Botanical Inks
My botanical inks are made in small batches using ingredients I’ve foraged here in West Sussex to create natural pigments.
The process of making a botanical ink is in part about experimentation; you never quite know what colour a new botanical may give you.
Each batch of ink is unique; the ingredients simmered and reduced to produce the best colour possible, then combined with a simple base of Gum Arabic and natural preservatives- Thyme Oil or Lavender Oil, and Cloves.
I simmer the inks on our rayburn in an old aluminium pan- aluminium pans are no-longer thought food safe as the metal leaches into the food. However, for ink making and dying use this is actually helpful as the aluminium is a mordant, which helps fix pigments.
They are tested for use with dip pens and brushes. I’ve made them to be used- please enjoy them fully!
My inks are currently exclusively available from The Makers Barn, Petworth, in West Sussex.
Some things to note about botanical inks:
It’s best to keep them in a cool, dark place when not in use.
Give them a gentle shake before use.
Some inks may be affected by UV, so artworks are best kept out of direct sunlight.
Some inks may oxidise over time, turning darker in colour.
Washes or layers of the inks can be used to build colour. Some inks are naturally slightly less pigmented when brushed on, but can be built up. All my formulas should give focused colour with dip pens.
Some inks may be affected by PH, which can be used to your advantage! It’ll create new and unique colours and effects (this includes the PH of surfaces the inks are used on).
Although all my inks include natural preservatives (a clove in each bottle and thyme or lavender oil), they may develop a little mold- it’s are entirely natural. The mold can be carefully removed and the inks will remain fine to use. They should not mold once they are used and dried.
Walnut Ink
My grandfather planted a Walnut tree in the 1950s. Since then, it’s provided an ample supply of nuts, which I’ve used to make everything from pesto to cakes.
This is the first time I’ve explored the colourant properties of the green husks the nuts grow in. For hundreds of years walnut husks have been used to create rich brown inks and dyes.
I’m especially happy with the warm tone of the walnut ink.
Sloe Ink
Sloes are one of the many autumnal fruits which pepper the hedgerows of my area. They are the fruit of the Blackthorn and have a dark blue-black skin with a silvery blush.
I’ve often collected them to make Sloe gin, which has a lovely deep reddish-purple colour.
This year, I decided to see if I could capture this colour in an ink. I gathered a small batch of sloes - making sure to leave plenty for the blackbirds, which love them - and set about seeing what colour they would make.
Sure enough, I have made a reddish-purple ink, which can be a little thin for brushed application, but can be layered to beautiful results. It’s far more concentrated with a dip pen.
Blackberry Ink
I was late to collecting Blackberries this year, so only had a little supply to try out. I couldn’t get to making the blackberry ink immediately, so I froze them until I had time.
But I’m glad I did- they’ve produced a really interesting ink that is a smoky grey colour, with purple hues.
Like the sloe ink, it may be a little thin when brushed, but layering works well.
Future Inks
I’m looking forward to more experiments in making inks. I have a copy of ‘Make Ink’ by Jason Logan, founder of Toronto ink, which includes recipes for Acorn Cap Grey and Vine Black- I have the ingredients ready to make them. I’ve also collected Rose Hips and Hawthorn Berries to see if they will give up their lovely ruby reds. While collecting the acorn caps, I’ve also found Knopper Galls- used for hundreds of years for a strong black.
I can’t help but see colour potential in things now, and also plan to explore lake pigments for natural watercolours and bees wax crayons or pastels.
