Removal of Alizarin Red S (Dye) from Aqueous Media by Using Cynodon Dactylon As an Adsorbent
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Batik Workshop
Batik Workshop Batik is one of the "resist" processes for making designs on fabric, like Tie Dye, Shibori, Serti technique, etc., using wax on fabric to prevent dye from penetrating the cloth. Wax is applied to fabric, followed by dye, perhaps in many successive layers in complex Batiks. Batik is especially unique because the wax will crackle during handling, either intentionally or not. On subsequent dye baths, the crackles in the wax fill in with darker colors. Batik can be done with many types of dye or fabric paints & waxes on cottons, silks and other natural fabrics, particularly the finer weaves for detail work. "Faux" batik employs types of water soluble resists that are easier to remove than wax (and safer to work with for children), but never quite achieve that beautiful crackling. In this example we will be using Dharma Pigment Dyes and Soy Wax, on cotton, but can be adapted to other fabrics or dyes. The basic principles remain the same. Introduction to Batik Batik masters employ a process of repeated waxing and tub dyeing to achieve the final result. This method requires mastery of color mixing and over dyeing, as each layer of dye is applied over the last, producing a mixed color. After many different applications, the background usually comes out dark brown, black, or gray. The waxed areas remain the lighter shades produced by each individual application and combinations thereof. The Tub Dye technique is described below in more detail. An easier method of batik, especially for beginners, is the Paint-on method. This method has fewer steps and allows for great variations of color and shade without having to master the complicated blending of successive layers of color. -
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. -
Batik Wax Instructions
Instructions Batik Wax Batik: A History Although its exact origin is uncertain, the earliest known batiks were discovered in Egyptian tombs dating back to the 4th century BCE. Wax-resist techniques were probably developed independently by disparate cultures throughout the ancient world. By the seventh century AD, patterning fabric using resists such as wax was a widespread practice throughout Asia and Africa and was perhaps most fully developed as an artform in Indonesia, where batik predates written records. By the thirteenth century, it became a highly respected art form and pastime for the women of Java and Bali, as recognizable motifs, patterns and colors became signifiers of one’s family and geographical area. Distinct styles and traditions proliferated and spread with the exchange of cultures through trade and exploration (see the “inland” and “coastal” batiks of Java, for instance — the two traditions couldn’t be more different). In the seventeenth century, as the world grew smaller, batik was introduced in Holland and other parts of Europe, where it became increasingly fashionable. Europeans and Americans traveling and living in the East encountered the ancient process and brought it back to their homelands — and spread it to colonies far away — where new traditions of batik branched out. Today, art schools across the United States and Europe offer batik courses as an essential part of their textile curricula. For more tips and techniques see www.jacquardproducts.com JACQUARD PRODUCTS Manufactured by Rupert, Gibbon & Spider, Inc. Healdsburg, CA 95448 | www.jacquardproducts.com | 800.442.0455 Batik Instructions Preparing and designing your fabric All new fabrics must be washed with hot soapy water, rinsed and dried to remove factory-applied sizings which may inhibit color penetration. -
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. -
(Cudrania Javanensis) Wood Extract Dyeing Quality on Silk Batik
Proceeding Indonesian Textile Conference (International Conference) 3rd Edition Volume 1 2019 http://itc.stttekstil.ac.id ISSN : 2356-5047 Effect of Different Solvent on Tegeran (Cudrania javanensis) Wood Extract Dyeing Quality on Silk Batik Vivin Atika 1 ,Tin Kusuma Arta 1, Dwi Wiji Lestari 1, Agus Haerudin 1and Aprilia Fitriani 1 1 Balai Besar Kerajinan dan Batik - Kementerian Perindustrian * Correspondence: [email protected]; Tel.: - Abstract: Tegeran (Cudrania javanensis) wood has been used as natural yellow dyes source for batik that traditionally obtained from extraction process by boiling in some amount of water. Tegeran dyes gives deep yellow color in cotton and silk batik with good fastness properties, but rarely reported about its result quality using different type of solvents in extracting process. Therefore, we conducted this research to find out how much different type of solvent in extracting process giving influence on dyeing result quality of silk batik. In this research has been carried out Tegeran wood extraction using four different solvent such as alcohol 70%, aquadest, acid/acetic acid solution pH 2.5 and alkaline/sodium hydroxide solution pH 12. The extract then used to dye batiked silk fabric. Tegeran wood extract coloring result in silk batik giving range colour from yellow to deep cream. The color strength values obtained were batik fabric dyed with Tegeran wood extract from alcohol 70% solvent 0.49, acid 0.57, aquadest 1.15, and alkaline 1.78. From color difference testing results, we obtain value of batik fabric colored with tegeran wood extract from alcohol 70 % L*=79.34, a*=6.37, b*=53.51; aquadest L*=87.91, a*=-0.69, b*=34.53; alkaline L*=76.06, a*=9.41, b*=14.76; and acid L*=77.70, a*=8.21, b*=36.72. -
Watercolors, Facepaint, Tie-Dye, and More!
Playing with Plant Pigments: Watercolors, Facepaint, Tie-Dye, and More! Have you ever cooked with beets to find that your fingertips and cutting board are stained a vibrant red? Or maybe your favorite white coffee mug has a brown tint to the inside? If so, you’ve already experienced a plant pigment! There are some simple but magical techniques you can use to harness the brilliant colors found in plants - including the very ones found in your fridge. These pigments are easy to source, a ton of fun to experiment with, and a great way to use up some less-than-fresh produce. They are also an excellent alternative to harsh chemical dyes. Materials - Richly-pigmented food like: beet skins (pink), avocado peels and pits (pale pink), onion skins (yellow-orange), purple cabbage leaves (purple-blue), spinach (green), black beans (blue, believe it or not!), turmeric (golden yellow) - Saucepan - Strainer or slotted spoon Directions 1. Gather your pigmented ingredients. You’ll want at least one chopped cup of each item to create a deeply-saturated dye. 2. Add the chopped ingredients to a saucepan, and cover with twice as much water as the fruit or vegetable. Place over medium heat, and simmer for one hour. You can have multiple pots simmering at the same time. 3. Keep in mind: if you plan to dye fabric, you’ll want to make sure you have enough dye for the fabric item to float freely while it picks up color. When in doubt, make more dye than you think you need (which means you’ll need to use more fruits and vegetables). -
CIBA Acid F.Pdf
./ Fiber Types · Safety InUse• Ciba Washfast Acid Dyes may be used on the Although no chemical is entirely freefrom hazard, · following fiber types: these products will pres�nt a low to no health risk, • Wool (includirg Cashmere, Alpaca, Angora, provided that good standards of studio· hygiene are and other protein fi�rs) observed in their use and storage. All persons. • Silk handling them should take precautions to avoid Techniques• Nylon· accidental ingestion, inhalation, skin and eye contact and should be aware of any limitations of use of specific products. While dyes and the • high temperature immersion chemicals associated with their use are not highly • handpainting silkscreening ,. toxic, they are industrtal chemicals and should be • block prtnting handled with care. Chemical productsshould not • airbrushing be allowed to get into the eyes, but 1f they should • warp painting by accident, wash eyes with clean water and then_ • resist (paste resist, gutta, bound) obtain medical treatment. Prolonged or repeated • batch dyeing (tie dyeing, rainbow dyeing) contact with skin should be avoided. Wear rubber gloves and use implements to stir solutions and ColorSeereverse Availablefor further deta ils.· dyebaths. Inhalation of'dusts .should be avoided by careful handling of powders. If the dyes are handled where particles may become airborne, a Yellow, Gold Yellow, Scarlet, Fuchsia, Turquoise, suitable dust respirator should be worn. Navy, Brown, Black, Green, Blue, and Violet. Obviously, chemicals slJ.ould ,not be taken -WhatNote: These Youdyes- Willare Need completely intennixable. internally, and the use of food, drink and smoking materials should be prohibited where chemicals are employed. The utensils used fordyeing should Stainless steel, enamel, plastic or glass measuring. -
Eosin Staining
Science of H & E Andrew Lisowski, M.S., HTL (A.S.C.P.) 1 Hematoxylin and Eosin Staining “The desired end result of a tissue stained with hematoxylin and eosin is based upon what seems to be almost infinite factors. Pathologists have individual preferences for section thickness, intensities, and shades. The choice of which reagents to use must take into consideration: cost, method of staining, option of purchasing commercially-prepared or technician-prepared reagents, safety, administration policies, convenience, availability, quality, technical limitations, as well as personal preference.” Guidelines for Hematoxylin and Eosin Staining National Society for Histotechnology 2 Why Do We Stain? In order to deliver a medical diagnosis, tissues must be examined under a microscope. Once a tissue specimen has been processed by a histology lab and transferred onto a glass slide, it needs to be appropriately stained for microscopic evaluation. This is because unstained tissue lacks contrast: when viewed under the microscope, everything appears in uniform dull grey color. Unstained tissue H&E stained tissue 3 What Does "Staining" Do? . Contrasts different cells . Highlights particular features of interest . Illustrates different cell structures . Detects infiltrations or deposits in the tissue . Detect pathogens Superbly contrasted GI cells Placenta’s large blood H&E stain showing extensive vessels iron deposits There are different staining techniques to reveal different structures of the cell 4 What is H&E Staining? As its name suggests, H&E stain makes use of a combination of two dyes – hematoxylin and eosin. It is often termed as “routine staining” as it is the most common way of coloring otherwise transparent tissue specimen. -
Student Safety Sheets Dyes, Stains & Indicators
Student safety sheets 70 Dyes, stains & indicators Substance Hazard Comment Solid dyes, stains & indicators including: DANGER: May include one or more of the following Acridine orange, Congo Red (Direct dye 28), Crystal violet statements: fatal/toxic if swallowed/in contact (methyl violet, Gentian Violet, Gram’s stain), Ethidium TOXIC HEALTH with skin/ if inhaled; causes severe skin burns & bromide, Malachite green (solvent green 1), Methyl eye damage/ serious eye damage; may cause orange, Nigrosin, Phenolphthalein, Rosaniline, Safranin allergy or asthma symptoms or breathing CORR. IRRIT. difficulties if inhaled; may cause genetic defects/ cancer/damage fertility or the unborn child; causes damages to organs/through prolonged or ENVIRONMENT repeated exposure. Solid dyes, stains & indicators including Alizarin (1,2- WARNING: May include one or more of the dihydroxyanthraquinone), Alizarin Red S, Aluminon (tri- following statements: harmful if swallowed/in ammonium aurine tricarboxylate), Aniline Blue (cotton / contact with skin/if inhaled; causes skin/serious spirit blue), Brilliant yellow, Cresol Red, DCPIP (2,6-dichl- eye irritation; may cause allergic skin reaction; orophenolindophenol, phenolindo-2,6-dichlorophenol, HEALTH suspected of causing genetic PIDCP), Direct Red 23, Disperse Yellow 7, Dithizone (di- defects/cancer/damaging fertility or the unborn phenylthiocarbazone), Eosin (Eosin Y), Eriochrome Black T child; may cause damage to organs/respiratory (Solochrome black), Fluorescein (& disodium salt), Haem- HARMFUL irritation/drowsiness or dizziness/damage to atoxylin, HHSNNA (Patton & Reeder’s indicator), Indigo, organs through prolonged or repeated exposure. Magenta (basic Fuchsin), May-Grunwald stain, Methyl- ene blue, Methyl green, Orcein, Phenol Red, Procion ENVIRON. dyes, Pyronin, Resazurin, Sudan I/II/IV dyes, Sudan black (Solvent Black 3), Thymol blue, Xylene cyanol FF Solid dyes, stains & indicators including Some dyes may contain hazardous impurities and Acid blue 40, Blue dextran, Bromocresol green, many have not been well researched. -
Factors Affecting the Adsorption of Some Ionic Dyes on the Surface of Modify Cao from Eggshell
Asian Journal of Applied Sciences (ISSN: 2321 – 0893) Volume 07 – Issue 01, February 2019 Factors Affecting the Adsorption of Some Ionic Dyes on the Surface of Modify CaO from Eggshell Ibtighaa K. Radhi, Mouayed A. Hussein, Zaki N. Kadhim* Department of Chemistry, College of Science, University of Basrah Basrah, Iraq *Corresponding author’s emails: zekinasser99 [AT] yahoo.com ________________________________________________________________________________________________ ABSTRACT--- In this paper, calcium oxide (CaO) was produced by the thermal treatment of eggshell. The doping process with silver iodide (AgI), oxygen (O), sulfur(S) and nitrogen (N) was achieved by adsorbents. The adsorption of Acid fuchsine (AF), Indigo Carmine (IC), Nigrosine (NG) and Alizarine Red S (AR) on the surface of these particles was studied. The different conditions affecting the adsorption process, such as the time of equilibrium, the primary concentration of the studied dyes, the amount of the adsorbent, the acidic function, the speed of the pruning motion and the temperature were studied. The pH stability time (5-10 minutes), IC and NG (30 minutes) and AR were (90 minutes). The effect of temperature was also studied within the range (25-45 ° C). The results showed that the adsorption capacity increased by increasing the temperature, ie the reaction is endothermic. The study showed the effect of the acidic function on the percentage of pigmentation. The percentage was increased by increasing the acidic function in the basal circles on the surfaces except for the AR dye. It decreased the percentage by increasing the acidic function. The effect of the weight of the adsorbent was studied on the percentage of adsorption. -
Classic Dye Solvent-Based Penetrating Dyes for Polished Concrete
Technical Data Sheet Last Updated: 2018.May.11 | Page 1 of 3 Category > Color Classic Dye Solvent-Based Penetrating Dyes for Polished Concrete Product Description Product Specification Originally designed specifically for polished and exposed concrete, the Ameripolish® Classic Dyes penetrate into the Application: Spray & microfiber mop surface of the concrete slab for extremely long-lasting color that Appearance: Various colors will not wear from daily usage. Ameripolish® Classic Dyes can be used as a base color or touch up for concrete that has received VOC: Compliant 0 (g/L) integral color, dry shake hardeners, acid stains or even layered to create a truly unique, mottled effect. Shelf life: Indefinite Features • Solvent-based, mixes with Ameripolish® ColorSolve™, Packaging Specification available in 24 colors Shipping Wt. Unit • Colors penetrate the surface and never wear off • Will not grind off during resin-grinding stages of polished 1 quart (when mixed) concrete 0.04 lbs. • Coordinate with Ameripolish® Edge Tints for a seamless wall-to-wall floor solution 0.15bs. 1 gallon (when mixed) • For indoor use only 0.63 lbs. 5 gallons (when mixed) Uses 0.37 lbs. Sample bottle • Coloring concrete; especially designed for diamond-polished concrete 4.07 lbs. Half set of samples (12) • For optimum performance, use Ameripolish® Classic Dye with Ameripolish® ColorSolve™, Ameripolish® 3D HS 8.88 lbs. Full set of samples (24) Hybrid Silicate Densifier, Ameripolish® 3D SP Stain Protect, and/or Ameripolish® SR² Penetrating Sealer together to lock in colors for longer lasting protection Dilution & Coverage Mixing Classic Dye: Classic Dye concentrate can be diluted with ColorSolve™ Mix the contents within 1 gallon bottle of Classic Dye concentrate with 1 gallon (3.8 L) ColorSolve™ Mix the contents within 5 gallon bottle of Classic Dye concentrate with 5 gallons (18.9 L) ColorSolve™ Coverage varies depending on concrete mixture, porosity, and moisture content and on ambient conditions. -
Commercial Fisheries Review
May 1957 - Supplement COMMERCIAL FISHERIES REVIEW DYE-BINDING CHARACTERISTICS OF FISH-MEAL PROTEIN Part 1 - Some Preliminary Findings as to Suitable Dyes By Claude Thurston A: ABSTRACT THERE ARE REPORTS IN THE SCIENTIFIC LITERATURE THAT THE QUALITY OF A VEGETABLE PROTEIN CAN BE DETERMINED BY ITS DYE-BINDING CHARACTERIS- TICS. IN AN INVESTIGATION TO FIND IF A SIMILAR RELATIONSHIP EXISTS BE- TWEEN DYES AND THE PROTEIN IN FISH MEAL, MORE THAN 100 DYES WERE SCREENED AS TO THEIR SUITABILITY. EIGHT DYES WERE FOUND TO HAVE GOOD BINDING PROPERTIES. SIX OF THEM--AC1D FUCHSIN, ANILINE BLUE, BROMO- CRESOL GREEN, ALIZARIN RED S, ORANGE II, AND ORANGE G--WERE ACID DYES; AND TWO OF THEM--CONGO RED AND T ETRABROMOPHENOLBLUE--WERE BASIC DYES. IN THE USE OF THESE, FISH MEALS EXHIBITED A WIDE VARIATION IN THE EX- TENT OF DYE BINDING. SUFFICIENT DATA, HOWEVER, ARE NOT AVAILABLE AS YET TO DETERMINE THE RELATIONSHIP OF THE DYE-BINDING CHARACTERISTICS TO THE NUTRITIVE VALUE OF FISH-MEAL PROTEIN. INTRODUCTION Several of the investigations reported in the scientific literature indicate that the quality of a vegetable protein can be determined by its dye-binding characteris- tic. Loeb (1922), studyingthe process of digestion, stated that pepsin is an anion and that it combines with cations. Chap- man, Greenberg, and Schmidt (1927) show- ed, by reactions of several acid dyes with various protein solutions, that the amount of dye that was bound was proportional to thenumber of basic groups in the protein. Rawlins and Schmidt (1929) extended the investigation to include basic dyes and obtained similar results; they later (1930) used acid dyes with gelatin granules and gelatin solutions and verified their pre- vious conclusions.