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
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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. -
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. -
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. -
The Alaknanda Basin (Uttarakhand Himalaya): a Study on Enhancing and Diversifying Livelihood Options in an Ecologically Fragile Mountain Terrain”
Enhancing and Diversifying Livelihood Options ICSSR PDF A Final Report On “The Alaknanda Basin (Uttarakhand Himalaya): A Study on Enhancing and Diversifying Livelihood Options in an Ecologically Fragile Mountain Terrain” Under the Scheme of General Fellowship Submitted to Indian Council of Social Science Research Aruna Asaf Ali Marg JNU Institutional Area New Delhi By Vishwambhar Prasad Sati, Ph. D. General Fellow, ICSSR, New Delhi Department of Geography HNB Garhwal University Srinagar Garhwal, Uttarakhand E-mail: [email protected] Vishwambhar Prasad Sati 1 Enhancing and Diversifying Livelihood Options ICSSR PDF ABBREVIATIONS • AEZ- Agri Export Zones • APEDA- Agriculture and Processed food products Development Authority • ARB- Alaknanda River Basin • BDF- Bhararisen Dairy Farm • CDPCUL- Chamoli District Dairy Production Cooperative Union Limited • FAO- Food and Agricultural Organization • FDA- Forest Development Agency • GBPIHED- Govind Ballabh Pant Institute of Himalayan Environment and Development • H and MP- Herbs and Medicinal Plants • HAPPRC- High Altitude Plant Physiology Center • HDR- Human Development Report • HDRI- Herbal Research and Development Institute • HMS- Himalayan Mountain System • ICAR- Indian Council of Agricultural Research • ICIMOD- International Center of Integrated Mountain and Development • ICSSR- Indian Council of Social Science Research LSI- Livelihood Sustainability Index • IDD- Iodine Deficiency Disorder • IMDP- Intensive Mini Dairy Project • JMS- Journal of Mountain Science • MPCA- Medicinal Plant -
Details of Agreement's Executed in Form – III Sl. No Appl. No. Applicant
Details of Agreement’s Executed in Form – III Sl. Appl. Applicant Name & Contact For Name of the Project / Bioresources Agreement Patent No No. Details m Invention signed on No 1 100 M/s. Scitech Centre, III Invention relates to 1.Glycyrrhiza glabra 12.06.2007 7, Prabhat Nagar, composition and a process 2.Asparagus officinalis Jogeshwari (West), for preparation of a 3.Angelice officinalis Mumbai – 400 012, composition for 4.pimpinella anisum Maharashtra, manufacturing textured 5.Azdiracta indica 6.Acacia India. soluble container using catechu 7.Acorus calamus herbal texturing agent 8.Andrographis paniculata 9.Berberis asiatica 10.Bergenia cordifolia 11.Boerhaavia diffusa 12.Curcuma longa 13.Cuminum cyminum 14.Cinnamomum zilanicum 15.Coriandrum sativum 16.Centella asiatica 17. Clerodendrum paniculatum 18. Dioscorea bulbifera 19.Echinecea purpurea 20.Eclipta alba 21.Foeniculum vulgare 22.Gingiber officinale 23.Gymnema salvastre 24.hemidesmus indicus 25.Hydrastis urge or 26.Nardostachy jatamansi 27.Pueraria tuberose 28.Phyllanthus amarus 29.Picorrhiza kurroa 30.Pluchea lanceolata 31.Ricinus communis 32.Rauvolfia indica 33.Rubia cordifolia 34.Sida cordifolia 35.Saraca asoca 36.Saussurea lappa 37.Terminalia chebula 38.Tinospora cordifolia 39.Tylophora indica 40.Valeriana officinalis 41.Withiana somnifera 2 79 M/s. Vasundhara, III Water detoxication by Coconut Coir 21.06.2007 15, Saheed Nagar, using coconut coir Bhubaneswar – 751 007, Orissa, India. 3 80 M/s. Vasundhara, III Water detoxication by Bacha (Acorus calamus) 21.06.2007 15, Saheed Nagar, using bacha (Acorus rhizomes Bhubaneswar – 751 007, calamus) rhizomes extract Orissa, India. 4 81 M/s. Vasundhara, III Water detoxication by Jamun seed (Syzygium cumini 21.06.2007 15, Saheed Nagar, using Syzygium cumini (L.) Skeels) Bhubaneswar – 751 007, seed extract. -
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. -
Bulls-Eye® Sealcoat™ Universal Sanding Sealer
TECHNICAL DATA BEY-07 BULLS-EYE® SEALCOAT™ UNIVERSAL SANDING SEALER .DESCRIPTION AND USES . PRODUCT APPLICATION (cont.) . Zinsser ® Bulls-Eye® SealCoat Universal Sanding Sealer is WARNING! If you scrape, sand or remove old paint, you a 100% de-waxed shellac-based sanding sealer designed may release lead dust. LEAD IS TOXIC. EXPOSURE TO for use as an undercoat to prepare new or previously LEAD DUST CAN CAUSE SERIOUS ILLNESS, SUCH AS finished interior wood surfaces or as a pre-stain sealer and BRAIN DAMAGE, ESPECIALLY IN CHILDREN. wood conditioner. The absence of any wax in SealCoat PREGNANT WOMEN SHOULD ALSO AVOID makes it compatible with all clear finish topcoats including EXPOSURE. Wear a NIOSH-Approved respirator to oil-based polyurethanes. control lead exposure. Clean up carefully with a HEPA vacuum and a wet mop. Before you start, find out how to It is recommended for doors, trim, baseboards, paneling, protect yourself and your family by contacting the National wainscoting, cabinets, shelves, furniture, interior shutters, Lead Information Hotline at 1-800-424-LEAD or log on to floors, stairs and spindles. It may also be used to seal www.epa.gov/lead. wood turnings, figurines, wicker, plaster and other hobby or craft items. It is not recommended for use as a sealer APPLICATION on exterior surfaces. Apply only when air, material, and surface temperatures MPI #88 Certified* are between 50-90ºF (10-32ºC) and the relative humidity is below 85%. Do not thin this product when using as a PERFORMANCE CHARACTERISTICS . sealer or bond/barrier coat. Apply evenly and consistently Compatible with all clear finishes, including oil-based and allow to dry 45 minutes before sanding with #120 or and water-based polyurethane, lacquer and shellac finer grit sandpaper. -
Textile Printing
TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik. -
Chemical Groups and Botanical Distribution
International Journal of Pharmacy and Pharmaceutical Sciences ISSN- 0975-1491 Vol 8, Issue 10, 2016 Review Article REVIEW: FROM SCREENING TO APPLICATION OF MOROCCAN DYEING PLANTS: CHEMICAL GROUPS AND BOTANICAL DISTRIBUTION IMANE ALOUANI, MOHAMMED OULAD BOUYAHYA IDRISSI, MUSTAPHA DRAOUI, MUSTAPHA BOUATIA Laboratory of Analytical Chemestry, Faculty of Medicine and Pharmacy, Mohammed V University in Rabat Email: [email protected] Received: 19 May 2016 Revised and Accepted: 12 Aug 2016 ABSTRACT Many dyes are contained in plants and are used for coloring a medium. They are characterized by their content of dyes molecules. They stimulate interest because they are part of a sustainable development approach. There are several chemicals families of plant dye which are contained in more than 450 plants known around the world. In this article, a study based on literature allowed us to realize an inventory of the main dyes plants potentially present in Morocco. A list of 117 plants was established specifying their botanical families, chemical Composition, Colors and parts of the plant used. Keywords: Natural dye, Morocco, Chemical structures, Plant pigments, Extraction © 2016 The Authors. Published by Innovare Academic Sciences Pvt Ltd. This is an open access article under the CC BY license (http://creativecommons. org/licenses/by/4. 0/) DOI: http://dx.doi.org/10.22159/ijpps.2016v8i10.12960 INTRODUCTION [5]. They are also biodegradable and compatible with the environment [12]. Several hundred species of plants are used around the world, sometimes for thousands of years for their ability to stain a medium In this article, we process methods of extraction and analysis, or material[1]. -
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. -
DN Product Instructions
discovery naturals™ READ CAREFULLY BEFORE USE Our products work on ALL HAIR TYPES (African, Asian, Caucasian, Indian, and Latino, chemically colored, bleached, straightened or damaged hair). Hair colors are permanent and normally last 4 - 8 weeks. Our products cannot lighten dark hair. Use as often as desired because the more you use them, the better your results. Below are detailed directions, but you may need to alter the process a bit to achieve your ideal results. Once you find your perfect application technique it will work every time. Remember, your hair, scalp, skin, and health are worth it, plus you'll look great naturally! Sensitivity Test: Sensitivity to our natural plant products is extremely rare. First time users of hair or tattoo products should perform a skin sensitivity test before full application. If any sensitivity occurs it is due to a reaction to one of the natural plants in our formula, or your skin has not healed completely from prior chemical product usage and you’ll need to wait until your skin is fully healed before retrying. Our products DO NOT contain PPD (Para-Phenylenediamine), Amonia, Peroxide, Bleach, Lye, or other nasty chemicals found in traditional hair colors. To perform a sensitivity test, mix a ¼ teaspoon of powder with a few drops of water to form a thick paste. Apply dime sized amount of paste to the inside of the wrist and/or near the hairline. Wrap with plastic wrap to keep moist for 1.5 – 3 hours. Rinse paste off with water. After 24 hours evaluate for sensitivity or redness. -
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.