(CI Acid Blue 25) Dyes I
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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. -
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). -
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. -
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. -
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. -
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. -
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). -
The Influence of Mordant on the Lightfastness of Yellow Natural Dyes
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications - Textiles, Merchandising Textiles, Merchandising and Fashion Design, and Fashion Design Department of January 1982 The Influence of Mordant on the Lightfastness of Yellow Natural Dyes Patricia Cox Crews University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/textiles_facpub Part of the Art and Design Commons Crews, Patricia Cox, "The Influence of Mordant on the Lightfastness of Yellow Natural Dyes" (1982). Faculty Publications - Textiles, Merchandising and Fashion Design. 7. https://digitalcommons.unl.edu/textiles_facpub/7 This Article is brought to you for free and open access by the Textiles, Merchandising and Fashion Design, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications - Textiles, Merchandising and Fashion Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE INFLUENCE OF MORDANT ON THE LIGHTFASTNESS OF YELLOW NATURAL DYES Patricia Cox Crews ABSTRACT—Wool specimens were premordanted with alum, chrome, copper, iron, or tin mordants and dyed with 18 yellow natural dyes. The dyed specimens were then exposed to a xenon‐arc lamp for 5, 10, 20, 40, and 80 AATCC Fading Units. The color changes were evaluated instrumentally with a color difference meter and visually by trained observers. Color differences in CIE L*a*b* units, gray scale classifications, and lightfastness ratings were reported. Turmeric, fustic, and marigold dyes faded significantly more than any of the other yellow dyes. However, dyes applied with tin and alum mordants faded significantly more than dyes mordanted with chrome, copper, or iron.