Diversity of Synthetic Dyes from Textile Industries, Discharge Impacts and Treatment Methods
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Alum Mineral and the Importance for Textile Dyeing
Current Trends in Fashion Technology & Textile Engineering ISSN: 2577-2929 Mini-Review Curr Trends Fashion Technol Textile Eng Volume 3- Issue 4 - April 2018 Copyright © All rights are reserved by Ezatollah Mozaffari DOI: 10.19080/CTFTTE.2018.03.555619 Alum Mineral and the Importance for Textile Dyeing Ezatollah Mozaffari* and Bijan Maleki Imam khomeini international university, Qazvin, Iran Submission: Published: April 25, 2018 *Corresponding April author: 10, 2018; Email: Ezatollah Mozaffari, Imam khomeini International University, Qazvin, Iran, Tel: +9828-33901133; Abstract The importance of alum as a natural mordant in textile dyeing is explained. The history of alum mineral processing was reviewed to emphasise on the heritage knowledge inherited by current trends in fashion technology and textile engineering. The review will also demonstrate the conservative environmental preservation nature of alum mineral as mordant. The need for modern evaluation of natural dyes and mordants will be highlighted. Keywords: Alum; Mordant; Industrial heritage Introduction the calcined mass the calcined shale was barrowed to a series Alum was known as one of the most imperative components of stone leaching pits nearby with typical dimensions of 9 x of textile industry before the introduction of chemical dyes in 4.5 x 1.5m. Fresh liquid was added to the leaching tanks and the process repeated for several weeks. The waste solids were alum quarrying and trade in several geographical areas [1]. In the 1850s. Its significance could be explored when studying the literature, interesting notes on alum as a mordant for textile liquor from leaching rose to 1.12, indicating 12 tons of dissolved dyeing of yarn, cloth and leather in North America, China, Libya, eventually dug out and discarded. -
The Maiwa Guide to NATURAL DYES W H at T H Ey a R E a N D H Ow to U S E T H E M
the maiwa guide to NATURAL DYES WHAT THEY ARE AND HOW TO USE THEM WA L NUT NATURA L I ND IG O MADDER TARA SYM PL O C OS SUMA C SE Q UO I A MAR IG O L D SA FFL OWER B U CK THORN LIVI N G B L UE MYRO B A L AN K AMA L A L A C I ND IG O HENNA H I MA L AYAN RHU B AR B G A LL NUT WE L D P OME G RANATE L O G WOOD EASTERN B RA ZIL WOOD C UT C H C HAMOM IL E ( SA PP ANWOOD ) A LK ANET ON I ON S KI NS OSA G E C HESTNUT C O C H I NEA L Q UE B RA C HO EU P ATOR I UM $1.00 603216 NATURAL DYES WHAT THEY ARE AND HOW TO USE THEM Artisans have added colour to cloth for thousands of years. It is only recently (the first artificial dye was invented in 1857) that the textile industry has turned to synthetic dyes. Today, many craftspeople are rediscovering the joy of achieving colour through the use of renewable, non-toxic, natural sources. Natural dyes are inviting and satisfying to use. Most are familiar substances that will spark creative ideas and widen your view of the world. Try experimenting. Colour can be coaxed from many different sources. Once the cloth or fibre is prepared for dyeing it will soak up the colour, yielding a range of results from deep jew- el-like tones to dusky heathers and pastels. -
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. -
Guide to Dyeing Yarn
presents Guide to Dyeing Yarn Learn How to Dye Yarn Using Natural Dyeing Techniques or some of us, the pleasure of using natural dyes is the connection it gives us with the earth, using plants and fungi and minerals from the environment in our Fhandmade projects. Others enjoy the challenge of finding, working with, and sometimes even growing unpredictable materials, then coaxing the desired hues. My favorite reason for using natural dyes is just plain lovely color. Sometimes subtle and always rich, the shades that skilled dyers achieve with natural dyestuffs are heart- breakingly lovely. No matter what inspires you to delve into natural dyes, this free eBook has some- thing for you. If you’re interested in connecting with the earth, follow Lynn Ruggles as she combines her gardening and fiber passions, or join Brighid’s Dyers as they harness alternative energy with solar dyeing. To test and improve your skills, begin with Dag- mar Klos’s thorough instructions. But whatever your reason, be sure to enjoy the range of natural colors on every page. One of Interweave’s oldest publications, Spin.Off inspires spinners to make beautiful yarn and find enchanting ways to use it. In addition to the quarterly magazine, we also host the spinning community spinningdaily.com, complete with blogs, forums, and free patterns. In our video workshop series, the living treasures of the spinning world share their knowledge. We’re devoted to bringing you the best spinning teachers, newest spinning techniques, and most inspiring ideas—right to your mailbox, your computer, and your very fingertips. -
Removal of Acid Blue 25 Dye by Using Dried Water Hyacinth from Aqueous Solution
REMOVAL OF ACID BLUE 25 DYE BY USING DRIED WATER HYACINTH FROM AQUEOUS SOLUTION A thesis submitted in the the fulfillment of the requirements for the award of the degree of Bachelor of Chemical Engineering Faculty of Chemical Engineering & Natural Resources Universiti Malaysia Pahang iv ABSTRACT Water hyacinth (Eichhornia crassipes) is a free floating aquatic weeds that robustness in its growth used as an adsorbent to remove Acid Blue 25 dye from aqueous solution. The parameters studied include the adsorbent dosage, initial dye concentration, pH, and also contact time in a batch adsorption process at room temperature 21ºC. The results shows the optimum conditions for each parameter studied, adsorbent dosage at 0.60 g, initial concentration 400 mg/L, pH 2 and 100 minutes contact time. The samples after the dye uptake were analyzed by using UV-Vis spectrophotometer. Furthermore, before and after the experiments, FTIR analyses were studied to know the functional groups of the water hyacinth. In addition, the equilibrium data fitted well pseudo-second order kinetics, Langmuir and Freundlich isotherm. The maximum sorption capacities for Langmuir equation were 83.33 mg/g whereas the amount of n for Freundlich is favourable. While for pseudo-second-order kinetics, it has a low error for equilibrium sorption capacity for experimental and calculated values. This study is favourable and economically feasible for the removal of Acid Blue 25. v ABSTRAK Keladi bunting merupakan gulma air yang mengambang yang digunakan sebagai adsorben untuk menyingkirkan pewarna Asid Biru 25 dari akuas larutan. Parameter yang dipelajari meliputi dos adsorben, kepekatan pewarna awal, pH, dan juga masa tindakbalas dalam proses jerapan batch pada suhu bilik 21º C. -
Dyeing Tips & Methods
Dyeing Tips & Methods: - Formulas are designed to be used in all dye applications methods where acid dyes are used. Formulas will be given so that you can do immersion dyeing or direct application dyeing, mixing from stock solutions or with dry powder. Whichever method you prefer, I suggest mixing the starting dyes into 1% stock solutions first. After stock solutions are mixed, then using the formula provided, mix up whatever color you are trying to match. Depending on the weight of the fiber to be dyed, such as a 10g skein, some quantities of dye are so small that having the dye powder mixed in solution first will help you achieve the most accurate color. - If possible, sample a small 10g skein to see how the color formula looks on your fiber base. The formulas were calculated on a 10g 80%/20% superwash wool/nylon blend natural white (unbleached) skein. Different breeds of sheep and different types of protein fibers such as mohair, silk, alpaca, angora, etc., will absorb the dye differently and may influence the final color. - If you’re using a Pantoneâ “Formula Guide Uncoated” swatch book, please note that the colors may look different under different lighting conditions. Fluorescent, incandescent, and natural lighting all can shift the way a color appears. Colors have been tested and observed under a 5000K daylight bulb to ensure the closest match. - After the yarn/fiber has been dyed, and the heat has been turned off, allow the fiber to cool overnight/24 hours for best absorption of colors. - Prior to dyeing I mix a 10% solution of 100g citric acid mixed with 1000mL water and use a syringe to inject the acid into the dyepot for immersion dyeing. -
History of Japanese Colour: Traditional Natural Dyeing Methods
Colour: Design & Creativity (5) (2010): 4, 1–7 http://www.colour-journal.org/2010/5/4/ History of Japanese Colour: Traditional Natural Dyeing Methods Sachio Yoshioka Email: [email protected] Published online: 12 May 2010 Introduction The family I was born into has followed a tradition of dyeing textiles for more than 200 years in Kyoto, the capital of Japan for about 1000 years until the Emperor moved to Tokyo in 1869. The dyeing technique I use to this day involves only natural materials including tree bark, fl owers, seeds, roots and grass. This traditional dyeing method has been used in Japan for centuries, although since the invention of synthetic dyes in the 19th century, such processes are becoming less and less common. However, I strive to keep such traditions alive. I have discovered the importance of studying the history of dyeing and the use of traditional colours in Japan, learning a lot from my predecessors’ achievements in textile dyeing. Commencement of Dyeing and Weaving in Japan It is believed that the skill of sericulture – or silk farming – came to Japan from China in around the 3rd century BC, about the time when the age of plantation agriculture started. However, at that time, people could not dye colourful yarn or weave beautiful patterns with a loom. Indeed, the repertoire of the time included only a few primitive dyeing and weaving techniques. It is said that the Japanese people developed techniques for textile dyeing and weaving over the course of 2000 years. In fact, many dyeing and weaving implements were excavated from tombs of ancient and powerful clans of Japan. -
Real Time Analysis and Control of Batch Dyeing Processes
C95S4 Page 1 Project Title: Real Time Analysis And Control of Batch Dyeing Processes Project Number: C95-S4 PI(s): R. McGregor (Leader NCSU), K. R. Beck, G. K. F. Lee, C. B. Smith, W J. Jasper Graduate Students: M. S. Arora, C. E. Bright, R. P. Joshi, M. R. Lefeber Wallace, J. T. Merritt. Industrial Collaborator: W. Hunter (Cotton Inc.). Goals: The overall objective of this project is to optimize batch-dye process control by monitoring dyebaths, and by understanding and controlling the state of the dyeing process, both in the laboratory and commercial dyeing machines. Specific objectives are to: 1. Educate graduate students and advance dyeing knowledge and technology. 2. Develop neural network/fuzzy logic control for dyebath monitoring and colorant formulation. 3. Develop control systems and strategies for closed loop control via dosing, fuzzy logic and neural networks. 4. Comparatively evaluate control strategies and the absolute levels of control possible. 5. Develop useful theoretical kinetic and thermodynamic models and generic process models. Abstract: This report describes our (Dye Applications Research Group, DARG) recent progress in real-time monitoring, modeling, and controlling batch dyeing processes. The flow injection analysis (FIA) system was modified to allow injection of a small volume of dyebath into a high performance liquid chromatograph (HPLC). This FIAIHPLC system is being used to study four different procedures for exhaust dyeing cotton with reactive dyes. Data are reported for isothermal dyeings at different temperatures. Preliminary work to develop a spectrophotometric method for monitoring exhaustion of vat dyes, especially indigo, is reported. Calibration models developed from indigo powder and indigo paste under a nitrogen atmosphere indicate significant differences in the purity of the dye in these two forms. -
United States Patent (19) 11 3,923,453 Lazar Et Al
United States Patent (19) 11 3,923,453 Lazar et al. (45) Dec. 2, 1975 54 NEW DYE COMPOSITIONS twenty parts by weight of a dye assist consisting of a 75 Inventors: Remus I. Lazar, Berwyn; Richard C. mixture of benzyl alcohol and Reichel, Chicago, both of Ill. 73) Assignee: Welsicol Chemical Corporation, Chicago, Ill. 22 Filed: Dec. 3, 1973 (21) Appl. No.: 420,998 52 U.S. Ci............................ 8/39; 8/42 R; 8/42 B; 8/93; 81173 5 l l Int. Cl......................... D06P 1120; D06P 5/04 (58) Field of Search................... 8/93, 173, 39, 42 R Primary Examiner-Lewis T. Jacobs having a boiling point of about 1 17°C at 9 mm Hg Attorney, Agent, or Firm-Robert J. Schwarz; Dietmar pressure, a refractive index of about 1.5262 at 20°C H. Olesch and an infrared spectrum having strong bands at about 9.4, 10. 1, 12.7 and 14.4 microns, in a weight ratio of (57) ABSTRACT from 4:1 to 1:4. This invention discloses a dye composition comprising one part by weight of an acid dyestuff and from one to 5 Claims, No Drawings 3,923,453 1 2 anthraquinone, exemplified by CI Blue 45 (C.I. No. NEW DYE COMPOSITIONS 63010); azine, exemplified by CI Acid Blue 59 (C.I. This invention relates to dye compositions which are No. 50315); and quinoline, exemplified by CI Acid useful in the dyeing of natural proteinaceous and syn Yellow 3 (C.I. No. 47005). thetic polyamide fibers. r The mordant acid dyes similarly fall into several The art of dyeing is a complex procedure requiring a chemical types, such as anthraquinone, exemplified by variety of techniques and chemicals: The dyeing of nat CI Mordant Red 3 (C.I. -
Tub Dyeing Basics Step by Step Instructions on the Next Page G with Fiber Reactive Dyes
tub dyeing basics Step by step instructions on the next page g with Fiber Reactive Dyes Use this method to dye fabric or clothing, made of natural fibers one uniform or solid color. Also called Garment Dyeing or Vat Dyeing, this method can also be done in a washing machine. Fiber Reactive Dye is the dye of choice for all cellulose (plant) fibers, like cotton, Rayon, hemp, linen, Tencel®, Modal®, bamboo, etc. (For dyeing silk, wool and other protein fibers, see Dyeing Wool and Silk with Fiber Reactive Dyes on our website) The chemical bond of these dyes is permanent, so once all the excess dye is washed out an infant can chew on the fabric and it will not come off! Fiber Reactive Dyes work in lukewarm water so these directions can also be used to dye batik (waxed) fabrics in successive colors without fear of melting the wax. WHAT You’ll need: SALT & SODA ASH REQUIREMENTS • Fiber Reactive Dye • A bucket large enough The amount of Non-Iodized Salt and Soda Ash are for your item to move a function of the amount of water used. For each • Soda Ash around in, or a top pound of dry fabric you will need about 3 gallons of • Non-Iodized Salt loading washing machine warm water. The water must cover the fabric with • Urea (optional) • Pitcher & cup enough room for thorough, tangle-free stirring; oth- erwise you get uneven dyeing and streaks. For each • Calsolene Oil (optional) • Measuring cups 1½ gallons of water use 1½ cups of Non-Iodized • Synthrapol • Spoons Salt and 1/6 cup of Soda Ash. -
Adsorption of Food Dyes Onto Chitosan: Optimization Process and Kinetic
Carbohydrate Polymers 84 (2011) 231–238 Contents lists available at ScienceDirect Carbohydrate Polymers journal homepage: www.elsevier.com/locate/carbpol Adsorption of food dyes onto chitosan: Optimization process and kinetic G.L. Dotto, L.A.A. Pinto ∗ Unit Operation Laboratory, School of Chemistry and Food, Federal University of Rio Grande – FURG, Rio Grande, RS, Brazil article info abstract Article history: Adsorption of food dyes acid blue 9 and food yellow 3 onto chitosan was optimized. Chitosan was obtained Received 5 October 2010 from shrimp wastes and characterized. A full factorial design was used to analyze the effects of pH, stirring Received in revised form rate and contact time in adsorption capacity. In the optimal conditions, adsorption kinetics was studied 10 November 2010 and the experimental data were fitted with three kinetic models. The produced chitosan showed good Accepted 11 November 2010 characteristics for dye adsorption. The optimal conditions were: pH 3, 150 rpm and 60 min for acid blue 9 Available online 19 November 2010 and pH 3, 50 rpm and 60 min for food yellow 3. In these conditions, the adsorption capacities values were 210 mg g−1 and 295 mg g−1 for acid blue 9 and food yellow 3, respectively. The Elovich kinetic model was Keywords: Acid blue 9 the best fit for experimental data and it showed the chemical nature of dyes adsorption onto chitosan. Adsorption capacity © 2010 Elsevier Ltd. All rights reserved. Elovich model Food dye Food yellow 3 1. Introduction mainly aromatic structures, which are biologically non-degradable (Srinivasan & Viraraghavan, 2010). Adsorption is found a good way Chitosan, a de-N-acetylated analog of chitin, is a heteropolysac- to treat industrial waste effluents, it has significant advantages in charide consisting of linear b-1,4-linked GlcN and GlcNAc units comparison with conventional methods, especially from econom- (Harish Prashanth & Tharanathan, 2007). -
Adire Cloth: Yoruba Art Textile
IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida Editor/Outreach Director: Agnes Ngoma Leslie Layout & Design: Pei Li Li Assisted by Kylene Petrin 427 Grinter Hall P.O. Box 115560 Gainesville, FL. 32611 (352) 392-2183, Fax: (352) 392-2435 Web: http://nersp.nerdc.ufl.edu/~outreach/ Center for African Studies Outreach Program at the University of Florida The Center is partly funded under the federal Title VI of the higher education act as a National Resource Center on Africa. As one of the major Resource Centers, Florida’s is the only center located in the Southeastern United States. The Center directs, develops and coordinates interdisci- plinary instruction, research and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in schools from K-12, colleges, universities and the community. Below are some of the regular activities, which fall under the Outreach Program. Teachers’ Workshops. The Center offers in- service workshops for K-12 teachers on the teaching of Africa. Summer Institutes. Each summer, the Center holds teaching institutes for K-12 teachers. Part of the Center’s mission is to promote Publications. The Center publishes teaching African culture. In this regard, it invites resources including Irohin, which is distributed to artists such as Dolly Rathebe, from South teachers. In addition, the Center has also pub- Africa to perform and speak in schools and lished a monograph entitled Lesson Plans on communities.