|
This information is reprinted from the For Beginners column
of Hand Papermaking Newsletter #41 (January, 1998).
To learn how to order Hand Papermaking bi-annual magazine
and quarterly newsletter, click
here.
Dyes & Pigments
While some papermakers would not imagine tampering with
the unaffected shades of natural fibers, others can not
imagine making paper without the bounty of color--bright
and bold, or soft and subtle. If you incline toward the
latter, knowledge of dyes and pigments--including some basic
chemistry--is a necessity.
Use of dyes as a colorant has the advantage of penetrating
the fiber, resulting in a somewhat more flexible and translucent
sheet than paper colored with pigment. Because dyes to not
interfere with hydrogen bonding, the resulting sheet is
also stronger. However, dyed paper will generally fade over
time as the chemical elements continue to react to sunlight
and oxygen. And since dyes are water-soluble, bleeding is
often a problem; and so is clean-up, as felts, blotters,
and even vats absorb the dye. Dyes require a mordant to
set the color.
Natural dyes can be made by macerating plant materials,
soaking overnight, boiling, straining, then adding fiber
to the colored liquid. Dyes are also available commercially.
Pigments are the colorant of choice for most papermakers.
Inorganic pigments which come from the earth (e.g., iron
oxide, titanium oxide, etc.) have already endured the ravages
of time, so the resulting paper has excellent light-fastness.
Synthetic pigments have similar properties. Since pigments
are insoluble, they must be "attached" to the fiber using
a retention agent, which changes the chemical charge of
the fiber allowing it to attract the pigment rather than
repel it.
Professional pigments available from papermaking suppliers
come with suggested formulas for the amount of pigment and
retention agent to use based on the quantity of dry pulp.
When properly pigmented, the pulp should be colored, and
the water should remain clear. A little pulp placed on a
blotter should not bleed color into the blotter.
It is important to note that fiber can become saturated
with pigment, in which case adding additional pigment or
retention aid will only result in extra particles floating
around with no place to attach. See Bobbie Lippman's "parking
space" explanation in the Summer 1993 issue of Hand Papermaking
magazine.
Keep in mind that in addition to the dye or pigment used,
there are many other variables: the type of fiber used and
how it was beaten, water quality, other additives, time,
temperature, etc. As in other aspects of hand papermaking,
experimentation and detailed recording of results in your
own studio, while tedious, is crucial. The pay off is long-lasting,
vibrant, and beautifully colored paper.
Copyright 1998, Hand Papermaking, Inc.
|
