WO2016071541A1 - Integration of natural fabrics with pigments in ceramics and other construction materials - Google Patents

Abstract

The invention relates to the integration of natural fabrics with pigments in ceramics and other construction materials. In general, the method comprises the application, on the construction material used as a base, generally ceramics, of successive layers of silk, with or without natural or synthetic pigments, polymers, paper and wax, in a specific sequence. By carrying out the method according to the invention, construction materials can be produced, primarily ceramics which, as a result of their quality and beauty, as well as the durability of the surface, can be used as a wall covering, as well as works of artistic expression.

Description

 INTEGRATION OF NATURAL FABRICS WITH PIGMENTS IN CERAMICS AND OTHER CONSTRUCTION MATERIALS

SECTOR OF THE SCIENTIFIC AREA TECHNIQUE: Industrial Design Engineering and Product Development.

INDUSTRIAL ACTIVITY: Treatment of the wall from the field of interior architecture, soil treatment, technical artistic heritage. Auxiliary complements within Textile and Design Engineering.

STATE OF THE TECHNIQUE

Within the graphic expression in engineering we find the world of textile design and ceramics, along with natural pigmentations, and the treatment of tissue to highlight graphic design, so important for the elaboration and subsequent industrial diffusion. Different objectives must be achieved to be competitive when developing a perfect design in the treatment of natural tissue and apply it at this time to the ceramic wall, refractory mud, concrete, slate, wood, In this research work we have applied the knowledge more traditional silk, linen and cotton, together with the use and elaboration of natural products for pigmentation, as is the case of flora or vegetation.

Within the research in the field of graphic expression in Engineering we find a new approach to science and the creation itself in the industrial field. We refer to the treatment of drawing in textile engineering and the use of pigments or dyes that will accompany the design work for the subsequent elaboration of the objectives we have set out to achieve: INTEGRATE THEM IN THE MATERIALS: Ceramics, refractory mud, concrete, slate, refractory mud and wood. This work is the result of several projects carried out within the textile treatment with reference to silk, linen and cotton. Natural pigmentations, together with the treated fiber in relation to the oldest tradition, make the results of drawing and color lead us to a true and imaginative and deep composition of good work; approaches in the elaboration of the work that transmits its position before the muralist concept and then with objectives achieved in the treatment of tissue (silk) and colors.

In the year 202 a. C, silk began to be known in Korea and India, and later, through the great transcontinental caravan route, which was called the Silk Road, reached the Mediterranean ports.

The Greeks and Romans knew and appreciated silk fabrics, but ignored the methods of production.

In the year 552 d. C, according to tradition, two Persian monks took Byzantium, hidden in their sticks, buds and mulberry seeds, thus introducing sericiculture in the Eastern Roman Empire and later the Arabs spread it throughout the Mediterranean.

The two oldest existing Chinese paintings are currently on silk and come from two different rumbas in Hunan province.

All this is a small introduction to the history of silk processing and treatment to find a serious work of diverse approaches to plastic and graphic design in textile treatment. I work with horizons that open new doors of aesthetics and pigmentation research in a real world between art and science.

 Rhythm, composition and meetings with the analytical sensations of research within the study of applying new concepts to the more traditional textile application techniques.

The integration of natural fabrics in ceramics, refractory mud, concrete, slate, refractory mud and wood, has not yet been carried out with the procedures and techniques that the present invention comprises. GENERALITIES

 In the integration process object of the present invention, different materials are used. For a better description of the invention, this section is included, in which different questions of interest on each material will be described: a) ESTUCO

Stucco is a fine-grained paste composed of slaked lime (normally, fatty air lime), powdered marble, plaster, natural pigments, etc. which hardens by chemical reaction when calcium lime hydroxide comes into contact with carbon dioxide (C02) [Ca (OH) 2 + C02 → CaC03 + H20] and is used primarily for plastering walls and ceilings.

The stucco admits numerous treatments, among which are modeling and carving to obtain ornamental shapes, polishing to give it an appearance similar to marble and polychrome painting for decorative purposes.

Another form of stucco is that made with plaster, animal tails and pigments; It is known as stucco marble for its similarity in aesthetics, touch and brightness to these natural stones.

The term stucco comes from the Italian stucco; It is a form of completion or decoration of walls and ceilings, interior or exterior, based on paints and different types of mortars that allows obtaining various textures. Given its versatility, it adapts to any type of construction or time. In addition to the decorative function, it reinforces the wall and waterproofs it, allowing natural perspiration. The most famous stucco is the Venetian, also called "Venetian luster." It is a coating that was invented in Venice (Italy) at the beginning of the 15th century. Its finish shows a flat, smooth and bright wall like a polished marble, with different shades of color, of great beauty. Within the traditional stucco, mortars are composed of lime, marble sand and natural pigments, which are usually varnished with waxes or turpentine. It can also be composed of plaster or plaster, resins and natural glues.

b) GESSO

The gesso is a paste made with plaster, white pigment and glue used for priming.

The gesso used in the invention consists of a mixture of equal parts of putty to cover cracks and white glue, by which a paste is obtained with the consistency of a thick cream but which can be applied with a brush.

c) VARNISH

By general definition, the liquid and transparent substance of resinous composition used to cover surfaces with a glossy and protective film is called varnish. More specifically, in pottery and ceramics, it is called the colloidal suspension varnish that is applied, generally in the raw state, on the surface of the pieces being made, and that once cooked will give them a characteristic shine and will serve as a waterproofing agent.

In the ceramic production it is important to differentiate the old non-vitreous varnish, characteristic of the classical Greek fSbríca, the Roman sigillata terracotta and other italic ceramics, from the common vitreous varnish to the different techniques used in the actual glazed pieces.

d) POLYMERS Polyester (C10H8O4) is a category of elastomers that contains the ester function group in its main chain. Polyesters that exist in nature have been known since 1830, but the term polyester generally refers to synthetic (plastic) polyesters, derived from heavy petroleum fractions. The best known thermoplastic polyester is PET. PET is synthetically formed with ethylene glycol plus dimethyl terephthalate, producing the polymer or polytericoletane. As a result of the polymerization process, the fiber is obtained, which at the beginning was the basis for the elaboration of the threads for sewing and that currently has multiple applications, such as the manufacture of plastic bottles that were previously made with PVC. It is obtained through the condensation of diols (hydroxyl functional group).

Polyester resins (thermosetting) are also used as a matrix for the construction of equipment, anticorrosive pipes and paint manufacturing. To give greater mechanical resistance they are usually reinforced with shear, also called hardener or catalyst, without purification.

Polyester is a thermosetting resin obtained by polymerization of styrene and other chemicals. It hardens at ordinary temperature and is very resistant to moisture, chemicals and mechanical forces. It is used in the manufacture of fibers, sheet coatings, etc.

e) SILK

Silk is a natural fiber formed by proteins. Although it is produced by several groups of insects, currently only silk produced by the larvae of Bombyx mori is used in textile industrial manufacturing. There has been some research in search of other types of silks with different properties, which differ at the molecular level. In general, silks are produced mainly by insect larvae before they complete their metamorphosis, but there are also cases of silks produced by adult specimens. Silk secretion is especially common in arthropods of the genus Hymenoptera (bees, wasps and ants), and is sometimes used in the construction of nests. Other types of arthropods also produce silk, in particular various arachnids, such as spiders. White silk: Silk fabrics were first made in ancient China, and some indications suggest that they were manufactured around the year 3000 BC. C, although there is stronger evidence that silk was used more widely around 1300 BC. C. Legend says that at that time the Empress of China Xi Ling-Shi {Hsi-Ling-Shíh, Lei-tzu) wore silk dresses. At first, silk was a fabric reserved exclusively for members of the Chinese imperial family, both for their own use and for gifts. But over time, given its increasing use throughout Chinese culture, it has just extended its production, both geographically and socially, to other areas of Asia. Silk quickly became a luxury product highly appreciated by merchants, due to its texture and shine, as well as being a very accessible and comfortable product to transport. That is why this product came to have a strong demand, becoming a basic element of pre-industrial international trade. In 2007, archaeologists discovered in a tomb in Jiangxi province the remains of a dress, whose silk fibers were closely woven and dyed, dated around the time of the Eastern Zhou dynasty, with an age of about 2500 years . Although historians suspect that the formation of the Chinese textile industry related to silk was a long process, it is known to find ways to use silk fabrics using "complicated techniques" with which the fabric was treated and had. Such concrete and direct evidence was found before the excavation of Mawangdui and other silks dating from the time of the Han dynasty (202 BC-220 AD) were discovered.

The first test of international trade in silk was the finding of a silk fiber in the hair of an Egyptian mummy of the 21st dynasty, circa 1070. C. Ultimately, the silk trade reached as far away as the Indian Subcontinent, the Middle East, Europe and North Africa. This trade was so widespread that all the main trade routes between Europe and Asia became known as the Silk Road. The emperors of China struggled to keep the knowledge of sericulture secret to preserve their country's monopoly. Even so, sericiculture arrived in Korea around 200 BC. C, around the first century after Christ had already reached ancient Khotan and by the year 300 AD. C. silk production was practically established in India.

f) Natural pigments

Conventional paints and varnishes contain volatile organic compounds (VOCs) that can have harmful effects on the environment and health. For this reason, some brands of paintings have been marketing the so-called "ecological paints" for years.

These products are composed of raw materials of vegetable and / or mineral origin that do not contaminate either in their production or in their application.

They lack harmful substances, such as biocides or plasticizers, and their environmental impact is much lower than that of synthetic products, based on petroleum products.

The base of the color is the pigments and the origin of these can be divided into natural, artificial and synthetic. Natural pigments can in turn be divided into organic and inorganic, depending on their animal and vegetable or mineral origin. Inorganic pigments are formed by minerals of defined composition, and are obtained from earth, fossils, etc. under different chemical forms, such as silicates, carbonates and salts of different metals, among which iron is the most important. Some of the natural pigments that use this new generation of paints are: Yellow - Turmeric longa (Wild saffron) This yellow pigment is obtained from the roots of the curcumin plant native to India. Turmeric is the base species of curry and is used in the paintings of the island of Java in Indonesia.

Light blue - Spirulina platensis (Japanese blue seaweed) This algae is grown in the Sea of Japan The cyano pigment is extracted following a procedure Quite complicated. As the pigment is extremely precious, it can be mixed with indigo.

Orange - Gardenia jasminoides (Gardenia) Gardenia is known in Spain as a decoration plant. It is native to East Asia, and also to China. The orange-yellow extract is obtained from the fruits of this medicinal plant and traditional dye.

Dark green - Monis alba (Chlorophyll) The chlorophyll of this pigment is found in Chinese blackberry. The green pigment has been used as a dye by numerous primitive peoples. Red - Capsieum annuum (Paprika Pepper) Paprika is a plant native to Central and South America. The beneficial effect of this plant was already known to the Incas. It is still much appreciated today for its red extracts.

Light green - Urtica dioica (Nettle) Common nettle, always considered a useful plant, is a forage plant from which green and yellow extracts are obtained, widely used in medicine and cosmetics.

Purple - Beta vulgaris (Red beet) The red pigment is extracted from the red beet, which is located on the Mediterranean coast and has been cultivated as a vegetable for more than 700 years.

Dark brown - Carthamus tinctorius (Carthame) Carthame flowers, also called dye saffron, contain yellow and red pigments. These two dyes were already used by the Egyptians 4,000 years ago to dye fabrics. The grains of this plant can be converted into a precious food oil.

Violet - Sambucus nigra (Willow) The willow is a plant that comes from central Europe also known as "German violet". Willow berries form the violet pigment and were already used by Hippocrates as a remedy.

Light brown - Caramel (Caramel) Caramel is obtained from starch and sugar under the action of heat (caramelization). Caramel is a used additive frequently in the agribusiness and mint industry and serves among other things to color drinks, vinegars, jams and candies.

Dark blue - Brassica olerácea (Red cabbage) Red cabbage plays a very important role as a winter vegetable because it ensures the supply of vitamins to people who eat it. Its pigment varies from red to blue through violet according to the degree of acidity of the soil.

Black - Carbo medicinalis (Charcoal) Charcoal is in medicine a pure coal obtained from the combustion of coconut nut bark. It is applied as a food coloring and as a remedy.

g) Synthetic pigments

The first known pigments were natural minerals. Iron oxides produce a wide variety of colors and can be found in many cave paintings of the Paleolithic and Neolithic. Two examples are the red ocher (Fe203) and the yellow ocher (Fe203.H20). Charcoal, or black coal, has also been used as a black pigment since Prehistory.

Two of the first synthetic pigments were lead white (lead carbonate, (PbC03) 2Pb (OH) 2) and blue frit (Egyptian blue). Lead white is produced by combining lead with vinegar (acetic acid, CH3COOH) in the presence of carbon dioxide (C02). The blue frit is calcium silicate copper and was made from a colored glass with a copper ore, such as malachite. These pigments were used since at least the II millennium a. C.

The industrial and scientific revolutions led to a great expansion in the range of synthetic pigments, which are manufactured or refined from natural substances, available both for commercial purposes and for artistic expression.

Titian used the vermilion historical pigment to produce the red tones in the fresh Assumption of Mary, finished c. 1 5 1 8. Due to the cost of lapis lazuli, many attempts were made to find a less expensive blue pigment. Prussian blue was the first modern synthetic pigment, discovered by accident in 1704. At the beginning of the 19th century, synthetic and metallic blue pigments had been added to the existing varieties of blue, including the French ultramarine, a synthetic form of lapis lazuli, and the various forms of cobalt blue and cerulean. At the beginning of the twentieth century, with the organic chemistry, the blue Italo was added, a synthetic organic pigment with enormous tensing power.

Scientific discoveries in terms of colors created new industries and produced changes in fashion and tastes. The discovery in 1 856 of Perkin's purple, the first aniline dye, laid the foundation for the development of hundreds of synthetic dyes and pigments. This dye was discovered by a 1-year-old chemist named William Perkin, who exploited his discovery in the industry and became rich. His success attracted a generation of followers, as young scientists entered the field of organic chemistry to obtain similar achievements. In the last decades of the 19th century, textiles, paintings and other items in colors such as red, crimson, blue and purple had become affordable.

The development of chemical pigments and dyes helped bring industrial prosperity to Germany and other countries in northern Europe, but caused dissolution and decline elsewhere. In the old Spanish Empire in the New World, the production of cochineal colors employed thousands of poorly paid workers. The Spanish monopoly in this production had been worth a fortune until the beginning of the 19th century, when the Mexican War of Independence and other changes in trade and production were in place. Organic chemistry gave the final blow to the cochineal industry. When chemists created cheap substitutes for carmine, the industry and its lifestyle plummeted.

Historically and culturally, many famous natural pigments have been replaced by synthetic pigments, although they have retained their historical names. In some cases the original name has changed its meaning, to apply a historical name to a popular modern color. By convention, a contemporary pigment that replaces a historical pigment is indicated by calling the resulting color a dye, but manufacturers do not always maintain this distinction. The following examples illustrate the changing nature of historical pigment names:

Indian yellow is presumed to be originally produced by collecting urine from cattle fed only with mango leaves. Dutch and Flemish painters of the seventeenth and eighteenth centuries appreciated the pigment for its luminosity. The modern Indian Yellow dye is a mixture of synthetic pigments and is marketed under the name of Azoic Yellow.

The ultramarine blue originally obtained from the semi-precious stone called lapis lazuli, has been replaced by a cheaper modern synthetic pigment produced from aluminum silicate with sulfur impurities. At the same time, to royal blue, another name once given to dyes produced from lapis lazuli, has evolved to become a much lighter and brighter color, and is usually manufactured by mixing true blue and titanium dioxide, or from dyes Cheap blues. Since synthetic navy blue is chemically identical to lapis lazuli, the dye designation is not used. French blue, another historical name for overseas blue, was adopted by the textile industry as a color name in the 1990s, and was applied to a shade of blue that has nothing in common with the historical pigment known as French navy blue .

^■ Vermilion, a toxic mercury compound appreciated for its dark reddish-orange hue by painters such as Titian, has been replaced by inorganic synthetic pigments. Although genuine vermilion painting can still be obtained for works of Fine Arts and restoration of works of art, few manufacturers produce it, due to legal issues. Similarly, few artists buy it, since it has been displaced by modern pigments that are cheaper and less toxic, as well as less reactive with other pigments. As a result, genuine vermilion almost does not exist. The modern colors of Vermilion are officially called vermilion dyes to distinguish them from genuine vermilion.

h) Paper Paper is a material consisting of a thin sheet made from cellulose pulp, a paste of ground vegetable fibers suspended in water, usually bleached, and subsequently dried and hardened, to which substances such as polypropylene are normally added or polyethylene in order to provide special features. The fibers that compose it are agglutinated by hydrogen bridge bonds. Also called paper, sheet, or folio, an individual sheet or cut of this material.

Chinese paper

The first Chinese papers were created from cocoons and silk residues embedded in water, which were ground and pulverized, and that adding water were reduced to a mud that stretched on a mat of very fine branches. The water filtered through the mat and the mud when dried gave rise to a sheet of paper but of poor quality for writing. Therefore, and given its malleability characteristics, they were mainly used to wrap, make lamps or lanterns and kites (kites, kites, papaventos, etc.). To give the delicate paper more appeal, sometimes color was added.

i) Glues or adhesives

Within the stickers section we can find:

Solid adhesives: thermo fusible adhesives that are used in industrial processes that heat them to melt them stand out, taking advantage of their property of cooling rapidly to accelerate production processes. Also solid adhesives are glue sticks for paper or powder adhesives (based on acetate or formaldehyde among others). Liquid adhesives: commonly known as white glues (mostly they have a white or cream color), they use in their composition a liquid vehicle (usually water or solvent) that once used tends to lose, until obtaining a drying that causes the joint Be tough. They are used in construction (adhesives for floor and wall tiles such as carpets, PVC, linoleum, etc.). o Acrylic type adhesives; o Cyanoacrylate adhesives; o Epoxy adhesives and urethanes; o Anaerobic adhesives or Silicone adhesives; o Adhesives cured by ultraviolet light; o Natural rubber adhesives; o Synthetic rubber or chlorinated rubber adhesives.

Chemically reactive adhesives: polyurethanes, epoxies, phenolics are included. polyimides and anaerobic. There are one and two components; the former are cured by reacting chemically to temperature, humidity or heat, while those of two components when the two resins come into contact.

Adhesive by evaporation or diffusion: these are prepared as a solution when dissolved in organic solvents or in water and applied on the place that you want to keep stuck. There is a notable preference towards water-based adhesives because of the environmental safety that their consumption represents. Vinyl and acrylic are examples.

Heat fusion adhesives: formed by thermoplastics and elastomers that melt on the surface to be glued if heated. The high performance group consists of polyamides and poly esters. Pressure sensitive adhesives: they are mainly elastomers manufactured in the form of a coating. Pressure is applied to cause adhesion. j) Waxes Waxes are esters of fatty acids with high molecular weight alcohols, that is, they are molecules that are obtained by esterification, chemical reaction between a carboxylic acid and an alcohol, which in the case of waxes occurs between a fatty acid and a long chain linear monovalent alcohol. They are highly insoluble substances in aqueous media and at room temperature they are solid and hard. In animals we can find it on the surface of the body, skin, feathers, etc. In vegetables, the waxes cover the epidermis of fruits, stems, together with the cuticle or suberine, which prevent the loss of water by evaporation in the plants. Another example is beeswax, consisting of an alcohol (C30H61 OH) and palmitic acid ((CH3 (CH2) 14COOH)). Organisms that form plankton are rich in waxes, for this reason, marine animals from cold regions, whose main food is plankton, accumulate waxes as the main energy reserve.

DESCRIPTION OF THE INVENTION The invention consists of integrating natural fabrics with pigments, natural or synthetic dyes into ceramics or other construction materials: Ceramics, refractory mud, concrete, slate, wood.

The procedure comprises the following stages:

1.- Application of surface treatment of a platelet of construction material, generally ceramic, which will serve as the basis for the creation, by applying one or several layers of stucco or gesso.

2 „- Adhesion of a first layer of silk to the platelet using glues or adhesives. 3. - Adhesion to the set, by means of the use of glues or adhesives, of a new layer of silk, this time pigmented, with pigments of ti or natural or synthetic, on which polymers are applied to give textures and varnish for surface protection.

4. - Incorporation of a new layer, by gluing silk and paper.

5. - Incorporation of the pigmented natural silk layer, using natural or synthetic pigments, and application on it of polymers and varnishes, ending the process with the superficial application of a layer of wax.

By carrying out the procedure object of the present invention it is possible to obtain construction materials, mainly ceramics that, thanks to the quality and beauty, as well as the durability of the surface obtained, can be used as a wall, and even as works of artistic expression .

EMBODIMENT OF THE INVENTION

The specific materials used in performing the different stages of the procedure are the following:

• VENETIAN ESTUCO (painting)

• GESSO. (Daler Rowney)

• VARNISH / POLYMER: (Quilosa Sintex S-1. Ceramic Varnish)

• SILK PONGE

• NATURAL PIGMENTS: "TAPIZ. Graphic Expression in Engineering. Luis Gonzalo. Edits the Faculty of Science. 2001

• SYNTHETIC PIGMENTS: Silk Marab

• JAPANESE silk PAPER

• CEYS D2 TAILS

• WAXES: DURGA and GUTA MARABU

Claims

one . - Procedure for the integration of natural fabrics with pigments in ceramics and other construction materials, comprising the following stages: a) Application of surface treatment of a platelet of construction material, generally ceramic, which will serve as the basis for the creation, by applying one or several layers of stucco or gesso. b) Adhesion of a first layer of silk to the platelet using glues or adhesives. c) Adhesion to the set, by means of the use of glues or adhesives, of a new layer of silk, this time pigmented, with pigments of natural or synthetic type, on which polymers are applied to give textures and varnish for surface protection. d) Incorporation of a new layer, by gluing silk and paper. e) Incorporation of the pigmented natural silk layer, using natural or synthetic pigments, and application on it of polymers and varnishes, ending the process with the superficial application of a layer of wax. 2. - Procedure for the integration of natural fabrics with pigments in ceramics and other construction materials, where the platelet material that will serve as the basis for creation is selected from: ceramics, refractory mud, concrete, slate, wood. 3. - Use of the material obtained, according to previous claims, for artistic expression. 4. - Use of the material obtained, according to previous claims, as a wall.