A full palette of colors can be achieved by varying the mordants used and by blending two dyes together. For example, Cutch and Cochineal, or Cochineal and Madder, or Madder and Logwood. Overdying with Indigo can make greens from Osage or burgundies from Madder and so on.

POTASSIUM ALUM This is traditionally the most important of all the ancient mordants and was used as early as 2000 BC. It is the least toxic of the mordants and is safe to use. It is easy to handle in granular form.

FERROUS SULFATE — IRON This is the standard iron mordant. You can substitute an old iron pot, rusty nails, or other old oxidized iron – you just won’t be able to measure the amount of iron freed into the bath. Iron “saddens” or gives a brown/grey cast to a dye color. Iron is often used in combination with alum.

CREAM OF TARTAR Potassium bitartrate, this is the assistant most often used with alum, iron, or tin mordants on silk and wool. Cream of Tartar helps to soften fibers when harsh mordants are used. It can also help brighten yellows and reds.

TANNIN Tannic acid is the most common mordant for cellulose fibers such as cotton. It is often combined with alum and/or iron, however, the tannin mordant should be done first as metal mordants combine well with the fiber-tannin complex. This Tannic acid is a very pure form of tannin.

MYROBALAN Myrobalan is a very popular tannin based mordant used throughout South East Asia.

GUM TRAGACANTH A natural thickening agent (polysaccharide) obtained from the sap of Iranian locoweed (Astragalus). Good for thickening natural dyes for handpainting.