: INDIGO WORKSHOP

CHAPTER NOTES copy right (c)2011 Michel Garcia & Yoshiko Iwamoto Wada