Vaasa 63, 12.6.1909
Etelä-Pohjanmaan Kotiteollisuusyhdistys on Suomen Käsityönystäwien awustuksella toimeenpannut wikkoa kestäwän kotiwärjäyskurssin Seinäjoella, käyttäen wäriaineina pääasiassa meidän metsissämme kaswawia kasweja. Osanottajina on ollut Seinäjoelta, Ilmajoelta ja Nurmosta yhteensä 26 tytärtä ja emäntää, joista 20 oli kurssissa koko ajan. Opettajattarina owat olleet rouwa A. Hellén ja neiti Wäistö.
Wiime lauantai-illaksi oli kurssin osanottajat kutsuneet opettajansa ja muitakin paikkakunnan asianharrastajia henkilöitä illanwiettoon kunnallistalolle, mikä tällä kertaa oli aistikkaasti kasweilla y. m. koristettu. Aluksi saatiin kuulla mandoliinin, wiulun ja kitaran yhteissoittoa. Sitten kurssilaisista neiti G. Sallmén, walituin sanoin puhui kurssin opettajille, selittäen samalla, mitä wiiden padan ääressä 2 wiikon aikana uutteruudella ja hywällä johdolla on aikaan saatu. Esityksestä jo asiaan perehtymätönkin huomasi, ettei puheena olewa kurssi niinkään wähäpätönen ole ollut, kun ehkä jotkut owat luulleet. Uusia — eli sopisi sanoa wanhoja jo menneitten sukupolwien osaksi käyttämiä wäriaineita ja wärjäystapaa tarkemmin selwittämään oli asetettu näyttämöltä esitetty kuwa-arwotus. Jokaisella arwotuksessa olewalla tytöllä oli runsas walikoima kurssissa wärjättyjä lankoja ja kullakin lisäksi eri wäriaineita. Wuoron jälkeen sitten kerrottiin kädessä olewasta wäriaineesta ja sen käyttämisestä. Erityisemmin painostettiin sitä tawua sanassa, joka oli osana kuwa-arwotusta muodostawasta lauseesta. Wieraat saiwat sitten muodostaa lauseen ja tulihan wihdoin selwille että "kotiwärit kaunihimmat". Niin ja todellakin — kauniita oliwat kurssissa wärjätyt langat. Näin pääasiassa kaswiwäreillä toimitettu wärjäys pitäisi oleman niin kestäwää, ettei sitä aurinko eikä muu haalistuta. Ei näkynyt kenenkään kurssilaisen käsissä wärjärin merkkiä. Nähtäwänä oli lankoja 39 eri wärjäyksestä, jotka oli ehditty toimittaa. Suullisten ja kirjallisten neuwojen kautta woiwat "ulosoppineet" nyt walmistaa kaikkiaan 253 wärisekotusta ja niillä wärjätä. Neuwoista tulee karwalangan osalle 35 sekotusta, willalangan 121 ja pumpulilangan osalle 58 sekotusta. Monet kurssin käyneistä aikowat tästä lähtien kotona wärjätä ne langat, joista sitten kankaita walmistetaan. Ehkäpä jollakin on jo wäriaineiksi koottuna lepänkuoria, mäkikanerwia ja koiwunlehtiä y.m. Lopuksi neiti Wäistö lyhyessä puheessaan terotti mieliin kuwa-arwotuksessa esilletullutta lausetta. Loppuosa illasta kului soittoa kuullessa, wirwokkeita nauttiessa, laulellessa ja leikkiessä.
Coloriasto on väriaiheisten tekstien (ja kuvien) verkkoarkisto
(Archive for colour themed articles and images)
INDEX: coloriasto.net
Recent Foreign Inventions. Concentrating the Coloring Matter of Fresh or Spent Madder.
Scientific American 26, 8.3.1856
E. J. Hughes, of Manchester, patentee.
This inventor takes a fibrous or porous substance, such as cotton, wool, or sponge, and steeps it in a mordant calculated to combine with the coloring madder, &c.- When the material is thoroughly saturated, he subjects it to the action of the necessary processes to remove the acid and thoroughly precipitate the mordant on the material, as is usually done in calico printing. He then puts the material thus prepared into water with the madder or any preparations thereof. he heats the water, and leaves it a sufficient time to allow all the coloring matter to combine with the mordant fixed on the material, after which he exposes the material to the action of a strong acid, such as sulphuric, muriatic, &c., either slightly or much diluted, for a sufficient length of time to dissolve or decompose the mordant, and carbonize or dissolve the fibroud or porous material. When this is accomplished he puts it on a filter and washes and neutralizes it until the acid is removed. The residue is then the concentrated coloring matter he wishes to obtain.
For the delicate pinks on fine muslins this is a good plan of obtaining a refined extract of madder color; but for common purposes, the process appears to be a very expensive one.
E. J. Hughes, of Manchester, patentee.
This inventor takes a fibrous or porous substance, such as cotton, wool, or sponge, and steeps it in a mordant calculated to combine with the coloring madder, &c.- When the material is thoroughly saturated, he subjects it to the action of the necessary processes to remove the acid and thoroughly precipitate the mordant on the material, as is usually done in calico printing. He then puts the material thus prepared into water with the madder or any preparations thereof. he heats the water, and leaves it a sufficient time to allow all the coloring matter to combine with the mordant fixed on the material, after which he exposes the material to the action of a strong acid, such as sulphuric, muriatic, &c., either slightly or much diluted, for a sufficient length of time to dissolve or decompose the mordant, and carbonize or dissolve the fibroud or porous material. When this is accomplished he puts it on a filter and washes and neutralizes it until the acid is removed. The residue is then the concentrated coloring matter he wishes to obtain.
For the delicate pinks on fine muslins this is a good plan of obtaining a refined extract of madder color; but for common purposes, the process appears to be a very expensive one.
Alder Flowers, Oak Bark, Swamp Maple, and Tartar in Dyeing Colors.
Scientific American 26, 8.3.1856
(For the Scientific American.)
Messes. Editors - In your paper of the 2d of February you state "that Piesse Dupierre, of Paris, has obtained a patent for the employment of alder flowers to form a substitute for cream of tartar in dyeing black and other colors."
That alder flowers and the bark of alder are valuable materials in dyeing black is nothing new, for between the years 1796 to 1805 I used many tuns of them in black dyeing. When a supply could not be obtained I used white oak saw-dust, which I found to produce a still better effect. Any material containing gallic acid and tanning principle can be used to advantage in black dyeing. In this country, during the last English war, I used our swamp maple bark with better effect than alder. Three pounds of ground maple bark s equal to one pound of nut-gall.
Cream of tartar is used in a given range of bright colors, such as scarlet, orange, aurora, yellows, crimson, purple, violet, &c., for the purpose of imparting to them great brilliancy. It is used with either muriate or nitro-muriate of tin. The nitric and muriatic acids having a greater affinity for potash then the tartaric combines with it, liberates the tartaric acid, which combines with tin, forming in the liquor a tartrite of tin, which gives great brilliancy to coloring matters. How the gallic acid and tanning principle, both possessing powerful saddening qualities, and precipitating tin instead of combining with it, can be used in place of the tartaric, is to me very unaccountable. It is well known by experienced dyers that cream of tartar is never used in black dyeing, as it operates as a check on saddening. Both the gallic and tartaric acids are triple compounds of the same elements, hydrogen, carbon, and oxygen, but varying materially in their proportions, tartaric containing forty per cent. less hydrogen, twenty less carbon, and sixty per cent. more oxygen. Perhaps M. Pierre Dupierre may have some cheap magic process by which he can change the components of the gallic into the tartaric.
Wm. Partridge.
Binghamton, N. Y., Feb. 18, 1856.
(For the Scientific American.)
Messes. Editors - In your paper of the 2d of February you state "that Piesse Dupierre, of Paris, has obtained a patent for the employment of alder flowers to form a substitute for cream of tartar in dyeing black and other colors."
That alder flowers and the bark of alder are valuable materials in dyeing black is nothing new, for between the years 1796 to 1805 I used many tuns of them in black dyeing. When a supply could not be obtained I used white oak saw-dust, which I found to produce a still better effect. Any material containing gallic acid and tanning principle can be used to advantage in black dyeing. In this country, during the last English war, I used our swamp maple bark with better effect than alder. Three pounds of ground maple bark s equal to one pound of nut-gall.
Cream of tartar is used in a given range of bright colors, such as scarlet, orange, aurora, yellows, crimson, purple, violet, &c., for the purpose of imparting to them great brilliancy. It is used with either muriate or nitro-muriate of tin. The nitric and muriatic acids having a greater affinity for potash then the tartaric combines with it, liberates the tartaric acid, which combines with tin, forming in the liquor a tartrite of tin, which gives great brilliancy to coloring matters. How the gallic acid and tanning principle, both possessing powerful saddening qualities, and precipitating tin instead of combining with it, can be used in place of the tartaric, is to me very unaccountable. It is well known by experienced dyers that cream of tartar is never used in black dyeing, as it operates as a check on saddening. Both the gallic and tartaric acids are triple compounds of the same elements, hydrogen, carbon, and oxygen, but varying materially in their proportions, tartaric containing forty per cent. less hydrogen, twenty less carbon, and sixty per cent. more oxygen. Perhaps M. Pierre Dupierre may have some cheap magic process by which he can change the components of the gallic into the tartaric.
Wm. Partridge.
Binghamton, N. Y., Feb. 18, 1856.
Tekniskt. Brunering af jagtgevär.
Wiborg 30, 12.3.1860
Efter Karl Lintner i Kaufbenern.
Vanligen nyttjas härtill antimonchlorid (Butyrum antimonii). I stället för denna apoteksvara har Lintner med bästa framgång användt zinkchlorit, som kostar obetydligt, och hvar jägare kan bereda sjelf. Man löser zink i utspädd saltsyra, och när fräsningen (utvecklingen af vätgas) upphört, värmer man glaskolfven, hvari lösningen skett, tills denna kokar. Lösningen bör vara mättad, eller så zinkhaltig, att något zink till slut finnes oupplöst; skulle det sista zinkstycket lösa sig vid kokningen, tillågges ett nytt, tills intet vidare löses. Lösningen silas varm, och inkokas tills en uttagen droppe stelnar vid afsvalnandet. Af den sålunda koncentrerade zinkchloriden, uppvärmd så alt den är flytande, blandas 3 delar med 2 delar bomolja och sammansqvalpas dermed i en korkad flaska, tills blandningen svalnat, då den lemnar ett slags emulsion eller såpa. Flaskan hålles fortfarande väl korkad, emedan zinkchloriden annars insuger fuktighet ur luften och derigenom försvagas.
Den ur stocken löstagna bösspipan rengöres väl med varm såplut och varmt vatten, från allt fett, värmes, läppes i mynningen med en kork och i fänghålet med en vaxad koppartråd, och öfverstrykes derefter med chloridblandningen, medelst en fin linnelapp. Pipan ställes sedan i solskenet eller bredvid en varm kakelugn ett dygn. Den aftorkas sedan med eu mjuk borste, och öfverstrykes på nytt. Samma förfarande upprepas, till dess att pipans färg, som i början skiftar i grönt, blir röd, och slutligen brun. Härtill åtgå stundom 5 eller 6 dagar, i mån af luftvärmen.
Når färgen blifvit sådan som man önskar, afsköljes pipan, först med varmt regnvatten, derefter med svag lut, och slutligen på nytt med regnvatten. Brunsvatten, eller annat s. k. bårdt vatten, förorsakar lätt fläckar. Efter torkningen poleras pipan med en ren och sandfri kork eller mjuk trä, uppvärmes, och öfverstrykes med en fernissa af gummilack och sprit, hvartill man satt litet drakblod, för alt få fernissa mörkare.
Efter Karl Lintner i Kaufbenern.
Vanligen nyttjas härtill antimonchlorid (Butyrum antimonii). I stället för denna apoteksvara har Lintner med bästa framgång användt zinkchlorit, som kostar obetydligt, och hvar jägare kan bereda sjelf. Man löser zink i utspädd saltsyra, och när fräsningen (utvecklingen af vätgas) upphört, värmer man glaskolfven, hvari lösningen skett, tills denna kokar. Lösningen bör vara mättad, eller så zinkhaltig, att något zink till slut finnes oupplöst; skulle det sista zinkstycket lösa sig vid kokningen, tillågges ett nytt, tills intet vidare löses. Lösningen silas varm, och inkokas tills en uttagen droppe stelnar vid afsvalnandet. Af den sålunda koncentrerade zinkchloriden, uppvärmd så alt den är flytande, blandas 3 delar med 2 delar bomolja och sammansqvalpas dermed i en korkad flaska, tills blandningen svalnat, då den lemnar ett slags emulsion eller såpa. Flaskan hålles fortfarande väl korkad, emedan zinkchloriden annars insuger fuktighet ur luften och derigenom försvagas.
Den ur stocken löstagna bösspipan rengöres väl med varm såplut och varmt vatten, från allt fett, värmes, läppes i mynningen med en kork och i fänghålet med en vaxad koppartråd, och öfverstrykes derefter med chloridblandningen, medelst en fin linnelapp. Pipan ställes sedan i solskenet eller bredvid en varm kakelugn ett dygn. Den aftorkas sedan med eu mjuk borste, och öfverstrykes på nytt. Samma förfarande upprepas, till dess att pipans färg, som i början skiftar i grönt, blir röd, och slutligen brun. Härtill åtgå stundom 5 eller 6 dagar, i mån af luftvärmen.
Når färgen blifvit sådan som man önskar, afsköljes pipan, först med varmt regnvatten, derefter med svag lut, och slutligen på nytt med regnvatten. Brunsvatten, eller annat s. k. bårdt vatten, förorsakar lätt fläckar. Efter torkningen poleras pipan med en ren och sandfri kork eller mjuk trä, uppvärmes, och öfverstrykes med en fernissa af gummilack och sprit, hvartill man satt litet drakblod, för alt få fernissa mörkare.
The Art of Dyeing. - No. 30.
Scientific American 45, 21.7.1855
Fast Black on Woolen Goods - If woolen goods are first dyed a light reddish color with camwood, and then finished in a blue vat, the most durable color known is obtained. Boil the goods in camwood - two pounds of dyestuff to the ten of goods - for one hour, without any mordant, then wash them, and finish with an inidgo woad vat. This, by some dyers, is believed to be the best method of dyeing fast black on woolen goods. The oldest plan has been to dye the blue color first on the goods, then to dye a black on the top, in the manner described in article 29, with the addition of some madder to the logwood, and abuot one handfull of sumac to each ten pounds of wool.
Camwood Black. - Boil ten pounds of woollen goods for one hour in two pounds of camwood and one of fustic, then lift them, an introduce eight ounces of copperas, and boil for twenty minutes. Take them out of this, air them for fifteen minutes, and then wash them. after this they are boiled in a clean liquor with four pounds of logwood for one hour, and then lifted. Four ounces of copperas are then introduced into the kettle, and the goods boiled for half an hour longer, after which they are lifted, washed, and dried. Some dyers use one pounds of madder and one of camwood, with a handfull of sumac, instead of using camwood altogether.
Chrome Black. - Within fifteen years the bichromate of potash has come into extensive use in dyeing black colors on white woolen goods. Prepare the goods - 10 lbs. - by boiling them for one hour in six ounces of the bichromate of potash, three ounces of alum, and two of red tartar (argol.) They are then lifted, aired, and rinsed in two clean waters. Into a clean kettle, five pounds of logwood and half a pound of camwood are introduced, and the goods boiled in this for an hour and a half, when they are lifted, washed, and dried. This is a blöue black, and has not that depth of shade belonging to the other processes. By avoiding the use of alum and tartar in the mordant, and giving some fustic and more logwood, jet black is produced.
The use of sumac must be carefully attended to in woolen dyeing. Excepting for blacks and drabs, it should never be employed, and for these colors only a very limited quantity. Some dyers have supposed that because sumac and copperas make a black solution in water, that the same results can be obtained by the use of these substances on woolen dyeing, but this is a mistake. - Woolen goods boiled in sumac assume a rusty brown color, and are so altered in their nature by the tannin of the sumac, as to repel every effort to dye them a good black. Excepting in very minute quantities, sumac should never be used even in black woolen dyeing, as it is liable to injure the goods in appearance. it is often necessary to give weight for weight of logwood and goods for a good full black, and about one-fourth of the weight of fustic, to throw the color on the het shade. Some dyers use too much blue vitriol (sulphate of copper) in dyeing black on woolen goods; and out farmers' wives, when dyeing wool a black for home-made cloths, make the same mistake. Wool dyed black with a preparation of blue vitriol soon becomes rusty, and fades when exposed to sunlight and the atmosphere. This is owing to this salt of copper parting so easily with its oxygen. copperas of a dark dirty green color, free from peroxyd, is the best quality for use. In dyeing black on woolen goods, one ounce of it to the pound, with one-fourth of an ounce of blue vitriol, are about the proper quantities for the mordant. Verdigris is recommended by some dyers; but it is found in but few dyeshops; its use is far more limited now than it was fifty years since. Nut galls, hickory bark, and the rinds of walnuts are used in dyeing black on wool, but should in no instance be so used unless on the top of logwood; or with logwood when the goods have received and indigo bottom in a vat. None but the finest quality of black goods receive a dip in the woad vat, as this makes the color expensive. Almost all blackwoolen goods - broadcloths, narrow cloths, merino twills, delaines, &c. - are now dyed with the bichromate of potash preparation or mordant, and finished in a logwood and fustic liquor.
Fast Black on Woolen Goods - If woolen goods are first dyed a light reddish color with camwood, and then finished in a blue vat, the most durable color known is obtained. Boil the goods in camwood - two pounds of dyestuff to the ten of goods - for one hour, without any mordant, then wash them, and finish with an inidgo woad vat. This, by some dyers, is believed to be the best method of dyeing fast black on woolen goods. The oldest plan has been to dye the blue color first on the goods, then to dye a black on the top, in the manner described in article 29, with the addition of some madder to the logwood, and abuot one handfull of sumac to each ten pounds of wool.
Camwood Black. - Boil ten pounds of woollen goods for one hour in two pounds of camwood and one of fustic, then lift them, an introduce eight ounces of copperas, and boil for twenty minutes. Take them out of this, air them for fifteen minutes, and then wash them. after this they are boiled in a clean liquor with four pounds of logwood for one hour, and then lifted. Four ounces of copperas are then introduced into the kettle, and the goods boiled for half an hour longer, after which they are lifted, washed, and dried. Some dyers use one pounds of madder and one of camwood, with a handfull of sumac, instead of using camwood altogether.
Chrome Black. - Within fifteen years the bichromate of potash has come into extensive use in dyeing black colors on white woolen goods. Prepare the goods - 10 lbs. - by boiling them for one hour in six ounces of the bichromate of potash, three ounces of alum, and two of red tartar (argol.) They are then lifted, aired, and rinsed in two clean waters. Into a clean kettle, five pounds of logwood and half a pound of camwood are introduced, and the goods boiled in this for an hour and a half, when they are lifted, washed, and dried. This is a blöue black, and has not that depth of shade belonging to the other processes. By avoiding the use of alum and tartar in the mordant, and giving some fustic and more logwood, jet black is produced.
The use of sumac must be carefully attended to in woolen dyeing. Excepting for blacks and drabs, it should never be employed, and for these colors only a very limited quantity. Some dyers have supposed that because sumac and copperas make a black solution in water, that the same results can be obtained by the use of these substances on woolen dyeing, but this is a mistake. - Woolen goods boiled in sumac assume a rusty brown color, and are so altered in their nature by the tannin of the sumac, as to repel every effort to dye them a good black. Excepting in very minute quantities, sumac should never be used even in black woolen dyeing, as it is liable to injure the goods in appearance. it is often necessary to give weight for weight of logwood and goods for a good full black, and about one-fourth of the weight of fustic, to throw the color on the het shade. Some dyers use too much blue vitriol (sulphate of copper) in dyeing black on woolen goods; and out farmers' wives, when dyeing wool a black for home-made cloths, make the same mistake. Wool dyed black with a preparation of blue vitriol soon becomes rusty, and fades when exposed to sunlight and the atmosphere. This is owing to this salt of copper parting so easily with its oxygen. copperas of a dark dirty green color, free from peroxyd, is the best quality for use. In dyeing black on woolen goods, one ounce of it to the pound, with one-fourth of an ounce of blue vitriol, are about the proper quantities for the mordant. Verdigris is recommended by some dyers; but it is found in but few dyeshops; its use is far more limited now than it was fifty years since. Nut galls, hickory bark, and the rinds of walnuts are used in dyeing black on wool, but should in no instance be so used unless on the top of logwood; or with logwood when the goods have received and indigo bottom in a vat. None but the finest quality of black goods receive a dip in the woad vat, as this makes the color expensive. Almost all blackwoolen goods - broadcloths, narrow cloths, merino twills, delaines, &c. - are now dyed with the bichromate of potash preparation or mordant, and finished in a logwood and fustic liquor.