A Research of Color and Fastness Values on Silk, Wool and Cotton Fabrics Dyed with Pulp of Oregano (Origanum onites) and Sage (Salvia tomentosa)

One of the most important problems of natural dyeing is lack of raw material. In the recent years, researchers are aimed to solve the deficiency of raw material. The pulp of plants which are obtained from the steam distillation, are used as a dyestuff. We assume that the dyestuff in pulp of oregano and sage after steam distillation remain stable. Wool yarns and silk fabrics have been dyed in previous works done as a master and a Proficiency in Art thesis. The results were showed that our assumption is correct. Based on these results further researches were done. The textile materials were dyed with %25100 of pulp of oregano and sage. Mordant dyeing method was applied and three different mordant materials were applied with pre-mordant process. Alum [Kal(SO4)2.12H2O], ferrous (II) sulphate [FeSO4.7H2O] and potassium dichromate [K2Cr2O7] were used as a mordant and potassium bitartrate [KC4H5O6] as an auxiliary agent in alum mordanting. Rubbing (dry and wet) and washing fastness values were determined. Also the depths of shade were evaluated in terms of K%252FS and CIELAB colour difference values of the dyed fabric samples. According to the results obtained from the dyeing, the capability of pulp of plants is adequate and will supply the lack of the dyestuff. While the colors obtained from silk and wool fabrics are more vivid and dark, the colors of cotton fabrics are quite pale. This study will allow other pulp of plants to be evaluated in this way

Development Art and Creative Education In The World And Kazakhstan: Comparative Analysis with Design

Teachers of art and creative education are assigned more and more complex and effective tasks. However, the current system of art education does not always prepare students for these challenges. When we study what and how our system teaches young designers, we find that the most valuable elements of a designer's perspective and process are rarely taught. Instead, some designers go beyond their education through industry experience, essentially learning by accident. Many project programs still maintain a closed perspective and an inefficient mechanism for tacit knowledge transfer. At the same time, the skills to develop creative solutions to complex problems are becoming increasingly important. Organizations are beginning to realize that signers bring something special to this type of work, a rational belief based on numerous studies that link commercial success to a design-based approach. So, what should we do? Other learned professions, such as medicine, law, and business, provide excellent advice and guidance embedded in their own professionalization history. In this article, we will borrow their experience to recommend a course of action for designing. This will not be easy: it will require a research team to make recommendations on how to compile a list of design and educational practices that schools can use to create a curriculum that is appropriate for their goals and abilities. And then it will take a conscious effort for the design profession to become both a reliable community of practitioners and an effective professor, able together to fully understand the value of design in the 21st century. In this article, we will outline this path