DOCSLIB.ORG

The Basics of Dyeing Wool with Commercial Dye

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Basics of Dyeing Wool with Commercial Dye The Basics of Dyeing Wool With Commercial Dye By Amy Wood‐McCroskie AandAAlpacas.com The process of dyeing wool in these instructions is called immersion dyeing. Please read these instructions entirely before you begin so that you have everything at your fingertips by the time you begin. First and foremost, acquire a brand new stainless steel pot with a lid and a sturdy bottom that controls heat more efficiently. Consider buying a larger one so that you can use it again and again as you gain confidence and become proficient. For dyeing purposes, it’s important to use a brand new pot that has never been used for food preparation as food and oil residue can affect the dye process chemically. More importantly, dyes can be poisonous. Once a vessel has been used for dyeing, residual chemicals can contaminate or poison food that you prepare to be consumed. Never use your dye pot for food preparation and you’ll be fine. It’s important the pot be stainless steel or enamel since other types of metal such as aluminum, copper and cast iron can result in unexpected and unpredictable color outcomes due to chemical reactions. Once you learn how to dye with predictable outcomes using stainless steel, it’s great fun to experiment with other methods and different dye pots. Secondly, you will need to purchase some dye. For this lesson, I am using Jacquard Acid Dye in powder form. Jacquard dyes are some of the easiest to use plus they are safe to use, predictable and fairly inexpensive. Jacquard products are available at many craft stores as well as online directly from Jacquard or Dharma Trading Company. The small, 1/2‐ ounce containers are fine for beginners and will last you through your learning phase of how to dye. Larger sizes are available in all colors when you become proficient and need them. You will need 1 or 2 ounces of good quality, soft wool for this lesson in dyeing. Any type of wool is fine but for your first lesson, I highly recommend it be white so that you can actually see the dye process before, during and after. I know it can be scary to use better quality wool because most are fearful of ruining it during their learning phase. But coarse, “trash” wool or fiber doesn’t always dye well. When the end result isn’t exciting, you’ll blame yourself when indeed it was the fault of the lesser‐quality wool you used. Trust and have faith that you’ll do this correctly and the result will be wonderful. Prewashed, clean wool is best for your first dyeing experience. Roving, batts, finished yarns or knitted end products can be dyed easily once you become proficient and build confidence with dye and various methods of dyeing. You will also need a heat source to use in the dyeing process. It can be a kitchen stovetop, outdoor camping cooktop or even an outdoor grill. Any type of heat source is fine to use as long as you have the ability to control the temperature. Being able to control the temperature setting is really important when dyeing. Additional supplies you will need: 1. Large stainless steel kitchen spoon. 2. Stainless steel kitchen tongs. 3. Metal measuring spoons. 4. Disposable latex gloves. 5. Glass measuring cup for liquids. 6. Distilled white vinegar. 7. Quilted pot holders or oven mittens. 8. An old towel or paper towels. It’s Time to Dye! Using your new dye pot, add enough cold water so that the wool will have enough room to move around freely. Avoiding any kind of agitation whatsoever, place the wool into the water slowly then very gently stir so that the wool is completely immersed in the water. Add 1/2 cup of distilled white vinegar and stir it around gently in the water. Vinegar is the “acid” that chemically reacts with the dye and allows the whole dyeing process to work successfully. Combined with a low, gentle heat, the dye will “adhere to” or absorbed by the wool. Then move the dye pot to your heat source and bring the temperature up very slowly to approximately 185 to 200 degrees. You honestly don’t need a thermometer unless you feel more comfortable using one. The lowest setting of heat on your heat source will usually suffice as you bring the water to a steep. Important: Never allow water to boil when dyeing. While the pot of water and wool on the heat source is heating to the correct temperature, lay out a towel or a thick layer of paper towels mentioned in the supply list above. It’s time to mix the dye but be sure to do this on the towel or base of paper towels in order to protect your work surface, especially if you are working in your kitchen. Put on a pair of disposable latex gloves, then add approximately 1/4 teaspoon of the powdered dye to a cup of hot water in your glass measuring cup. Stir it slowly and gently to dissolve the dye really well. Once the dye is well dissolved in the measuring cup, set it aside, away from children and curious pets. Once the pot of water with wool on the heat source is hot, pour the dissolved dye from the measuring cup into it. Using the stainless steel spoon, stir the water very, very gently. Be sure there is no agitation whatsoever. Slow and gentle wins at the finish line of this adventure. Once the dye is fully dispersed, place the lid on the pot and resist any further stirring of the water. Leave the heat source on and allow the water to steep, continuing to carefully monitor it. If you begin to see bubbles in the water or any indication of a soft rolling boil temperature, lower the heat. Also, try really hard to resist the temptation of stirring or extracting small portions of wool to see if the process is working. I know how hard it is to wait but be as patient as possible. Dye baths do not like to be disturbed while they are working and wool loves to morph into felt if it’s disturbed too much while bathing in hot water. After 30 to 45 minutes, you should begin to see the water turning more and more pale, working its way to being clear. You can use the stainless steel spoon to see this occurring in the water. The dye bath turning clear means the dye is being absorbed into the wool and that your first lesson in learning to dye is going to be successful. Once you see the water clearing of the dye color, remove the pot from the heat source so it can begin to cool. As it cools, more and more of the color will continue to be absorb. I always put the lid on the pot at this point and walk away from it. Allow the pot and the water to cool completely, even if it means leaving it overnight. Once the pot has cooled, you can then take off the lid and check your level of success. The water should be completely (or close to) clear of color. Once you have removed the dyed wool, the water in the dye pot should be completely clear of any dye color. But do not be alarmed if a tiny amount of color remains in the water. It’s called “exhaust” but we will talk about that in another lesson. For this lesson, the water in your dye pot should be clear at this point. If you still see a lot of the dye color in the water, it can mean the water wasn’t hot enough or it wasn’t allowed to cook long enough. You can reheat it at this point and it won’t hurt the wool. Put it back on the heat source and allow it to heat until you see the water turn clear. Once the water is clear, allow the water to cool again before you try to remove the wool. Once the water in the pot is completely cooled, you can safely remove the wool without getting burned and without fear of felting the hot wool. Before removing it from the dye pot, run a sink full of fairly warm water with your favorite wool detergent in it. The wool should be beautifully dyed at this point but it will smell like vinegar so you will want to soak it in fairly warm water and a tiny amount of your favorite wool detergent to remove the vinegar. Use the stainless steel tongs to remove the wool from the dye bath and transfer it to the sink full of water and detergent. My favorite wool detergent is liquid Tide. Yes, the same liquid Tide a lot of people use to wash their laundry. I wash approximately 1,000 pounds of alpaca fiber each year and though I’ve tried every detergent possible, I continually come back to liquid Tide. I use the low suds, HD formula invented for front‐loading washing machines. It works at a lower temperature and works beautifully without harsh enzymes that can harm protein fibers. Once you have added the wool to the sink of water and detergent, watch it closely as the water cools. If you were successful with the dye bath, there will be no residual color or “color bleeding” into the water while it’s soaking. Success! That means it won’t leave color on the hands of the hand‐spinner or fiber artist working with the wool in the future.
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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Glycol Ethers for Textile Printing and Dyeing Product Data Sheet
    Product Information Glycol Ethers for Textile Printing and Dyeing Textile Industry The textile industry uses two basic methods for coloring fabric—vat dyeing and textile Background printing. Vat-dyed fabric or yarn is imparted with a single color, while textile printing uses a printing process—usually gravure—to give fabric a particular design. Two dyeing methods are jet dyeing and continuous dyeing. In jet dyeing a continuous loop of fabric is dyed at once. The dye liquor is sprayed through a powerful venturi jet carrying the fabric with it. After passing through the jet, the fabric enters a cloth guide tube. Dye liquor and fabric together circle through the equipment until the proper shade has been achieved. In continuous dyeing, fabrics are run through a dyebath. The dyestuff is fixed to the fiber by high temperature (420°F) or by steaming. High heat thermosol processing is employed when the woven fabric to be dyed contains polyester fibers or polyester blends. Technology of DOW glycol ethers are used as dyebath additives within the textile dyebath market to obtain Textile Printing properties such as proper shade, level dyeing, colorfastness, reduced dyeing temperatures and Dyeing and reduced dyeing cycle times. DOW glycol ethers help the dyes penetrate and saturate the fabric, accelerating the dyeing process. They also serve as couplers for other components of the dye formulation and can act as compatibilizing agents for fabric blends such as nylon/acrylics. DOW glycol ethers most frequently used in dye formulations are DOWANOL™ DPM, TPM, PPh, EPh, Methyl CARBITOL™, and Butyl CARBITOL. The choice of glycol ether depends on the type of dye and fabric.
    [Show full text]
  • An Adventure in Hand-Dyed Yarn
    An Adventure in Hand-Dyed yarn Yarn Hollow Volume 1, March 2008 Copyright 2008, Rita Petteys and Yarn Hollow Table of Contents Why Dye?.......................................................................................3 Getting Started...............................................................................3 Safety.........................................................................................3 Fiber Selection...........................................................................3 Classes of Dye: .........................................................................4 Fixatives.....................................................................................4 Measuring..................................................................................4 TLAs 4 More About DSS 5 Formulas and Dyeing 5 Solid Color 5 Mixed Color 5 Metric Pros and Cons 6 Immersion Dyeing Process............................................................6 Now, for something completely different........................................7 Notes: ........................................................................................8 Variations:..................................................................................8 Links:..............................................................................................9 Color! .........................................................................................9 Dyeing Information: ...................................................................9 Supplies:....................................................................................9
    [Show full text]
  • Proper Processing of 100% Cotton Knit Fabrics
    TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ───────────────────────────────────────────────────────────────────── TRI 3011 WET PROCESSING OF 100% COTTON KNITTED FABRICS © 1999 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION It is well established that knitted fabrics of all constructions and fiber blends are inherently more prone to shrinkage as compared to wovens. Because of the inability of a knitter to form a knitted fabric with no shrinkage, it is important for the dyer and finisher to make an effort to remove as much shrinkage from the product as possible. However, the ease with which a cotton knitted fabric is distorted during processing makes it especially difficult to deliver fabrics with no shrinkage. This bulletin will discuss in some detail the aspects of knitted fabric construction and wet processing and how they are related in terms of shrinkage. The factors that influence the level of dimensional stability can be summarized as follows: © knitting parameters, © processing tensions after knitting, © relaxation techniques in finishing, and © mechanical and chemical finishes. Each of these areas can be broken down into fundamental aspects. KNITTING As published in literature, the amount of shrinkage for any given knit fabric is primarily dependent upon the product specifications and the knitting parameters used to meet those specifications. The predominant fabric specifications that determine the shrinkage of a knitted fabric are the weight, stitch counts, and width at which the fabric is sold for cut-and-sew. The knitter uses those specifications to establish another set of specifications for knitting. Whether or not these knitting specifications are achievable is determined by the knitting machinery available to the knitter.
    [Show full text]
  • Textile Dyes: Dyeing Process and Environmental Impact
    Chapter 6 Textile Dyes: Dyeing Process and Environmental Impact Farah Maria Drumond Chequer, Gisele Augusto Rodrigues de Oliveira, Elisa Raquel Anastácio Ferraz, Juliano Carvalho Cardoso, Maria Valnice Boldrin Zanoni and Danielle Palma de Oliveira Additional information is available at the end of the chapter http://dx.doi.org/10.5772/53659 1. Introduction Dyes may be defined as substances that, when applied to a substrate provide color by a process that alters, at least temporarily, any crystal structure of the colored substances [1,2]. Such substances with considerable coloring capacity are widely employed in the textile, pharmaceutical, food, cosmetics, plastics, photographic and paper industries [3,4]. The dyes can adhere to compatible surfaces by solution, by forming covalent bond or complexes with salts or metals, by physical adsorption or by mechanical retention [1,2]. Dyes are classified according to their application and chemical structure, and are composed of a group of atoms known as chromophores, responsible for the dye color. These chromophore-containing cen‐ ters are based on diverse functional groups, such as azo, anthraquinone, methine, nitro, aril‐ methane, carbonyl and others. In addition, electrons withdrawing or donating substituents so as to generate or intensify the color of the chromophores are denominated as auxo‐ chromes. The most common auxochromes are amine, carboxyl, sulfonate and hydroxyl [5-7]. It is estimated that over 10,000 different dyes and pigments are used industrially and over 7 x 105 tons of synthetic dyes are annually produced worldwide [3,8,9]. Textile materials can be dyed using batch, continuous or semi-continuous processes. The kind of process used de‐ pends on many characteristics including type of material as such fiber, yarn, fabric, fabric © 2013 Chequer et al.; licensee InTech.
    [Show full text]