Tailors and Seamstresses of Marrach

2) Introduction
3) Description of Oxblood
4) Preparation of pigment
5) Preparing garment for Color
6) Application of color to Fibers
7) Application of color to Metals
8) Sealing color (color fasted)
9) Long term care
10) Skill requirements
11) Appropriate uses
12) Complementary colors
13) Suggestions for use/complexions
14) Further volumes
15) Addendum
16) Notes

The art of Dyeing is a valuable and difficult skill to acquire. Using various plant, animal, and mineral resources, any number of colors may be created to use upon our clothing, and paper goods. Different levels of difficulty in creating a pigment create different levels of skill requirements. While a novice may learn to produce such colors as tan, natural, gray, and so forth, such colors as vermilion and cinnamon are out of their reach. Perhaps the greatest task that a student can take on is not to learn to craft existing dyes, but to create formulae of their own, and add to the existing colors available to Her Majesty’s denizens. Such is the work of the Dye-crafters, and the Apprentices to the Royal Seamstress.

Described as a medium brownish-red, the color Oxblood is in the Red family. Very similar to russet, though with more brown, Oxblood is a relatively simple color to create. Matched with similarly warm tones, the richness of Oxblood’s earthy brown can be seen. Pairing it with light and pale colors give Oxblood a very dark cast, seeming almost completely brown, with just red highlights. It is versatile, mainly because it will complement whatever garments are paired with it. It is also very useful for hiding wear and dirt, and is thusly very appropriate for those of lower rank and favor.

From the emaciated roots of a Dogwood tree, the pigment can be gained by a few hours of boiling. The process itself will be described later in this volume, as well as how to affix the color permanently to fibers and metals.

The main ingredient of the color formula of Oxblood is the root of a Dogwood tree. There are many other substances, both plant and animal that can produce similar tones, however, because the color is used primarily for those of lower classes, Dogwood is the most frugal choice for main ingredient.

The roots of said tree should be taken fresh, and emaciated with a mallet. Pounded for half a bell, the fragile roots should be loose enough to boil. At this point, strip away as much of the protective, waxy skin of the root as possible. (This process is messy, so be sure to wear gloves.) Once most of the skin is removed by hand, the rest may be boiled away. To finish color preparation, boil roots in large iron pot for half of a day. Saffron roots and rough salt may also be added to the bath, to help with color fixing at a later time. However, this is not necessary for general use of the color Oxblood. Your ingredients are now ready for the garment.

Un-dyed fibers, properly prepared, will take to this color easily. Garments should be set in a mordant: salt-water, iron bath, or ammonia, for approximately five to six bells. This mordant will allow the color to set directly into the fibers instead of on top of them, such as in painting. Squeeze dry the garments after mordant has set. This process will roughen the fibers of the garment as well, allowing more color to seep into tightly woven materials. Once the garments are prepared, they may be hung to dry, for future dyeing, or they may be immediately placed into the color bath.

With the garments properly treated with mordant, the dyeing process can be done as soon as the dye itself is prepared. To dye dried clothing, it must first be re-wetted for five to ten minutes, and then placed into the dye bath. All root pieces, or any solid materials that could affect the smoothness of the dye job, should be removed from the pot at this time. With a wooden stirring stick, the dye bath should be kept in constant motion, so as not to allow any of the ingredients to settle at the bottom.

Boil concoction for ten minutes, and then reduce heat to a slow simmer. Every ten minutes, raise garments from pot, checking for color, until the desired tone is reached. Once the Oxblood color has been reached, remove garments from pot, and hang to dry. The dye-bath may be reused up to three times, no more then two to three items in the pot at once. Afterwards, discard leftover concoction, and clean pot thoroughly.

Applying Oxblood to metals for books or for blades is not as easy as applying it to fiber. The finished product will not yield as true a color as un-dyed fibers will. For darker metals, such as brass, the color will lend a slight reddish sheen. For lighter toned metals such as iron, the result will show more of the natural browns of the dye. Using this color on fine metals, such as silver and gold, is not suggested, as it will appear almost dirty, ruining the workmanship of a fine blade, or bookbinding.

To apply the dye to metals, the resultant dye bath must be boiled for several days, until the water has completely evaporated. You will be left with a powder substance that then must be mixed with salted animal fat. This mixture may then be rubbed onto metals, allowing the color to saturate the metal’s finish. The longer that the process is done, the truer the shade on the metal. After the color required has set, allow the metal to dry for several minutes, and then wipe down with a clean cloth.

On fibers that have been properly treated with a mordant, sealing the color is as easy as washing the fabric. Excess dye will rinse away, leaving the garment with a beautiful tone. Metals may be lacquered by binders for a final sheen, or continuously shined with lambskin or simple muslin.

To keep the color true for long term, garments should be rinsed in salt water once every three moons, then allowed to air dry. For metals, keeping a constant shine involves constant rubbing with muslin or light leathers. If the item shows signs of losing its tone, it may be re-dyed to regain its richness.

Although the process for Oxblood is relatively simple, students of the Dyer arts must show a steady hand, and patience with the dye-bath process. Basic knowledge of mordents, and color extraction should are also required. Oxblood is available to those students who have reached Apprentice level dyes and above. The color is not usually perfected until higher levels, however, simply because of the amount of practice it takes to gain a true tone from the dye-baths.

Oxblood is appropriate for Outer Bailey denizens with relatively low favor, and above. Newly awakened may be given this color as a sign of favor, if the dyer so wishes it. It is best utilized with fabrics of texture, such as wool, homespun, linen, worsted, etc. Fabrics with little texture, such as cotton, will show a truer tone of the dye, but will also show any inconsistencies within the dye better. Judgment of use is up to the dyer.

Because Oxblood is a warm earth tone, other earth tones will complement it best. Such colors as tan, brown, russet, ebony, sable, natural, and ochre, will look warm together, as well as set of each other’s natural highlights. Lighter colors such as ivory and white are suggested for undergarments, and as contrasting items.

Bright cool colors, such as green, blue, and gray will tend to wash out Oxblood, making it almost a dull brown. Keep away from colors that have little to no red in the dye.

Oxblood will do well on many complexions, though specifically ruddy skin tones will be flattered. The red in the dye will do well on tanned skin, fair skin, and dusky skin as well. Dark to black skin tones are also well with this dye. Keep away from paler complexions that require a lighter touch then a dark earth tone. Medium hair colors will also set off the natural sheen in Oxblood. Blond hair will highlight the red, and black hair will make Oxblood seem almost completely brown.

Of course, the discretion is always up to they dyer, and the wearer of the garments. The suggestions are following basic guidelines of color matching.

As more and more students of the art of Dyeing further their lessons, more and more new colors will become available to all levels of skill. The variations upon current colors are sometimes difficult, and sometimes as simple as a single added ingredient. Different techniques in application will also change the way a specific color appears, and therefore, create a totally new tone. Students should always be seeking to increase their knowledge of dye crafting, and thusly, more volumes of new dyes will be forthcoming. The process of color creation is long, and sometimes tedious, but the rewards are tremendous, when shared with the castle.

***Any questions on this volume, or added suggestions should be made to the author. Please use the final for personal notes.***

Further new color will be forthcoming, and Happy Sewing! - Acolyte Isaria