|A satisfactory range of greys in hand-dyed, medium-weight linen|
The most obvious neutral range is made with black dye, which produces a range of greys. I began with a depth-of-shade concentration of 8%, and then reduced it by half each time, to 4%, 2%, 1%, .5%, .25%, .125%, and .0625%. I should have begun with 10%, and that would have produced a stronger colour at each end, but nevertheless I'm satisfied with this range. It should prove to be useful in combination with other neutrals and as a foil to more vivid colours. A bit of a blue cast to the G&S Black dye.
Next, I did some experiments with golden yellow vs. lemon yellow, and black vs. navy. The navy produces a more green-green, but the black is more interesting and complex.
|From left: 18 parts golden yellow: 1 part black (4% depth of shade)|
18 golden yellow: 1 part navy (4% depth of shade)
18 lemon yellow: 1 part black (4% depth of shade)
18 lemon yellow: 1 part navy (4% depth of shade)
|From left, 10 parts golden yellow: 1 part black (4% depth of shade)|
10 parts golden yellow: 1 part navy (4% depth of shade)
10 parts golden yellow vs. 1 part black (2% depth of shade)
10 parts golden yellow: 1 part navy (2% depth of shade)
Finally, I wanted to create some interesting neutrals by mixing the complementary colours of orange and navy, and then orange and turquoise. When using pure-pigment MX dyes, these are the only complementaries available, because while there are a couple of reds, there is no pure green pigment. And while there are several yellows, there are no violets. Here are the results:
These colours produced by complementary pigments result in some very intriguing marbling, as seen below: