Preamble
This is the one hundredth and third post in the "Art Resource" series, specifically aimed to construct an appropriate knowledge base in order to develop an artistic voice in ArtCloth.
Other posts in this series are:
Glossary of Cultural and Architectural Terms
Units Used in Dyeing and Printing of Fabrics
Occupational, Health & Safety
A Brief History of Color
The Nature of Color
Psychology of Color
Color Schemes
The Naming of Colors
The Munsell Color Classification System
Methuen Color Index and Classification System
The CIE System
Pantone - A Modern Color Classification System
Optical Properties of Fiber Materials
General Properties of Fiber Polymers and Fibers - Part I
General Properties of Fiber Polymers and Fibers - Part II
General Properties of Fiber Polymers and Fibers - Part III
General Properties of Fiber Polymers and Fibers - Part IV
General Properties of Fiber Polymers and Fibers - Part V
Protein Fibers - Wool
Protein Fibers - Speciality Hair Fibers
Protein Fibers - Silk
Protein Fibers - Wool versus Silk
Timelines of Fabrics, Dyes and Other Stuff
Cellulosic Fibers (Natural) - Cotton
Cellulosic Fibers (Natural) - Linen
Other Natural Cellulosic Fibers
General Overview of Man-Made Fibers
Man-Made Cellulosic Fibers - Viscose
Man-Made Cellulosic Fibers - Esters
Man-Made Synthetic Fibers - Nylon
Man-Made Synthetic Fibers - Polyester
Man-Made Synthetic Fibers - Acrylic and Modacrylic
Man-Made Synthetic Fibers - Olefins
Man-Made Synthetic Fibers - Elastomers
Man-Made Synthetic Fibers - Mineral Fibers
Man Made Fibers - Other Textile Fibers
Fiber Blends
From Fiber to Yarn: Overview - Part I
From Fiber to Yarn: Overview - Part II
Melt-Spun Fibers
Characteristics of Filament Yarn
Yarn Classification
Direct Spun Yarns
Textured Filament Yarns
Fabric Construction - Felt
Fabric Construction - Nonwoven fabrics
A Fashion Data Base
Fabric Construction - Leather
Fabric Construction - Films
Glossary of Colors, Dyes, Inks, Pigments and Resins
Fabric Construction – Foams and Poromeric Material
Knitting
Hosiery
Glossary of Fabrics, Fibers, Finishes, Garments and Yarns
Weaving and the Loom
Similarities and Differences in Woven Fabrics
The Three Basic Weaves - Plain Weave (Part I)
The Three Basic Weaves - Plain Weave (Part II)
The Three Basic Weaves - Twill Weave
The Three Basic Weaves - Satin Weave
Figured Weaves - Leno Weave
Figured Weaves – Piqué Weave
Figured Fabrics
Glossary of Art, Artists, Art Motifs and Art Movements
Crêpe Fabrics
Crêpe Effect Fabrics
Pile Fabrics - General
Woven Pile Fabrics
Chenille Yarn and Tufted Pile Fabrics
Knit-Pile Fabrics
Flocked Pile Fabrics and Other Pile Construction Processes
Glossary of Paper, Photography, Printing, Prints and Publication Terms
Napped Fabrics – Part I
Napped Fabrics – Part II
Double Cloth
Multicomponent Fabrics
Knit-Sew or Stitch Through Fabrics
Finishes - Overview
Finishes - Initial Fabric Cleaning
Mechanical Finishes - Part I
Mechanical Finishes - Part II
Additive Finishes
Chemical Finishes - Bleaching
Glossary of Scientific Terms
Chemical Finishes - Acid Finishes
Finishes: Mercerization
Finishes: Waterproof and Water-Repellent Fabrics
Finishes: Flame-Proofed Fabrics
Finishes to Prevent Attack by Insects and Micro-Organisms
Other Finishes
Shrinkage - Part I
Shrinkage - Part II
Progressive Shrinkage and Methods of Control
Durable Press and Wash-and-Wear Finishes - Part I
Durable Press and Wash-and-Wear Finishes - Part II
Durable Press and Wash-and-Wear Finishes - Part III
Durable Press and Wash-and-Wear Finishes - Part IV
Durable Press and Wash-and-Wear Finishes - Part V
The General Theory of Dyeing – Part I
The General Theory Of Dyeing - Part II
Natural Dyes
Natural Dyes - Indigo
Mordant Dyes
Premetallized Dyes
Azoic Dyes
Basic Dyes
Acid Dyes
Disperse Dyes
Direct Dyes
Reactive Dyes
Sulfur Dyes
Blends – Fibers and Direct Dyeing
The General Theory of Printing
There are currently eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms, which has been updated to Version 3.5. All data bases will be updated from time-to-time in the future.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document etc. for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip over those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will hopefully be useful in parts to most, but unfortunately may not be satisfying to all!
Introduction
Premetallized dyes are so called because the metal, chromium (Cr) is already incorporated during its manufacture. These dyes are also referred to as metal complex dyes. The incorporation of the metal into the dye molecule allows for the dye to be more readily applied to the fiber, thus eliminating part of a lengthy dyeing process. These dyes were first produced in 1915, and further refined since then.
Selection of milling and premetallized hot water dyes.
There are two types of premetallized dyes, namely: 1:1 premetallized dyes, which have one dye molecule for every dye atom; and 2:1 premetallized dyes, which have two dye molecules for every metal atom.
Difference between a 1:1 premetallized and 2:1 premetallized metalled dye.
The fibers most readily colored with premetallized dyes are man-made synthetic nylon and natural protein fibers.
Dyeing With Premetallized Dyes
1:1 Premetallized Dyes
The 1:1 premetallized dyes have to be applied under very acidic conditions in order to achieve adequate exhaustion, and so they have been largely replaced by the 2:1 premetallized metalled dyes.
Very acidic conditions detrimentally affect the properties of textile materials that need to be dyed and so these dyes are now used only in exceptional circumstances.
2:1 Premetallized Metalled Dyes
The 2:1 premetallized metalled dyes need to be applied under an acidic or neutral dye liquor and so because of this, they are preferred to the 1:1 premetallized dyes. These dyes are soluble in an aqueous liquor, because of the presence of anionic solublizing groups in the dye molecule. For example, the presence of a methyl sulfone group (-SO2-CH3) makes certain premetallized dyes soluble in water.
Metal Complex Dye Molecule C.I. Acid Violet 78 12205.
Courtesy of reference [2].
The colored component of the 2:1 premetallized metalled dyes is anionic and so like the acid dyes are attracted to the positively charged amino groups of the protein and polyamide fibers.
The positive amino group in the wool polymer system bonds to the 2:1 premetallized metalled dye molecule.
Hence in addition to the ionic link, there are also van der Waals forces of attraction operating and these combined with the size of the metal complex imparts to the colored fabric very good washfastness (see below).
Printing With Premetallized Dyes
Like mordants, premetallized dyes are rarely used for printing, since other classes of dyes can be applied more easily and conveniently to textile materials.
Properties Of Premetallized Dyes
Lightfastness
The lightfastness of premetallized dyes is rated about 5 and the reason for this very good lightfastness rating is the same as those given for mordant dyes (see last Art Resource blog).
Washfastness
The rating for washfastness of premetallized dyes is about 4-5. This very good washfastness is attributed to three factors, namely:
(i) There is a strong ionic link between the dye and the fiber polymer system.
(ii) van der Waals forces of attraction also occurs between the dye and the fiber polymer system which further makes it difficult for the dye to be removed during laundering.
(iii) The exit voids in the amorphous region of the fiber polymer system are generally smaller in size than the size of the metal dye complex, making it difficult for the dye to be washed out from the fabric.
Dull and Limited Range of Hues
There is a limited range of rather dull colors in premetallized dyes. As with mordant dyes, this is thought to be because of the presence of chromium. Premetallized dyes generally do not have the disadvantages listed for mordant dyes.
Advantages of Prematallized Dyes over Mordant Dyes
The 2:1 premetallized metalled dyes are water-soluble, have very good washfastness and can be more easily color matched compared to mordant dyes.
References:
[1] A. Fritz and J. Cant, Consumer Textiles, Oxford University Press, Melbourne (1986).
[2] E.P.G. Gohl and L.D. Vilensky, Textile Science, Longman Cheshire, Melbourne (1989).
This is the one hundredth and third post in the "Art Resource" series, specifically aimed to construct an appropriate knowledge base in order to develop an artistic voice in ArtCloth.
Other posts in this series are:
Glossary of Cultural and Architectural Terms
Units Used in Dyeing and Printing of Fabrics
Occupational, Health & Safety
A Brief History of Color
The Nature of Color
Psychology of Color
Color Schemes
The Naming of Colors
The Munsell Color Classification System
Methuen Color Index and Classification System
The CIE System
Pantone - A Modern Color Classification System
Optical Properties of Fiber Materials
General Properties of Fiber Polymers and Fibers - Part I
General Properties of Fiber Polymers and Fibers - Part II
General Properties of Fiber Polymers and Fibers - Part III
General Properties of Fiber Polymers and Fibers - Part IV
General Properties of Fiber Polymers and Fibers - Part V
Protein Fibers - Wool
Protein Fibers - Speciality Hair Fibers
Protein Fibers - Silk
Protein Fibers - Wool versus Silk
Timelines of Fabrics, Dyes and Other Stuff
Cellulosic Fibers (Natural) - Cotton
Cellulosic Fibers (Natural) - Linen
Other Natural Cellulosic Fibers
General Overview of Man-Made Fibers
Man-Made Cellulosic Fibers - Viscose
Man-Made Cellulosic Fibers - Esters
Man-Made Synthetic Fibers - Nylon
Man-Made Synthetic Fibers - Polyester
Man-Made Synthetic Fibers - Acrylic and Modacrylic
Man-Made Synthetic Fibers - Olefins
Man-Made Synthetic Fibers - Elastomers
Man-Made Synthetic Fibers - Mineral Fibers
Man Made Fibers - Other Textile Fibers
Fiber Blends
From Fiber to Yarn: Overview - Part I
From Fiber to Yarn: Overview - Part II
Melt-Spun Fibers
Characteristics of Filament Yarn
Yarn Classification
Direct Spun Yarns
Textured Filament Yarns
Fabric Construction - Felt
Fabric Construction - Nonwoven fabrics
A Fashion Data Base
Fabric Construction - Leather
Fabric Construction - Films
Glossary of Colors, Dyes, Inks, Pigments and Resins
Fabric Construction – Foams and Poromeric Material
Knitting
Hosiery
Glossary of Fabrics, Fibers, Finishes, Garments and Yarns
Weaving and the Loom
Similarities and Differences in Woven Fabrics
The Three Basic Weaves - Plain Weave (Part I)
The Three Basic Weaves - Plain Weave (Part II)
The Three Basic Weaves - Twill Weave
The Three Basic Weaves - Satin Weave
Figured Weaves - Leno Weave
Figured Weaves – Piqué Weave
Figured Fabrics
Glossary of Art, Artists, Art Motifs and Art Movements
Crêpe Fabrics
Crêpe Effect Fabrics
Pile Fabrics - General
Woven Pile Fabrics
Chenille Yarn and Tufted Pile Fabrics
Knit-Pile Fabrics
Flocked Pile Fabrics and Other Pile Construction Processes
Glossary of Paper, Photography, Printing, Prints and Publication Terms
Napped Fabrics – Part I
Napped Fabrics – Part II
Double Cloth
Multicomponent Fabrics
Knit-Sew or Stitch Through Fabrics
Finishes - Overview
Finishes - Initial Fabric Cleaning
Mechanical Finishes - Part I
Mechanical Finishes - Part II
Additive Finishes
Chemical Finishes - Bleaching
Glossary of Scientific Terms
Chemical Finishes - Acid Finishes
Finishes: Mercerization
Finishes: Waterproof and Water-Repellent Fabrics
Finishes: Flame-Proofed Fabrics
Finishes to Prevent Attack by Insects and Micro-Organisms
Other Finishes
Shrinkage - Part I
Shrinkage - Part II
Progressive Shrinkage and Methods of Control
Durable Press and Wash-and-Wear Finishes - Part I
Durable Press and Wash-and-Wear Finishes - Part II
Durable Press and Wash-and-Wear Finishes - Part III
Durable Press and Wash-and-Wear Finishes - Part IV
Durable Press and Wash-and-Wear Finishes - Part V
The General Theory of Dyeing – Part I
The General Theory Of Dyeing - Part II
Natural Dyes
Natural Dyes - Indigo
Mordant Dyes
Premetallized Dyes
Azoic Dyes
Basic Dyes
Acid Dyes
Disperse Dyes
Direct Dyes
Reactive Dyes
Sulfur Dyes
Blends – Fibers and Direct Dyeing
The General Theory of Printing
There are currently eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms, which has been updated to Version 3.5. All data bases will be updated from time-to-time in the future.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document etc. for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip over those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will hopefully be useful in parts to most, but unfortunately may not be satisfying to all!
Introduction
Premetallized dyes are so called because the metal, chromium (Cr) is already incorporated during its manufacture. These dyes are also referred to as metal complex dyes. The incorporation of the metal into the dye molecule allows for the dye to be more readily applied to the fiber, thus eliminating part of a lengthy dyeing process. These dyes were first produced in 1915, and further refined since then.
There are two types of premetallized dyes, namely: 1:1 premetallized dyes, which have one dye molecule for every dye atom; and 2:1 premetallized dyes, which have two dye molecules for every metal atom.
The fibers most readily colored with premetallized dyes are man-made synthetic nylon and natural protein fibers.
Dyeing With Premetallized Dyes
1:1 Premetallized Dyes
The 1:1 premetallized dyes have to be applied under very acidic conditions in order to achieve adequate exhaustion, and so they have been largely replaced by the 2:1 premetallized metalled dyes.
Very acidic conditions detrimentally affect the properties of textile materials that need to be dyed and so these dyes are now used only in exceptional circumstances.
2:1 Premetallized Metalled Dyes
The 2:1 premetallized metalled dyes need to be applied under an acidic or neutral dye liquor and so because of this, they are preferred to the 1:1 premetallized dyes. These dyes are soluble in an aqueous liquor, because of the presence of anionic solublizing groups in the dye molecule. For example, the presence of a methyl sulfone group (-SO2-CH3) makes certain premetallized dyes soluble in water.
Courtesy of reference [2].
The colored component of the 2:1 premetallized metalled dyes is anionic and so like the acid dyes are attracted to the positively charged amino groups of the protein and polyamide fibers.
Hence in addition to the ionic link, there are also van der Waals forces of attraction operating and these combined with the size of the metal complex imparts to the colored fabric very good washfastness (see below).
Printing With Premetallized Dyes
Like mordants, premetallized dyes are rarely used for printing, since other classes of dyes can be applied more easily and conveniently to textile materials.
Properties Of Premetallized Dyes
Lightfastness
The lightfastness of premetallized dyes is rated about 5 and the reason for this very good lightfastness rating is the same as those given for mordant dyes (see last Art Resource blog).
Washfastness
The rating for washfastness of premetallized dyes is about 4-5. This very good washfastness is attributed to three factors, namely:
(i) There is a strong ionic link between the dye and the fiber polymer system.
(ii) van der Waals forces of attraction also occurs between the dye and the fiber polymer system which further makes it difficult for the dye to be removed during laundering.
(iii) The exit voids in the amorphous region of the fiber polymer system are generally smaller in size than the size of the metal dye complex, making it difficult for the dye to be washed out from the fabric.
Dull and Limited Range of Hues
There is a limited range of rather dull colors in premetallized dyes. As with mordant dyes, this is thought to be because of the presence of chromium. Premetallized dyes generally do not have the disadvantages listed for mordant dyes.
Advantages of Prematallized Dyes over Mordant Dyes
The 2:1 premetallized metalled dyes are water-soluble, have very good washfastness and can be more easily color matched compared to mordant dyes.
References:
[1] A. Fritz and J. Cant, Consumer Textiles, Oxford University Press, Melbourne (1986).
[2] E.P.G. Gohl and L.D. Vilensky, Textile Science, Longman Cheshire, Melbourne (1989).
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