The Chemistry of Colorants Dyes & Pigments
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Boosting the Activity of Prussian-Blue Analogue As Efficient Electrocatalyst
www.nature.com/scientificreports OPEN Boosting the activity of Prussian- blue analogue as efcient electrocatalyst for water and urea oxidation Yongqiang Feng 1*, Xiao Wang1, Peipei Dong1, Jie Li2, Li Feng1, Jianfeng Huang1*, Liyun Cao1, Liangliang Feng1, Koji Kajiyoshi3 & Chunru Wang 2* The design and fabrication of intricate hollow architectures as cost-efective and dual-function electrocatalyst for water and urea electrolysis is of vital importance to the energy and environment issues. Herein, a facile solvothermal strategy for construction of Prussian-blue analogue (PBA) hollow cages with an open framework was developed. The as-obtained CoFe and NiFe hollow cages (CFHC and NFHC) can be directly utilized as electrocatalysts towards oxygen evolution reaction (OER) and urea oxidation reaction (UOR) with superior catalytic performance (lower electrolysis potential, faster reaction kinetics and long-term durability) compared to their parent solid precursors (CFC and NFC) and even the commercial noble metal-based catalyst. Impressively, to drive a current density of 10 mA cm−2 in alkaline solution, the CFHC catalyst required an overpotential of merely 330 mV, 21.99% lower than that of the solid CFC precursor (423 mV) at the same condition. Meanwhile, the NFHC catalyst could deliver a current density as high as 100 mA cm−2 for the urea oxidation electrolysis at a potential of only 1.40 V, 24.32% lower than that of the solid NFC precursor (1.85 V). This work provides a new platform to construct intricate hollow structures as promising nano-materials for the application in energy conversion and storage. Hydrogen energy has been considered as one of the most promising alternatives to traditional fossil fuels such as coal and oil which have inevitably involved in the tough environmental and unsustainable energetic issues1,2. -
Yinmn Blue Revolutionary Blue for Industrial and Artist Color Materials
YInMn Blue Revolutionary Blue for Industrial and Artist Color Materials In September 2017, The Shepherd Color Company The high temperature calcination production process makes announced the groundbreaking "YInMn Blue" technology for the Blue 10G513 highly inert. While it is highly IR refl ective, commercial sale for use in industrial coatings and plastics. it is extremely opaque in the visible and UV parts of the As of May 2020, YInMn has U.S. EPA TSCA approval. This solar spectrum. The inertness means that it can be used in means that YInMn blue is now fully approved for use in a wide range of coatings and plastics and have excellent industrial applications, including artist color materials. weathering properties. Commercially known as Blue 10G513, this pigment Blue 10G513 is ideal for: represents one example of Shepherd Color’s dedication • High-performance IR-refl ective building products to providing new and impactful pigment chemistries to the - Pre-painted metal coatings, plastics and other materials markets. YInMn Blue - Roofi ng granules 10G513 follows our one-of-a-kind NTP Yellow and RTZ - Polymeric roofi ng Orange, which together push the edge of the durable color - Roofi ng tiles envelope. • Anti-counterfeiting features • Glass enamels The new Blue is revolutionary because it is a new pigment - Spandrel and decorative chemistry that expands the range of colors available that • Artist color materials stay cooler when exposed to the sun, allowing building material manufacturers to meet regulatory requirements and building owners to potentially save energy. ABOUT THE SHEPHERD COLOR COMPANY Founded in 1981, The Shepherd Color Company produces a wide range of high-performance Complex Inorganic Color Pigments (CICPs) used in a variety of industries. -
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. -
Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once. -
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. -
ABSTRACT WANG, GUAN. Synthesis and Application of Bleach Activators
ABSTRACT WANG, GUAN. Synthesis and Application of Bleach Activators Containing Various Cationic Groups and PET Fabric Decolorization using Fenton’s Reagent. (Under the direction of Dr. David Hinks.) CBAs are quaternary ammonium salts (QAS) that are extensively used in various applications. Although most of the QAS are generally believed to be nontoxic to humans, they will harm aquatic life both animals and plants. CBAs are applied in textile bleaching process and the wastewater after bleaching contains chemicals including bleach activators. Even though wastewater contains CBAs will be treated in a wastewater treatment plant, the treated water still contain these chemicals. The study of acute toxicity and genotoxicity of CBAs to aquatic organisms was conducted in this study. Eight new bleach activators and two bench mark cationic bleach activators were investigated. New invented cationic bleach activator 3- PBBC is 86 times less toxic in the Daphnia sp. Immobilization Test, 18 times less toxic in Algae Toxicity assay and 10 times less mutagenic in the Salmonella/microsome microsuspension assay in comparison with the benchmark product (TBBC). This confirmed that replacing the cationic group in CBAs using low toxicity ammines can reduce the toxicity of CBAs to aquatic organisms. An effective low temperature and neutral pH bleaching system was developed using CBAs. A comparison life-cycle assessment for conventional and innovational bleaching system was conducted in this study. Their relative environmental performance was analyzed and compared. Based on data from industry, pre-published research, lab-scale experiments and the Ecoinvent database, the life-cycle-inventory (LCI) for both innovative and conventional bleaching process was developed. -
WCMT Report a Lucille Junkere
The Yorùbá Blues Lucille Junkere 2016 TABLE OF CONTENTS Acknowledgments 1 Introduction 2 UK Collections 3 Lagos 5 Abẹòḱ uta 9 Ìbàdàn 14 Dyeing 15 Osogbo 17 Recommendations 19 References 20 Picture Credits 23 Glossary 25 Acknowledgments The Winston Churchill Memorial Trust and the Heritage Crafts Association for the wonderful opportunity to travel to Nigeria to study Yorùbá indigenous àdìrẹ making. Nigeria Chief (Mrs) Nike and her husband Reuban Okundaye for their generous support and encouragement and staff from Nike Art Gallery and Foundation in Lagos. Professor Olusẹgun Okẹ, Doig Simmonds (UK) and Pat Oyelọla editors of Adire Cloth in Nigeria Àdire makers and dyers including Gàníyù Kàrímù , Baba Salieu, Jumoke Maryam Akinyemi, and Baba alaro from Àdùnní Art, Olalekan Adegun Adesoye and apprentice from Ade Omo Ade Art Gallery and staff, teachers and students from the Nike Center for Art and Culture, Òṣogbo Mayowa Kila for Yorùbá translation Curator Ige Akintunde Olatunji and colleagues from the National Museum of Abeokuta Professors Oladele O. Layiwola and Ohioma Ifounu Pogoson and Oluwatoyin A. Odeku from the Institute of African Studies My wonderful Lagos hosts Baba Winfield, Chef Craig and Ms Carmen. UK Yorùbá language classes Ṣola Otiti Staff and curators of the UK Museum African collections for supporting my research visits. The British Museum, The Horniman Museum, The Economic Botany Collection at Kew Gardens, The Pitt Rivers Museum, The Royal Albert Memorial Museum, The Victoria and Albert Museum Duncan Clarke from Adire African Textiles 1 Introduction Before the development of synthetic dyes in The literal translation of the word àdìrẹ is the mid-nineteenth century, dyes were to tie and to dye, a description of the extracted from natural sources such as original and oldest resist pattern making plants, animals and minerals (Areo and technique. -
Liquid Vs Pellet Color Is a Critical Feature in Consumer Packaging That Enables Brands to Create Differentiation and Recognizable Identity on Shelf
Plastic Colorant Options 101: Liquid vs Pellet Color is a critical feature in consumer packaging that enables brands to create differentiation and recognizable identity on shelf. Major brands and their packaging supply partners are rethinking their colorant strategy. How do you find the right value-added color supplier? Most color suppliers have a fixed portfolio of either liquid colorants or traditional pellet colorants, thereby leaving processors confused about choosing the best colorant technology to accomplish their goals. Both technologies have advantages and disadvantages. Below, is a quick overview of both liquid and traditional pellet options followed by two case studies in which color- processing challenges were overcome using a new pelletized color technology solution. Liquid vs. Pellet: Liquid Colorant for manufacturing plastic products: Ad vantages: Challenges: - Effective at extremely low use rates - Specialized pumps are required - Suited for tints - Several pigment and additive limitations. - Good color distribution - Production interruptions caused by container - Less history than pellet concentrates changeover - Coloring cost can be lower than - Screw slippage at high use rates conventional pellet - Limited application with engineered polymers - Not suitable for extrusion blow molding of HDPE bottles - Increased housekeeping issues related to spill cleanup and storage of dedicated hoses - Limited shelf life due to product separation that ends up increasing costs and wasted color - Issues with sustainability due to wasted/residual -
A New Evaluation of the Colors of the Sky for Artists and Designers
Sky Blue, But What Blue? A New Evaluation of the Colors of the Sky for Artists and Designers Ken Smith* Faculty of Art and Design, Monash University, Melbourne, Victoria, Australia Received 28 April 2006; accepted 21 June 2006 Abstract: This study describes a process of relating the solid that is capable of representing most of the colors of perceptual analysis of the colors of the terrestrial atmos- the sky using four of these pigments is proposed. phere to currently available pigments used in artists’ painting systems. This process sought to discover how the colors of the sky could be defined and simulated by these AN EMPIRICAL METHOD FOR ANALYZING pigments. The author also describes how confusion over SKY COLOR the bewildering choice of suitable pigments on offer in the market place can be clarified. Ó 2006 Wiley Periodicals, Science can explain why the earth’s atmosphere appears Inc. Col Res Appl, 32, 249 – 255, 2007; Published online in Wiley Inter- blue, the preferential scattering by air molecules of short 2 Science (www.interscience.wiley.com). DOI 10.1002/col.20291 wavelength light photons emitted from the sun. For artists the consequential questions are often more likely to Key words: art; design; sky color; perceived color; envi- be not why, but rather what; what are the blue colors that ronment; pigments; painting systems are perceived in the sky? These were the fundamental questions that lead to a reappraisal of how the colors of the sky can be represented by the pigments used in con- INTRODUCTION temporary painting systems. Before attempting to answer this question, a number of parameters had to be created. -
Materials Restricted for Use Revision: A15-00 ______
Dell Specification Document Number: 6T198 Title: Materials Restricted for Use Revision: A15-00 ___________________________________________________________________________________________ DELL CONTROLLED PRINT Materials Restricted for Use Document Number: 6T198 Revision: A15-00 Author: Albert Tsang Owner: Albert Tsang Approval Approval Authorities Signatures Revision Approval Date Scott O’Connell Scott O’Connell A15-00 08/19/2013 PROPRIETARY NOTE This item is the property of Dell Inc., Austin, Texas and contains confidential and trade secret information. This item may not be transferred from the custody of Dell Inc., except as authorized by Dell Inc. and then only by way of loan for limited purposes. It must not be reproduced in whole or in part and must be returned to Dell Inc. upon request and in all events upon completion of the purpose of the loan. Neither this item nor the information it contains may be used by or disclosed to persons not having a need for such use or disclosure consistent with the purpose to the loan without prior written consent of Dell Inc. Dell Specification Document Number: 6T198 Title: Materials Restricted for Use Revision: A15-00 ___________________________________________________________________________________________ Table of Contents 1. REVISION HISTORY ......................................................................................................................................... 3 2. INTRODUCTION ................................................................................................................................................ -
Laboratory Guide Industrial Chemistry
LA BO R A T O R Y G U I D E IN DU ST R IA L C H EMIST RY BY R ALLEN ROGE S, PH . D. I STR CTOR IN INDUSTRIAL CHEH ISTRY PRATT INSTITU TE OOKL N U , , B R YN ; I EHB EE AKERICAN CHEMICAL SOCIETY; SOCIETY OF CH MCAL INDUSTRY; AHE RICAN LEATH ER CHEMI STS ASSOCIATION N E W Y O R K D N O T R N D C MP N Y . V A N S A O A E ' 23 MURRAY AND 1 908 27 WA RR N Srs . o ri ht 1 08 C py g , 9 D AN N TRAND MP Y BY . V OS CO AN The filimflon Pre ss N w ood Mass . FACT S WHICH SHOULD BE REMEMBERED l Do r igh t and you will be succe ssfu . k wh i h i for u n d do i with smil c o . Do th e tas s se t be e y , a t a e im r r Do not be a t e se ve . ’ Do not use your ne igh bor s standa rd solution for accurate de te r i m nations . D n rr w r o ot bo o appa atus . Ke e our de sk and a aratus cle an if ou h o e to obta in satis p y pp , y p r facto y re sults . Alwa h ow l d n e in o r de sk and use th e m wh e n ys ave a t e an spo g y u , r h d you le a ve fo t e ay . -
The Color and Electronic Configurations of Prussian Blue
Created by Erica Gunn at Simmons College ([email protected]) and posted on VIPEr (www.ionicviper.org ) on 1/5/15. Copyright Erica Gunn 2015. This work is licensed under the Creative Commons Attribution Non-commercial Share Alike License. To view a copy of this license visit http://creativecommons.org/about/license/ . The Color and Electronic Configurations of Prussian Blue Read the paper cited below and answer the discussion questions before class on _______ . Robin, M.L. The Color and Electronic Configurations of Prussian Blue. Inorganic Chemistry, 1, 1962, pp 337-342. DOI: 10.1021/ic50002a028 Discussion Questions: II III III 1. The authors mention that Prussian Blue, [K,Fe ,Fe ](CN) 6, can be synthesized from either Fe (ClO 4)3 II II III and K 4Fe (CN) 6 or from Fe (ClO 4)2 and K 3Fe (CN) 6. They also report the results of base hydrolysis of Prussian Blue. What do these two experiments tell us about the structure of the pigment, and why is this significant? 2. Draw the crystal field splitting diagram for high and low spin versions of Fe II and Fe III ions that have an octahedral coordination geometry. The paper states that there are two types of iron ion in the crystal structure of Prussian Blue. What is the difference between them? Which do you expect to have the larger ∆oct , based on what you know about the spectrochemical series? 3. How do the authors use the distinction between allowed and forbidden transitions to confirm the identity of Prussian Blue as ferric ferrocyanide? 4.