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Improving the Fastness Properties of Cotton Fabric Through the Implementation of Different Mordanting Agents Dyed with Natural Dye Extracted from Marigold
American Journal of Polymer Science and Engineering Islam M, American Journal of Polymer Sciencehttp://www.ivyunion.org/index.php/ajpse/ and Engineering 2016, 4:8-16 Page 1 of 17 Research Article Improving the Fastness Properties of Cotton Fabric through the Implementation of Different Mordanting Agents Dyed with Natural Dye Extracted from Marigold Mazharul Islam1, K. M. Faridul Hasan1*, Hridam Deb1, Md Faisal Ashik2, Weilin Xu1 1 School of Textile Science and Engineering, Wuhan Textile University, Wuhan, China 2 School Chemistry and Chemical Engineering, Wuhan Textile University, Wuhan, China Abstract Extraction of natural dyes for the coloration of Textile substrate is one the most important research area to the researchers. It is tried to extract the natural dyes from marigold flower through using the different kinds of mordanting agents. In this research, a particular source is used for dyes extraction. Before the extraction Patel of the marigold flower was extracted and dried on sunlight, subsequently dried in room temperature due to preserve the natural colorant. The natural dyes were extracted by boiling the above substrates in water without any chemicals. As mordant, Potash Alum [K2Al2(SO4)3.24H2O], Ferrous Sulphate(FeSO4),Copper Sulphate (CuSO4),Nickel (II) Sulphate (NiSO4),Potassium Dichromate (K2Cr2O7),Stannous Chloride(SnCl2) were used. The mordanting procedures were followed same for all the experiments. The treatment runtime was 60 minute at 100oC. After mordanting each sample fabric was kept for 24 hours for conditioning and then the dyeing was done. But as there is no particular dyeing method for natural dyeing so it is followed some trial and some convenient methods were made after trial for several times. -
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. -
Thread of Life Japanese Textiles
Thread of Life Japanese Textiles Saturday 26 June - Sunday 3 October 2021 Thread of Life Japanese Textiles The Japanese word boroboro (abbreviated to boro) can be translated to rags, but there is a deeper meaning and history hidden within the threads and stitches of these patched textiles. Characterised by meticulous stitching, hues of indigo, and many-layered patchwork, boro originated as a thrifty utilitarian technique since before the 19th century but is now considered a highly prized form of unintentional abstract textile art. Collector Leanne O’Sullivan first encountered the intriguing indigo patchwork while living in Japan in the 1980s. O’Sullivan’s collection has been gathered on return trips to Japan over the past 25 years, from the snow country of Nagano in the north, around the mountains of Fuji to the seas of Japan, with some pieces dating back to the Meiji era (1868-1912). “Whilst living in Japan I was constantly inspired by the extreme contrasts around me – everywhere I looked there seemed to be a mix of the traditional and contemporary co-existing beautifully.” Leanne O’Sullivan lives and works in Melbourne, Australia, where she designs fashion accessories and craft kits, and teaches workshops in traditional Japanese crafts and culture. Cover image: Unknown Maker, Japanese, Futon Panel (detail) late 19th century, cotton, indigo dye, handwoven kasuri (ikat), handstitched, pieced and patched, 65 x 160cm © Leanne O’Sullivan Unknown Maker, Japanese, Panel (detail) early 20th century, cotton, indigo dye, handwoven kasuri (ikat), katazome (resist stencil dyed), handstitched, pieced and patched, 30 x 183cm © Leanne O’Sullivan In response to these textile pieces, this exhibition includes a small selection of objects from the TAMA Collection, originating from The Art of the Japanese Package, an exhibition curated by Hideyuki Oka that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. -
Design by the Yard; Textile Printing from 800 to 1956
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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. -
Modh-Textiles-Scotland-Issue-4.Pdf
A TEXTILES SCOTLAND PUBLICATION JANUARY 2013 AN ENCHANTING ESCAPE IN SCOTLAND FABULOUS FABRIC AND DETAILED DESIGN FASHION FOUNDRY NURTURING SCOTTISH TALENT contents Editor’s Note Setting the Scene 3 Welcome from Stewart Roxburgh 21 Make a statement in any room with inspired wallpaper Ten Must-Haves for this Season An Enchanting Escape 4 Some of the cutest products on offer this season 23 A fashionable stay in Scotland Fabulous Fabric Fashion Foundry 6 Uncovering the wealth of quality fabric in Scotland 32 Inspirational hub for a new generation Fashion with Passion Devil is in the Detail 12 Guest contributor Eric Musgrave shares his 38 Dedicated craftsmanship from start to fi nish thoughts on Scottish textiles Our World of Interiors Find us 18 Guest contributor Ronda Carman on why Scotland 44 Why not get in touch – you know you want to! has the interiors market fi rmly sewn up FRONT COVER Helena wears: Jacquard Woven Plaid with Herringbone 100% Merino Wool Fabric in Hair by Calzeat; Poppy Soft Cupsilk Bra by Iona Crawford and contributors Lucynda Lace in Ivory by MYB Textiles. Thanks to: Our fi rst ever guest contributors – Eric Musgrave and Ronda Carman. Read Eric’s thoughts on the Scottish textiles industry on page 12 and Ronda’s insights on Scottish interiors on page 18. And our main photoshoot team – photographer Anna Isola Crolla and assistant Solen; creative director/stylist Chris Hunt and assistant Emma Jackson; hair-stylist Gary Lees using tecni.art by L’Oreal Professionnel and the ‘O’ and irons by Cloud Nine, and make-up artist Ana Cruzalegui using WE ARE FAUX and Nars products. -
Design of Autonomous Coupling Mechanism for Modular Reconfigurable Lunar Rovers
Dartmouth College Dartmouth Digital Commons ENGS 88 Honors Thesis (AB Students) Other Engineering Materials Spring 6-6-2021 Design of Autonomous Coupling Mechanism for Modular Reconfigurable Lunar Rovers Christopher Lyke [email protected] Follow this and additional works at: https://digitalcommons.dartmouth.edu/engs88 Part of the Engineering Commons Dartmouth Digital Commons Citation Lyke, Christopher, "Design of Autonomous Coupling Mechanism for Modular Reconfigurable Lunar Rovers" (2021). ENGS 88 Honors Thesis (AB Students). 30. https://digitalcommons.dartmouth.edu/engs88/30 This Thesis (Senior Honors) is brought to you for free and open access by the Other Engineering Materials at Dartmouth Digital Commons. It has been accepted for inclusion in ENGS 88 Honors Thesis (AB Students) by an authorized administrator of Dartmouth Digital Commons. For more information, please contact [email protected]. DESIGN OF AUTONOMOUS COUPLING MECHANISM FOR MODULAR RECONFIGURABLE LUNAR ROVERS by CHRIS LYKE Bachelor of Arts Honors Thesis Thayer School of Engineering Dartmouth College Hanover, New Hampshire Date: __________________________ Approved:______________________ Advisor’s Signature ______________________________ Author’s Signature Abstract Modular reconfigurable robotics consist of modules that can join together to form larger entities capable of changing their morphologies for improved versatility, robustness, and cost. Coupling mechanisms play a key role in these systems, as they are the component connecting the modules and enabling the robot to change shape. Coupling mechanisms also define the structure, rigidity, and function of modular systems. This paper details the development of the autonomous coupling mechanism for SHREWs, a modular reconfigurable system of rovers designed to explore the permanently shadowed regions of the Moon. -
Making Basic Period Pigments at Home
Making Basic Period Pigments at Home KWHSS – July 2019 Barony of Coeur d’Ennui Kingdom of Calontir Mistress Aidan Cocrinn, O.L., Barony of Forgotten Sea, Kingdom of Calontir Mka Holly Cochran [email protected] Contents Introduction .................................................................................................................................................. 3 Safety Rules: .................................................................................................................................................. 4 Basic References ........................................................................................................................................... 5 Other important references:..................................................................................................................... 6 Blacks ............................................................................................................................................................ 8 Lamp black ................................................................................................................................................ 8 Vine black .................................................................................................................................................. 9 Bone Black ................................................................................................................................................. 9 Whites ........................................................................................................................................................ -
Technical Memorandum
NASA Technical Memorandum NASA TM-82563 3EVELOPMEYT OF AN IMPROVED PROTECTIVE COVERILIGHT BLOCK FOR MULTlLAYEFi INSULATION By L. M. Thompson, Dr. J. M. S;uikey, Don Wilkes? 2nd Dr. Randy Humphries Materials arid Processes Laboratory October 1983 (YASA-TM-02503) DEYELOPHiiL? OF AN IYPBCVEI) B84- 15269 PROTECTIVE CQVEh/LIGHI BLCCK EGP MULTILAYEfi i&SiJLAl!IUAl (bASA) LO p HC A02/nP A01 CSCL 11E Unc~as Gr)/L7 1803b National keronauflcs and .Space Admr i;!rat $?r8 George C. Marshall Space Flight Center AISFC - Form 3190 (Rev. Msv 1983) TECdNICAL REPORT STANDARD TITLE PAGE 1. REPORT NO. 12. GOVERNmNT ACCESSION NO. 13. RECIPIENT'S CATALOG NO. NASA TM-825b3 I 4. TITLE AND SUBTITLE 5. REPORT DATE Development of an Inlproved hatective Cover/Llght October 1983 Block for Multdayer Insulation 6. PERFORMING 0RGANIZATIZ)N ClOE 7. AUTHm(S) L. M. Thompson, Dr. J. M. Stuckey, Don Wilkcs and 8. PERFORMING ORGANIZATION REPORT U Dr,dv Hunlphries -- 9. PERFORMING ORGANIZATION NAME AND ADDRESS 10. WORK UNIT NO. I George C. Marshall Space Flight Center 1 1. CONTRACT OR GRANT NO. Marshall Space Flight Center, Alabama 358 12 13. TYPE OF REPOR; % PERIOD COVERED 12 SPONSORING AGENCY NAME AND ADORESS I Technical Memorandum National Aeronautics and Space Administration I Washington, D.C. 20546 1.1. SPONSORING AGENCY CODE I -l 15. SUPPLEMENTARY NOTES 1I 1 Prepared by Materials and Processes Laboratory. Science md Engineering This task was directed toward demonstrating the feasibilit~.of using a scrim-reinforced. single metallized. 4mil Tedlar film as a replacement for the Teflon coated Beta-c!oth/single metallized 3-mil Kapton film prexntly used as the protective coverllight block for multilayer insulation (MLI) on the Orbiter, Spacelab, and other space applications. -
A Comparison of the Patterns Formed by Primary Textile Structures and Their Photographic Abstraction
Rochester Institute of Technology RIT Scholar Works Theses 9-22-1976 A comparison of the patterns formed by primary textile structures and their photographic abstraction Pamela Perlman Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Perlman, Pamela, "A comparison of the patterns formed by primary textile structures and their photographic abstraction" (1976). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Thesis Proposal for the Master of Fine Arts De gree Collee;e of Fine and Applj_ed .Arts Rochester Institute of Technology Title: A Comparison of the Fatterns Formed by Primary Textile structures and their Phot ographic Abstraction Submitted by: Pamela Anne Perlman Date: September 22, 1976 Thesis Co mm it te~: Nr . Donald Du jnowski I-Ir. I,l az Lenderman hr. Ed 1iiller Depart~ental Approval : Date :-:--g---li6~-r-71-b-r-/ ----- ---------~~~~~'~~~r------------------------- Chairman of the School for American Craftsme:l: ___-r-----,,~---- ____ Da t e : ---.:...,'?7~JtJ--J7~i,-=-~ ___ _ Chairr.ian of the Gr3.duate Prog:rarn: ------------------------~/~~/~. --- Date: ___________________~ /~~,~~;j~~, (~/_' ~i~/~: 7 / Final Committee Decision: Date: ----------------------- Thesis Proposal for the Master of Fine Arts Degree College of Fine and Applied Arts Rochester Institute of Technology Title: A Comparison of the Patterns Frmed by Primary Textile Structures and their Photographic Abstraction My concern in textiles is with structure and materials. I v/ould like to do v/all hangings based on primary textile structures such as knotting, looping, pile, balanced weaves, and tapestry. -
Paper 2: the Woollen Cloth Industry in the Lim Valley © Richard Bull & Lyme Regis Museum Revised with Extra Images July 2015
Industrial Lyme - Paper 2: The Woollen Cloth Industry in the Lim Valley © Richard Bull & Lyme Regis Museum Revised with extra images July 2015 Like all research, this is on-going. If you know more, or are descended from any of the families involved, please get in touch with the author via Lyme Regis Museum. Summary Woollen cloth has been made in the Lim Valley from at least medieval times, but this paper is more about the factories in Lyme Regis and Uplyme that made high-quality West of England coat cloths. The factories in Lyme were bankrupt in 1847, leaving the Uplyme factory to soldier on against Yorkshire competition until it was destroyed by fire in 1866, whilst being modernised. In Lyme the factories were started up again in the 1850s to make silk thread and hemp twine, but only for a short period; these are the subjects of other papers in this series. This paper contains: the background to the trade, the history of the factories and a walking trail to see the mills. Cloth making – the essential process in a nutshell Sheep fleeces are packed on the farm into big canvas bags called woolsacks. At the factory the fleeces are scoured (washed) to remove lanolin (wool- grease), dirt and adhering vegetable material. Then the fleeces are scribbled (torn up into pieces), combed and carded to produce rovings, long strips of wool ready for spinning. Washed and combed fleece being fed into a carding machine at Coldharbour Mill, Uffculme, Devon Industrial Lyme Paper 2 – The Woollen Cloth Industry © R Bull & Lyme Regis Museum 1 Spinning means to draw out and twist - and by this process the scales of the individual wool fibres lock together to produce a thread known as a single. -
The Serpentine Essence of a Chancay Gauze Headdress
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 The Serpentine Essence of a Chancay Gauze Headdress Jessica Gerschultz Emory University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Gerschultz, Jessica, "The Serpentine Essence of a Chancay Gauze Headdress" (2008). Textile Society of America Symposium Proceedings. 94. https://digitalcommons.unl.edu/tsaconf/94 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Serpentine Essence of a Chancay Gauze Headdress Jessica Gerschultz [email protected] A small but fascinating Chancay gauze fragment in the collection of the Michael C. Carlos Museum stands out as an exemplary object that embodies the symbolic associations and aesthetic principles of the Peruvian coastline during the Late Intermediate Period (Fig. 1).1 Its weave structure, production process, iconography, and polychromy unite in reinforcing the protective and regenerative purposes of the original headdress. Consisting of variably spun threads knotted together, its unique discontinuous warp relates to its function in funerary and ceremonial contexts. Significantly, its weaver pushed beyond technical limitations to bring together the laborious techniques of gauze weaving and discontinuous warping in a single textile.2 The result of this ingenious yet unpublished technical combination was a “jumping” serpentine figure on an indigo background.