DOCSLIB.ORG

Tutorial: How to Dye Black with Natural

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tutorial: How to Dye Black with Natural http://www.aurorasilk.com/ Tutorial: How To Dye Black with Natural Dyes by Cheryl Kolander. Excerpted from TrueFibers. Aurora Silk sells a full selection of natural dyes and mordants. For ideas on which dyes and which mordants to use, view our Natural Dye colour Chart. For more detailed dyeing recipes, read Brilliant Colours! by Cheryl Kolander. After recording the dry weight of your fiber, wet the fiber out in warm or hot water. STEP I: TANNIN 2 oz. tannic acid per pound of fiber (dry weight) OR: 4 oz. tara sawdust per pound of fiber, extracted twice OR: 3 oz Catechu (Cutch) extract per pound of fiber with optional 1/2 oz copper mordant 1. Dissolve tannic acid or catechu extract in hot water. 2. Heat the solution to approximately 200 F. 3. Remove from heat. 4. Enter the silk (or other fiber) that has been thoroughly wet out in warm to hot water. 5. Set to soak for at least 24 hrs, stirring occasionally. STEP II: IRON 1/2 to 1 oz Ferrous Sulphate per pound of fiber Use the lesser amount for fine silk yarn and soft wools. Use the greater amount for wild silk and other fibers. 1. Dissolve the iron in warm water. 2. Soak fiber in a mild soap solution about 15 minutes to neutralize the acid in the tannin (which couters the effect of the iron). This step is not necessary if you used Catechu for STEP I. 3. Add fiber to warm iron solution and soak for about 20 minutes. 4. Remove fiber from iron solution, wring excess solution from fiber, and hang to air 20 minutes to 1 hour. 5. Save this iron bath for STEP IV. At this point, the colour should be a dark grey. If it is not a good dark grey, or if it is uneven, return to the iron solution. Add a bit more iron first and stir well to dissolve, then let the fiber soak again another 20 minutes. Don't forget to air the fiber afterwards to complete the oxidation process. STEP III: LOGWOOD - FUSTIC 12 oz. to 1 lb. of logwood shavings per pound of fiber 1/2 oz. fustic extract per pound of fiber 1. Extract logwood shavings three times. 2. Add fustic extract. This neutralizes the blue tone of the straight Logwood. 3. Submerge the fiber and heat to just below boiling point for at least two hours, up to all day or even all night. 4. Let fiber cool in the dyebath. 5. Save this "Black Liquor" to be used the next time you dye black. Just strain off any mold or slime that may form. STEP IV: IRON 1. Return fiber to room temperature iron bath. 2. Let soak overnight. 3. Hang to air overnight or until the material starts to dry. STEP V: RINSE OR REPEAT At this point, if you are happy with the depth of the colour, rinse the fiber until the rinse water is barely tinted by the dye, hang to dry and enjoy! If the fiber does not look completely black at this point, repeat steps III and IV until desired colour is acheived. TIP: If you have acidic water, try adding a bit of ammonia to the logwood dyebath to acheive a deeper black. Both the logwood dyebath and the iron bath can be saved and reused indefinitely. Assume about 25% of the dyes and mordants are still in the baths when calculating how much logwood, fustic, and iron to add for the next batch. LOGWOOD by Cheryl Kolander Aurora Silk © 2010 The Tree: The Logwood tree is one of the prettiest trees on the planet. The leaves are like lace. Each little leaflet is the shape of a small heart. Two rows, with their pointy ends attached to a flexible mid-rib, flutter in the breezes. The whole canopy is intersections of these lacy hearts. The trunk of the Logwood tree grows in a unique formation. It buttresses itself, like most tropical or very old trees do near their roots. The Logwood tree grows this buttress form all the way up the trunk. The older the tree, the more it looks like several trunks that have grown together. Though many trunks may grow from one root cluster, each trunk is individual, even when it looks like six or eight trunks packed tightly. A cross section looks like a flower with many open petals. In really old trees even the buttressing trunks have buttresses! The sap of the tree is very dark, richly maroon red and abundant. If the tree is wounded it oozes this sap to heal the wound. It looks like dried blood, thus the Latin name Haematozylon = “Bloody sap”. The Dye Stuff: It is the heartwood that is the dyestuff. When the tree is cut, the inner wood is a dark rust- red. This is the dyestuff. The outer softwood, or sapwood is a light beige. It contains no dye. The bark is usually thick and rough. Like all barks it contains brown tannins, but it is not the source of the rich purples and black that is the value of this dyestuff. For quality dyestuff, the tree or a large branch is cut. All the bark and all the sapwood must be removed. This is typically done by hand with a machete. Then the beautiful dark heartwood is rasped, shaved, planed or hammer-milled into a form suitable for dye extraction. The Logwood prepared for Aurora Silk is planed into shavings because I find that this is the most convenient form for maximum extraction. While a finer rasped sawdust will extract more in the first boil, the dust goes right thru a sieve, and fills the textile with annoying bits of wood. I have found this to be so important that I hand carried an electric power planer into the country as part of the Logwood Project. After shaving or rasping, the wood needs further attention to develop its dye power. As fresh raw heartwood, it is moist and ferment-able. This quality is exactly what makes Logwood such a potent medicine: it is actually a triple anti-oxidant when a tea is prepared from the wood at this stage. For the red medicinal Logwood tea, export quality, the shavings are quickly dried. On the other hand, to develop the finest dye quality, the still moist shavings are placed in a container and allowed to ferment. In the tropics, at 90 degrees even at night, fermentation is complete in a few days. In old books which describe the Logwood trade of the 1800's, the same fermentation could take up to a month in England. As the red heartwood ferments, the colour changes from red to maroon to deep reddish brown. The best dyewood is in the maroon to deep reddish brown stage. If the wood is over-fermented, the colours given will be greyish and aged looking even when just dyed. They will also turn grey brown, losing the desirable purple cast, much quicker than the rich and vibrant purples of properly aged wood. This is the crux of the problem of dyeing brilliant and fast purples with Logwood extract, a pre-prepared water soluble powder, used for histology staining. Such purples may be bright at first but I have had them turn grey-brown in under a year, with minimal exposure. By comparison I have my own Logwood-shavings dyed silks still vibrant rich purple after 40 years. To Dye with Logwood Logwood is a “Mordant Colour”, which means the textile material must be pre-mordanted, that is, prepared by soaking in a solution of some metal that has been dissolved in some acid. Today these are easily obtained as prepared crystals: either Alum (Potassium Aluminum Sulphate; Ammonium Aluminum Sulphate) or Tin (Stannous Chloride), for purples; or Iron (Ferrous Sulphate; rusty iron dissolved in vinegar; iron rich dirt) for greys. Copper (Copper Sulphate) can also be used to give bluer purples. The dyestuff itself are these maroon mottled wood shavings. Properly prepared, they will have very little contamination of pale sap-wood, dirt or bark. Be aware that someone else may cut down a tree, pushing it all into a chipper-grinder. Then you will see lots of pale pieces, shredded bark and even dirt and rocks at the bottom of the bag. Avoid this, and question the supplier. Remember also that some other dark coloured heartwood, such as ebony which is dark but contains only a little grey dye, could be mixed in. And with an extract pre-prepared, the chance for adulteration is regrettably high. Extract prepared for histology must be US Pharmaceutical certified honestly Logwood, but it's price is extremely high. Shavings or sawdust, the procedure is the same as for all Natural Dyes: soak the stuff in water till it is well wet, usually overnight for woody dyestuffs. You will get more dye out by this presoak, but if time is an issue, just: PUT THE LOGWOOD IN SOME WATER AND BOIL. After 20 minutes of boiling, strain off the dye liquid. Return the wood to the first pot, add more water and BOIL AGAIN After two boils almost all the dye is out of the shavings or sawdust. Combine the two waters, and LOOK AT THE COLOUR. This is really important: if your water is acid, the liquid will look orange-red. It needs to have added to it: Ammonia (liquid, from the grocery store) until it changes to a nice Concord Grape juice hue. If you are dyeing silk or wool, only use ammonia.
Load more

Recommended publications
  • Natural Colourants with Ancient Concept and Probable Uses
    JOURNAL OF ADVANCED BOTANY AND ZOOLOGY Journal homepage: http://scienceq.org/Journals/JABZ.php Review Open Access Natural Colourants With Ancient Concept and Probable Uses Tabassum Khair1, Sujoy Bhusan2, Koushik Choudhury2, Ratna Choudhury3, Manabendra Debnath4 and Biplab De2* 1 Department of Pharmaceutical Sciences, Assam University, Silchar, Assam, India. 2 Regional Institute of Pharmaceutical Science And Technology, Abhoynagar, Agartala, Tripura, India. 3 Rajnagar H. S. School, Agartala, Tripura, India. 4 Department of Human Physiology, Swami Vivekananda Mahavidyalaya, Mohanpur, Tripura, India. *Corresponding author: Biplab De, E-mail: [email protected] Received: February 20, 2017, Accepted: April 15, 2017, Published: April 15, 2017. ABSTRACT: The majority of natural colourants are of vegetable origin from plant sources –roots, berries, barks, leaves, wood and other organic sources such as fungi and lichens. In the medicinal and food products apart from active constituents there are several other ingredients present which are used for either ethical or technical reasons. Colouring agent is one of them, known as excipients. The discovery of man-made synthetic dye in the mid-19th century triggered a long decline in the large-scale market for natural dyes as practiced by the villagers and tribes. The continuous use of synthetic colours in textile and food industry has been found to be detrimental to human health, also leading to environmental degradation. Biocolours are extracted by the villagers and certain tribes from natural herbs, plants as leaves, fruits (rind or seeds), flowers (petals, stamens), bark or roots, minerals such as prussian blue, red ochre & ultramarine blue and are also of insect origin such as lac, cochineal and kermes.
    [Show full text]
  • The Life and Death of Tamu Rambu Yuliana Princess of Sumba
    The Life and Death of Tamu Rambu Yuliana Princess of Sumba 201 Georges Breguet Tamu Rambu Yuliana, Sumba Princess THE LIFE AND DEATH OF TAMU RAMBU YULIANA, 202 PRINCESS OF SUMBA AND CUSTODIAN OF THE ARTS AND TREASURES OF RINDI The Island of Sumba and the Domain of Rindi A fragment formerly detached from the Australian continental plate, the island of Sumba 1 (approximately 11,000 km 2) is situated south of the volcanic arc of the Lesser Sunda Islands, west of Flores. Made up mainly of limestone and sedimentary rocks, Sumba’s topography con - sists of numerous hills and a plateau covered with grassy savannah interspersed with valleys hollowed out by erosion where gallery forests grow. The climate is hot and arid, except during the rainy season that lasts from December to March. With fewer than 600,000 inhabitants, Sumba boasts one of the low - est population densities in Indonesia. The island is divided into two administrative districts, West and East Sumba; the east has greater ethnic, cultural, and linguistic unity than the western part. 2 The town of Waingapu is the administrative center of East Sumba; it is also its Fig. 1. Photo taken in the 1950s from the personal album of the old Raja Umbu Hapu economic center, with its port and airport, the Chinese, Arabic, and Hambandina. On the left is his daughter, Princess Tamu Rambu Yuliana. On the right is Bugis communities, and its many Indonesian civil servants. The villages Princess Tamu Rambu Mirinai Liaba, third wife of the old raja and mother of the present of the major traditional domains are in the countryside surrounding raja , Umbu Kanabundaung.
    [Show full text]
  • Our Foreign Trade in Chemicals
    840 THE JOURNAL OF INDUSTRIAL AND ENGINEERING CHEMISTRY Vol. 12, NO. 9 The deposits of salt in the United States are unimportant. If the Geological Survey and the Agricultural De- The country possesses no really considerable salt industry partment will make the search they will earn the ever- but is supplied so far as interior consumption is concerned to lasting gratitude of the farmer, and release the strangle- a small extent by brine springs. hold which European potash has on this country. The principal supplies, however, are derived from England, Pending that time, the only hope for normally priced and the shores of Spain and Portugal. The same remark potash is for the final successful development of the applies to Canada. processes for recovering potash from greensand or This statement was probably made about 1860 to feldspar, one very large plant for which is nearing com- 1870 and was doubtless true then, but in 1887 the pletion ih New Jersey, which will produce potash United States produced over I,IOO,OOO tons; in 1900, of the highest grades of all salts required. By the z,8oo,ooo; and in 1,913,4,800,000 tons. Likewise the sale of its valuable by-product at ordinary prices its price of common salt in 1866 was about $13.00per ton, potash cost will be less than nothing. and in 1887, $3.50 per ton at the mines, while in 1913 The Government’s potash search reminds me of the it got as low as $2.00 per ton. golfer who, after losing the hole, looking for his ball When the potash deposits which are surely there are in the heavy “rough” where his unscrupulous opponent developed, $5 or $IO per ton for 80 per cent “thought it went,” finds it too late nicely placed in the muriate of potash will be a high price, and no greater fair green where “there was no use looking as it benefit can accrue to the farmer than this.
    [Show full text]
  • Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • Plant Dye Identification in Japanese Woodblock Prints
    Plant Dye Identification in Japanese Woodblock Prints Michele Derrick, Joan Wright, Richard Newman oodblock prints were first pro- duced in Japan during the sixth Wto eighth century but it was not until the Edo period (1603–1868) that the full potential of woodblock printing as a means to create popular imagery for mass consumption developed. Known broadly as ukiyo-e, meaning “pictures of the float- ing world,” these prints depicted Kabuki actors, beautiful women, scenes from his- tory or legend, views of Edo, landscapes, and erotica. Prints and printed books, with or without illustrations, became an inte- gral part of daily life during this time of peace and stability. Prints produced from about the 1650s through the 1740s were printed in black line, sometimes with hand-applied color (see figure 1). These col- ors were predominantly mineral (inorganic) pigments supplemented by plant-based (organic) colorants. Since adding colors to a print by hand was costly and slowed pro- duction, the block carvers eventually hit upon a means to create a multicolor print using blocks that contained an “L” shaped groove carved into the corner and a straight groove carved further up its side in order to align the paper to be printed (see figure 2). These guides, called kento, are located Figure 1. Actors Sanjō Kantarō II and Ichimura Takenojō IV, (MFA 11.13273), about 1719 (Kyōho 4), designed by Torii Kiyotada I, and published by in the same location on each block. They Komatsuya (31.1 x 15.3 cm). Example of a beni-e Japanese woodblock ensure consistent alignment as each color print with hand-applied color commonly made from the 1650s to 1740s.
    [Show full text]
  • Historical Transformations in the Chemical Industry
    Historical Transformations in the Chemical Industry Ernst Homburg, Maastricht University VoltaChem Annual Event, Amsterdam, 11 December 2019 Four major transitions: 50 to 100 years each Raw materials/ Chemical feedstocks Energy sources Plants/ animals > Minerals (inorganic Wood substances) Peat 1780-1870 Horse dung; Sun Plants/ animals > Coal (organic Coal (1800-today) substances) 1760-1910 Coal > Oil/ natural gas Oil/ natural gas (1910-today) 1910-1980 Petroleum etc. > Biobased, CO2, etc. Electricity, renewables 2010-ff 2010-ff Outline • (1) Transition theory Cases • (2) From plants/ animals to minerals • (3) From plants/ animals to coal • (4) From coal to oil & gas • (5) Lessons from the past and recommendations (1) Multi Level Perspective (MLP): Arie Rip, Frank Geels, Johan Schot Different societal functions Generic Materials Energy functions supply supply (’upstream’) Intermediary Business Transport functions services Communication Personal Housing Feeding, End use Recreation/ care (washing, Health (shelter, drinking, functions entertainment clothing, care heating) cooking (’downstream’) cleaning) Transition and system innovation Regulations and policies Maintenance and distribution network (e.g. traffic rules,parking fees, emission standards, car tax) (e.g. repair shops, dealers) Industry structure (e.g. car manufacturers, suppliers) Road infr as t r uc t ur e Socio-technical system and traffic system for transportation (e.g. lights, signs) Markets and user practices (mobility patterns, driver preferences) Culture and symbolic meaning
    [Show full text]
  • Batik of Java: Global Inspiration Maria Wronska-Friend the Cairns Institute, James Cook University, [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Batik of Java: Global Inspiration Maria Wronska-Friend The Cairns Institute, James Cook University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wronska-Friend, Maria, "Batik of Java: Global Inspiration" (2018). Textile Society of America Symposium Proceedings. 1080. https://digitalcommons.unl.edu/tsaconf/1080 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). Batik of Java: Global Inspiration Maria Wronska-Friend [email protected] Batik, the resist-dyeing technique of patterning cloth through the application of wax, has been known since antiquity in several parts of the world, but it reached its highest level of complexity on the island of Java. While deeply embedded in local traditions and associated with the beliefs, philosophy, and social order of Java, during the last two centuries batik has become a powerful cultural intermediary connecting Indonesia with other parts of the world.
    [Show full text]
  • 2Bbb2c8a13987b0491d70b96f7
    An Atlas of Rare & Familiar Colour THE HARVARD ART MUSEUMS’ FORBES PIGMENT COLLECTION Yoko Ono “If people want to make war they should make a colour war, and paint each others’ cities up in the night in pinks and greens.” Foreword p.6 Introduction p.12 Red p.28 Orange p.54 Yellow p.70 Green p.86 Blue p.108 Purple p.132 Brown p.150 Black p.162 White p.178 Metallic p.190 Appendix p.204 8 AN ATLAS OF RARE & FAMILIAR COLOUR FOREWORD 9 You can see Harvard University’s Forbes Pigment Collection from far below. It shimmers like an art display in its own right, facing in towards Foreword the glass central courtyard in Renzo Piano’s wonderful 2014 extension to the Harvard Art Museums. The collection seems, somehow, suspended within the sky. From the public galleries it is tantalising, almost intoxicating, to see the glass-fronted cases full of their bright bottles up there in the administra- tive area of the museum. The shelves are arranged mostly by hue; the blues are graded in ombre effect from deepest midnight to the fading in- digo of favourite jeans, with startling, pleasing juxtapositions of turquoise (flasks of lightest green malachite; summer sky-coloured copper carbon- ate and swimming pool verdigris) next to navy, next to something that was once blue and is now simply, chalk. A few feet along, the bright alizarin crimsons slake to brownish brazil wood upon one side, and blush to madder pink the other. This curious chromatic ordering makes the whole collection look like an installation exploring the very nature of painting.
    [Show full text]
  • ABSTRACT YI, DING. a Comparison of Mordant and Natural Dyes In
    ABSTRACT YI, DING. A Comparison of Mordant and Natural Dyes in Dyeing Cotton Fabrics. (Under the direction of Dr. Harold S. Freeman and Dr. Peter J. Hauser). Mordant dyes constitute a class of synthetic colorants that are applied to textile fibers mainly through the aid of transition metal ions such as Cr3+. The resultant dye-metal complexes are key to the fastness properties produced on wool. In the same way, most natural dyes require the use of a mordant to have coloring power on textiles such as cotton. Unlike mordant dyes on wool, the fastness properties of natural dyes on cotton are generally quite low. Consequently, they have largely been replaced by synthetic dyes that are more cost effective, brighter, and more durable under end-use applications. Interest in green technologies has led to renewed consideration of natural dyes for textile coloration because they are biodegradable and do not involve manufacturing processes requiring genotoxic aromatic amines. Interestingly, such a shift would bring dyeing technology full circle to a family of colorants lacking the vibrancy and technical properties of most synthetic dyes. However, similarities between the dyeing method for mordant and natural dyes brought to mind the potential for reducing the level of synthetic dyes used commercially by combining suitable dyes from these two classes for dyeing textiles. This thesis research was devoted to stage 1 of this idea, namely the evaluation of mordant dyes as colorants for cotton fabric. With this in mind, dyes such as Mordant Blue 13, Mordant Brown 40, Mordant Orange 6 and Mordant Yellow 8 were applied to cotton using various dyeing times, temperatures, dye bath concentrations and mordants.
    [Show full text]
  • Influence of Natural and Artificial Mordants on the Dyeing Performance of Cotton Knit Fabric with Natural Dyes
    IOSR Journal of Polymer and Textile Engineering (IOSR-JPTE) e-ISSN: 2348-019X, p-ISSN: 2348-0181, Volume 6, Issue 1 (Jan. - Feb. 2019), PP 01-06 www.iosrjournals.org Influence of Natural and Artificial Mordants on the Dyeing Performance of Cotton Knit Fabric with Natural Dyes Shuvo Brahma1*, Md. Rashedul Islam1, Salima Sultana Shimo2 and Rasheda Begum Dina1 1(Department of Wet Process Engineering, Bangladesh University of Textiles, Dhaka, Bangladesh) 2(Department of Industrial and Production Engineering, Bangladesh University of Textiles, Dhaka, Bangladesh) Corresponding Author: Shuvo Brahma Abstract: This work aims on an effort to determine the effect of some natural and artificial mordants on various natural dyes for cotton fabric dyeing. As natural mordant Eucalyptus Bark, Arjun Bark and Khair was used on cotton knit fabric under the treatment of three natural dyes namely Marigold, Eucalyptus leaf and Henna. As artificial mordants, potash alum and tannic acid were used along with natural mordants for further improvement of color strength. The cotton knit fabrics were scoured & bleached before dyeing. Concentrations of mordants were varied. Color strength and wash fastness properties were evaluated to determine the best mordant for particular dyes. It was observed that both the color strength and wash fastness properties increased with the application of mordants especially artificial mordants. Keywords: Natural dye, Natural Mordant, Artificial Mordant, Color strength, Fastness Properties. -----------------------------------------------------------------------------------------------------------------------------
    [Show full text]
  • Analysis of Natural Dyes and Metal Threads Used in 16Th
    Shibayama et al. Heritage Science (2015) 3:12 DOI 10.1186/s40494-015-0037-2 RESEARCH ARTICLE Open Access Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures Nobuko Shibayama1*, Mark Wypyski1 and Elisa Gagliardi-Mangilli2 Abstract Introduction: Analyses of natural dyes and the metal of the metal-wrapping threads used in 16th -18th century Persian/Safavid and Indian/Mughal period velvets were performed on these textiles in the collection of The Metropolitan Museum of Art. The purpose was to determine whether velvets from the two cultures, which have shown problems in the past with attribution based on historical and iconographical studies, could be more precisely differentiated with the additional evidence from identification of their natural dyes and metals along with information of weaving techniques. Dyes and metal of the metal-wrapped threads from fifteen Persian velvets and six Indian velvets were analyzed by high performance liquid chromatography with photo diode array detector and by scanning electron microscopy with energy dispersive X-ray spectrometry respectively. Results: There seem to be types of dyes which specifically characterize the velvets of each culture, as well as types of dyes commonly found in velvets of both cultures. Dyes typical of Persian velvets are cochineal and yellow larkspur, while lac and turmeric are characteristic of Indian velvets. The dyes commonly found are a combination of yellow larkspur and indigo dye in green, as well as safflower, indigo dye, soluble redwoods, and tannin dye.
    [Show full text]
  • Product Catalog Product Catalog Product
    KREMER /// PRODUCT CATALOG www.kremerpigments.com PRODUCT CATALOG Table of Contents Pigments 01 TABLE OF Dyes & Vegetable Color CONTENTS Paints 02 Fillers & Building Materials 03 Mediums, Binders & Glues 04 Solvents, Chemicals & Additives 05 Ready-made Colors & Gilding Materials 3 01 Pigments 06 31 02 Dyes & Vegetable Color Paints Linen, Paper 35 03 Fillers & Building Materials & Foils 41 04 Mediums, Binders & Glues 53 05 Solvents, Chemicals & Additives 07 56 06 Ready-made Colors & Gilding Brushes Materials 66 07 Linen, Paper & Foils 08 69 08 Brushes Tools, Packaging & 74 09 Tools, Packaging & Supplies Supplies 10 82 Books & Color Charts 09 85 11 General Information Books & Color Charts 10 General Information 11 For further information and prices please visit us at www.kremerpigments.com 1 Icon-Legend ICON-LEGEND The following Icons are used in the brochure: Hazardous Item Read the Material Safety Data sheet carefully – you can find all Disclaimer product sheets under www.kremerpigments.com and consult our safe handling procedures – see Chapter 11. Not for home use! To buy this product you have to be over 21 years old. Please send us a copy of your identity card . These products require a Hazardous Item Disclaimer. Please fill out the form on page 116 or at www. kremerpigments. com and submit with your order. Cautionary Products may contain hazardous substances. Label Read the ACMI cautionary label carefully and consult our safe handling procedures – see Chapter 11. For further product-specific information please visit us at www.kremerpigments.com. Approved Products bearing the AP Product Seal of ACMI are certified in a Product program of toxicological evaluation By a medical expert to con- tain no materials in suMcient quantities to be toxic or injurious to humans or cause acute or chronic health problems.
    [Show full text]