H'mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat
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Indigo Fructose Dye Vat
Kraftkolour Pty Ltd Factory 2, 99 Heyington Ave THOMASTOWN Vic 3074 Tel: 1300 720 493 Web: Kraftkolour.net.au Indigo Fructose Dye Vat The fructose indigo vat was developed by Michel Garcia. The addition of the fructose sugar acts as a reducing agent to the Indigo. The sugar removes one of the oxygen molecules from the indigo making it soluble in water. The addition of the Calcium Hydroxide (slaked or hydrated lime) changes the pH from an acid to a base. The proper pH to get good colour on wool should be about +9 and for cotton and cellulose +10. When the yarn or fabric is dipped into the indigo dye vat, it turns a green colour. When the yarn is raised into the air, the oxygen molecules from the air, bind with the indigo and turn the green into blue. To get darker and more intense blues, the yarn needs to be dipped into the indigo vat and raised into the air to oxidize several times. The colour builds up onto the yarn or cloth in layers. Keep dipping and airing out the yarn until the desired level of colour is achieved. An Indigo vat can be re-used and kept alive for several weeks until all of the indigo has been exhausted. If the Vat still has indigo but has turned blue, reheat the Vat to 50 deg C. Check the pH. Add about a teaspoon of fructose crystals and wait 15-30 minutes. The Vat should turn green. If it is still blue add some Calcium Hydroxide. -
Textile Printing
TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik. -
Tyrian Purple (6,6'-Dibromoindigo)
Tyrian Purple (6,6’-dibromoindigo) A New Twist on the Dye of Old An Ancient Process The Current Way The base chemical of 6,6’-dibromoindigo dye is Dow Chemical Company was the first company to make found naturally in mollusks and certain other crustaceans. Fabric can be dyed through synthetic indigo dye. 6,6’-dibromoindigo soon followed. Indigo direct dyeing, where the fabric or fiber is dyes (including 6,6’-dibromoindigo) are no longer made in the coated with the paste of the mollusk’s mucus U.S., because it is cheaper to import them from other countries. gland. The pasted fabric is allowed to sit in the Today, indigo dye is produced using laboratory chemical sun so that the purple can develop. Fabric can processes. These processes are highly efficient and cost-effective also be dyed using vat dyeing. In this process, the saliva of the mollusk is combined with for the companies that use them, but there are a growing paste of the mucus gland and allowed to dry. number of environmental concerns that are associated with their This residue is ground into a powder and put manufacture and use, as the dying process creates a large into a warm solution of sodium hydroxide or amount of chemical waste that must be disposed of carefully. At lye, away from sunlight, and fabric this time, both lawmakers and chemists are investigating simpler, is immersed in it. Finally, the dyed fabric is put through a finishing process (for safer, and more efficient ways to get the vividly colored clothing example, an acid wash), and washed with soap and water. -
Roadmap of Solid-State Lithium-Organic Batteries Toward 500 Wh Kg−1 † † Lihong Zhao, Alae Eddine Lakraychi, Zhaoyang Chen, Yanliang Liang, and Yan Yao*
Focus Review http://pubs.acs.org/journal/aelccp Roadmap of Solid-State Lithium-Organic Batteries toward 500 Wh kg−1 † † Lihong Zhao, Alae Eddine Lakraychi, Zhaoyang Chen, Yanliang Liang, and Yan Yao* Cite This: ACS Energy Lett. 2021, 6, 3287−3306 Read Online ACCESS Metrics & More Article Recommendations *sı Supporting Information ABSTRACT: Over the past few years, solid-state electrolytes (SSEs) have attracted tremendous attention due to their credible promise toward high-energy batteries. In parallel, organic battery electrode materials (OBEMs) are gaining momentum as strong candidates thanks to their lower environmental footprint, flexibility in molecular design and high energy metrics. Integration of the two constitutes a potential synergy to enable energy-dense solid- state batteries (SSBs) with high safety, low cost, and long-term sustainability. In this Review, we present the technological feasibility of combining OBEMs with SSEs along with the possible cell configurations that may result from this peculiar combination. We provide an overview of organic SSBs and discuss their main challenges. We analyze the performance-limiting factors and the critical cell design parameters governing cell-level specific energy and energy density. Lastly, we propose guidelines to achieve 500 Wh kg−1 cell-level specific energy with solid-state Li−organic batteries. Downloaded via Yan Yao on August 25, 2021 at 16:56:41 (UTC). rganic battery electrode materials (OBEMs) have molecules (<2 g cm−3) penalizes the energy density received considerable attention in the past few years. (volumetric) of assembled cells; second, low electronic O With a chemical composition derived from naturally conductivity imposes the use of large amount of conductive abundant elements (C, H, N, O, and S), a real possibility of agents which lower the cell-level specific energy (gravimetric); being generated from renewable resources (biomass), and an See https://pubs.acs.org/sharingguidelines for options on how to legitimately share published articles. -
Double Corduroy Rag
E-newes - coming to you monthly! Get connected: Visit schachtspindle.com for helpful Each issue includes a project, hints, project ideas, product manuals and informa- tion. Follow our blog, like us on Facebook, pin us on helpful tips & Schacht news. Pinterest, visit Schacht groups on Ravelry, follow us TM on Twitter. News from the Ewes DECEMBER 2014 Blanket Weaving in the Southwest. We What is a countermarche loom liked Loie Stenzel’s suggestion for us- and why do we love it for rugs? Project ing patterned as well as solid fabrics, Double Corduroy Rag Rug Before I tell you why we love our countermarche so I spent some time by Chase Ford Cranbrook loom for rug weaving, I want to give you familiarizing myself After weaving off the mohair blanket a very brief overview of three systems for creating with the color pal- sheds. on the Cranbrook Loom (see pictures ettes that appeared On jack looms, on our Facebook), Jane and I decided in the blankets in when the treadle is that a double corduroy rug would be Wheat’s book. I depressed, some shafts fun to try. Corduroy is a pile weave that found several colors raise and the others is created by weaving floats along with and prints of a light- remain stationary. Jack a ground weave. The floats are cut after weight 100% cotton looms are the most weaving to form the pile. Corduroy can fabric to sample Rug sample popular style of looms be either single or double. Generally, with. in the U.S. and is the system we use for our Wolf and Standard Floor Looms. -
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity by Tunde M. Akinwumi Department of Home Science University of Agriculture, Abeokuta, Nigeria Abstract The paper investigated the nature of machine-produced fabric commercially termed African prints by focusing on a select sample of these prints. It established that the general design characteristics of this print are an amalgam of mainly Javanese, Indian, Chinese, Arab and European artistic tradition. In view of this, it proposed that the prints should reflect certain aspects of Africanness (Africanity) in their design characteristics. It also explores the desirability and choice of certain design characteristics discovered in a wide range of African textile traditions from Africa south of the Sahara and their application with possible design concepts which could be generated from Macquet’s (1992) analysis of Africanity. This thus provides a model and suggestion for new African prints which might be found acceptable for use in Africa and use as a veritable export product from Africa in the future. In the commercial parlance, African print is a general term employed by the European textile firms in Africa to identify fabrics which are machine-printed using wax resins and dyes in order to achieve batik effect on both sides of the cloth, and a term for those imitating or achieving a resemblance of the wax type effects. They bear names such as abada, Ankara, Real English Wax, Veritable Java Print, Guaranteed Dutch Java Hollandis, Uniwax, ukpo and chitenge. Using the term ‘African Print’ for all the brand names mentioned above is only acceptable to its producers and marketers, but to a critical mind, the term is a misnomer and therefore suspicious because its origin and most of its design characteristics are not African. -
Glossary of Carpet and Rug Terms
Glossary of Carpet and Rug Terms 100% Transfer - The full coverage of the carpet floor adhesive into the carpet backing, including the recesses of the carpet back, while maintaining full coverage of the floor. Absorbent Pad (or Bonnet) Cleaning - A cleaning process using a minimal amount of water, where detergent solutions are sprayed onto either vacuumed carpet, or a cotton pad, and a rotary cleaning machine is used to buff the carpet, and the soil is transferred from the carpet to the buff pad, which is changed or cleaned as it becomes soiled. Acrylic/Modacrylic - A synthetic fiber introduced in the late 1940's, and carpet in the late 1950's, it disappeared from the market in the late 1980's due to the superior performance of other synthetics. Acrylics were reintroduced in 1990 in Berber styling to take advantage of their wool-like appearance. Modacrylic is a modified acrylic. While used alone in bath or scatter rugs, in carpeting it's usually blended with an acrylic. Acrylics are known for their dyeability, wearability, resistance to staining, color retention and resistance to abrasion. They're non-allergenic, mildew proof and moth proof. Adhesive - A substance that dries to a film capable of holding materials together by surface attachment. Anchor Coat - A latex or adhesive coating applied to the back of tufted carpet, to lock the tufts and prevent them from being pulled out under normal circumstances. Antimicrobial - A chemical treatment added to carpet to reduce the growth of common bacteria, fungi, yeast, mold and mildew. Antistatic - A carpet's ability to dissipate an electrostatic charge before it reaches a level that a person can feel. -
Effect of Indigo Dye Effluent on the Growth, Biomass Production and Phenotypic Plasticity of Scenedesmus Quadricauda (Chlorococcales)
Anais da Academia Brasileira de Ciências (2014) 86(1): 419-428 (Annals of the Brazilian Academy of Sciences) Printed version ISSN 0001-3765 / Online version ISSN 1678-2690 http://dx.doi.org/10.1590/0001-3765201420130225 www.scielo.br/aabc Effect of indigo dye effluent on the growth, biomass production and phenotypic plasticity of Scenedesmus quadricauda (Chlorococcales) MATHIAS A. CHIA1 and RILWAN I. MUSA2 1Laboratório de Cianobactérias, Escola Superior de Agricultura Luiz de Queiroz, Universidade de São Paulo, Av. Pádua Dias, 11, 13418-900 Piracicaba, SP, Brasil 2Department of Biological Sciences, Ahmadu Bello University, Zaria, Postal Code 810001, Nigeria Manuscript received on June 26, 2013; accepted for publication on October 14, 2013 ABSTRACT The effect of indigo dye effluent on the freshwater microalga Scenedesmus quadricauda ABU12 was investigated under controlled laboratory conditions. The microalga was exposed to different concentrations of the effluent obtained by diluting the dye effluent from 100 to 175 times in bold basal medium (BBM). The growth rate of the microalga decreased as indigo dye effluent concentration increased (p <0.05). The EC50 was found to be 166 dilution factor of the effluent. Chlorophyll a, cell density and dry weight production as biomarkers were negatively affected by high indigo dye effluent concentration, their levels were higher at low effluent concentrations (p <0.05). Changes in coenobia size significantly correlated with the dye effluent concentration. A shift from large to small coenobia with increasing indigo dye effluent concentration was obtained. We conclude that even at low concentrations; effluents from textile industrial processes that use indigo dye are capable of significantly reducing the growth and biomass production, in addition to altering the morphological characteristics of the freshwater microalga S. -
(12) United States Patent (10) Patent No.: US 8,546,502 B2 Shimanaka Et Al
USOO8546502B2 (12) United States Patent (10) Patent No.: US 8,546,502 B2 Shimanaka et al. (45) Date of Patent: Oct. 1, 2013 (54) METHOD FOR PRODUCING DYE POLYMER, JP 2000-500516 A 1, 2000 DYE POLYMER AND USE OF THE SAME JP 2000-514479. A 10, 2000 JP 2000-515181 A 11, 2000 JP 2005-345512 A 12/2005 (75) Inventors: Hiroyuki Shimanaka, Chuo-ku (JP); JP 2005-352053 A 12/2005 Toshiyuki Hitotsuyanagi, Chuo-ku (JP); JP 2006-16488 * 1, 2006 Yoshikazu Murakami, Chuo-ku (JP); JP 2006-016488 A 1, 2006 JP 2006-167674 * 6, 2006 Atsushi Goto, Uji (JP); Yoshinobu JP 2006-0167674. A 6, 2006 Tsujii, Uji (JP); Takeshi Fukuda, Uji JP 2007-277533 A 10/2007 (JP) WO WO97, 18247 A1 5, 1997 WO WO98/O1478 A1 1, 1998 (73) Assignees: Dainichiseika Color & Chemicals Mfg. WO WO 98.01480 A1 1, 1998 Co., Ltd., Chuo-ku, Tokyo (JP); Kyoto WO WO99,05099 A1 2, 1999 University, Kyoto-shi, Kyoto (JP) OTHER PUBLICATIONS (*) Notice: Subject to any disclaimer, the term of this Shimizu Itaru, JP2006016488 (Jan. 2006), English Translation.* patent is extended or adjusted under 35 Shimizu Itaru et al., JP2006 167674 (Jun. 2006), English Transla U.S.C. 154(b) by 0 days. tion. Hawker, C., et al., New Polymer Synthesis by Nitroxide Mediated (21) Appl. No.: 12/737,239 Living Radical Polymerizations, Chemical Review, vol. 101, No. 12, 2001, pp. 3661-3688. (22) PCT Filed: Jun. 26, 2009 Kamigaito, M., et al., Metal-Catalyzed Living Radical Polymeriza tion, Chemical Review, vol. 101, No. -
Indigo: Sources, Processes and Possibilities for Bioregional Blue
Indigo: Sources, processes and possibilities for bioregional blue Nicholas Wenner and Matthew Forkin June 2017 Photo by Kalie Cassel-Feiss by Kalie Photo Table of Contents Introduction . .3 Indigo . .4 The Indigo Process . 11 Conclusions . 15 Photo by Paige Green Green by Paige Photo Indigo Overview 2 Introduction his report was completed with funding generously provided by the Jena and Michael King TFoundation as part of Fibershed’s True Blue project . It is one project of many that support Fibershed’s larger mission: “Fibershed develops regional and regenerative fiber systems on behalf of independent working producers, by expanding opportunities to implement carbon farming, forming catalytic foundations to rebuild regional manufacturing, and through connecting end-users to farms and ranches through public education.” In this report we present the various sources of blue dye and of indigo, and motivate the use of plant-based indigo in particular . We also identify the limitations of natural dyes like indigo and the need for larger cultural and systemic shifts . The ideal indigo dye production system would be a closed-loop system that moves from soil to dye to textiles and back to soil . The indigo process has three basic steps: planting, harvesting, and dye extraction . In this document, we provide an overview of each, and detailed explorations are given in two separate documents that will be available through Fibershed by late-summer 2017 . This report is based on a literature review of academic research, natural dye books, online content, and personal interviews . It benefited greatly from conversations with (and the generosity of) many skilled artisans and natural dyers, including Rowland Ricketts, Jane Palmer, and Kori Hargreaves . -
Indigo Chromophores and Pigments Structure and Dynamics
Dyes and Pigments 172 (2020) 107761 Contents lists available at ScienceDirect Dyes and Pigments journal homepage: www.elsevier.com/locate/dyepig Indigo chromophores and pigments: Structure and dynamics T ∗ V.V. Volkova, R. Chellib, R. Righinic, C.C. Perrya, a Interdisciplinary Biomedical Research Centre, School of Science and Technology, Nottingham Trent University, Clifton Lane, Nottingham, NG11 8NS, United Kingdom b Dipartimento di Chimica, Università degli Studi di Firenze, Via della Lastruccia 3, Sesto Fiorentino, 50019, Italy c European Laboratory for Non-Linear Spectroscopy (LENS), Università degli Studi di Firenze, Via Nello Carrara 1, Sesto Fiorentino, 50019, Italy ARTICLE INFO ABSTRACT Keywords: In this study, we explore the molecular mechanisms of the stability of indigo chromophores and pigments. Indigo Assisted with density functional theory, we compare visible, infrared and Raman spectral properties of model Raman molecules, chromophores and pigments derived from living organisms. Using indigo carmine as a representative Infrared model system, we characterize the structure and dynamics of the chromophore in the first electronic excited Density functional theory state using femtosecond visible pump-infrared probe spectroscopy. Results of experiments and theoretical stu- Excited state dies indicate that, while the trans geometry is strongly dominant in the electronic ground state, upon photo- excitation, in the Franck-Condon region, some molecules may experience isomerization and proton transfer dynamics. If this happens, however, the normal modes of the trans geometry of the electronic excited state are reconfirmed within several hundred femtoseconds. Supported by quantum theory, first, we ascribe stabilization of the trans geometry in the Franck-Condon region to the reactive character of the potential energy surface for the indigo chromophore when under the cis geometry in the electronic excited state. -
Red, Blue and Purple Dyes
Purple, Blue and Red Dyes We have discussed the vibrant colors of flowers, the somber colors of ants, the happy colors of leaves throughout their lifespan, the iridescent colors of butterflies, beetles and birds, the attractive and functional colors of human eyes, skin and hair, the warm colors of candlelight, the inherited colors of Mendel’s peas, the informative colors of stained chromosomes and stained germs, the luminescent colors of fireflies and dragonfish, and the abiotic colors of rainbows, the galaxies, the sun and the sky. The natural world is a wonderful world of color! The infinite number of colors in the solar spectrum was divided into seven colors by Isaac Newton—perhaps for theological reasons. While there is no scientific reason to divide the spectral colors into seven colors, there is a natural reason to divide the spectral colors into three primary colors. Thomas Young (1802), who was belittled as an “Anti-Newtonian” for speaking out about the wave nature of light, predicted that if the human eye had three photoreceptor pigments, we could perceive all the colors of the rainbow. He was right. 751 Thomas Young (1802) wrote “Since, for the reason assigned by NEWTON, it is probable that the motion of the retina is rather of a vibratory [longitudinal] than of an undulatory [transverse] nature, the frequency of the vibrations must be dependent on the constitution of this substance. Now, as it is almost impossible to conceive each sensitive point of the retina to contain an infinite number of particles, each capable of vibrating