Dyes and dyeing

by Charles Ernest Pellew

CONTENTS

		PAGE
Chapter I—INTRODUCTION		[5]
	Dyes of the Ancients—Dyes of Our Ancestors—Animal, Vegetable andMineral Dyes—Outfit for PracticalDyeing.
Chapter II—MODERN DYESTUFFS		[40]
	Discovery of the Aniline or Coal-TarColors—Their Properties and Uses—HowObtained—How Named—Classificationof Coal-Tar Colors for Craftsmen.
Chapter III—THE DIRECT COTTON ORSALT COLORS		[53]
	Discovery, Properties and Uses of theSalt Colors; with Lists of SelectedDyestuffs, and Dying Directions forCotton and Linen—Fastness to Lightand Washing—After-treatment.
Chapter IV—THEORY AND PRACTICE OFCOLOR DYEING		[71]
	Even and Shaded Dyeing with thePrimary Colors—Experiments withSecondary Colors—Matching Shades.
Chapter V—THE SULPHUR COLORS		[85]
	Discovery—Properties and Uses ofthe Sulphur Colors—List of SelectedDyestuffs, and Dyeing Directions forCotton and Linen.
Chapter VI—THE INDIGO OR VAT COLORS		[91]
	Natural and Synthetic Indigo—Propertiesand Application—Vat Dyeing,Old and Modern—Dyeing Directions—TheModern Vat Colors—TheirProperties and Uses—Selected Dyestuffs—Fastnessto Light and Washing—DyeingDirections for Cotton,Linen and Silk.
Chapter VII—THE BASIC COLORS		[108]
	History, Properties, and Applicationto Cotton, Wool, Silk, etc.—Disadvantages—NotFast to Light—DyeingDirections for Straw, Raffia, etc.
Chapter VIII—THE ACID COLORS		[123]
	History, Properties, Uses, and List ofSelected Dyestuffs—Dyeing Directionsfor Wool.
Chapter IX—DYEING FEATHERS		[131]
	The Dye-bath—The Dyeing Method—TheFinishing Process—Dry andWet Starching—Dyeing in the Starch—BlackDyeing of Feathers—PaintingFeathers.
Chapter X—LEATHER AND LEATHERDYEING		[141]
	History—Preparation of Leather—Oil,Mineral and Bark Tanning—Dyeing,Staining and Finishing Leather.
Chapter XI—SILK I		[156]
	History, Origin and Varieties of Silk—PreparingSilk for Dyeing—PieceDyeing—Skein Dyeing—Dyeing WildSilks.
Chapter XII—SILK II		[168]
	Black Dyeing of Silk—Coal-Tar Colors—Logwood—Weightingof Silk—Propertiesand Tests for Weighted Silk—DyeingSilk with Colors Fast to Washing.
Chapter XIII—IMITATION AND ARTIFICIALSILK		[181]
	History, Preparation and Propertiesof Mercerized Cotton—History, Preparationand Properties of ArtificialSilk—Precautions to be Taken in Dyeingand Finishing.
Chapter XIV—TIED AND DYED WORK		[192]
	As Used in South America, India,Philippines and U.S.—Variations inTying Process—How Dyed—Tiedand Discharged Work.
Chapter XV—STENCILS AND STENCILLING		[211]
	Japanese Practice—U.S. Practice—Knives,Brushes, Paper, etc.—Colorsfor Leather, Silk, and Cotton—Stencillingwith Aniline Black Paste.
Chapter XVI—RESIST AND DISCHARGESTENCILLING		[228]
	Japanese Practice—Resist Paste andthe Sulphur Colors—Discharge Stencillingwith Bleaching Powder andHydrosulphite.
Chapter XVII—BATIK OR WAX RESIST		[241]
	Javanese Practice—Modern Practiceand Apparatus—Dyeing of BatikedGoods—Use of Batik Process on Cotton,Linen, Silk, Leather, Wood, Bone,etc.
Chapter XVIII—THE INFLUENCE OF THEWAR UPON THE DYESTUFFINDUSTRY		[260]
	Rise of the German Dyestuff Monopoly—Ruinof the English DyestuffIndustry—Dyestuff Industry inthe United States—Changed ConditionsDue to the War—Lists of BestDyestuffs.

THE ILLUSTRATIONS

PLATES IN COLOR

			PLATE
I	Indigo dyed batik from Madras	[Frontispiece]
	FACING PAGE
II	Japanese towelling, showing impression of fresh dampleaves		[26]
III	Same towelling after immersion in iron spring		[30]
IV	(a) Example of tied and dyed work (b) Example of tied and discharged work	}	[210]
V	Japanese towelling stencilled in resist and dyed by immersion in iron spring		[230]

ILLUSTRATIONS IN HALF-TONE

FIG.
1	Shellfish used by the ancients for Tyrian purple		[12]
	Sir W. H. Perkin		[42]
2	Tied and dyed headdress from an Inca tomb in Peru		[192]
3	Shikar chundri, from Rajputana, with knots still untied		[196]
4	Same chundri untied and shaken out		[198]
5	Bagobo headdress from the Island of Mindanao		[200]
6	Sample of tied and dyed work, “tied on itself”		[202]
7	Sample of tied and dyed work, “tied in bands”		[204]
8	Tied and dyed work—Folding the cloth		[206]
9		Starting to tie	[206]
10		Centre portion tied	[206]
11		Centre and corners tied	[208]
12		Dyed, untied and shaken out	[208]
13	Japanese stencil knife		[212]
14	Japanese stencil brushes		[212]
15	Japanese stencil, showing holes punched by hand tool		[216]
16	Japanese stencil, showing use of stops		[216]
17	Japanese stencil, showing use of sewing instead of stops		[216]
18	Japanese stencils, showing use of both stops and net		[218]
19	Large and handsome Japanese stencil, showing use of net		[224]
20	“Teapot” model of tjanting		[248]
21	Walther glass tjanting		[248]
22	“Wax pencil” model of tjanting		[248]
23	Javanese tjantings		[250]
24	American modification of Javanese tjanting		[250]

DIAGRAMS IN THE LETTERPRESS

	Primary Colors	[73]
	Mixed Colors	[79]