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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. -
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. -
NATURAL DYE 101 Indigo NATURAL DYE 101: Indigo
NATURAL DYE 101 Indigo NATURAL DYE 101: Indigo •IS THERE ANOTHER NATURAL DYE that holds such deep, almost magical, powers as indigo? One that is called by so many names, such as ai (Japan), landian (China), chàm (Laos and Vietnam), nila (India), gara (Africa), or añil (Central America)? One that beckons the spirits or causes mutinies? In this collection of articles, learn about the natural dye indigo—an overview of its history and science, and places to visit with rich indigo cultural roots. Meet a few artisans who work with indigo and sustain its traditional roots, learn some tips for dyeing and care, and learn more from additional resources. Contents Explore the World of the Natural Dye Indigo and How-To | 3 A Place to Visit: Lao Traditional Culture and Education Center in Vientiane, Laos | 6 Meet Ms. Mai Suxiong, An Artisan of Hmong Batik Indigo Cloth | 8 In Country: Indigo and the El Salvador Story of Grace Guirola | 10 An Ode to Indigo and Dorothy Miller | 12 Natural Fermentation Vat | 14 A Care Tip: Washing Excess Indigo Dye Particles | 15 Contemporary Artisan Cloth and Indigo Projects | 16 Additional Resources | 16 Further Reading | 17 ClothRoads | NATURAL DYEING 101: INDIGO | 2 Explore the World of the Natural Dye Indigo •by Judy Newland OUR JOURNEY through the ancient and mysterious world of the natural dye indigo begins with an overview of this dye deeply embedded in cultures around the world--one that is both art and science and touches the disciplines of botany, chemistry, economics, fashion, medicine, politics, as well as textile and social history. -
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. -
An Empirical Assessment of the Relationship Of
An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition. -
Introduction to Indigo and Shibori
ICHF Show Guide NEC Birmingham 30th March – 2nd April 2006 1 Darkly, Deeply, Beautifully Blue Jane Callender explains the history behind the indigodyeing and shibori techniques which she uses to create fabulous fabrics. The Magic of Indigo dilemma, as a means of safe disposal Both natural and manufactured Know to man in ancient times, had yet to be found. It was coal tar. indigo are available to us today and indigo was harvested from plants In 1830, Berlin chemist Ferdinand astonishingly the process of dyeing flourishing in the hot climates of Runge sought recycling possibilities with either has remained the same. Africa, China, Japan, India and the from this substance and by 1834 had Unique and seemingly magical, it is Americas. We can only speculate as isolated the compound aniline oil. It very different to other methods of to how the blue dye yielded by many was known that natural indigo dyeing cloth and the key word in different species, a prolific genus contained aniline through the work understanding the process is oxygen. being Indigofera, was first revealed of Adolf von Bayer. Even though The prepared fabric is dipped, for a to man. Indigo was extracted from Runge made positive advancements minute or two, in the indigo vat, a the plant thorough fermentation, and into the world of synthetic dye stuffs golden/green colour, and then because it was able to be stored, it he was prevented from further allowed to hang in the air. With the was able to be sold. In the 13t h research – his amazing discovery was introduction of oxygen, absent in the century Marco Polo tells us that suppressed by management. -
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. -
Armenian Tourist Attraction
Armenian Tourist Attractions: Rediscover Armenia Guide http://mapy.mk.cvut.cz/data/Armenie-Armenia/all/Rediscover%20Arme... rediscover armenia guide armenia > tourism > rediscover armenia guide about cilicia | feedback | chat | © REDISCOVERING ARMENIA An Archaeological/Touristic Gazetteer and Map Set for the Historical Monuments of Armenia Brady Kiesling July 1999 Yerevan This document is for the benefit of all persons interested in Armenia; no restriction is placed on duplication for personal or professional use. The author would appreciate acknowledgment of the source of any substantial quotations from this work. 1 von 71 13.01.2009 23:05 Armenian Tourist Attractions: Rediscover Armenia Guide http://mapy.mk.cvut.cz/data/Armenie-Armenia/all/Rediscover%20Arme... REDISCOVERING ARMENIA Author’s Preface Sources and Methods Armenian Terms Useful for Getting Lost With Note on Monasteries (Vank) Bibliography EXPLORING ARAGATSOTN MARZ South from Ashtarak (Maps A, D) The South Slopes of Aragats (Map A) Climbing Mt. Aragats (Map A) North and West Around Aragats (Maps A, B) West/South from Talin (Map B) North from Ashtarak (Map A) EXPLORING ARARAT MARZ West of Yerevan (Maps C, D) South from Yerevan (Map C) To Ancient Dvin (Map C) Khor Virap and Artaxiasata (Map C Vedi and Eastward (Map C, inset) East from Yeraskh (Map C inset) St. Karapet Monastery* (Map C inset) EXPLORING ARMAVIR MARZ Echmiatsin and Environs (Map D) The Northeast Corner (Map D) Metsamor and Environs (Map D) Sardarapat and Ancient Armavir (Map D) Southwestern Armavir (advance permission -
“NAJWA” Hijab Staining Using Tie-Dye Method Based on Natural Dyes
Atlantis Highlights in Chemistry and Pharmaceutical Sciences, volume 1 Seminar Nasional Kimia - National Seminar on Chemistry (SNK 2019) Diversification of “NAJWA” Hijab Staining using Tie-Dye Method Based on Natural Dyes Samik Agus Budi Santoso Nita Kusumawati* Chemistry Departement Electrical Engineering Departement Chemistry Departement Universitas Negeri Surabaya Universitas Negeri Surabaya Universitas Negeri Surabaya Surabaya, Indonesia Surabaya, Indonesia Surabaya, Indonesia [email protected] [email protected] [email protected] Abstract— Diversification of "Najwa" hijab staining has brand name "Najwa". In its development, this SMEs has been carried out using a tie-dye method based on natural dyes. sought to diversify its hijab products, one of which is by A number of natural dyes materials, which include turmeric, producing natural color hijab. However, due to the lack of cherry and mango leaves and brazilwood bark, have been knowledge and skills in natural staining, the color quality of optimized for use. To obtain a stable color quality, staining is "Najwa" hijab products is less stable and homogeneous and carried out preceded by the pre-treatment (washing and mordanting) and ending with fixation using alum, lime and has low fastness. In cases like this, it is important to iron (II) sulfate. The results of the staining show the standardize each stage in natural staining. appearance of reddish (blush) color on the combination of A number of Indonesian local commodities are reported cherry leaves-brazilwood bark, and brown (nutella) on the to have potential as natural dyes, not to mention the leaves brazilwood bark-turmeric. Meanwhile, the application of waste from plants such as cherry and mango. -
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. -
Red, Blue and Purple Dyes
Purple, Blue and Red Dyes We have discussed the vibrant colors of flowers, the somber colors of ants, the happy colors of leaves throughout their lifespan, the iridescent colors of butterflies, beetles and birds, the attractive and functional colors of human eyes, skin and hair, the warm colors of candlelight, the inherited colors of Mendel’s peas, the informative colors of stained chromosomes and stained germs, the luminescent colors of fireflies and dragonfish, and the abiotic colors of rainbows, the galaxies, the sun and the sky. The natural world is a wonderful world of color! The infinite number of colors in the solar spectrum was divided into seven colors by Isaac Newton—perhaps for theological reasons. While there is no scientific reason to divide the spectral colors into seven colors, there is a natural reason to divide the spectral colors into three primary colors. Thomas Young (1802), who was belittled as an “Anti-Newtonian” for speaking out about the wave nature of light, predicted that if the human eye had three photoreceptor pigments, we could perceive all the colors of the rainbow. He was right. 751 Thomas Young (1802) wrote “Since, for the reason assigned by NEWTON, it is probable that the motion of the retina is rather of a vibratory [longitudinal] than of an undulatory [transverse] nature, the frequency of the vibrations must be dependent on the constitution of this substance. Now, as it is almost impossible to conceive each sensitive point of the retina to contain an infinite number of particles, each capable of vibrating -
Tyrian Purple: Its Evolution and Reinterpretation As Social Status Symbol During the Roman Empire in the West
Tyrian Purple: Its Evolution and Reinterpretation as Social Status Symbol during the Roman Empire in the West Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Ann Olga Koloski-Ostrow and Andrew J. Koh, Advisors In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Mary Pons May 2016 Acknowledgments This paper truly would not have come to be without the inspiration provided by Professor Andrew Koh’s Art and Chemistry class. The curriculum for that class opened my mind to a new paradigmatic shift in my thinking, encouraging me to embrace the possibility of reinterpreting the archaeological record and the stories it contains through the lens of quantifiable scientific data. I know that I would never have had the courage to finish this project if it were not for the support of my advisor Professor Ann Olga Koloski-Ostrow, who never rejected my ideas as outlandish and stayed with me as I wrote and rewrote draft after draft to meet her high standards of editorial excellence. I also owe a debt of gratitude to my parents, Gary and Debbie Pons, who provided the emotional support I needed to get through my bouts of insecurity. When everything I seemed to put on the page never seemed good enough or clear enough to explain my thought process, they often reminded me to relax, sleep, walk away from it for a while, and try again another day.