1. Voluntary Full - Thalacio
2. Living thread of the times
3. And patience is longer than the thread itself
And patience is longer than the thread itself
Goddesses spent less on toilets, historians say, than an earthly woman. Even before she was born, she is already saddened by how the diapers go. And having appeared in the world, she never tires of decorating herself and everything around.
Beauty and paint are closely related. In color, a person has always seen symbols of a diverse world and correlated them with a state of mind. In the colorful palette since glorious times, the red color is listed as victorious and valiant. For his sake, the Phoenicians, who lived four thousand years BC on the eastern shore of the Mediterranean Sea, descended to the bottom behind crimson shells. The purple glands of these gastropods contain a coloring matter, which was the most precious of prey.
The Phoenician purple dyed their amazing fabrics and carpets by the Babylonian craftsmen, whose products were distributed throughout East Asia, and later began to be imported into Greece and Rome. The poet Theocritus wrote that "purple carpets are more tender than sleep and lighter than fluff." Most appreciated were Hermione purple from Argolis. Only senators, the highest dignitaries of ancient Rome, were allowed to wear a tunic with two wide purple stripes, parallel to the full length of their clothes lying on their chest and back. The unprecedentedly cruel ruler Nero boasted of fishing with a gilded net of purple and red ropes. Once he forbade wearing purple and purple colors. And he himself sent a seller with several ounces of paint to the market and, for "disobedience," he sealed the shops of the merchants, punishing everyone at once.
The dark red sail, painted with the juice of the flowers of a branched old oak, was, according to legend, the cause of the death of King Aeneas. Theseus, the victorious Minotaur, picked up this piece of cloth, which, in the rays of the setting sun, his father took for black.
Red color was attributed to magical power, which can protect against the wrath of the gods. Recall the Schiller lines from The Funeral Cry of an Indian.
We’ll throw the fiery colors in our palm
So that he appears in the abyss of darkness as red as fire ...
On another continent, the Scythians had a similar rite. In their burials, archaeologists found crouched figures and red-colored bones. The ancient peoples inhabiting the Baltic coast very much favored the red color.They received paint from simple oregano (the name of the plant comes from the Latvian word “red” and the Lithuanian “red yarn”) mixed with apple leaves and from the roots of one of the species of bedstraw (Galium), as well as from local mosses.
In Russia, red meant beautiful. Yarn of this color with bright raspberry, crimson or crimson hues — vermilion — was stained with carmine, cinnabar, a cochineal contained in the insect. And the paint was sometimes called cochineal.
Of the many wonders that the Greeks saw in India, having been there in the III century BC, they were struck by the bright sunny tones of dyes extracted from plants. For local fabrics and dyes, merchant ships from China, Africa, and Arabia sailed across the seas and oceans. From the diplomatic correspondence of Ivan III with Casimir of Lithuania, we learn that our merchants from overseas goods chose oriental textiles, paints and spices. In 1489, a caravan of ships with 120 Moscow, Tver, and Novgorod merchants sailed to the Tavan transport on the lower Dnieper, and was robbed on the way back. Ryadovich Obakum Yeremeyev, the son of Krasilnikov, who had a trading place on Novgorod Square, the robbers took away 20 nyug saffron, 11 liters of worm “silk”, 3 kant-tari white incense and a lot more for 70 Rubles.
No matter how good the foreign dyes, all of them can not be stocked. People look closely at what is nearby in the plant and animal kingdom, and find something similar. It turned out, for example, that indigo, a divine blue-blue paint that was first discovered in India, contains shrubs and grasses (indigo plants) related to the indigofer, which are common in different parts of the world.
Some of the local colors are so appealing to the heart that they become national colors. In the Scandinavian countries they collect mountain moss on stones, it gives heather, bottle color. On greens use lichen from fallen trees and dry branches. In Ireland, the coloring matter is obtained from marine red algae. In the tropical zone, they combine with the bark of campus, kaeput, fernambuk and other hardwood sandalwood. In Russia, a grass is a grass paint. In Transnistria, she skillfully dyes woolen yarn in blue, red, yellow and black colors - for “embroidering” underwear. On the Dvina, wool is dyed in the same colors with overseas products (sandalwood, fuchsin), other colors are obtained by extracts from leaves, roots, stems, fruits, flowers of the local plant community. In Siberia, they discovered their sandalwood, only the smell of violets, a plant of the same family with buckthorn (Phamnus davurica).
The dyeing technique evolved in an original way. Like in Europe, knockers developed their business. Peasants walked through the villages, mostly from the Moscow and Yaroslavl provinces, and manually printed patterns on the fabrics using fabric patterns.
Another type of dyeing is boiling, or puffing. In the Vologda region, this was most often seasonal work. Winter is over, the hair of the housewives is spun and transferred to skeins. The entire female population pours out onto the riverbank, lays out lights, burned with a burn - naked stones. Motives are stacked in beeches (tubs with a hole at the bottom covered by a wooden cork). From above they cover the tub with an ashtray - a piece of canvas and pour ash, it depresses the middle of the ashtray down and forms a filter. Water is poured onto ashes and red-hot stones are lowered here, heated until water goes in bubbles. Beech is covered with another canvas and boards. The cooling stones are replaced by those taken out of the fire. So it continuously lasts a day.
In boiling, the procedure occurs in several stages and on a different basis - soda, potash, vitriol, alkaline. On the Yenisei, they used mainly ash. The first step is preparing the lye. Two handfuls of pure birch ash are poured into a brazier with a capacity of a bucket, a handful of dried grass that contains paint, the vessel is put on fire - boiled. The boiling liquid is poured into a tub, filtering through a rare canvas.Five to six such containers are stored in liquor, counting by the volume of raw materials, they are allowed to settle. From sifted aspen ash, three koloboks are kneaded in warm water, like clay, put them overnight in an oven, let them be tempered, like pebbles.
Now they are getting ready to paint. The bottom of the iron is covered with a thin layer of ash and a canvas bag with a coloring plant is placed, and a stone on top. Then they again pour a layer of ash, add warm water and send the dishes to the oven - to steam the paint until the morning.
The next day, a cube is taught. By that moment the “head” is ready - a handful of sifted rye flour, pre-fermented in a small pot with very high-quality yeast. The “head” is poured into a cube - a wooden vat with a narrow bottom and an expanded top. Yesterday, I remember, the hosts left the alkaline solution alone. Now it is boiled with coppersmiths and transformed into a vat. Before the last portion, paint is added to the cube. Without removing the contents from the bag, rub with a small amount of liquor and shake in a tub. There are koloboks soaked in liquor and slightly chopped.
In the evening, check if the cube is ready. Dip 2-3 times the coils of wool or a piece of cloth. It will be dug in - yarn or fabric begins to “walk”. Yarn is easier. Woolen is lowered at night to the bottom, tying a stone so as not to emerge. Before the next boiling, at the time when fresh alkali and “head” are introduced, the skeins are removed. So up to three times, if you want to bite properly. The contents of the vat are brought to a boil by glowing stones. With canvases more troublesome. Usually a piece is painted at 6-8 m. It is gradually deployed in a cube, fingering over the edges and preventing it from drowning. Wet parts - the "walls" of the canvas - are laid on board, the paint drains from them into the exposed dishes. Having dried in the sun or in a hut, the fabric is twice subjected to cubing.
Before work, the former dyer fumigates the vat with Bogorodskaya grass (thyme), and before she splashes the “head” into the solution, she pronounces the slander, “the words are strong-sculpted.” If the paint does not cling, the cube, therefore, is scoured with a bar of soap or an evil eye. The most true is to evaporate the container and pour fresh alkali with paint.
So, in Siberian style, blackened, blackened, woolen yarn greened and sandals. The Yenisei goblets achieved an almost full crimson color, using madder (Galium verum L.) and heron-greenery (Ly-copodium). We took rye flour, yeast, and both of these herbs for kvassilo. The semi-strands of yarn were kept for two nights, rinsed, dried, and the madder powder sprinkled with powder was lowered into a very hot, close to boiling water broth of one madder, but not for long. The yarn was dried and consumed on ducks. The white sheep’s wool was also dyed on “cut” (sewn) stockings.
For at least two days with the same composition, only without madder, woolen threads were greened, for yellow, serpukhs (Serratula coronata L.) and flowers were sprinkled on the greenery, hot, necessarily adding a bundle with ash.
When they were about to thread their threads, they boiled cargo of milk and birch bark. And in this brine yarn was fermented for three nights, dried. Makir (Scabiosa - the roots of the Siberian bog plant bark, another name is a morphine) was evaporated in a pot in the oven heat for a whole day. After a hot dye, the coils were brought up with glowing stones until the liquid began to soar.
Half a kilogram of wheat bran was cooked on a soda cube in five to six liters of water, and in the resulting jelly, having cooled to 50-60 ° С, paint, 45 g of soda and 10-12 g of hydrated lime were mixed. The dishes were covered for 2-3 days, occasionally stirred and waited for the appearance of the "cube". Its sign is the amber-yellow color of the solution with a film on top of a bluish-red tint. If you want the right fermentation - keep the solution warm. Zaburlit - put a little lime. For coloring 1.5-2 kg of wool in 10 l of water, 40-50 g of soda and half of the “cube”, “uterus” are introduced, the wool is immersed here for 30-35 minutes and dried in air. If you want a darker yarn, repeat the procedure, add to the original color in the weakened solution from the "uterus".Ukrainian peasants distinguished color by “cube” not only in color, but also in smell.
Without knowledge of chemistry, domestic craftsmen from their experiments deduced that alcohol is produced from the fermentation of starch in flour and cereal, which under some conditions turns into acetic acid, and under other conditions it serves as an alcoholic extract of paint.
High-quality dye increases in price with the development of textile factories, cloth and subsequently weaving mills. When at the end of the XVIII century in Europe there were interruptions with paints, everyone was preoccupied - from the British to the Dutch. And the “maestro of deceit”, the minister of the French court of Talleyrand, with his ever-present diplomatic combinations put in his pocket a sum with many zeros.
Artificial dyes are gradually replaced by natural ones, quite often surpassing the former technology by simplicity. By the beginning of our century, the industry had brought down a huge selection of paints for consumers for both large-scale production and domestic purposes. Some names are: amaranth red, scarlet red, royal red and blue, Bismarck brown, Guinean green, malachite green, cashmere black, a whole range of so-called vat colors, a lot of phoenix, restoring burnt colors.
Meanwhile, no ringing calls of the Offen and Lotos scurrying through the villages turned the villager away from the traditional methods of dyeing and dyeing. Undeniable quality is preserved in plant paints - they do not fade as intensively as factory ones. Well what home dyes are not deafening brightness, these are colors of the Russian nature where semitones dominate. And our mothers knew only by hearsay about the commercial store "Knitwear", which opened after the war on Nevsky in Leningrad and was immediately called "Death to husbands" for the high cost. Parents flaunted in home-made dresses made of wool yarn, dyed chamomile and birch leaf, sorrel and bird cherry juice roots, alder catkins and bark of blackthorn, spruce, plum. As the women showed on the catwalks needlework in theaters that came to life during peaceful days, traveling circuses, in the halls of philharmonic halls.
Like spinning, a good color coat requires patience longer than the thread itself. The knitted yarn is transferred to skeins, preferably for one hundred grams for ease of processing, and tied in a circle in 4-6 places with the same woolen thread. In larger skeins, the ties are made not by one loop, but by dividing into 3-4 layers. So they better stretch and stain. The nodules need strong, so that you do not have to unravel the mixed threads - stepmother punishment of stepdaughters.
Not without reason finished yarn was hung out in the spring sun. Air, light and moisture bleach the thread, after which it is more malleable to both washing and dyeing. If it didn’t turn out to rejuvenate the skeins, then they must be washed with zeal. In the beginning, the wool is simply washed without soap and any other additives in water of body temperature. Neither now, nor after the thread do they rub, they do not squeeze, do nothing that would lead to shrinkage, flattening of the fibers.
A simple dark laundry soap is planed as small as possible (on a grater) and the quarter of a piece in an enameled basin is dissolved in warm water until foam. Skeins are soaked, wrinkled, slightly squeezing and turning. Mud better departs with the addition of 3-5 tablespoons of ammonia to a single wash of a batch of yarn1 *. A bar of soap is enough to wash 1 kg of yarn per person, *. Re reception. Washed wool with shine, a clear white color, fluffy, soft to the touch after a series of rinses. But if there is still a gray coating on the threads, the wash is not finished. Poorly washed yarn and dyed unevenly will be a piebald, knocked down, dull color. Soap did not help - we affect the temperature. 100 g of neutral soap are diluted in 3 liters of water and skeins are immersed in the solution so that they fit freely and are covered with a layer of liquid. The solution is heated for at least half an hour, although it is not recommended to bring to a boil.
In more difficult cases, the wool is discolored with hydrosulfite.The solution with skeins in it is heated for 10 minutes and poured here acetic acid 10-15 g per 1 liter. After half an hour, while continuing to heat, the threads are washed. Prior to drying, they simply rinse off the skeins and bleached thoroughly, and finally, in slightly acidic water (with vinegar) or in a decoction of birch leaves. The yarn will become softer. It is wrung out without twisting, which is convenient to do in a centrifuge of a washing machine.
The washing of a large batch of wool will be facilitated by the simplest fixtures - washing tanks and squeezing rollers. Five tanks are needed, these are galvanized containers with double walls and a heat-insulating gasket between them (Fig. 36, No. 2/1997). A perforated basket for wool is inserted into a 30-liter tank; a 500 W electric stove is mounted in the bottom. The lid with thermal insulation inside is very tightly attached to the tank. The spent solution goes through the tap at the bottom of the dishes. In the first three tanks, the yarn is washed with soap, in the rest - rinse with clean water. All processing is carried out at a temperature of solutions not higher than 45 ° C, and rinse in very cool water. Non-spun wool will also be washed in the tanks.
The extraction is carried out by rollers (Fig. 37, No. 2/1997), two cast-iron cylinders with a working length of 250-300 mm and a diameter of 80-100 mm. The rollers are covered with rubber or covered with woolen tape. Operate by electric motor.
The threads, washed and wrung out, are transformed during dyeing, like Ivan the Fool in a fabulous cauldron. The natural material - wool fibers - absorbs organic dye, and excipients, fixers, etchings help insoluble complexes to form on the surface of the yarn.
Paint is prepared in advance. Four times more fresh raw materials will be needed than dried ones. As a rule, parts of a plant containing dye — leaves, roots, stems, flowers, fruits — are minced as much as possible, insisted for 5-6 hours in cold rain, river, distilled or otherwise purified water from impurities and boiled, depending on the raw materials, 15-30 minutes. In addition to temperature, the process is affected by alkali, stirring a little potash or soda ash in the solution.
A new portion of plant material is mixed with a new one and shaved until the color of the desired density is obtained. It happens that fresh raw material is brought into the broth for the third and fourth time. The mass after filtering is poured with new boiling water and boiled for 15 minutes, and the liquid is poured into the first broth. The extract filtered through a sieve and a piece of canvas, defend, evaporate to a suitable concentration of paint.
A 12-liter bucket of water or more is boiled per 1 kg of wool, so that the skeins are free and completely covered with a solution. Paint is poured in parts filtered and mixed with water in a small vessel. And at the first installment and with subsequent yarn in the solution should not be, it is removed for a time when the next portion of the dye is put. It is extremely important that after such an additive all the wool is immersed in the paint at the same time, otherwise the skeins may differ in shades and depth of painting.
They begin to paint in a 40-60-degree solution, stirring constantly and evenly for half an hour, bring the temperature to no more than 90 ° C. Within such limits, they lead more beautifully. After the first half hour, the yarn is removed from the dye and 1 - 1.5 tablespoons of salt, usually table salt, are diluted in the solution, although earlier both Glauber and sea salt were successfully used. New half an hour, the skeins are kept in a salted dye, removed, washed 2-3 times in clean water and treated with one of the fixers or mordants dissolved in hot water with vinegar essence. Depending on the paint and stain, the threads are left to cool completely in the dye solution, sometimes in water with the stain, shifting the lower layers to the top, and vice versa. Seeing that the dye has begun, the yarn is rinsed (not washed) in warm and slightly soapy foam. So the excess dye goes away. Threads will not be shed then. After all this, the dyed wool is rinsed, preferably in running water, until it becomes completely transparent.In the last bath, 1 tablespoon of vinegar or 10-20 g of sulfuric acid is added to the bucket, after 3-5 minutes the yarn acquires softness and luster. This method of fixing the paint is called squeak.
Many home economics inadvertently use the word “boil” for dyeing. For wool, boiling death is like. In water brought to the boiling point, the wool fibers swell to the point that they dissolve from the next few degrees of heat. Zaparka skeins at 99-100 degrees completely destroys the structure of the hair, with two hundred - the coat melts, scatters in a shapeless mass. That is why, we note, with such a seemingly primitive dyeing method as whipping-boiling, the threads did not suffer, red-hot stones did not give the boiling point of the paint with the paint.
For a long time, people have been aware of the effect of organic compounds on the ability of wool fibers to absorb paint. Under the action of acetic, hydrochloric and other acids, wool is more susceptible to dyeing, and table, sea and glauber salts seem to displace dyes from the solution into yarn.
When lowering skeins of paint, you are always worried that she sticks tightly and in the future when washing does not show chameleonism. To do this, along with acidic fixatives, mordants are used - complex salts of iron, copper, zinc, chromium, aluminum, potassium, containing heavy metal ions and soluble in water. For 1 kg of wool, 20 to 200 g of such a substance is consumed. Quite often, dressing precedes dyeing. If they are introduced already at the end of the process, then the yarn is left to dye and the composition is heated for about one hour. Again, the skeins are removed from the dye solution before pouring a fixative into it.
When choosing paints and fixing agents, we have to reckon with the side effects, which in a number of circumstances are shown by salts and acids. So, cold hydrochloric acid causes blue and violet tides in the coat. By weakening the hair structure, an aqueous solution of sulphurous acid at the same time bleaches the fibers. From potash, soda ash they are rude. Potash and soda also reward the yarn with an untidy, hard-to-color shade. But in the presence of glycerol, alkalis increase the susceptibility of wool to dyes. From chlorine, the fibers acquire a silk sheen, but the wool that has absorbed chlorine is incapable of shedding. Chlorinated does not shrink when washing and washing, but it starts to accept paint as willingly as silk. In the past, when processing raw materials with chlorine, “silk wool” was obtained.
Almost in every locality their dye plants know and of them are the colors of the expected depth, saturation, brightness. There are masters who receive up to 40 shades of the same color. At the same time, the paint is extracted both from rare plants, and from those that almost under everyone's feet. Our conversation is about the most common people, which in most cases are in the household.
Red color. The juice of ripe cherry berries yarn dyed even without a fixer. A similar dye contains young branches and buckthorn leaves, collected before flowering. The coloring matter is also found in ripe elderberry, in the grass of flowering oregano, the bark of thorns or the bark of the bark cooked in liquor. Red paint is prepared from the roots of a bedstraw, celandine dug up to flowering, using a tin salt, alkali or vinegar as a fixative. Fallen maple leaves will give a dark red color if the coat is treated with iron sulfate prior to dyeing. Fresh leaves of the wild apple tree will leave a dark crimson mark after dressing the yarn with potassium dichromate.
Yellow. From golden to dark yellow shades, the wool absorbs the paint extracted from the flowers of the chamomile pharmacy, while the paint will firmly enter the fibers if 1 tablespoon of table salt is put on the decoction bucket as a fixative. Another ancient dye is in the flowers of the immortelle. White yarn is obtained in mono yellow. At the end of dyeing, dissolve 1 tablespoon of sodium chloride in 5 l of solution.
The shades of yellow change with the concentration of the decoction.Bright yellow and yellow extract give fallen leaves of linden. Wool is pre-wetted with copper sulfate. In the leaves and young birch bark, harvested in early summer, there are bright yellow and olive colors. For pure yellow color, only leaves are used. Staining must be fixed with alum. In combination with alum, yarn of different shades of yellow centaury grass, calendula flowers, bedstraws, fresh rosemary sprouts, ash and alder bark, fresh buckthorn bark will make yarn of various shades.
Green color. In a decoction of needles and cones, the spruce will acquire the color of spring greenery skeins of yarn, provided that at the same time as the paint, copper sulfate will be added to the composition. Other shades of green will result in wool dyed with extracts from potato and carrot tops, from stems and leaves of tomatoes, and elderberry leaves. Using spring all the young plants, extract the greens from the Chernobyl. After dyeing, the yarn should be held in a solution of potassium dichromate. When you want a darker green color, iron sulfate is diluted with a paint solution. Persistent greens can be obtained from green chamomile flowers, the paint will settle in threads if 1 tablespoon of table salt is added to the solution per 5 liters of the composition. For green dyes, in addition to copper sulfate, tin salt or alum are suitable as fixatives. Experienced dyers in this case avoid alkalis, they sin on them that the coloring with the participation of alkaline additives is faded, matte, not at full strength.
There is a lot of green dye in the leaves of wild sorrel, the stems of the marsh horsetail, the inner bark of bird cherry, and juniper berries. The yarn will turn green in juicy green in the decoction of the inner bark of poplar, when the skeins are first held in a solution of iron sulfate (1:10).
Blue color. The leaves of wild buckwheat are boiled to obtain a thick (as practice says, full) blue. Previously, they used a buckwheat extract when they wanted to bring the color of the coloration closer to the very fashionable then indigo. The yarn turns blue, having been in the decoction of the roots of elecampane, the more, the younger, thinner the roots, the skin of which is rich in dye. Blue paint is also isolated from dried or just dug up roots of knotweed (mountaineer bird). For purity of tone, it is important that the roots be washed off the ground with provisional thoroughness.
Dark blue color is given by blackberry berries, stalks of the lycopodium plundera, wyda leaves (its synonyms are vinyl, vinyl, farrower), meadow sage grass in combination with vinegar as a fixative. With a big roll towards the violet color, the blueberry and the yagl-litmus nick are woolly painted, in the last century an extremely popular coloring agent among the French. Blueberry berries are stained with alum.
Brown and black colors. Filmed in the spring before the leaf turned around, earrings aspens are full of brown dye. If copper sulfate is added to the broth before dyeing, you can expect a clear brown color, after painting, the added iron sulfate paint thickens to black. A brown color will be obtained from a concentrated dye solution from fir cones if alum is added to the beginning of dyeing. Black with a brown tint will be from the crusts of the recently removed pomegranate provided that copper sulfate is added to the solution at the end of the color, approximately the same result is expected in dyeing by extracting from the top of the potato stems, as soon as the tubers are dug up, and the composition is diluted with iron sulfate solution before immersion skeins of paint.
Brown paint is extracted from dry bark of buckthorn, bark of plum tree, willow, mountain ash, aspen, and spruce. Copper sulfate, iron sulfate, and both mordants combined and alkali will give color to the fortress.
For gray color You can use the bark of oak, black and gray alder, thorns, birch bark. A light gray tone will come from the interaction of an extract from gray alder with alkali or alum, a medium-gray paint can be made if either alkali or copper sulfate is added to the broth. For a dark gray color, one copper sulfate or with iron sulfate is taken as a fixative.
In a significant part of dyeing plants, the coloring matter changes color under the influence of fixing agents and mordants. Since ancient times, Siberians used incense as a source of paint. A saturated extract was prepared for green color, fixing it in the thread with a small amount of alkali. Old leaves and rhizomes were boiled to a dark green or black color, prudently etching the yarn with a solution of iron-containing compounds. When mordant is dyed with chromium salts, the coat becomes khaki.
The water pepper herb with a sharp pepper taste of fresh leaves is saturated with a dye that is golden, golden green, steel or protective, if the yarn is suitably treated with a solution of copper sulfate, potassium dichromate (chrompeak) or iron compounds.
Classic black color From time immemorial, they have been made with decoction from oak bark, preceding the dyeing by dressing wool with a solution of iron compounds. If khaki was required, chrompeak was added to the hood. From one St. John's wort, a skilled dyer will single out the smallest paint of six colors. Infusion in cold water receive yellow and green colors from flowers. A hot broth of grass, thicker or weaker, will give the yarn a red or pink color. When the dye is evaporated for a long time, the thread acquires the color of a dark burgundy. With the replacement of alum with mordant from iron compounds, the yarn will turn blue.
A concentrated decoction of the flowers of the hemorrhagic medicinal product will color the thread red, the weaker solution will give a pink color. Most often, the coloring power was known behind the roots and rhizomes of the blood slurry, from their broth in Russia they traditionally made a black and blue dye, which needs to be etched with an iron-containing liquid. An upright cinquefoil (in the street - wild galangal) will help out with a red dye if alum is added to the broth. Charcoal-black yarn will become from iron sulphate during prolonged dyeing in the same hood.
In a new color, bearberry (bear’s ear), which looks like lingonberry, reacts to different stains and bearberry. If you want a red dye, a solution of iron sulfate is poured into a decoction of leaves. After holding the skeins of yarn in this composition for longer, we will change the color to purple. If necessary, black and blue color in the dye broth, you need to make iron-ammonium alum. Increasing or decreasing the density of boiling out, as well as the amount of mordant, we will change the shades of colors. For example, as one of the intermediate ones, from bearberry, when processing with alum, you can get a noble light gray tone.
It seems to behave with etch and a series of three-part. A hood for wool is taken from leaves and flowers. When interacting with metal salts, a dyeing solution of a cream, brown or orange-yellow color is formed.
The boiled fallen aspen leaves with copper sulfate poured into the solution before dyeing will give the coat a rich brown color. The hood turns into a green dye if potassium dichromate is added to it. When, simultaneously with the start of dyeing, iron sulfate is used as a mordant, the yarn will become a pleasant gray color.
Many shades of sand promise a branch of marsh rosemary. After soaking the raw materials for a day, filter the water and lower the yarn into it, which is slowly and long heated (up to four hours), testing the resulting color with samples. If you add 10 teaspoons of table salt per 1 kg of wool, the threads will turn bright scarlet.
Ledum will respond with green paint to potassium dichromate (up to 150 g of this mordant is spent on 1 kg of yarn). First, the skeins are treated in a fixative solution, maintaining the highest temperature (i.e. 90 ° C) for two hours. Following the yarn is dried. Meanwhile, rosemary is boiled for 3-4 hours, the solution is cooled and the pickled wool is added to the cold. After this, the solution is heated to the highest possible degree (not higher than the boiling point), hold for an entire hour. And, after such a period, they continue to dye the threads in the cooling liquid. Around the same work on the gray-brown color, this time using alum (for 1 kg of yarn 150g). Forward, the coils are heated in a fixative solution, protecting them from boiling.After half an hour, the yarn is transferred to a dye solution of rosemary and heated to a temperature limit of 90 ° C for an hour.
A pleasant surprise for those who have never used this dye plant will be the color of river sand from nettles deaf. The yarn is treated in a solution of alum (1 kg - 190 g of fixative), as in the previous case. Raw materials, soaked in water for 4 hours, boil and filter. Wool is immersed for one hour in the paint, trying to maintain a temperature of about 90 ° C in the solution.
The time spent is usually not a pity when the coloring is made onion peel. There are a lot of husks - for 1 kg of yarn about 8 kg, if the goal is a dark yellow color, and half a portion is for bright orange dye. Before dyeing, the coat is kept for half an hour in an alum solution that is extremely hot (consumption of fixative per 1 kg of yarn - 150 g). Half an hour the husks are boiled for four hours. In the dye concentrate, the skeins are left for one hour, heating the solution, but not reaching the boiling point. After dyeing, the yarn should be allowed to cool in a bowl with an onion hood.
For orange paint, the onion scales are soaked for at least seven hours, in the filtered solution, the wool is heated for two hours and the liquid is brought to a state bordering with drilling to the first “wrinkles” on the surface of the water. And all this time, the upper and lower skeins are periodically interchanged.
Calculations of raw materials for paint may be conditional. The same plant in different places, in different years, in different seasons, dried and fresh, contains an unequal amount of dye. Therefore, the sample remains the best adviser to the dyer. Stricter business with the choice of fixatives. The white powder of alum is mainly intended for paints of light tones - yellow, gray, scarlet. Blue-green crystals of copper sulfate are suitable for obtaining a saturated yellow, green, brown colors. For dark colors - gray, brown, green, red-brick - mainly yellow-green crystals of iron sulfate are chosen.
Before drying the dyed yarn, let water drain from it as much as possible. Squeezing the skeins lightly, they are hung up, straightened, in the shade, in the nook of the fury of the wind, so that he does not cut the threads. Forced drying by the fire, before electrical appliances it’s great to accelerate the evaporation of moisture, but it will also almost certainly cause irreparable troubles - the fibers shrink, and the color just ages before our eyes, grows dull, after 80 C it darkens completely. And wool begins to emit ammonia fumes.
It is no more difficult to care for products made of yarn dyed with vegetable dyes than processed with factory dyes. Maybe they act a little more peculiarly when you have to get rid of all kinds of spots. But this is also the richest folk experience.
Greasy spots come down on a yarn of light tones, softened by such a composition. Half boiled 2 l of water with 60 g of soap root (licorice) and 30 g of 10% ammonia are added to the cooled solution. Parts of clothing moistened with this product are washed with water.
A mixture of 200 parts of white soap, 250 parts of carbonic soda and 10 parts of fresh beef bile is even more active. They use the composition, having first tried how the dyed yarn behaves on a spare hank.
No loss in the most delicate of colors will occur if the stain is treated with a solution of the following components. Two parts of green soap are mixed under heating with 1 part of ammonia, periodically pouring kerosene (4 parts) and purified turpentine (1 part). Wool will be cleaned even with cold water.
Flooded places on woolen products, you can rub half the onion and iron it through a four-fold folded paper towel.
Drops of coffee will wash off glycerin dissolved in lukewarm water. Still wet thing ironed from the inside out.
Grass traces removes a thin layer of slurry from tin chloride, provided that it is quickly washed off with soft water.
Ink stains weakens and removes, especially on a thick, loose yarn, half a fresh tomato.
Blood stains washed off with milk, sodium chloride, ammonia.
Fresh traces of sweat will not remain from a solution of borax or ammonia. The old, sharply showing an alkaline reaction, must be treated with a 5% solution of oxalic acid, and on the red - with a 1% solution of tin chloride.
Berry and fruit juicesspilled onto woolen yarn products are dissolved in hot soapy foam. The thing is rinsed with clean water, in which very little ammonia and hyposulfite are mixed.
Milk stains on dark wool, they are impregnated with a composition of ammonia and vodka taken in 60 g each and 15 g of sodium chloride. Wash off with lukewarm water and steam from the wrong side of the product.
Stains from urine are removed with alcohol, lemon juice or 3-4% tartaric acid, the chronic ones will take a 10% solution of sorrel acid.
Tobacco, eaten into the yarn, removed by rubbing the affected area with egg yolk with wine alcohol, washed with vodka and then hot water.
Chocolate stains smeared with egg yolk and glycerin, washed with warm water and the wool thing still wet, ironed on the non-front side with a not too hot iron. With white wool, chocolate will come off from salt water.
Splashes of champagne washed with a piece of ice wrapped in a linen napkin.
So that he appears in the abyss of darkness as red as fire ...
On another continent, the Scythians had a similar rite. In their burials, archaeologists found crouched figures and red-colored bones. The ancient peoples inhabiting the Baltic coast very much favored the red color.They received paint from simple oregano (the name of the plant comes from the Latvian word “red” and the Lithuanian “red yarn”) mixed with apple leaves and from the roots of one of the species of bedstraw (Galium), as well as from local mosses.
In Russia, red meant beautiful. Yarn of this color with bright raspberry, crimson or crimson hues — vermilion — was stained with carmine, cinnabar, a cochineal contained in the insect. And the paint was sometimes called cochineal.
Of the many wonders that the Greeks saw in India, having been there in the III century BC, they were struck by the bright sunny tones of dyes extracted from plants. For local fabrics and dyes, merchant ships from China, Africa, and Arabia sailed across the seas and oceans. From the diplomatic correspondence of Ivan III with Casimir of Lithuania, we learn that our merchants from overseas goods chose oriental textiles, paints and spices. In 1489, a caravan of ships with 120 Moscow, Tver, and Novgorod merchants sailed to the Tavan transport on the lower Dnieper, and was robbed on the way back. Ryadovich Obakum Yeremeyev, the son of Krasilnikov, who had a trading place on Novgorod Square, the robbers took away 20 nyug saffron, 11 liters of worm “silk”, 3 kant-tari white incense and a lot more for 70 Rubles.
No matter how good the foreign dyes, all of them can not be stocked. People look closely at what is nearby in the plant and animal kingdom, and find something similar. It turned out, for example, that indigo, a divine blue-blue paint that was first discovered in India, contains shrubs and grasses (indigo plants) related to the indigofer, which are common in different parts of the world.
Some of the local colors are so appealing to the heart that they become national colors. In the Scandinavian countries they collect mountain moss on stones, it gives heather, bottle color. On greens use lichen from fallen trees and dry branches. In Ireland, the coloring matter is obtained from marine red algae. In the tropical zone, they combine with the bark of campus, kaeput, fernambuk and other hardwood sandalwood. In Russia, a grass is a grass paint. In Transnistria, she skillfully dyes woolen yarn in blue, red, yellow and black colors - for “embroidering” underwear. On the Dvina, wool is dyed in the same colors with overseas products (sandalwood, fuchsin), other colors are obtained by extracts from leaves, roots, stems, fruits, flowers of the local plant community. In Siberia, they discovered their sandalwood, only the smell of violets, a plant of the same family with buckthorn (Phamnus davurica).
The dyeing technique evolved in an original way. Like in Europe, knockers developed their business. Peasants walked through the villages, mostly from the Moscow and Yaroslavl provinces, and manually printed patterns on the fabrics using fabric patterns.
Another type of dyeing is boiling, or puffing. In the Vologda region, this was most often seasonal work. Winter is over, the hair of the housewives is spun and transferred to skeins. The entire female population pours out onto the riverbank, lays out lights, burned with a burn - naked stones. Motives are stacked in beeches (tubs with a hole at the bottom covered by a wooden cork). From above they cover the tub with an ashtray - a piece of canvas and pour ash, it depresses the middle of the ashtray down and forms a filter. Water is poured onto ashes and red-hot stones are lowered here, heated until water goes in bubbles. Beech is covered with another canvas and boards. The cooling stones are replaced by those taken out of the fire. So it continuously lasts a day.
In boiling, the procedure occurs in several stages and on a different basis - soda, potash, vitriol, alkaline. On the Yenisei, they used mainly ash. The first step is preparing the lye. Two handfuls of pure birch ash are poured into a brazier with a capacity of a bucket, a handful of dried grass that contains paint, the vessel is put on fire - boiled. The boiling liquid is poured into a tub, filtering through a rare canvas.Five to six such containers are stored in liquor, counting by the volume of raw materials, they are allowed to settle. From sifted aspen ash, three koloboks are kneaded in warm water, like clay, put them overnight in an oven, let them be tempered, like pebbles.
Now they are getting ready to paint. The bottom of the iron is covered with a thin layer of ash and a canvas bag with a coloring plant is placed, and a stone on top. Then they again pour a layer of ash, add warm water and send the dishes to the oven - to steam the paint until the morning.
The next day, a cube is taught. By that moment the “head” is ready - a handful of sifted rye flour, pre-fermented in a small pot with very high-quality yeast. The “head” is poured into a cube - a wooden vat with a narrow bottom and an expanded top. Yesterday, I remember, the hosts left the alkaline solution alone. Now it is boiled with coppersmiths and transformed into a vat. Before the last portion, paint is added to the cube. Without removing the contents from the bag, rub with a small amount of liquor and shake in a tub. There are koloboks soaked in liquor and slightly chopped.
In the evening, check if the cube is ready. Dip 2-3 times the coils of wool or a piece of cloth. It will be dug in - yarn or fabric begins to “walk”. Yarn is easier. Woolen is lowered at night to the bottom, tying a stone so as not to emerge. Before the next boiling, at the time when fresh alkali and “head” are introduced, the skeins are removed. So up to three times, if you want to bite properly. The contents of the vat are brought to a boil by glowing stones. With canvases more troublesome. Usually a piece is painted at 6-8 m. It is gradually deployed in a cube, fingering over the edges and preventing it from drowning. Wet parts - the "walls" of the canvas - are laid on board, the paint drains from them into the exposed dishes. Having dried in the sun or in a hut, the fabric is twice subjected to cubing.
Before work, the former dyer fumigates the vat with Bogorodskaya grass (thyme), and before she splashes the “head” into the solution, she pronounces the slander, “the words are strong-sculpted.” If the paint does not cling, the cube, therefore, is scoured with a bar of soap or an evil eye. The most true is to evaporate the container and pour fresh alkali with paint.
So, in Siberian style, blackened, blackened, woolen yarn greened and sandals. The Yenisei goblets achieved an almost full crimson color, using madder (Galium verum L.) and heron-greenery (Ly-copodium). We took rye flour, yeast, and both of these herbs for kvassilo. The semi-strands of yarn were kept for two nights, rinsed, dried, and the madder powder sprinkled with powder was lowered into a very hot, close to boiling water broth of one madder, but not for long. The yarn was dried and consumed on ducks. The white sheep’s wool was also dyed on “cut” (sewn) stockings.
For at least two days with the same composition, only without madder, woolen threads were greened, for yellow, serpukhs (Serratula coronata L.) and flowers were sprinkled on the greenery, hot, necessarily adding a bundle with ash.
When they were about to thread their threads, they boiled cargo of milk and birch bark. And in this brine yarn was fermented for three nights, dried. Makir (Scabiosa - the roots of the Siberian bog plant bark, another name is a morphine) was evaporated in a pot in the oven heat for a whole day. After a hot dye, the coils were brought up with glowing stones until the liquid began to soar.
Half a kilogram of wheat bran was cooked on a soda cube in five to six liters of water, and in the resulting jelly, having cooled to 50-60 ° С, paint, 45 g of soda and 10-12 g of hydrated lime were mixed. The dishes were covered for 2-3 days, occasionally stirred and waited for the appearance of the "cube". Its sign is the amber-yellow color of the solution with a film on top of a bluish-red tint. If you want the right fermentation - keep the solution warm. Zaburlit - put a little lime. For coloring 1.5-2 kg of wool in 10 l of water, 40-50 g of soda and half of the “cube”, “uterus” are introduced, the wool is immersed here for 30-35 minutes and dried in air. If you want a darker yarn, repeat the procedure, add to the original color in the weakened solution from the "uterus".Ukrainian peasants distinguished color by “cube” not only in color, but also in smell.
Without knowledge of chemistry, domestic craftsmen from their experiments deduced that alcohol is produced from the fermentation of starch in flour and cereal, which under some conditions turns into acetic acid, and under other conditions it serves as an alcoholic extract of paint.
High-quality dye increases in price with the development of textile factories, cloth and subsequently weaving mills. When at the end of the XVIII century in Europe there were interruptions with paints, everyone was preoccupied - from the British to the Dutch. And the “maestro of deceit”, the minister of the French court of Talleyrand, with his ever-present diplomatic combinations put in his pocket a sum with many zeros.
Artificial dyes are gradually replaced by natural ones, quite often surpassing the former technology by simplicity. By the beginning of our century, the industry had brought down a huge selection of paints for consumers for both large-scale production and domestic purposes. Some names are: amaranth red, scarlet red, royal red and blue, Bismarck brown, Guinean green, malachite green, cashmere black, a whole range of so-called vat colors, a lot of phoenix, restoring burnt colors.
Meanwhile, no ringing calls of the Offen and Lotos scurrying through the villages turned the villager away from the traditional methods of dyeing and dyeing. Undeniable quality is preserved in plant paints - they do not fade as intensively as factory ones. Well what home dyes are not deafening brightness, these are colors of the Russian nature where semitones dominate. And our mothers knew only by hearsay about the commercial store "Knitwear", which opened after the war on Nevsky in Leningrad and was immediately called "Death to husbands" for the high cost. Parents flaunted in home-made dresses made of wool yarn, dyed chamomile and birch leaf, sorrel and bird cherry juice roots, alder catkins and bark of blackthorn, spruce, plum. As the women showed on the catwalks needlework in theaters that came to life during peaceful days, traveling circuses, in the halls of philharmonic halls.
Like spinning, a good color coat requires patience longer than the thread itself. The knitted yarn is transferred to skeins, preferably for one hundred grams for ease of processing, and tied in a circle in 4-6 places with the same woolen thread. In larger skeins, the ties are made not by one loop, but by dividing into 3-4 layers. So they better stretch and stain. The nodules need strong, so that you do not have to unravel the mixed threads - stepmother punishment of stepdaughters.
Not without reason finished yarn was hung out in the spring sun. Air, light and moisture bleach the thread, after which it is more malleable to both washing and dyeing. If it didn’t turn out to rejuvenate the skeins, then they must be washed with zeal. In the beginning, the wool is simply washed without soap and any other additives in water of body temperature. Neither now, nor after the thread do they rub, they do not squeeze, do nothing that would lead to shrinkage, flattening of the fibers.
A simple dark laundry soap is planed as small as possible (on a grater) and the quarter of a piece in an enameled basin is dissolved in warm water until foam. Skeins are soaked, wrinkled, slightly squeezing and turning. Mud better departs with the addition of 3-5 tablespoons of ammonia to a single wash of a batch of yarn1 *. A bar of soap is enough to wash 1 kg of yarn per person, *. Re reception. Washed wool with shine, a clear white color, fluffy, soft to the touch after a series of rinses. But if there is still a gray coating on the threads, the wash is not finished. Poorly washed yarn and dyed unevenly will be a piebald, knocked down, dull color. Soap did not help - we affect the temperature. 100 g of neutral soap are diluted in 3 liters of water and skeins are immersed in the solution so that they fit freely and are covered with a layer of liquid. The solution is heated for at least half an hour, although it is not recommended to bring to a boil.
In more difficult cases, the wool is discolored with hydrosulfite.The solution with skeins in it is heated for 10 minutes and poured here acetic acid 10-15 g per 1 liter. After half an hour, while continuing to heat, the threads are washed. Prior to drying, they simply rinse off the skeins and bleached thoroughly, and finally, in slightly acidic water (with vinegar) or in a decoction of birch leaves. The yarn will become softer. It is wrung out without twisting, which is convenient to do in a centrifuge of a washing machine.
The washing of a large batch of wool will be facilitated by the simplest fixtures - washing tanks and squeezing rollers. Five tanks are needed, these are galvanized containers with double walls and a heat-insulating gasket between them (Fig. 36, No. 2/1997). A perforated basket for wool is inserted into a 30-liter tank; a 500 W electric stove is mounted in the bottom. The lid with thermal insulation inside is very tightly attached to the tank. The spent solution goes through the tap at the bottom of the dishes. In the first three tanks, the yarn is washed with soap, in the rest - rinse with clean water. All processing is carried out at a temperature of solutions not higher than 45 ° C, and rinse in very cool water. Non-spun wool will also be washed in the tanks.
The extraction is carried out by rollers (Fig. 37, No. 2/1997), two cast-iron cylinders with a working length of 250-300 mm and a diameter of 80-100 mm. The rollers are covered with rubber or covered with woolen tape. Operate by electric motor.
The threads, washed and wrung out, are transformed during dyeing, like Ivan the Fool in a fabulous cauldron. The natural material - wool fibers - absorbs organic dye, and excipients, fixers, etchings help insoluble complexes to form on the surface of the yarn.
Paint is prepared in advance. Four times more fresh raw materials will be needed than dried ones. As a rule, parts of a plant containing dye — leaves, roots, stems, flowers, fruits — are minced as much as possible, insisted for 5-6 hours in cold rain, river, distilled or otherwise purified water from impurities and boiled, depending on the raw materials, 15-30 minutes. In addition to temperature, the process is affected by alkali, stirring a little potash or soda ash in the solution.
A new portion of plant material is mixed with a new one and shaved until the color of the desired density is obtained. It happens that fresh raw material is brought into the broth for the third and fourth time. The mass after filtering is poured with new boiling water and boiled for 15 minutes, and the liquid is poured into the first broth. The extract filtered through a sieve and a piece of canvas, defend, evaporate to a suitable concentration of paint.
A 12-liter bucket of water or more is boiled per 1 kg of wool, so that the skeins are free and completely covered with a solution. Paint is poured in parts filtered and mixed with water in a small vessel. And at the first installment and with subsequent yarn in the solution should not be, it is removed for a time when the next portion of the dye is put. It is extremely important that after such an additive all the wool is immersed in the paint at the same time, otherwise the skeins may differ in shades and depth of painting.
They begin to paint in a 40-60-degree solution, stirring constantly and evenly for half an hour, bring the temperature to no more than 90 ° C. Within such limits, they lead more beautifully. After the first half hour, the yarn is removed from the dye and 1 - 1.5 tablespoons of salt, usually table salt, are diluted in the solution, although earlier both Glauber and sea salt were successfully used. New half an hour, the skeins are kept in a salted dye, removed, washed 2-3 times in clean water and treated with one of the fixers or mordants dissolved in hot water with vinegar essence. Depending on the paint and stain, the threads are left to cool completely in the dye solution, sometimes in water with the stain, shifting the lower layers to the top, and vice versa. Seeing that the dye has begun, the yarn is rinsed (not washed) in warm and slightly soapy foam. So the excess dye goes away. Threads will not be shed then. After all this, the dyed wool is rinsed, preferably in running water, until it becomes completely transparent.In the last bath, 1 tablespoon of vinegar or 10-20 g of sulfuric acid is added to the bucket, after 3-5 minutes the yarn acquires softness and luster. This method of fixing the paint is called squeak.
Many home economics inadvertently use the word “boil” for dyeing. For wool, boiling death is like. In water brought to the boiling point, the wool fibers swell to the point that they dissolve from the next few degrees of heat. Zaparka skeins at 99-100 degrees completely destroys the structure of the hair, with two hundred - the coat melts, scatters in a shapeless mass. That is why, we note, with such a seemingly primitive dyeing method as whipping-boiling, the threads did not suffer, red-hot stones did not give the boiling point of the paint with the paint.
For a long time, people have been aware of the effect of organic compounds on the ability of wool fibers to absorb paint. Under the action of acetic, hydrochloric and other acids, wool is more susceptible to dyeing, and table, sea and glauber salts seem to displace dyes from the solution into yarn.
When lowering skeins of paint, you are always worried that she sticks tightly and in the future when washing does not show chameleonism. To do this, along with acidic fixatives, mordants are used - complex salts of iron, copper, zinc, chromium, aluminum, potassium, containing heavy metal ions and soluble in water. For 1 kg of wool, 20 to 200 g of such a substance is consumed. Quite often, dressing precedes dyeing. If they are introduced already at the end of the process, then the yarn is left to dye and the composition is heated for about one hour. Again, the skeins are removed from the dye solution before pouring a fixative into it.
When choosing paints and fixing agents, we have to reckon with the side effects, which in a number of circumstances are shown by salts and acids. So, cold hydrochloric acid causes blue and violet tides in the coat. By weakening the hair structure, an aqueous solution of sulphurous acid at the same time bleaches the fibers. From potash, soda ash they are rude. Potash and soda also reward the yarn with an untidy, hard-to-color shade. But in the presence of glycerol, alkalis increase the susceptibility of wool to dyes. From chlorine, the fibers acquire a silk sheen, but the wool that has absorbed chlorine is incapable of shedding. Chlorinated does not shrink when washing and washing, but it starts to accept paint as willingly as silk. In the past, when processing raw materials with chlorine, “silk wool” was obtained.
Almost in every locality their dye plants know and of them are the colors of the expected depth, saturation, brightness. There are masters who receive up to 40 shades of the same color. At the same time, the paint is extracted both from rare plants, and from those that almost under everyone's feet. Our conversation is about the most common people, which in most cases are in the household.
Red color. The juice of ripe cherry berries yarn dyed even without a fixer. A similar dye contains young branches and buckthorn leaves, collected before flowering. The coloring matter is also found in ripe elderberry, in the grass of flowering oregano, the bark of thorns or the bark of the bark cooked in liquor. Red paint is prepared from the roots of a bedstraw, celandine dug up to flowering, using a tin salt, alkali or vinegar as a fixative. Fallen maple leaves will give a dark red color if the coat is treated with iron sulfate prior to dyeing. Fresh leaves of the wild apple tree will leave a dark crimson mark after dressing the yarn with potassium dichromate.
Yellow. From golden to dark yellow shades, the wool absorbs the paint extracted from the flowers of the chamomile pharmacy, while the paint will firmly enter the fibers if 1 tablespoon of table salt is put on the decoction bucket as a fixative. Another ancient dye is in the flowers of the immortelle. White yarn is obtained in mono yellow. At the end of dyeing, dissolve 1 tablespoon of sodium chloride in 5 l of solution.
The shades of yellow change with the concentration of the decoction.Bright yellow and yellow extract give fallen leaves of linden. Wool is pre-wetted with copper sulfate. In the leaves and young birch bark, harvested in early summer, there are bright yellow and olive colors. For pure yellow color, only leaves are used. Staining must be fixed with alum. In combination with alum, yarn of different shades of yellow centaury grass, calendula flowers, bedstraws, fresh rosemary sprouts, ash and alder bark, fresh buckthorn bark will make yarn of various shades.
Green color. In a decoction of needles and cones, the spruce will acquire the color of spring greenery skeins of yarn, provided that at the same time as the paint, copper sulfate will be added to the composition. Other shades of green will result in wool dyed with extracts from potato and carrot tops, from stems and leaves of tomatoes, and elderberry leaves. Using spring all the young plants, extract the greens from the Chernobyl. After dyeing, the yarn should be held in a solution of potassium dichromate. When you want a darker green color, iron sulfate is diluted with a paint solution. Persistent greens can be obtained from green chamomile flowers, the paint will settle in threads if 1 tablespoon of table salt is added to the solution per 5 liters of the composition. For green dyes, in addition to copper sulfate, tin salt or alum are suitable as fixatives. Experienced dyers in this case avoid alkalis, they sin on them that the coloring with the participation of alkaline additives is faded, matte, not at full strength.
There is a lot of green dye in the leaves of wild sorrel, the stems of the marsh horsetail, the inner bark of bird cherry, and juniper berries. The yarn will turn green in juicy green in the decoction of the inner bark of poplar, when the skeins are first held in a solution of iron sulfate (1:10).
Blue color. The leaves of wild buckwheat are boiled to obtain a thick (as practice says, full) blue. Previously, they used a buckwheat extract when they wanted to bring the color of the coloration closer to the very fashionable then indigo. The yarn turns blue, having been in the decoction of the roots of elecampane, the more, the younger, thinner the roots, the skin of which is rich in dye. Blue paint is also isolated from dried or just dug up roots of knotweed (mountaineer bird). For purity of tone, it is important that the roots be washed off the ground with provisional thoroughness.
Dark blue color is given by blackberry berries, stalks of the lycopodium plundera, wyda leaves (its synonyms are vinyl, vinyl, farrower), meadow sage grass in combination with vinegar as a fixative. With a big roll towards the violet color, the blueberry and the yagl-litmus nick are woolly painted, in the last century an extremely popular coloring agent among the French. Blueberry berries are stained with alum.
Brown and black colors. Filmed in the spring before the leaf turned around, earrings aspens are full of brown dye. If copper sulfate is added to the broth before dyeing, you can expect a clear brown color, after painting, the added iron sulfate paint thickens to black. A brown color will be obtained from a concentrated dye solution from fir cones if alum is added to the beginning of dyeing. Black with a brown tint will be from the crusts of the recently removed pomegranate provided that copper sulfate is added to the solution at the end of the color, approximately the same result is expected in dyeing by extracting from the top of the potato stems, as soon as the tubers are dug up, and the composition is diluted with iron sulfate solution before immersion skeins of paint.
Brown paint is extracted from dry bark of buckthorn, bark of plum tree, willow, mountain ash, aspen, and spruce. Copper sulfate, iron sulfate, and both mordants combined and alkali will give color to the fortress.
For gray color You can use the bark of oak, black and gray alder, thorns, birch bark. A light gray tone will come from the interaction of an extract from gray alder with alkali or alum, a medium-gray paint can be made if either alkali or copper sulfate is added to the broth. For a dark gray color, one copper sulfate or with iron sulfate is taken as a fixative.
In a significant part of dyeing plants, the coloring matter changes color under the influence of fixing agents and mordants. Since ancient times, Siberians used incense as a source of paint. A saturated extract was prepared for green color, fixing it in the thread with a small amount of alkali. Old leaves and rhizomes were boiled to a dark green or black color, prudently etching the yarn with a solution of iron-containing compounds. When mordant is dyed with chromium salts, the coat becomes khaki.
The water pepper herb with a sharp pepper taste of fresh leaves is saturated with a dye that is golden, golden green, steel or protective, if the yarn is suitably treated with a solution of copper sulfate, potassium dichromate (chrompeak) or iron compounds.
Classic black color From time immemorial, they have been made with decoction from oak bark, preceding the dyeing by dressing wool with a solution of iron compounds. If khaki was required, chrompeak was added to the hood. From one St. John's wort, a skilled dyer will single out the smallest paint of six colors. Infusion in cold water receive yellow and green colors from flowers. A hot broth of grass, thicker or weaker, will give the yarn a red or pink color. When the dye is evaporated for a long time, the thread acquires the color of a dark burgundy. With the replacement of alum with mordant from iron compounds, the yarn will turn blue.
A concentrated decoction of the flowers of the hemorrhagic medicinal product will color the thread red, the weaker solution will give a pink color. Most often, the coloring power was known behind the roots and rhizomes of the blood slurry, from their broth in Russia they traditionally made a black and blue dye, which needs to be etched with an iron-containing liquid. An upright cinquefoil (in the street - wild galangal) will help out with a red dye if alum is added to the broth. Charcoal-black yarn will become from iron sulphate during prolonged dyeing in the same hood.
In a new color, bearberry (bear’s ear), which looks like lingonberry, reacts to different stains and bearberry. If you want a red dye, a solution of iron sulfate is poured into a decoction of leaves. After holding the skeins of yarn in this composition for longer, we will change the color to purple. If necessary, black and blue color in the dye broth, you need to make iron-ammonium alum. Increasing or decreasing the density of boiling out, as well as the amount of mordant, we will change the shades of colors. For example, as one of the intermediate ones, from bearberry, when processing with alum, you can get a noble light gray tone.
It seems to behave with etch and a series of three-part. A hood for wool is taken from leaves and flowers. When interacting with metal salts, a dyeing solution of a cream, brown or orange-yellow color is formed.
The boiled fallen aspen leaves with copper sulfate poured into the solution before dyeing will give the coat a rich brown color. The hood turns into a green dye if potassium dichromate is added to it. When, simultaneously with the start of dyeing, iron sulfate is used as a mordant, the yarn will become a pleasant gray color.
Many shades of sand promise a branch of marsh rosemary. After soaking the raw materials for a day, filter the water and lower the yarn into it, which is slowly and long heated (up to four hours), testing the resulting color with samples. If you add 10 teaspoons of table salt per 1 kg of wool, the threads will turn bright scarlet.
Ledum will respond with green paint to potassium dichromate (up to 150 g of this mordant is spent on 1 kg of yarn). First, the skeins are treated in a fixative solution, maintaining the highest temperature (i.e. 90 ° C) for two hours. Following the yarn is dried. Meanwhile, rosemary is boiled for 3-4 hours, the solution is cooled and the pickled wool is added to the cold. After this, the solution is heated to the highest possible degree (not higher than the boiling point), hold for an entire hour. And, after such a period, they continue to dye the threads in the cooling liquid. Around the same work on the gray-brown color, this time using alum (for 1 kg of yarn 150g). Forward, the coils are heated in a fixative solution, protecting them from boiling.After half an hour, the yarn is transferred to a dye solution of rosemary and heated to a temperature limit of 90 ° C for an hour.
A pleasant surprise for those who have never used this dye plant will be the color of river sand from nettles deaf. The yarn is treated in a solution of alum (1 kg - 190 g of fixative), as in the previous case. Raw materials, soaked in water for 4 hours, boil and filter. Wool is immersed for one hour in the paint, trying to maintain a temperature of about 90 ° C in the solution.
The time spent is usually not a pity when the coloring is made onion peel. There are a lot of husks - for 1 kg of yarn about 8 kg, if the goal is a dark yellow color, and half a portion is for bright orange dye. Before dyeing, the coat is kept for half an hour in an alum solution that is extremely hot (consumption of fixative per 1 kg of yarn - 150 g). Half an hour the husks are boiled for four hours. In the dye concentrate, the skeins are left for one hour, heating the solution, but not reaching the boiling point. After dyeing, the yarn should be allowed to cool in a bowl with an onion hood.
For orange paint, the onion scales are soaked for at least seven hours, in the filtered solution, the wool is heated for two hours and the liquid is brought to a state bordering with drilling to the first “wrinkles” on the surface of the water. And all this time, the upper and lower skeins are periodically interchanged.
Calculations of raw materials for paint may be conditional. The same plant in different places, in different years, in different seasons, dried and fresh, contains an unequal amount of dye. Therefore, the sample remains the best adviser to the dyer. Stricter business with the choice of fixatives. The white powder of alum is mainly intended for paints of light tones - yellow, gray, scarlet. Blue-green crystals of copper sulfate are suitable for obtaining a saturated yellow, green, brown colors. For dark colors - gray, brown, green, red-brick - mainly yellow-green crystals of iron sulfate are chosen.
Before drying the dyed yarn, let water drain from it as much as possible. Squeezing the skeins lightly, they are hung up, straightened, in the shade, in the nook of the fury of the wind, so that he does not cut the threads. Forced drying by the fire, before electrical appliances it’s great to accelerate the evaporation of moisture, but it will also almost certainly cause irreparable troubles - the fibers shrink, and the color just ages before our eyes, grows dull, after 80 C it darkens completely. And wool begins to emit ammonia fumes.
It is no more difficult to care for products made of yarn dyed with vegetable dyes than processed with factory dyes. Maybe they act a little more peculiarly when you have to get rid of all kinds of spots. But this is also the richest folk experience.
Greasy spots come down on a yarn of light tones, softened by such a composition. Half boiled 2 l of water with 60 g of soap root (licorice) and 30 g of 10% ammonia are added to the cooled solution. Parts of clothing moistened with this product are washed with water.
A mixture of 200 parts of white soap, 250 parts of carbonic soda and 10 parts of fresh beef bile is even more active. They use the composition, having first tried how the dyed yarn behaves on a spare hank.
No loss in the most delicate of colors will occur if the stain is treated with a solution of the following components. Two parts of green soap are mixed under heating with 1 part of ammonia, periodically pouring kerosene (4 parts) and purified turpentine (1 part). Wool will be cleaned even with cold water.
Flooded places on woolen products, you can rub half the onion and iron it through a four-fold folded paper towel.
Drops of coffee will wash off glycerin dissolved in lukewarm water. Still wet thing ironed from the inside out.
Grass traces removes a thin layer of slurry from tin chloride, provided that it is quickly washed off with soft water.
Ink stains weakens and removes, especially on a thick, loose yarn, half a fresh tomato.
Blood stains washed off with milk, sodium chloride, ammonia.
Fresh traces of sweat will not remain from a solution of borax or ammonia. The old, sharply showing an alkaline reaction, must be treated with a 5% solution of oxalic acid, and on the red - with a 1% solution of tin chloride.
Berry and fruit juicesspilled onto woolen yarn products are dissolved in hot soapy foam. The thing is rinsed with clean water, in which very little ammonia and hyposulfite are mixed.
Milk stains on dark wool, they are impregnated with a composition of ammonia and vodka taken in 60 g each and 15 g of sodium chloride. Wash off with lukewarm water and steam from the wrong side of the product.
Stains from urine are removed with alcohol, lemon juice or 3-4% tartaric acid, the chronic ones will take a 10% solution of sorrel acid.
Tobacco, eaten into the yarn, removed by rubbing the affected area with egg yolk with wine alcohol, washed with vodka and then hot water.
Chocolate stains smeared with egg yolk and glycerin, washed with warm water and the wool thing still wet, ironed on the non-front side with a not too hot iron. With white wool, chocolate will come off from salt water.
Splashes of champagne washed with a piece of ice wrapped in a linen napkin.