TABLE OF CONTENTS

Introduction
The preparation of dyes is a fascinating and essential aspect of the textile and
chemical industries. Dyes play an important role in giving colour and vibrancy
to a wide range of materials, from fabrics to plastics and even food.
Understanding the science behind dye preparation, including the selection of
raw materials, synthesis processes, and the principles of colour chemistry, is
critical for achieving desired shades and properties. In this project, we
investigate the intricate world of dye preparation, exploring various methods,
their applications, the environmental implications of dye production and how
we can prepare dyes in our laboratories.

We can link the Preparation of Dyes to the 8th SDG goal which is Decent Work
and Economic Growth. Since there is an increase in awareness of climate
change and pollution, there is an increasing demand for products made using
sustainable and eco-friendly processes, including dyeing. Companies that adopt
such practices can tap into these growing markets, fostering economic growth.
When companies expand on an industry, new job opportunities are created
which can boost economic growth of the nation. Innovation and research on
the industry will also follow which decreases the threat of climate change with
safer and greener alternatives to artificial dyes which are heavily used in the
present.

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 Experiment
Aim:
To prepare dyes of different colours and investigate the various uses
and applications of dyes.

Requirements:
Apparatus:
1. Filter Paper
2. 250 ml Beaker
3. Conical Flask
4. Funnels
5. Distilled Water
6. Electronic Weighing Scale
7. Spatula
8. China Dish
9. Test Tube

Chemicals Required:
Experiment 1: Prussian Blue-
Ferric Chloride and Potassium Ferrocyanide
Experiment 2: Chrome Yellow-
Potassium Chromate and Lead Nitrate
Experiment 3: Titanium White-
Sodium Chloride and Lead Nitrate
Experiment 4: Mountain Green-
Copper Sulphate and Sodium Carbonate
Experiment 5: Metallic Silver-

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Lead Nitrate and Hydrogen Sulphide
Experiment 6: Chocolate Brown
Copper Sulphate and Potassium Ferrocyanide
Experiment 7: Brick Red
Silver Nitrate and Potassium Chromate

Theory:
Product 1:
Iron (III) hexacyanidoferrate(II)

Prussian blue (FeIII[FeII4(CN)6]3 was the first modern dye, developed in the early
18th century.
Prussian blue's synthesis was detailed by Georg Ernst Stahl in 1731, and it was
discovered to produce hydrogen cyanide, also known as Prussic acid.
Common Name: Ferric ferrocyanide dye
Structure:

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In medicine, Prussian blue is used as an antidote for certain heavy metal
poisonings due to its ion-exchange properties and affinity for specific metal
cations. Prussian blue has had various more applications, including in textiles,
cosmetics, pigments, laundry bluing, and as a sequestering agent for toxic
heavy metals. The pigment is used in paints, blueprints, and Japanese
woodblock prints.

Product 2:
Lead (II) Chromate
Chrome yellow (PbCrO4), is an inorganic compound known for its vivid yellow
color and generally low solubility. The monoclinic form is used in paints and is
referred to as chrome yellow. It can also be found as the mineral crocoite.
In the 1800s, it was used to add a bright yellow color to some types of candy.
Illegally, it has been used to enhance the color of certain spices, especially
turmeric, notably in Bangladesh.

Historically, it was more widely used alongside "white lead" (lead carbonate) as
common lead-based paint pigments with a peak production of 37,000 tons in
1996.
Structure:

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 Product 3:

Lead Chloride

Titanium white is a family of white pigments composed primarily of titanium

dioxide. It is the most widely used white pigment in contemporary artistic
applications because of its affordability, low toxicity, and high hiding power.
Though the term titanium white most often refers to pigments containing
titanium dioxide, it can also describe any white pigment that contains a
titanium compound

Structure:

Product 4:

Copper Carbonate

It is a green crystalline solid that occurs in nature as the mineral malachite. It

has been used since antiquity as a pigment, and it is still used as such in artist
paints, sometimes called verditer, green bice, or mountain green. Both
malachite and azurite, as well as synthetic basic copper carbonate have been
used as pigments. One example of the use of both azurite and its artificial form
blue verditer is the portrait of the family of Balthasar Gerbier by Peter Paul
Rubens. The green skirt of Deborah Kip is painted in azurite, smalt, blue
verditer (artificial form of azurite), yellow ochre, lead-tin-yellow and yellow
lake. The green color is achieved by mixing blue and yellow pigments.

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Structure:

Product 5:
Lead (II) Sulfide
The most common early dyes were made from bark, roots or fruits of different
trees; usually walnuts, chestnuts, or certain oak trees. The blacks produced
were often more gray, brown or bluish. The cloth had to be dyed several times
to darken the color. One solution used by dyers was add to the dye some iron
filings, rich in iron oxide, which gave a deeper black. Another was to first dye
the fabric dark blue, and then to dye it black.
Structure:

Product 6:

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Copper (II) Ferrocyanide
Chocolate Brown is used as a popular hair dye. This color may also be referred
to as light chocolate or cinnamon.
Structure:

Product 7:
Silver Chromate
The characteristic brick-red/acajou colour (absorption λmax=450 nm) of silver
chromate is rather unlike other chromates which are typically yellow to
yellowish orange in appearance. This difference in absorption has been
hypothesized to be due to the charge-transfer transition between the silver 4d
orbital and chromate e* orbitals, although this seems not to be the case based
on careful analysis of UV/Vis spectroscopic data.[8] Instead, the shift in λmax is
more likely attributed to the Davydov splitting effect.
Structure:

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 Procedure
1. Prussian Blue:
a. We will dissolve 5g of ferric chloride and 10g of potassium ferrocyanide in
50ml and 75ml of water in two separate beakers respectively.
b. The ferric chloride solution is poured into the potassium ferrocyanide
solution while stirring briskly
c. The dark blue fine powder (ferric ferrocyanide) is precipitated, filtered and
washed
2. Chrome Yellow:
a. Dissolve 7g of potassium chromate and 10g of lead nitrate in 50ml and
100ml of water in two separate beakers respectively.
b. The potassium chromate solution is poured into the lead nitrate solution and
stirred continuously.
c. Lead Chromate obtained is filtered as precipitate and the pigment obtained
is dried.
3. White:
a. We will dissolve 2.5g of sodium chloride and 6g of lead nitrate in 25ml and
50ml of water in two separate beakers respectively.
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b. The sodium chloride solution is poured into the lead nitrate solution while
stirring briskly.
c. The white fine powder (Lead (II) chloride) is precipitated, filtered and washed
with water.

4. Mountain Green:

a. Dissolve 5g of copper sulphate and 10g of sodium carbonate in 50ml and

75ml of water in two separate beakers respectively.

b. The copper sulphate solution is poured into the sodium carbonate solution
while stirring briskly.

c. The green fine powder (copper (II) carbonate) obtained is precipitated,

filtered and washed with water.

5. Metallic Silver:

a. We will dissolve 5g of lead nitrate in 50ml of water in a beaker.

b. An equal amount of hydrogen sulphide is added to the solution

c. The black precipitate (lead (II) sulphide) is filtered and washed with water.

6. Chocolate Brown:

a. We will dissolve 5g of copper sulphate and 10g of potassium ferrocyanide in

50ml and 75ml of water in two separate beakers respectively.

b. The copper sulphate solution is poured into the potassium ferrocyanide

solution while stirring briskly.

c. The chocolate brown fine powder (copper (II) ferrocyanide) is precipitated,

filtered and washed with water

7. Brick Red:

a. We will dissolve 5g of potassium chromate and 10g of silver nitrate in 50ml

and 75ml of water in two separate beakers respectively.

b. The potassium chromate solution is poured into the silver nitrate solution
while stirring briskly.

c. The brick red fine powder (Silver Chromate) is precipitated, filtered and
washed with water

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Observations

“All the requisite dyes have their appropriate colours”

Conclusion

We have gained a deeper understanding of the chemical processes involved in

dye preparation, including the role of different classes of dyes, mordants, and
substrates.

We explored both natural and synthetic dye sources and found that each has
its advantages and disadvantages. Natural dyes often offer eco-friendly options,
while synthetic dyes provide a wider range of colours and stability.

We learned various techniques for dye preparation, such as extraction,

synthesis, and dyeing procedures. These techniques are crucial for achieving
the desired colour intensity and longevity.

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 Precautions
1. Ventilation:

• Work in a well-ventilated area or use a fume hood when working

with volatile or hazardous chemicals to prevent inhalation of
fumes and vapours.

2. Fire Safety:

• Keep flammable materials away from open flames, sparks, and

heat sources.

3. Eye and Face Protection:

• Use safety goggles or face shields when handling chemicals to

protect against splashes and chemical exposure to the eyes and
face.

4. Skin Protection:

• Wear appropriate gloves, such as nitrile or latex gloves, to protect

hands from chemical contact.
• Be aware of chemical compatibility with gloves and change them
regularly.

5. Equipment Safety:

• Ensure that all equipment is in good working condition and

properly maintained.
• Use equipment, such as hot plates or heating mantles, with
caution to avoid burns or fires.

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 Applications
Natural Dyes:

Natural dyes and their use in dyeing is probably the most ancient art of all
times. People started using natural dye as their first intellectual tool to portray
their surroundings and themselves by this art. Though natural dyes have been
used to colour textiles from ancient times, but in the 19th century, synthetic
dyes replaced natural dyes after discovery of mauve colorant. Natural dye is
defined as any dye, pigment, or any other substance derived from natural
sources such as plants, animals and minerals are renewable and sustainable
bioresource products with minimum environmental impact. They have been
known since antiquity for their use in colouring of textiles, food substrate,
natural protein fibers like wool, silk and cotton, and leather as well as food
ingredients and cosmetics.
Natural dyes are safer from synthetic dyes and since it does not contain
harmful chemicals there is a very low possibility for causing skin allergies.
Mostly all plant dyes are safe to be worn.
Natural dyes are bio-degradable; therefore, it does not harm the water
ecosystem when drained into water bodies.
Natural dye tends to fade easily, so for making the dyes stick to the fabric dye
fixative are used, this can be in the form of starch, seaweed, Alum (hydrated
double sulfate salt), table salt, vinegar.
Fabrics dyed with natural dye are more delicate and have to be handled with
care, it should not be dried directly in sunlight.

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Synthetic Dyes:

Textile dyes are used for colouring the fabrics. Dyes are molecules which
absorb and reflect light at specific wavelengths to give human eyes the sense of
colour. Synthetic dyes are made in a laboratory. Chemicals are synthesized for
making synthetic dyes. Some of the synthetic dyes contain metals too.
Brightness and consistency: Synthetic dyes are known for their bright and
vibrant colours, which are consistent across different batches.
Stability: These dyes are stable and do not fade easily in light or with exposure
to other environmental factors.
Affordability: They are generally more affordable than natural dyes, making
them a cost-effective option for large-scale production.
Chemical properties: Different types of synthetic dyes have different chemical
properties that make them suitable for different types of materials and
applications. For example, acid dyes are used for colouring protein fibres like
wool and silk, while disperse dyes are used for colouring synthetic fibres like
polyester.
Resistance to water and other chemicals: These dyes are generally resistant to
water and other chemicals, making them suitable for use in a wide range of
applications.

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Name of Dyes Application

Acid dye (Natural) Man made fibre (Nylon), Natural fibre (Silk, Wool)

Direct Dye (Natural) Manmade fibre (Viscose), Natural fibre (Cotton)

Vat dye (Natural) Man made fibre (Viscose), Natural fibre (Cotton, Silk, Wool)

Disperse dye (Natural) Nylon, Polyester, Acrylic, Triacetate, Diacetate

Basic dye (Natural) Jute, Acrylic

Reactive dye (Synthetic) Cotton, Wool, Silk, Viscose, Nylon

Sulphur dye (Synthetic) Cotton, Viscose

Mordant dye (Natural) Cotton, Wool, Silk

Pigment (Synthetic) Cotton, Man made fibre

Mineral (Synthetic) Cotton, Wool, Silk

Azonic dye (Synthetic) Cotton, Viscose

Rapid and Rapidson dye

Cotton
(Synthetic)

Onium dye (Synthetic) Cotton, Jute

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 Photographic Evidences

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 Bibliography

https://sdgs.un.org/goals/goal8
https://www.britannica.com/technology/dye
https://textilelearner.net/different-types-of-dyes-with-chemical-structure/
https://textileengineering.net/synthetic-dyes-properties-types-application/
https://en.wikipedia.org/
https://htmlcolorcodes.com/

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