"This book is a review and explanationof some of the techniques available to commercial dyers in the Medieval period in Europe, to 1600. This is based on contemporary accounts and practical experimentation in recreating coloured fabrics using the surviving recipies."--Back cover

"For several thousand years, all dyes were of animal, vegetable, or mineral origin, and many ancient civilizations possessed excellent dye technologies. The first synthetic dye was produced in 1856, and the use of traditional dyes declined rapidly thereafter. By 1915 few non-synthetics were used by industry or craftspeople. The craft revivals of the 1920s explored traditional methods of natural dyeing to some extent, particularly with wool, although the great eighteenth- and nineteenth-century dye manuals, which recorded the older processes, remained largely forgotten. In The Art and Craft of Natural Dyeing, J.N. Liles consolidates the lore of the older dyers with his own first-hand experience to produce both a history of natural dyes and a practical manual for using pre-synthetic era processes on all the natural fibers--cotton, linen, silk, and wool. A general section on dyeing and mordanting and a glossary introduce the beginner to dye technology. In subsequent chapters, Liles summarizes the traditional dye methods available for each major color group. Scores of recipes provide detailed instructions on how to collect ingredients--flowers, weeds, insects, wood, minerals--prepare the dyevat, troubleshoot, and achieve specific shades"--Publisher's description.

A compendium of selected papers, presented at the series of conferences on Dyes in History and Archaeology, which show the great diversity of dyeing processes and techniques used over time and in different parts of the world

This volume is a collection of contributions presented at the 4th YOCOCU Youth in Conservation of Cultural Heritage Conference, held in Agsu, Azerbaijan, in May 2014. The driving force behind YOCOCU 2014 was to transcend geographical boundaries and encourage every participant to define their contribution and role within the cultural heritage community. The book starts by reflecting on the present politics, strategies and methods of cultural heritage conservation, and demonstrates new ideas and multidisciplinary approaches to conservation needs. This is not only a creative and passionate examination of cultural heritage conservation but also examines how YOCOCU 2014 was, and continues to be, a vector for the development of young professionals, a bridge between cultures and different levels of expertise.