Textiles Students at RISD Work with Natural Fibers in the Dye Lab

Before Textiles majors at RISD can begin designing and creating original work, they must learn to differentiate between the fibers and dyes at their disposal and build a working knowledge of how to use them. The unique performance characteristics inherent to each fiber makes it appropriate for specific applications and treatments. Acid dyes, for example, only work with protein fibers such as sheep’s wool, alpaca, and silk.

“We get tons of donated materials,” says faculty member Meagan Phipps 11 TX, “but they’re not always labeled, and it can be hard to know what’s what. One of the first assignments for students in my class is learning how to identify materials.”

Phipps is discussing her fall Fibers and Dyeing course, a requirement for sophomores in the department. She begins by demonstrating the proper technique for winding skeins, the loops of yarn that are immersed in dye baths. The goal, she explains to the students, is to use the same amount of yarn in each skein so that you know exactly how much dye to mix.  

Image

Image

Once the skeins are measured out and tied off, they need to be scoured. The process involves submerging the wool in tepid water mixed with Synthrapol, a pH-neutral liquid detergent and surfactant (or wetting agent). Wool naturally repels water, Phipps explains, so it’s important to squeeze the yarn to make sure it’s evenly soaked. The pot is then heated slowly on the stovetop for about an hour at 140–160 degrees Fahrenheit. The skeins are then rinsed and cooled to room temperature.

The class moves to the dye lab next, where Phipps walks students through the process they’ll use to mix their own dyes as part of their homework: creating a 12-tone color wheel using two primary colors. The mathematical formulas they’re employing are complicated, so Phipps has provided each student with a worksheet, and she highly recommends that they use calculators to precisely determine the ratios of water to dye powder, salt, and citric acid. “Most yarns come pre-dyed, but learning to mix your own colors and dye your own materials gives you freedom in the studio,” she says.

Image

Image

Inside the dye lab, cleanliness and organization are key. Phipps explains that a dual primary system can be used to create virtually any color and tells the class to label everything. Although it’s possible to create interesting patterns, shades, and effects by accident, without careful notes and labels, they are tough to replicate.  

For the group lesson, the class selects golden yellow and turquoise dye powders. Students take turns measuring out the powders—one gram per 100 milliliters of water—using a scale under a dye hood and nylon gloves. The powders are dissolved with near-boiling water, and the liquids are measured out with precisely marked pipettes. The formula they are using is 3% salt, 3% citric acid, and 1.5 % dye powder, and the total liquid solution is 30-to-one. 

Image

Image

Finally, each mixture (in a labeled glass jar) is placed in a large metal pot on the stove and water is added around the edges to create a double boiler effect. The pot is heated slowly and kept at 160–180 degrees Fahrenheit for an hour. In order to create a graduated array of colors, students will need to determine the proper ratios of primary colors. 

“The percentages we’re using this afternoon are a starting point for making educated decisions when you try to mix exact colors on your own,” Phipps tells the class. “We’ll learn to create dyed patterns in the yarn later in the semester.”

Simone Solondz / photos by Kaylee Pugliese
September 30, 2026