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Staining Wood and Natural Materials Using PRO Washfast Water Based
Staining Wood and Natural Materials using PRO WashFast Water-Based Dyes Please read directions carefully before starting. Many materials, whose surface is only slightly wettable, may be colored with water-based (water soluble) dyes resulting in colored surfaces that do not hide the grain of the wood or the character of the substrate. This process is also suitable for the coloration of feathers, retouching wool tapestries and wool or nylon carpeting. Basically anything that does not have the high wash fastness requirements of wearable clothing fabrics. Wet fastness is good. Always do test samples before working on a large project. For additional information visit our web site at www.prochemicalanddye.com. Wear rubber gloves, apron, or old clothes. Utensils used for dyeing should never be used for food preparation. Procedure: 1. Dissolve the PRO WashFast Acid dye by placing 1 tsp (2.5 gm) of the dye in a one cup (250 ml) Pyrex container. Add 1 or 2 tsp (5 or 10 ml) of boiling water to make a paste. Gradually add more boiling water with continuous stirring to the 2 cup (125 ml) mark. Set aside to cool. 2. When cooled to room temperature, fill to one cup (250 ml) mark with denatured grain alcohol or Isopropyl rubbing alcohol (90%). Store in re-sealable glass container. 3. Apply to surface of substrate with foam brush or immerse object into dye solution for several minutes. Air dry and repeat procedure as often as needed for deeper color allowing previous coat to dry thoroughly. 4. After thorough drying, wood and similar materials may be coated to seal in the color and give lasting protection to the wood itself. -
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J. Indonesian Trop. Anim. Agric. 39(3):188-193, September 2014 ISSN 2087-8273 THE CHROME-TANNED GOAT LEATHER FOR HIGH QUALITY OF BATIK W. Pancapalaga1,2, V. P. Bintoro1, Y. B. Pramono1 and S. Triatmojo3 1Doctorate Program of Animal Science, Faculty of Animal and Agricultural Sciences, Diponegoro University, Tembalang Campus, Semarang 50275 - Indonesia 2Permanent Address: Faculty of Agriculture and Animal Sciences, Malang Muhammadiyah University, Jl. Raya Tlogomas No. 246, Malang 65148 - Indonesia 3Faculty of Animal Science, Gajah Mada University, Jl. Fauna, Bulaksumur, Yogyakarta 55281 - Indonesia Corresponding E-mail: [email protected] Received July 03, 2014; Accepted August 24, 2014 ABSTRAK Penelitian bertujuan untuk mengevaluasi kualitas batik kulit yang disamak dengan krom. Penelitian dilakukan secara bertahap dengan tahap pertama bertujuan untuk mengevaluasi natrium silika sebagai bahan pelepas lilin batik pada kulit samak krom. Penelitian menggunakan rancangan acak lengkap (RAL) sebagai perlakuan adalah kosentrasi natrium silika yaitu P1 = 0 , P2 = 2 g/l, P3 = 4 g/L dan P4 = 6 g/L diulang 9 kali. Penelitian tahap kedua bertujuan untuk mengevaluasi jenis bahan warna yang digunakan dalam pewarnaan metode batik pada kulit kambing samak krom. Penelitian menggunakan rancangan acak lengkap (RAL) sebagai perlakuan adalah jenis bahan pewarna yaitu P'1 = asam , P'2 = indigosol, P'3 = napthol dan P'4 = remazol diulang 9 kali. Berdasarkan hasil penelitian penggunaan natrium silika kosentrasi 2 g/L menghasilkan prosentasi lilin yang terlepas sebesar 91,4 % serta tidak menurunkan kualitas kulit samak krom. Jenis bahan warna asam dan napthol memberikan kuat rekat dan kecerahan warna terbaik serta ketahanan cuci, air, keringat, tekuk dan gosok yang terbaik yaitu 4/5 sampai 5 pada skala abu abu. -
CIBA Acid F.Pdf
./ Fiber Types · Safety InUse• Ciba Washfast Acid Dyes may be used on the Although no chemical is entirely freefrom hazard, · following fiber types: these products will pres�nt a low to no health risk, • Wool (includirg Cashmere, Alpaca, Angora, provided that good standards of studio· hygiene are and other protein fi�rs) observed in their use and storage. All persons. • Silk handling them should take precautions to avoid Techniques• Nylon· accidental ingestion, inhalation, skin and eye contact and should be aware of any limitations of use of specific products. While dyes and the • high temperature immersion chemicals associated with their use are not highly • handpainting silkscreening ,. toxic, they are industrtal chemicals and should be • block prtnting handled with care. Chemical productsshould not • airbrushing be allowed to get into the eyes, but 1f they should • warp painting by accident, wash eyes with clean water and then_ • resist (paste resist, gutta, bound) obtain medical treatment. Prolonged or repeated • batch dyeing (tie dyeing, rainbow dyeing) contact with skin should be avoided. Wear rubber gloves and use implements to stir solutions and ColorSeereverse Availablefor further deta ils.· dyebaths. Inhalation of'dusts .should be avoided by careful handling of powders. If the dyes are handled where particles may become airborne, a Yellow, Gold Yellow, Scarlet, Fuchsia, Turquoise, suitable dust respirator should be worn. Navy, Brown, Black, Green, Blue, and Violet. Obviously, chemicals slJ.ould ,not be taken -WhatNote: These Youdyes- Willare Need completely intennixable. internally, and the use of food, drink and smoking materials should be prohibited where chemicals are employed. The utensils used fordyeing should Stainless steel, enamel, plastic or glass measuring. -
Dyeing of Polyamide Fibres
Dyeing of Polyamide Fibres Polyamides • Nylon a Polyamide, it is a condensation polymers. The formation of a polyamide is same as the synthesis of a simple amide. One prominent difference is that both the amine and the acid monomer units each have two functional groups ‐ one on each side of the molecule. In this polymer, the repeating units are identical. • Nylon is made from 1,6‐diaminohexane and adipic acid by elimination of water molecules (‐H from the amine and ‐OH from acid as shown in red on the graphic). • A simple representation is ‐[A‐B‐A‐B‐A‐B]‐. Nylon 66 • Nylon 66, was discovered in 1931 by Wallace Cruthers at DuPont. It was the first fully synthetic fiber produced. It was introduced to women in nylon stockings in 1939 with huge success. During World War II, nylon production was used to make parachutes and other items needed by the military. • Nylon is very similar in structure to the protein polyamides in silk and wool as shown earlier, but is far stronger, more durable, more chemically inert, and cheaper to produce as compared to the natural fibers. Polyamide Fibres • It’s a Nylon fibre we generally know. • It consists of multiples of six carbon chains, in which half the end of carbon being converted to carbonyl and other half to imino nitrogen. • It is thermoplastic , is sensitive to heat and tension applied in various texturizing processes. • Total temperature‐tension history of yarn determines the degree of orientation in textured yarns. Dyeing of Polyamide Fibres • Acid, metal complexes, disperse reactive and disperse dyes are the important classes of dyes used in dyeing of nylon. -
Discussion on the Shaping Arrangement of Majolica Tile with the Paper-Cut Creation Mode
Original paper Original Articles [13] Newman, D., Defensive Space: People and Design in Received Nov 20 2017; Accepted Jan 24 2018 the Violent City, London, Architectural Press, 1972. [14] Cozens, P., Saville, G., and Hillier, D., Crime Prevention Through Environmental Design (CPTED): DISCUSSION ON THE SHAPING ARRANGEMENT OF A review of Modern Bibiography, Proper Management 23 (5) 328 – 356, 2005 MAJOLICA TILE WITH THE PAPER-CUT [15] Thorpe, A., Gamman, L., Design with society: Why CREATION MODE Social Responsive Design is Good Enough, CoDesign (3-4), 217 – 230, 2011. [16] Villalta, C., El Miedo al Delito en Mexico, Estrutura Yu-Ya WANG *, Chi-Shyong TZENG **, Akiyo KOBAYASHI *** Logica, Bases Emocionales y Recomendaciones Iniciales de Politica Publica, Gestion Politica, Vol XIX, * Graduate School of Design, National Yunlin University of Science and Technology, Taiwan Num 1, CIDE, Mexico, 2009. * * Graduate School of Design, National Yunlin University of Science and Technology, Taiwan [17] Kessler, El Sentimiento de Inseguridad, Sociologia del * * * Department of Science of Design, Musashino Art University, Japan Temor al Delito, Siglo XXI, Argentina,35, 2009. [18] Jasso, C., Percepcion de Inseguridad en Mexico, Revista Mexicana de Opinion Publica 15-19, 2013. Abstract: The purpose of the study is to achieve the shaping design with repetitive, symmetric, and [19] INEGI., Encuesta Nacional de Victimización y continuous graphs through papercutting. The researchers used the folding and cutting model of Percepción sobre Seguridad Pública 2016, Mexico, papercutting to build the linkage with the graphic shaping arrangement of the Majolica tile in order to 2016. discover an effective and expeditious design method for the public. -
Troubleshooting H&E Stain
Melinda M. Chow, MS, HT(ASCP)CM Memorial Sloan Kettering Cancer Center Basking Ridge, New Jersey Hematoxylin & Eosin staining is the most frequent routine stain in the Mohs Micrographic Surgery tissue preparation. It has stood the test of time as the standard stain for histologic examination of human tissues since it was independently introduced in 1865 and 1875, by Böhmer and Fischer respectively. Common problems, pitfalls and troubleshooting tips. H & E is the primary diagnostic technique for evaluation of morphology in the histopathology labs. One of the best nuclear stains. H & E provides easier identification of histological features than T-blue. It is easy and simple to use. Stains are inexpensive, yet reliable and informative. It is stable and durable stain, lasting years without fading Hematoxylin is a natural dye extracted from the heartwood of logwood trees which is indigenous in Central America, Caribbean and other tropical countries. It is misleading to call hematoxylin stain as it alone does not stain. It has to convert to hematein. Hematein is what we call hematoxylin. It is a basic dye and carries a (+) charge. Affinity for basic dye is called basophilic. Hematein Chromatin (+) charge (-) charge Mordant (Al+3,Fe+3,Chr+3) This complex is held by covalent bonds Hematein-mordant-chromatin complex Courtesy of Biotek Progressive vs regressive Progressive stains are: Gill’s (I-III), Mayer’s Regressive stains are Harris's, Delafield's, Ehrlich's Progressive method : tissue is stained and stopped Regressive method: tissue is overstained Eosin is a synthetic stain It is the counterstain and acts as an acid dye. -
Intractable Chasm
MEDIA CONTACT: Sina McLin Arts and Communication Administrator 918-585-1234 [email protected] PRESS FOR IMMEDIATE RELEASE TULSA – JULY 9, 2019 LIVING ARTS ANNOUNCES JAVE YOHIMOTO’S SOLO EXHIBITION: INTRACTABLE CHASM. Opening Friday, September 6th, 2019, 6:00 PM – 9:00 PM Living Arts will present our September-October exhibition, Jave Yoshimoto: Intractable Chasm. This exhibition will feature works that examine the refugee crisis in Greece, experienced firsthand by Yoshimoto when he volunteered at a refugee camp. The exhibit consists of wood reliefs, paintings, and an interactive exhibit with sculptural work, recordings, and generated instructions. The exhibition will remain open through October 18th, 2019. Artist Statement: My work takes on the ephemerality of news and information and how the emotions we bring to each tragedy in the news cycle are swept away by the wave of information that floods the media. I address this social amnesia through my art with the work acting as a social memory for tragic events so quickly forgotten in our information age. I have researched my current topic of humanitarian crises by employing images of contemporary disasters. As a way to attain better personal understanding, I have volunteered to help with earthquake relief in both Japan and Nepal, as well as with the refugee crisis in Greece to gather first-hand, on the ground stories so that the audience can begin to understand the difficulties from around the globe that still challenges us today. The stories I gather are then used to construct my compositions, which is then completed as paintings on paper, or drawn digitally to create laser carved, and hand-built wood relief block sculptures. -
Public Art in the Market
PIKE PLACE POCKET GUIDE PUBLIC ART IN THE MARKET OUR COMMUNITY Pike Place Market has a long history of attracting and inspiring artists of all mediums and styles. It has been depicted countless times over the years, capturing its Victor Steinbrueck/Native Park Plaza beautiful scenery, quirky spirit, lively vibe (and even the Billie the 11 Piggy Bank Pavilion downtrodden periods), preserving moments of history through their works of art. 6 • Mark Tobey (1890-1976) was an internationally North Arcade Crafts Market 12 First & recognized painter and a founder of the art Virginia Champion Bldg. Bldg. movement known as the Northwest School. He Urban Soames- sketched the Market in the late 1930s and '40s, Garden Pike Street Dunn Bldg. Hillclimb 8 5 7 10 documenting produce, storefronts, people and Main Arcade Stewart Garden 4 House general scenes in oil, gouache and tempera. Center LaSalle Bldg. Bldg. 9 3 Triangle Bldg. Livingston- Baker 2 Bldgs. • Architect Victor Steinbrueck (1911-85) led a Sanitary Smith Bldg. Market First & Pine Jones Bldg. grassroots campaign that helped save Pike Place Corner Bldg. Alaska 1 Market Trade Bldg. Market from the urban renewal wrecking ball. His Inn at the Fairmount Bldg. Market Bldg. book, , is filled with detailed Economy Market Market Sketchbook pen and ink drawings of everything from ramps and signage to shoppers and diners. Other creatives and bohemian characters have long been a part of the fabric and texture of the Market. EXPLORE PUBLIC ART WHILE YOU SHOP Beat artist Jack Kershaw in the '60s, Billy King from the '70s to today, and current local collector Buddy There’s a treasure trove of public artworks found throughout Foley are but a few of the many personalities that bring the Market. -
Aristotle Georgiades) | Lost Horizon (Art About History) Manifest67 Manifestvolume 11/26/12 4:16 PM Page 2 Manifest67 Manifestvolume 11/26/12 4:16 PM Page 3
Manifest67_ManifestVolume 11/26/12 4:16 PM Page 1 ™ v67 REWORK (Aristotle Georgiades) | Lost Horizon (art about history) Manifest67_ManifestVolume 11/26/12 4:16 PM Page 2 Manifest67_ManifestVolume 11/26/12 4:16 PM Page 3 ™ volume 67 REWORK Sculpture by Aristotle Georgiades Lost Horizon Art About History MANIFEST is a 501(c)(3) non-profit organization Manifest67_ManifestVolume 11/26/12 4:16 PM Page 4 MANIFEST VOLUME SIXTY-SEVEN THANK YOU! © 2012 MANIFEST PRESS Manifest’s 2012-2013 season All rights reserved. No part of this publication may be reproduced in is supported by operating support funding from: any way without written permission from the publisher. All rights in each work reproduced herein are retained by the artist/author. Manifest Creative Research Gallery and Drawing Center 2727 Woodburn Avenue, P.O. Box 6218, Cincinnati, OH 45206 (513) 861-3638 First Printing - November 2012 Designed by Jason Franz Printed by PrintPelican.com Cover image by Justin Plakas Back cover image by Aristotle Georgiades Manifest67_ManifestVolume 11/26/12 4:16 PM Page 5 Manifest67_ManifestVolume 11/26/12 4:17 PM Page 6 Manifest67_ManifestVolume 11/26/12 4:17 PM Page 7 November 9 – December 7, 2012 REWORK Sculpture by Aristotle Georgiades This solo exhibition of sculptures by Artistotle Georgiades is one of six selected from among 150 proposals submitted for consideration for Manifest’s 9th season. Aristotle Georgiades received his B.F.A. from the University of Michigan and his M.F.A. from the School of the Art Institute of Chicago. His work ranges from issues of male identity, labor economics, and more recently, the changing American landscape in a post-industrial economy. -
Theory of Staining Prepared By: Ms
Theory of Staining Prepared by: Ms. BR Tsauses Anatomical Pathology 2A (ANP611S) April 2020 Learning objectives • Understand the aims of staining • Describe why sections need to be coloured with dyes • Describe how dye bind to tissues • Understand the different types of staining • Describe the principle of the following stains; H&E Stain and PAP stain • Describe the reasons for mounting tissue Pre-learning Quiz • Please take the pre-learning quiz before proceeding with the presentation. Types of staining • Non-vital stains – staining of dead tissue that has been fixed, processed and sectioned • Vital stains – the colouring of living tissue/cells either using very dilute dyes or by the phagocytic action of macrophages ingesting dye particles. • Histochemical stains- utilizes a true chemical reaction in the tissue and matches what would happen if the reaction was performed in a test tube. Types of staining cont… • Lysochrome – the staining of neutral lipids/fats whereby elective solubility allows the dye molecules to leave the solvent and enter the lipid. • Silver Impregnation – Depositing metals onto or into tissue components. Silver is the metal most commonly employed, • Injection – the introduction of a coloured compound into the tissue to highlight various structures Types of staining cont… • Fluorochrome – staining is affected by combining a fluorochrome with a tissue entity, which is visualized under fluorescent light. • Immunostaining – staining is based on an antibody-antigen reaction whereby a labelled antibody permits the site of the reaction to be visualised. Why are stains taken into the tissue • Stain uptake due to dye-tissue or reagent-tissue affinities • Affinity – the tendency of a stain to transfer from solution onto section. -
Hematoxylin Formulae
Hematoxylin Formulae Bryan D Llewellyn Produced for distribution through StainsFile The Internet Resource For Histotechnologists http://stainsfile.info This document includes formulae for the alum and iron hematoxylin solutions included on the StainsFile Internet site. Some of these are no longer in use, and others are variations of other, more common, formulae. I have included a dis- cussion of the relationship between the dye and the mordant, and how the rela- tionship between them affects the staining character of a formula. The formulae have been collected from several sources, including older reference texts and the Internet. If any reader knows of a hematoxylin formula not listed in this document, I would most appreciate receiving details so that it may be included in the future. I may be contacted by e-mail through the StainsFile Internet site. Bryan D. Llewellyn October, 2013 October 2013 1.0 Initial document This document may be freely reproduced and distributed for educational pur- poses provided that the text is unchanged and no charge is made. Commercial distribution is not permitted. October, 2013. © 2013, Bryan D. Llewellyn. Table of Contents Hematoxylin and Hematein ............... 4 Oxidation ........................................... 6 Mordant ............................................. 9 Reactions With Tissue ...................... 12 Staining Mucin ................................... 13 Dye:Mordant Ratio ............................ 14 Acids ................................................. 19 Differentiation ................................... -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy ..................................................................................