An instrument that is the closest relative of the oboe. Woodwind instruments

The history of paint production turned out to be the most difficult for me to find and present. Largely because there are many different paints, the same paints have different names depending on the place of production and, of course, the “fog” of history. To begin with, I will give a masterpiece of official historiography about the origin of colors in general, listen to what the curious are told to us.....- “Green is the color of vegetation and life, it is the most calm color for the eyes. In nature, green surrounds us, but until recently in Since Roman times, green pigments have been made from the juice of parsley, flowers and berries, including a green pigment made from dried unripe buckthorn berries, which was especially popular in England and France in the 18th century. XIX century the production of plant pigments for oil paints ceases: they are replaced by synthesized mineral pigments." ----That's the whole story, from ancient times, back in the Roman Empire, and then immediately jumped into best case scenario 18th century, although now it doesn’t surprise me. Listen to songs about green paint....
----"Several green minerals were used in painting. For example, the green of malachite, although durable, was not intense enough, and the Renaissance masters found a way out in glazing - they applied transparent yellow paint over blue. (that is, the Renaissance masters used green paint there wasn’t!!!, they obtained it through layer-by-layer application, without even mixing, since not all paints were mixed, and even now not all paints can be mixed, production technology does not allow)... Natural green “earths” They gave the main range of shades and, depending on the place of extraction, received names: Bohemian Green Land, Verona, French, German, etc.
So green colors:
Volkonskoite PG2
Opened in 1830 in Perm province. Named in honor of His Serene Highness Prince Pyotr Mikhailovich Volkonsky, Field Marshal General, participant in the Patriotic War of 1812. The origin is exogenous.
Wolkonskoite is formed as a result of the interaction groundwater, enriched with chromium, with organic matter (with branches and fragments of tree trunks buried in coarse material). As a result of this interaction, chromium compounds were reduced, forming, together with iron, silica and alumina dissolved in water, this material CaO3(CrIII,Mg, FeIII)2(Si,Al)4O10(OH)2 4(H2O).

Known in only a few places around the world. The most significant deposits of this mineral are known in Russia, in the Perm region, in smaller quantities in Udmurtia, the Kirov region. It occurs in the form of veins and columnar bodies lying horizontally or obliquely among sandstones (sands) and conglomerates (pebbles) deposited in the beds of ancient rivers at the end of the Permian period (about 255 million years ago).

The mineral is highly valued by artists, as it produces high-quality olive-colored paint with high glazing ability, the refractive index of volkonskoite n 1.5–1.63. After drying, the paint forms a film that is resistant to external influences and does not change under the influence of hydrogen sulfide and sulfur dioxide gases.
And then we need to support the ancient icon painters......well, here’s the ambassador’s song........
--- Icon painters, long before the official discovery of this mineral, used it to make a beautiful green pigment that retained its color for centuries; an example is the well-known icon “Holy Apostles Peter and Paul” from the Novgorod St. Sophia Cathedral of the 11th century. Typically, the cloak of John the Baptist is depicted in green using this mineral. In the Middle Ages, volkonskoite was used frequently and was highly valued. It can be used not only in the production of artistic paints, but also in other types of industry, in restoration work, in icon painting, for the production of enamels, glazes in ceramics and pottery, and the production of protective and decorative paints (Wolkonskoite can withstand temperatures up to 1500 °C).
Glauconite PG 23, “green earth” (from the Greek glaukos - bluish-green), mineral, hydrous aluminosilicate of iron, silica and potassium oxide of variable composition (K,Na) (Fe3,Al,Mg)2(Si,Al)4O10 (OH)2. Glauconitic earths have a wide range of colors, from deep olive green to emerald and bluish green. Dark green glauconites with a cool hue are considered the rarest and most valuable.
As an independent mineral appearance known since 1828 from the work of Kerferstein, who gave it its name. Traditionally used in icon painting. Due to its persistent green color, it is used as a natural pigment for oil painting in the form of glaze paint, refractive index n 1.590–1.644, as well as for production green paints for industrial purposes.
Verona Green Earth PG 23 is a transparent, dark green, warm-toned pigment earth from the Brentonico basalt tuff deposit, located in the Italian province of Verona. The best "Verona soil", which was distinguished by its bluish tint, is no longer accessible due to a landslide in 1922 as a result of a great earthquake. The quality of land currently available when compared with its historical counterpart is considered average

Along with azurite, malachite was widely used in Chinese paintings 9th–10th centuries and in Buddhist frescoes of Japan. Its wide distribution and ease of extraction have made it a fairly common pigment in tempera painting. Cennino Cennini notes that “if you grind it too finely, the paint will turn out to be a dirty, ashen color.”... Here again is ancient Chinese painting, ancient Rome and here is reality..... Emerald green, emerald green PG 18. This pigment has been known since 1838. It has been used in painting since the mid-19th century. Chemical composition – hydrated chromium (III) oxide Cr2O3 nH2O, where n = 1.5–3. It has a beautiful emerald green color. Very lightfast paint, stable in mixtures and used in all types of painting.
Viridian (PG 18) (from Latin viridis - green).
The first post on the use of emerald green under the name Viridian as a color name appeared on English language since the 1860s.
Emerald Green, presented in the Schmincke Norma Professional Oil Colors series of oil paints, contains the following pigments: PG18 - Viridian, PG36 - Phthalo Green, PG50 - Cobalt Green, PW6-Titanium White.
Chromium oxide PG17 is an inorganic pigment, which is a green powder of various shades (gray-green, olive, etc.), and in terms of its chemical composition it is more or less pure anhydrous chromium oxide Cr2O3. The pigment was obtained in 1809 and has been used in painting since the mid-19th century, although during research it was found in the painting English artist Turner, which dates back to 1812. Chromium oxide is a light-resistant paint that does not change in mixtures and has low oil absorption.

Cobalt green PG 19 – light and dark. Light – cold green in color. The chemical composition is a solid solution of cobalt oxide (CoO) in zinc oxide (ZnO) at a temperature of 1100–1200°C. Opened in 1780.
Cobalt green light (CoO nZnO mAl2O3), Cobalt green dark (CoO nZnO mAl2O3 xMgO).
In painting, dark cobalt has been known since 1858, light cobalt since 1880.
The raw materials for producing green cobalt are zinc white and cobalt sulfate.
Depending on the quantitative ratio of zinc oxide and cobalt salt, the following results are obtained: various shades pigment. Of all the cobalt pigments, green is the cheapest due to its low cobalt oxide content.
Green pigments based on copper phthalocyanine, like blue ones, were obtained in 1935 and have been used in practice since 1938.
....this is perhaps a truly “ancient” and easy to obtain paint......
Yar verdigris is one of the ancient colors. It went on sale under several names, including Yar Venice. The latter can be considered rather as one of the varieties (variety) of the verdigris.
This is usually copper acetate, expressed by the formula: Cu(CH3COO)2*nCu(OH)2 *H2O.
Some paint researchers classify verdigris as a blue color on the grounds that when mixed with white, it gives a blue color.
We must not forget that paint is not only a pigment, it is also a binder, on which the durability of the paint, its brightness and method of application largely depend!
Let's listen to another pearl of official historiography.....
---- "Not all pigments can be used in any painting technique, since not each of them, when mixed (grinded) with different types binders - adhesive, oil, etc. - retains its inherent color. This is why in oil painting, as a rule, only those pigments are used that produce a color-fast paste; such a paste, when transferred to the ground, retains its color and texture for a long time. The appearance and use of this or that pigment in painting each time has its own background. Thus, before they mastered the technique of oil painting, Russian artists knew pigments that could be converted into paints using water-soluble adhesives, lime milk, emulsions of chicken yolk, protein, and even resins, as well as dissolved solid resins. (here is the story - known since ancient times, but based on chicken yolk, white and parsley juice!!!)
Paints prepared on linseed oil were probably also known, but they were used exclusively for painting and other decorative work. Russians began to become acquainted with the colors of oil painting proper only in the last quarter of the 17th century, perceiving practically new technology and technology either from artists from the western regions annexed to Russia, or from foreign artists, invited to the Sovereign Armory Chamber. By this time, the pigments that were most suitable for oil painting had already been tested by Western European practice since the 15th century. (it's boring Europe, of course) About the colors of oil painting, with early XVIII centuries used by Russian artists, a few written sources report - primarily invoices and correspondence about the acquisition of paints for the Academy of Arts. Of the modern works, the most complete and detailed information about paints brought to Russia or prepared at the Academy is contained in the book by A. N. Luzhetskaya and in the fourth volume of the extensive work of P. M. Lukyanov.
Handicraft and small-scale production of pigments for monumental and easel painting in Russia it was already quite developed in the pre-Petrine era. Extensive trade relations with foreign countries contributed to the emergence of new pigments in Russia. However, neither in the 18th century, nor even in the first half of the 19th century, was it accepted to import and purchase ready-made oil paints - mainly because they did not withstand long-term storage: firstly, quickly hardening oil paints were used as a binder in the 18th century. varnish, and secondly, the packaging in those days was not airtight enough. (that’s the logic, but everyone knew, everything was only in Europe, but they didn’t buy ours, they couldn’t pack it hermetically, there was no packaging!!!) Metal packaging, in particular the lead tubes familiar to modern artists, appeared only in the 19th century .
Here is the history of very important yellow colors...
---Shishgel refers to organic paints - or rather, it consists of an organic coloring matter and a mineral base. It was known to Russian icon painters, and they obtained it by precipitating buckthorn juice on chalk or German whitewash (lead whitewash). The Complete Collection of Laws of the Russian Empire records that “gishpan thick shishgel, dark shishgel, ordinary shishgel, which is called blyagir,” was made from the juice of buckthorn and birch leaves. In oil painting, shishgel was used only if the paint was based on white lead. Like lead white, it had light fastness and good hiding power, since buckthorn is exceptionally lightfast.
Rauschgelb is also based on an organic dye deposited on lead white, but this can only be judged by written sources XVIII century. The color of this paint is characterized as follows: “Rakhgil is yellow like chicken yolk, soft like flour.” The reddish tint is also determined by the name rauschgelb, which, in accordance with the old meaning of the word “rausch”, can be translated as red-yellow. The paint was very durable, i.e. lightfast, and did not deteriorate in combination with other paints.
At the end of the 18th and the first half of the 19th century, both yellow paints based on organic dyes - schishgel and rauschgelb (rashgil) - were replaced by synthesized mineral paints based on chromium (the first chrome appeared in 1797) and cadmium, the production of which began in 1817 and expanded throughout range of shades in 1829.... And again, at best, the 18th century, but rather the beginning of the 19th century - the beginning of industrial production!
There were no colorful old maps, paintings, or paintings in “ancient” churches before the 18th century, and then most likely in the second half, when they learned to obtain temperatures above 900C and to burn limestone and other minerals - to obtain quicklime, to obtain oxides of cobalt, zinc, lead, that is, when real chemistry began. All this happened simultaneously with the technology of brick production and all other technologies that we all still use.

Most scientists believe that ancient people appeared over two million years ago. Archaeologists found traces of their existence in East Africa. The conditions here were favorable for primitive man: hot climate, plenty of edible roots and fruits, places to hide from bad weather and predators. The life of ancient man depended on nature. Primitive history lasted hundreds of thousands of years. During this time, people populated all continents except Antarctica. They appeared on the territory of our country about half a million years ago.

The emergence of primitive art

Already then there was ancient art. The oldest images were discovered in Spain, in the south of France, in Russia in the Urals.

Primitive art has been known since time immemorial. The oldest images on the walls of caves include imprints of a human hand. Almost 150 years ago, a cave was discovered in Spain with drawings on the walls and ceiling. Later, more than 100 similar caves were discovered in France and Spain.

There are several periods in the development of cave art:

First period (XXX thousand years BC). When the surface inside the outline of the design was filled with black or red paint.

The second period (up to X thousand years BC) is marked by a transition to oblique parallel strokes. This is how fur began to be depicted on animal skins. Additional colors were introduced (various shades of yellow and red) for spots on the skins of bulls, horses, and bison.

In the third period (from the 10th millennium BC) - cave art became very voluminous with the use of multi-colored paints

First paints.

What are paints? IN explanatory dictionary S.I. Ozhigova gives the following definition:

Paint is a homogeneous colored substance that gives a particular color to objects. Widely used in the national economy, everyday life, as well as in painting.

Of course, there are colors in modern understanding Ancient people did not have this word. He used natural materials for his drawings.

The first paint was clay. It can be different: yellow, red, white, blue, greenish. The ancient artist carved a design into the rock, and then rubbed clay mixed with animal fat into the recess. Often ancient artists used ocher - a paint of red, yellow and Brown, found in nature in the form of clay or crumbly small lumps. The cave paintings were made with coal, which was always at hand, as well as black soot and soot.

Paints from minerals, plants and animals.

Our ancestors also painted with paints obtained from rocks. blue paint were mined from the mineral lapis lazuli, green from malachite, and red from a mineral called cinnabar.

Over time, people learned to extract and make many different paints. The purple crimson color was especially valued. IN Ancient Rome Only the emperor wore clothes of purple and crimson colors. This paint was very expensive, it was extracted from the shells of snails living in the Mediterranean Sea. To obtain 1 gram of such paint, 10 thousand shells had to be processed. They even made paints from insects. Tropical insects called cachinelles were the source of a red dye called carmine.

Bright and long-lasting colors were obtained from plants. In ancient times, plant paints were used by humans to decorate weapons, clothing, and homes. At first it was the juices of bright petals, leaves, and fruits of plants, then people learned to prepare special dyes from plants.

For example, yellow paint was obtained from the bark of barberry, alder, and milkweed.

Onion peels, oak bark and henna leaves from this Lawsonia plant produced brown dye.

Many different colors were obtained from plants and Ancient Rus'. Blue dye was obtained from the root of the knotweed, yellow from the roots of horse sorrel, cherry dye from the lichen of the steppe goldenrod, and with the help of blackberries and blueberries they dyed fabrics purple.

During excavations Egyptian pyramids blue fabrics dyed with indigo, a dye from the leaves of the indigofera plant, were found.

Plants have been found from which paint of several colors could be obtained. For example, red, yellow and orange dyes were obtained from the St. John's wort plant. And yellow, green and black paint was obtained from the cuff plant. Especially wide color palette produced a plant such as madder. Famous for the brightness of colors and multicolored Dagestan carpets, they were woven from wool dyed with a substance obtained from madder roots.

Conclusion.

Observation results.

I conducted an observation.

Many times I saw how my grandmother and mother painted with onion skins Easter eggs. They produced a very rich burgundy color.

For the holiday, my mother often bakes a cake and decorates it with cream, to which she adds beet and carrot juice. She produces red roses and orange flowers.

Experiment results.

I conducted an experiment myself and tried to first draw a picture with charcoal, and then color it with beet and carrot juice. I added a decoction of the yarrow plant to my new paints. I made a color drawing “Flowers”.

Thus, of all the paints discussed above that I used ancient artist we can conclude:

1) Of course, ancient man did not have colors in the modern sense of the word. He used natural materials for his drawings.

2) The color was used for coloring, although it was not very different from natural. He wore conditional character, to highlight more important items in the drawing.

3) Painting was carried out with mineral paints, paints from the flora and fauna

4) Paints made from natural materials, were accessible and harmless.

5) Recipes for making some paints from natural materials have survived to this day, such as: brown from onion peels, burgundy from beets and orange from carrots and many others.

From my research I concluded: the hypothesis I put forward that ancient people found colors in nature was completely confirmed.

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We often see stains on our home clothes. Some stains are caused by tea, coffee and other food products, many of which we cannot wash off no matter how hard we try.

The idea for my project came about when a beetroot stain appeared on my home T-shirt. A red stain that we couldn't wash off. The fabric on the T-shirt was colored by beet juice, which contained natural substances that could stain the fabric. I wanted to know what other vegetables, fruits, and plants can dye fabric and wool.

Vegetable paints were one of the first colors that people began to use to decorate themselves, their weapons, homes and clothes. At first it was the juices of flower petals, leaves and fruits, which attracted people’s attention with their bright colors, then people learned to extract paint from roots and bark.

Natural dyes have no rivals in the richness of shades and tones they create. Plant pigments produce such deep and soft colors that, even at high intensity, do not look flashy. Fabrics dyed with such dyes do not fade when washed, do not fade in the sun, and are safe for health.

Dyeing fabrics or yarns with natural organic pigments has its roots in ancient times. Through the centuries-old practice of dyeing, those dyeing representatives of the flora were selected from the entire diversity, which provided high quality, beauty and durability.

Natural dyes have been known for a very long time, since ancient times. They became widespread during the development of manufacturing production and were of great importance until the second century. half of the 19th century century. At that time, natural dyes were the only means for dyeing. With the development of the organic synthesis industry, especially the aniline dye industry, natural dyes could not withstand the competition with synthetic dyes, since they are less expensive and more resistant to natural influences, and basically lost their practical significance. However, some natural dyes are still used in the food, light and cosmetic industries, for restoration work, in analytical chemistry and for other purposes.

To do this, I set the following goal:

Study the properties of natural dyes and the plants from which they can be obtained.

To do this, I set the following tasks:

- study literature about plants, berries and vegetables containing natural dyes.

Obtaining vegetable dyes from natural raw materials: oak bark, bird cherry bark, crushed tansy flowers, walnut shells, beets, turmeric, cinnamon, sage leaves, red cabbage.

Conduct experiments on dyeing fabric and wool.

Determine which natural substances can enhance color;

Determine how long the dyed fabric will retain its color (whether the resulting color will remain after washing).

Determine which method of fixing color to fabric is the most effective.

Object of study: vegetable dyes.

Subject of study: properties of vegetable dyes .

I. Main part.

1. From the history of the use of dyes

Historical information about the coloring of various household items, clothing, household utensils, and even people themselves dates back to ancient times. It is known that the art of dyeing first developed in Asian countries and from there was transferred to Carthage. Dyed fabrics from the dyehouses of Carthage were exported to Rome and Athens. Surviving painted objects indicate that she used substances of mineral and organic origin for dyeing: colored clays, metal oxides, substances contained in various parts of plants and in the bodies of some animals.

For dyeing fibrous products, materials of plant origin were mainly used: tree bark, leaves, fruits, flowers, roots. Plants with a significant content of dyes usually grow in hot climates; This partly explains why the art of dyeing developed precisely in the countries of Asia, Africa and America, and then spread throughout countries with temperate climates. European countries received dyeing plants from hot countries, however, Europe also had its own plants traditionally used for dyeing, such as woad, mignonette, etc.

The dyers of antiquity made in their craft most interesting discoveries, which allowed them, with only a few dozen natural dyes at their disposal, to obtain up to 800 colors and shades. She discovered the secret of the formation of colored “varnishes” - a way to obtain a variety of colors on fabric using salts of various metals (mordans, or mordants) from just one dye. The ability to form “varnishes” is explained by the property of most natural organic dyes (called mordants) in the presence of transition metal salts to form stable, water-insoluble dye-metal cation-fiber complexes. To increase the ability to form complexes, tissues were treated, in addition to metal salts, with tartaric acid salts or tannins. These techniques were used with great skill, for example, in the countries of the Eastern Mediterranean (Palestine and Egypt) at the beginning of our era. Modern researchers almost always find in fabrics from these countries not just one mordant, but mixtures of salts of iron, aluminum, zinc, copper, and chromium. It is interesting that these blue, red, and brown items contain tin, a mordant rediscovered in Europe only in the 18th century. To fix the dye on cotton fabrics, tannin-containing substances were used simultaneously with metal salts. A persistent crimson color on cotton using madder was achieved by using an oil mordant, which gave the cotton the ability to combine with metal salts and dyes, in particular with alizarin. Mareva contains mainly two dyes - purpurin and alizarin. Ancient dyers knew a way to isolate purpurin and use only it to obtain a more carmine shade of dyed fabric than when dyeing with madder itself. Ancient craftsmen knew how to imitate purple using indigo, madder, tannin and iron.

TO greatest discoveries Indigo vat dyeing dates back to antiquity. Using blue indigo and various yellow dyes, craftsmen were able to obtain numerous shades of green, since there are practically no permanent green dyes for fabrics in nature.

Dyeing in ancient times often involved numerous stages, and fabrics could be dyed over several weeks to achieve the desired color. Dyeing was considered an art.

At the end of the 19th and beginning of the 20th centuries, the art of dyeing with natural dyes was practically lost. The first synthetic dyes, bright and relatively simple to use, supplanted natural dyes from the practice of not only industrial, but also artisanal dyeing of fabrics and yarns. Over the course of just a few decades, most ancient recipes were forgotten and lost.

1. Dyes from plants

From literary sources we found out which plants can be used to obtain dyes of a certain color.

Yellow paints

Barberry- bush. The dye is obtained from bark, roots and wood.

Birch- the coloring matter is contained in the leaves and young bark; leaves and bark are collected in early summer; The leaves produce bright yellow paint, and the bark produces yellowish paint.

Angular cornflower- leaves dye silk and wool.

Turmeric - spice in powder form, yellow coloring matter.

Tansy- the flowers will color the fabric yellow.

Blue colors

Vaida(sinilo, chenille, farbovnik) - grows in temperate Russia, the coloring matter is contained in the leaves.

cornflower- the coloring matter is found in the petals of flowers.

Buckwheat- growing wild on the shores of the Caspian Sea. The coloring matter in the leaves is deep blue (indigo).

Blackberry- berries are painted dark Blue colour.

Blueberry- the berries dye wool soaked in alum (1:10) purple.

Meadow sage- the grass turns dark blue.

Moss lycopodium- herbaceous plant; coloring matter in the stem of a plant.

Forest geranium- coloring matter in flowers.

Litmus test- grows in Crimea. The grass dyes the wool purple, known by the French as Tournesol.

Green paints

Elder- they do not use ripe berries, as for red paint, but elderberry leaves, which give a good green color.

Bird cherry- the inner bark turns green.

Poplar- the inner bark dyes the yarn green, the yarn must be pre-moistened with iron sulfate (1:10).

Swamp horsetail, ironweed, squirrel tail,- grows everywhere; the coloring matter in the stem that gives the green color.

Sorrel- grows almost everywhere; coloring matter in leaves.

Juniper- grows almost everywhere; coloring matter in berries.

Rue and blue iris flower- The juice from them, mixed together, gives a lasting green color.

Biryuchin a - the berries color the wool dark green.

Brown paints

Cherry - The coloring matter is found in branches and leaves.

Oak- the coloring matter is in the bark.

Onion- the coloring matter is in the husk.

Lichens, torchovka, oak foot- grow almost everywhere, on the ground and stones. Lichen growing on rocks produces a particularly durable brown color.

Black alder- common in temperate Russia, coloring matter in leaves, young branches and bark.

Dry buckthorn bark- gives a brown color,

Plum tree bark- gives a brown color.

Serpukha grass- dyes linen and silk fabrics.

Horse sorrel- its root, dug up in the fall, gives a brown color.

Red paints

Beet - The coloring matter is found in root vegetables.

Buckthorn, wolf berries- the same as for receiving yellow color; For red color, it is not the bark that is collected, but young branches and leaves before flowering.

Madder or specks- grows in the south, in Crimea, Transcaucasia; the coloring matter in the root of the plant, which is dug up before flowering.

Elder- shrub, grows almost everywhere; coloring matter in ripe berries.

Vetla- bark boiled in lye dyes silk and wool.

Oregano- grass dyes wool.

Wild poppy- juice from flowers dyes silk, wool, linen, previously soaked in a solution of 2 parts of alum, 6 parts of vinegar and 6 parts of water.

Turn- bark boiled with lye dyes wool.

Privet- juice from berries mixed with ammonia or Glauber's salt.

Boil mahogany fernambuco wood shavings with the addition of 2 - 3% alum (or potash). It produces not only red, but also yellow, orange, purple, violet colors.

Gray paints

Spruce- bark dyes wool.

Walnut shell - light gray color.

Periwinkle - the grass dyes the wool a dark gray color.

Water lily- the root dyes cotton and linen.

broom - the bark gives a dark gray color.

Bearberry- leaves color the fur light gray.

Kopyten - dyes wool dark gray.

1. Basic conditions and rules for dyeing.

Painting is carried out in a well-ventilated area.

Do not use containers in which food is prepared for dyeing.

Copper, aluminum, iron dishes changes the shade of the fiber dyed with vegetable dye, so etching and Coloring must be carried out in enamel or glass containers. The container should be large enough so that the solution completely covers the loose yarn or fabric.

It is advisable to use rainwater or water softened with soda ash.

The wooden (plastic, glass) stick used for stirring the material to be painted must be clean and smooth.

Fabric and yarn must be well moistened with water before dyeing. The material intended for painting must have good wettability. Fabric dyed without preliminary preparation gives, as they say, “undyed.”

1. Preparing fabric from natural materials for dyeing.

In my project, I decided to use various materials for coloring:

White cotton fabric. (photo no. 1)

Photo No. 1 Photo No. 2 Photo No. 3

White linen fabric (photo No. 2)

White wool (sheep) threads (photo No. 3)

In order to paint the selected materials, it is necessary to carry out special preparation before painting.

Cotton fabrics and linen fabrics are boiled before dyeing to improve wettability. For coloring in bright hues harsh cellulose fabrics are bleached. Before dyeing, unbleached cotton or linen material is boiled for 1 hour in the following solution: 1 liter of water, 2-3 grams of washing soda and several pieces of about 5 grams of laundry soap. In this case, the water should completely cover the yarn or fabric. (per 100 g of material 3 liters of water). After washing, the material is rinsed 2-3 times in warm water until the soap completely disappears, which interferes with uniform coloring.

For preparing wool yarn needs to be grated baby soap, then dissolved in a small amount of hot water (60 degrees). The soap solution is poured into warm water and the foam is whipped up. The yarn is washed in this water, lightly wrung out and turned over. The soap solution is changed several times until the water is clear. Do not make the washing solution too hot, as this will darken the wool and destroy it. As our experiments have shown, synthetic detergents (washing powder) change the color shade. The washed wool is thoroughly washed in running water, then a little table vinegar (9%) is added to remove soap and then rinsed again.

When dyeing fabric with berries, to prepare the fabric for dyeing, add half a cup of salt to 8 glasses of water, put the fabric in the solution and boil for about an hour over low heat.

When dyeing fabric with vegetables, A vinegar solution is used: add four parts water to one part vinegar, put the cloth in the solution and boil for about an hour over low heat.

In both cases, after boiling, remove the fabric and rinse in cold water.

1. Preparation of dyeing infusions.

Dyes can be obtained from leaf branches, fruits, peel, bark, and plant roots.

Both fresh and dried plants are used. When dyeing fresh plants, brighter and more intense tones are obtained, but are usually less lightfast.

Leaves, stems, roots, flowers, fruits, cones, bark are pre-soaked in soft cold water for 12 hours (from morning to evening). For every 100g. herbs take approximately 1 liter of water. After this, the plants are brought to a boil in the same water and kept over very low heat, “simmered”, but not boiled. Flowers and herbs are “simmered” for 30 minutes, and bark, stems, nut shells, roots for 2-4 hours. It is not recommended to further extract dyes from plants, as the color of the infusion becomes browner. After extracting the dye, the decoction is poured into another container, filtered, and the plants are again filled with water to obtain a second decoction. Herbs and bark are “simmered” for 30 minutes. Strain the second into the same container as the first.

Then prepare a dye bath and add the required amount of water to the resulting broth.

1. What is a mordant? Mordant methods.

MORDANT- (paint fixative), in dyeing processes - chemical substances, interacting with the dye or the fabrics being dyed, or both, to “fix” the dye to the fabric, resulting in virtually no washout of the dye. Many mordants are HYDROXIDES or metal salts (eg Alum).

There are natural mordants: formic acid, sauerkraut brine, salt, vinegar, birch ash, rust.

There are several mordant methods.

Simultaneous etching.

The prepared mordant solution is poured into the dye broth, and clean, wet yarn and fabric are dipped into it. Then they “simmer” for 30-40 minutes at 60 degrees.

Subsequent mordant.

First, the yarn is “simmered” in a dye decoction for 30 minutes, then transferred to the prepared mordant solution and kept for 25 minutes at 60 degrees.

Practical research.

1. Methods for preparing natural mordant.

The mordant is the juice of sauerkraut.

Finely chop the cabbage and carrots, place them in an enamel pan, add salt and add a little water to get more sauerkraut juice, and place under

The mordant is rust.

Flask of Rust- this is one of the options for natural ecological mordant of fabric and fibers when dyeing with natural dyes. Rust is actually iron cations that, when combined with various natural dyes, produce various interesting effects.

1. Coloring experiments.

Dyeing yellow

Dyeing fabric and woolen threads with tansy.

Materials: tansy, glass container, enamel container, wooden spatula, mordant (sauerkraut juice), white woolen threads, white cotton fabric, white linen fabric, vinegar 70%.

Task: dye fabric and wool using tansy flowers.

Assumption: The fabric may turn yellow.

Experience:

Then turned it off and allowed it to cool. They took out the dyed fabric and woolen threads and dipped them in water with vinegar to consolidate the result.

Result:

Dyeing fabric and wool threads with turmeric

Materials: turmeric, glass container, enamel container, wooden spatula, white wool threads, white cotton cloth, white linen cloth, vinegar 70%.

Task: Dye fabric and wool using turmeric.

Assumption: perhaps the fabric and wool threads will turn bright yellow.

Experience:

Result:

Dyeing brown.

3.Dyeing fabric and woolen threads with oak bark.

Materials: oak bark, glass container, enamel container, wooden spatula, mordant (sauerkraut juice), white wool threads, white cotton fabric, white linen fabric, vinegar 70%.

Task: dye fabric and wool using oak bark.

Assumption: The fabric may turn brown.

Experience:

Then turned it off and allowed it to cool. They took out dyed fabric and woolen threads. The samples were dried and then dipped in water and vinegar to consolidate the results.

Result:

4.Dyeing fabric and wool threads with cinnamon

Materials: cinnamon, glass container, enamel container, wooden spatula, white woolen threads, white cotton fabric, white linen fabric, 70% vinegar.

Task: dye fabric and wool with cinnamon.

Assumption: perhaps the fabric and wool threads will turn brown.

Experience:

After drying, the dyed fabric and woolen threads were dipped into water with vinegar to consolidate the result.

Result:

Dyeing green.

5.Dyeing fabric and woolen threads with bird cherry bark.

Materials: bird cherry bark, glass container, enamel container, wooden spatula, white wool threads, white cotton fabric, white linen fabric, 70% vinegar.

Task: dye fabric and wool using bird cherry bark.

Assumption: perhaps the fabric and wool threads will turn green.

Experience:

We prepared the fabric for dyeing by boiling it in a solution for 1 hour (1 liter of water, 2-3 g of washing soda and several pieces of about 5 g of laundry soap).

We removed the inner layer of bird cherry bark from the bird cherry trunk and soaked it in a glass container for 16 hours. After 16 hours, we transferred the wet bark and colored water into an enamel bowl (volume 2 liters) and put it on gas. The substance was brought to a boil, and then “simmered” over low heat for 2 hours. The result was a cloudy brown solution. The substance was filtered through cheesecloth into a glass container, the rest of the bark was again placed in an enamel container, filled with water and boiled for 30 minutes. The resulting solution from secondary boiling was added to a glass container. For dyeing, the resulting solution was poured into an enamel container, brought to a boil, cotton fabric, linen fabric, woolen threads were put into the solution and boiled for 45 minutes. Then turned it off and allowed it to cool. They took out dyed fabric and woolen threads. The samples were dried and then dipped in water and vinegar to consolidate the results.

Result:

Gray coloring.

Dyeing fabric and woolen threads with walnut peel.

Materials: walnut shell, glass container, enamel container, wooden spatula, white wool threads, white cotton fabric, white linen fabric, 70% vinegar.

Task: dye fabric and wool gray using walnut shells.

Assumption: Perhaps the fabric and wool threads will turn gray.

Experience:

We prepared the fabric for dyeing by boiling it in a solution for 1 hour (1 liter of water, 2-3 g of washing soda and several pieces of about 5 g of laundry soap).

We split the walnuts and separated the shell and kernel from each other.

For dyeing, the resulting solution was poured into an enamel container, brought to a boil, cotton fabric, linen fabric, and woolen threads were placed in the solution and boiled for 45 minutes. Then turned it off and allowed it to cool. They took out dyed fabric and woolen threads. The samples were dried and then dipped in water and vinegar to consolidate the results.

Result:

Dyeing red or pink color.

Dyeing fabric and woolen threads with beet fruits.

Materials: beets 2 pcs (300g), glass container, enamel container, wooden spatula, white woolen threads, white cotton fabric, white linen fabric, vinegar 70%.

Task: dye fabric and wool pink or red using beets.

Assumption: perhaps the fabric and wool threads will turn red or pink.

Experience: The samples were stained in two ways.

Method 1 - in this case, the fabric is treated with a vinegar solution for an hour to fix the dyes on the fabric.

Method 2 - in this case, the fabric is treated with a vinegar solution after dyeing the fabric to fix the dye.

1 way.

After 12 hours, the mixture was filtered and the coloring solution was poured into a glass container.

way.

The fabric and woolen threads were prepared simply by moistening them with filtered water.

2. The beets were peeled and finely chopped, placed in an enamel container and filled with filtered water with a volume equal to the chopped material. Place on low heat and bring to a boil. Let it cool and let the beets release their coloring matter within 12 hours. After 12 hours, the mixture was filtered and the coloring solution was poured into a glass container. Cotton and linen fabric and woolen threads were immersed in the solution for 45 minutes. After some time, they took out the fabric and it turned bright pink. The samples were dried and then dipped in water and vinegar to consolidate the results.

Result:

Coloring blue.

Dyeing fabric and woolen threads with sage leaves.

Materials: 100g. sage, glass container, enamel container, wooden spatula, white woolen threads, white cotton fabric, white linen fabric, 70% vinegar.

Task: dye fabric and wool blue using sage leaves.

Assumption: perhaps the fabric and wool threads will turn blue.

Experience: We prepared the fabric for dyeing by boiling it in a solution for 1 hour (1 liter of water, 2-3 g of washing soda and several pieces of about 5 g of laundry soap).

First, we soaked the crushed leaves in a glass container for 12 hours. After 12 hours, we transferred the wet sage leaves and colored water into an enamel bowl (volume 2 liters) and put it on gas. The substance was brought to a boil, and then “simmered” over low heat for 1 hour. A dark green solution was obtained. Strain the substance through cheesecloth into a glass container, put the rest of the herb back into an enamel container, add water and boil for 30 minutes. The resulting solution from secondary boiling was added to a glass container. For staining, the resulting solution was poured into an enamel container, and 300 ml of mordant was added there. (mordant made with iron nails) was brought to a boil, cotton fabric, linen fabric, woolen threads were put into the solution and boiled for 45 minutes. Then turned it off and allowed it to cool. They took out dyed fabric and woolen threads. The samples were dried and then dipped in water and vinegar to consolidate the results.

Result:

Dyeing purple.

Dyeing fabric and woolen threads with red cabbage.

Materials: forks of red cabbage, glass container, enamel container, wooden spatula, white wool threads, white cotton fabric, white linen fabric, vinegar 70%.

Task: dye fabric and wool purple using red cabbage.

Assumption: perhaps the fabric and wool threads will turn purple.

Experience: 1. We prepared the fabric for dyeing with vegetables; for this we used a vinegar solution: four parts of water were added to one part of vinegar, the fabric was placed in the solution and boiled for about an hour over low heat. After boiling, the fabric was taken out and rinsed in cold water.

Result:

Conclusion.

During the experiments, plant dyes were obtained in the form of a decoction from natural raw materials: oak bark, bird cherry bark, crushed tansy flowers, walnut shells, beets, turmeric, cinnamon, sage leaves, red cabbage.

Using the resulting dyes, the original samples were painted in different colors:

a) during the experiments, wool threads were dyed evenly and more bright colors.

b) cotton fabric It is dyed worse, the colors are less bright and the fabric is not dyed evenly.

c) samples of linen fabric were the worst to dye, they did not acquire bright colors and were not dyed evenly. I assumed that linen fabric is not 100% linen, most likely there are admixtures of artificial threads in the fabric.

3. After dyeing the samples with natural dyes, we washed the samples with baby soap. The most persistent dyes turned out to be those obtained from oak bark and sage leaves. Next in terms of durability are dyes from bird cherry bark, walnut shells, turmeric, and sage; the dyes that were the most unstable were dyes from vegetables (cabbage and beets). In general, after washing the samples, we concluded that natural dyes are not durable; all samples significantly lost their original color after washing.

4. To fix the color, we used 4 methods: boiled the samples in vinegar for 1 hour before dyeing, fixed them with a vinegar solution after dyeing, and added a mordant from sauerkraut and a rust solution when dyeing. After conducting experiments, we concluded that rust mordant fixes color most effectively.(samples painted with sage leaves with rust mordant practically did not fade), then juice sauerkraut (samples painted with tansy with sauerkraut juice faded significantly, but retained enough color). Fixing color with vinegar is the least effective.(samples painted with beets and fixed with vinegar practically did not retain color)

5. Since we have established through experiments that the dyes are not permanent, dyeing textiles for making clothes is not practical.

Fabrics dyed with natural dyes are suitable for handicrafts and doll making. In addition, many needlewomen (cross stitch) use natural dyes to color the canvas in different colors when they want to give a background to their paintings.

Bibliography

1.Medicinal plants. Encyclopedia. - Mn.: Book House, 2005

2. Meadow herbaceous plants. Biology and conservation: Directory / Gubanov I.A. and others - M.: Agropromizdat, 1990

3. Melnikov B.N., I.B. Blincheva “Theoretical foundations of the technology of dyeing fibrous materials.” M.: Chemistry, 1978

4. Raimkulova Yu.D., Semenetsky M.I. Vegetable dyes. Technology of fabric dyeing in the period from the 9th to the 11th centuries. on the territory of the Sambian Peninsula; http://www.simvolika.org/article_002.htm

5. Semenova M. We are Slavs! Popular encyclopedia. - St. Petersburg: Publishing House"ABC - classic", 2007

6. Sergeev Vasily. Straw weaving - from grandfather Vasily; http://lib.rus.ec

7. Solovyov Yu.I. "General history of chemistry". M.: Nauka, 1980

8. Chemistry and life (Salter chemistry, part II) / ed. Tarasova N.P. - M.: RKhTU im. D.I.Mendeleeva, 1997

9. Internet resources:

10. http://www.xumuk.ru: Chemical encyclopedia

11. http://www.xumuk.ru: Great Soviet Encyclopedia

Ecology of consumption. Life hack: Dyeing has been known to mankind since time immemorial, according to archeology - at least 30 thousand years. There were no chemical factories then, as you understand, but our ancestors...

Dyeing has been known to mankind since time immemorial, according to archeology - at least 30 thousand years. There were no chemical factories then, as you understand, but our ancestors were very inventive in choosing the means to diversify the color palette of fabrics and yarns.

Arab merchants, for example, brought from India a dye whose very name reveals its origin - indigo. It was made from the stems and leaves of plants of the indigofera genus. Just imagine: to obtain 3 kg of products, it was necessary to process a whole centner of plant materials! By the way, basma is still produced from indigofera leaves today.

Alizarin, which was extracted from the roots of madder in ancient Egypt, Persia and India, was very common. Another ancient dye was purple. Tyrian purple was extracted from scarlet snails by grinding them with water. The resulting mixture was soaked into the fabric and dried outside, in the sense of not indoors. Only after this did the material acquire a purple color.

It was a colossal work, because just one gram of dye had to be crushed into nothing less than 10 thousand fragile creatures. But in Venice, the raw material for local purple was some kind of dried bugs (though Venetian purple was less valued).

The review of the world history of textile dyes could be continued, but since “this is a saying, and a fairy tale... the fairy tale will be ahead,” then let’s better stop here and move on to the question of what did the Russians use for dyeing?. It turns out that they were very well aware of the possibilities that the plant world provides for this, and taking these opportunities into account, they received different colors.

Yellow and brown

Having decided to get solar coloring, our ancestors could use more than two dozen plants. Some of them were used in their entirety: immortelle, heather, cuff, navel, string. And in the genus of gorse, shrubs and subshrubs of the legume family, there is even a species that is called just that - dyeing.

For the same purpose, flowers and leaves of goldenrod (also called golden rod), jumper (also having a second name - impatience), and sickle grass were used. Only flowers were taken if it was about the umbrella hawkweed and, oddly enough, the meadow cornflower, and also the horned frog. By the way, the leaves of birch and black grass (or verbolosis) were used.

The zealous owners also did not forget about the root system of plants: sorrel and iris turned out to be useful here (it received a very affectionate nickname - iris). And the hazel tree wild apple tree The bark was taken for dyeing purposes. Sometimes certain plant parts were chosen based on the material to be dyed. Thus, the leaves and stems of the moss moss (aka the ram), as well as the flowers of the rapeseed, were taken into account when working with wool, and the swimsuit was used only for canvas.

Both yellow and brown tones can be obtained from the bark, leaves and berries of alder buckthorn. As experts note, the dye from this plant is very resistant to fading.

Orange and red

To make the canvas “red”, folk ways was significantly less. This could be provided by black alder bark. And in order to achieve the desired result with the help of celandine, alum was added to it.

In the red range there were more possibilities and, mainly, the roots of plants were used as dyes, in particular, cinquefoil (also called cinquefoil and silver), buckwheat (i.e. crayfish necks), soft bedstraw (this is a cosmos grass) true bedstraw ( we're talking about about rennet - yellow porridge). If the material was wool, then they used the roots of St. John's wort. But there was also a ground part of the grass, thanks to which the tissues “turned red”: this is white pigweed, or, more simply, quinoa.

Blue, blue and green

The blueness of the canvas was given with the help of ash bark, and if it was necessary to dye wool, cornflower or buckwheat flowers. Bird's buckwheat (popularly called ant-grass) is capable of dyeing the material blue, while the whole plant is used, as is woad, which has several more expressive names: blueberry, blueberry, blueberry, and in addition also krutik. This same woad-krutik was used as a dye for woolen materials and was highly valued in the handicraft carpet production. Blueberries were used to dye flax blue and wool blue.

By the way, the just mentioned woad-krutik was also used to obtain green color. However, along with other plants. So, in particular, the stems and leaves of the well-known stinging nettle and stinging nettle, i.e. trefoil, leaves of club moss, roots of tansy (wild mountain ash).

Black

In order to achieve the black tone of the material, several plants were used. These include berries and roots of voronets (funnel), meadowsweet bark, leaves and stems of podbel, bearberry leaves (in other words, bear's ears) and the juice of a herb with the amusing name of brilliant zyuzik. He has a whole series folk names: water horehound, wolf's foot (or paw), wild mother plant, forest hemp, marsh nettle, speckled grass, heart grass, chickweed).

"Colorful abilities" of plants

During the course of the story, it was already mentioned in passing that some representatives of the earth’s flora are capable of obtaining different tones using different technologies. And the first thing that comes to mind is the well-known onion peel and beets. But they are not the only ones in this group.

So, using the flowers and leaves of an apple tree, or its bark with the addition of alum, you can achieve both red and green paint. From the flowers and leaves of St. John's wort, the fabric and with appropriate processing can turn either red or yellow. Double-edged moss (otherwise known as green grass, dog) is capable of “coloring” the canvas with green, yellow and red.

Blackberries can give fabrics a crimson and purple color, and oak bark with the addition of rusty iron can give it a dark blue to black color. If wild galangal is supplemented with the same rusty iron or alum, the same effect will be obtained. White alder can even color the material in colors from yellow to black, if you add to it either - again - rusted iron, or... fir cones.

Concluding this short review, I would like to express two thoughts. Firstly, to rejoice at how well our ancestors used plant gifts, what enormous work they did in collecting, preparing them and producing dyes, and how extensive and deep the knowledge about the properties of plants was, accumulated over the centuries. Secondly, How great are the possibilities of the plant kingdom and how grateful we should be to it! Of course, hand and artisanal dyeing is rarely used now, but that’s not the point...Do you want to try? published