I developed my method of passive rust dyeing as a way for me to work outside on beautiful summer days instead of down in my damp, windowless basement studio. It is more efficient and also easier on my body than any other dyeing techniques I have encountered in my many years as a fiber artist. I just drape some fabric over a rusty object, pour some water on it, maybe add some salt, and come back later. The rust always leaves some sort of permanent mark on the fabric. What could be more passive than that?

The Rust-Tex dye studio is not usually this dark or damp.

I discovered passive dyeing after stumbling across an Internet movie that depicted two young Japanese women in platform shoes and miniskirts in a junk yard. They spread white cloth over rusty items, sprayed it with water from a garden hose, and left. After several hours, days, or weeks (it was hard to tell from the internet movie), they removed the fabric, which had been stained by the rust in interesting patterns. They hung it in a gallery and sold it as art cloth.

Cast iron corn-stick pan ready for image transfer technique.

I thought to myself, “This has to be easier than measuring chemicals, timing dye baths, and rinsing, rinsing, rinsing.” I therefore decided to try it. Although I do not have access to a junk yard, I did have some rusty stuff in my garage, so I dragged some rusted items to the picnic table on my deck, got out several little bits of white cotton fabric, carried over some water in milk bottles, and started experimenting.

A piece of Rust-Tex fabric made from the corn-stick pan shown above using the Image Transfer technique.

To my amazement and delight, I found that the rust did indeed leave a permanent mark on the fabric. Although my original results were not great works of art, I was encouraged to continue experimenting and refining my techniques. During that first summer I eagerly read everything I could on natural dyeing, especially articles about iron and copper mordants. I asked my chemist friends endless questions. I did late-night research on the Internet. Everything I read or heard got applied in one way or another to my dyeing process. That first summer was all about experimentation and being creative.

A piece of Rust-Tex fabric made by using the Stormy Skies technique

The next summer I decided I was having way too much fun! I was dyeing more fabric than I could ever use in the winter, so I decided to try to make a marketable product. Fat quarters were too big a step from the 6-inch squares I had been dyeing the summer before. My processes were working well on small bits of fabric, but a whole fat quarter? I decided I would try fat eighths (11” by 18” pieces), which turned out to be the ideal size for my product. A fat eighth was small enough to fit an old baking pan or cookie sheet and still be a “standard” measurement of fabric. During that second summer I formulated several repeatable processes that I have used on cotton and silk, and I also introduced Rust-Tex to the fiber world.

Coins #2, is a wallhanging made from Rust-Tex fabric made by using the Image Transfer technique

Passive dyeing has provided a reason for me to get out of the basement and into the fresh air. It has also brought me into the marketplace, and yes, I am still having fun. You can, too! Once you understand the principles of passive dyeing, you will be able to develop your own interesting marks on whatever size pieces of fabric you feel comfortably works for you.

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