docs/files/recipes/in progress/avodye.md

+# DYE OF AVOCADO STONES
+
+### Tactility & sound impression
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/gNOtGunJc2A" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+### Description
+
+A (naturally) amber-coloured hard bioresin, gelatin-based.
+
+### Physical form
+
+Solids
+
+Color without additives: transparent, yellow/orange/amber colored.
+
+### Fabrication time
+
+Preparation time: 1 Hour
+
+Processing time: 5-10 days
+
+Need attention: None, just leave it to dry as long as is feasible with lots of airflow.
+
+Final form achieved after: 10 days
+
+## Ingredients
+
+* **Gelatine powder - 96 gr**
+	* Functions as the polymeer (so it becomes a solid)
+* **Glycerine - 16 gr**
+	* Functions as plasticizer that bonds with the gelatine (makes it flexible). 
+* **Water - 480 ml/gr**
+	* To dissolve and mix the polymeer and plasticizer
+
+## Tools
+
+1. **Cooker or stove** (optional: temperature controlled)
+1. **Pot**
+1. **Scale**
+1. **Moulds** (ideally with removeable base to increase airflow). I have modular silicon walls with metal wire inside them that allow me to cast and then turn the moulds on their side for more airflow and drying from top and bottom. I use a silicon or acrylic sheet with these mould walls.
+1. **Spoon** 
+
+
+## Yield before processing/drying/curing
+
+Approx. 300 ml (make sure to evaporate a lot of water during cooking time)
+
+## Method
+
+1. **Preparation**
+
+	- Weigh your ingredients
+	- Prepare the mold and find a place where you can leave it for a while, ideally near an open window where there's air flow.
+
+1. **Mixing and dissolving the ingredients**
+	- bring the water to the boil
+	- optional: add natural dye if you wish to use color
+	- add the glycerine
+	- add the gelatine
+	- keep the temperature below 80 degrees celcius while stirring *very very slowly and gently* to avoid making bubbles. I prefer a simple spoon to do this, not a whisk.
+
+1. **Cooking the ingredients**
+
+	- 	Simmer and slowly stir the mixture between 60-80 degrees celcius for at least 20 minutes or up to an hour. Turn it lower when bubbles appear: you don't want the liquid to move, don't boil it. This sample has some bubbles due to vigorous mixing.
+	-  Longer cooking time allows more water to evaporate. You will get a thicker liquid. To cast larger volumes and solids with this recipe, evaporate a lot of water, until it's very thick.
+	
+1. **Casting**
+
+	- 	Let the liquid cool for a couple minutes until it gels a little but is still liquid and pourable.
+	-  Cast into the mould slowly to avoid bubbles
+	-  Pour from the middle and hold still, let the liquid distribute itself.
+	-  Put the mould away to dry in a cool place with lots of air flow (like near an open window). A warmer place might speed up the drying process but also allow bacteria to grow faster and can result in fungal growth.
+	-  If the mould has a removable base, remove it after 4-8 hours and put the mould on its side to allow air flow from both sides. 
+	-  When using a flexible mould: let it dry without releasing to keep the form as much as possible. The resin will likely shrink and release itself from the mold. If it feels cold to the touch it is still drying. If you are using a rigid mold: release after 4-8 hours and dry flat.
+
+
+### Drying/curing/growth process
+
+- Mold depth:  				 7 cm (filled up until 2.5cm high)
+- Shrinkage thickness:      20-30 %
+- Shrinkage width/length:   20-30 %
+
+**Shrinkage and deformation control**
+
+Letting it dry up to ten days to get to the final form. It will be flexible at first but will slowly harden until its totally rigid.
+
+**Curing agents and release agents**
+
+None. 
+
+**Minimum wait time before releasing from mold**
+
+Using a silicon mold: 7 days (or until it comes undone)
+
+**Post-processing**
+
+Store in a dry and ventilated room.
+
+**Further research needed on drying/curing/growth?**
+
+Casting larger volumes without growing fungus/mold, and limited warping can be challenging. Fillers like debris or egg shells can help. More research can be done on ideal conditions for drying larger volumes.
+
+The resin does not cure evenly across the surface, some might be negotiated by shaving off some slides while it is still relatively soft and flexible.
+
+
+### Process
+
+![](../../images/resin5a.jpg)*Evaporating water until the liquid is thick like honey, Loes Bogers, 2020*
+
+![](../../images/resin5.jpg)*Preparing molds for small half domes (egg cups), and a big slab (silicon mould and separate base), Loes Bogers, 2020*
+
+![](../../images/resin6.jpg)*Casting the resin (I had to put a weight on top to press the mold into the base and prevent leakage, Loes Bogers, 2020*
+
+![](../../images/resin8.jpg)*Putting the mold on its side next to open window to allow further drying from top and bottom, Loes Bogers, 2020*
+
+
+## Variations on this recipe
+
+- Add a **natural colorant** such as a vegetable dye or water-based ink (e.g. hibiscus, beetroot, madder)
+- Add **less glycerine** for a more rigid foil
+- **Stiffeners** such as fibres, yarn or natural debris may be added for more structure and reinforcement.
+- **Fillers** such as almond or sunflower oil, can be added to prevent additional shrinkage but might affect stickyness.
+
+### Cultural origins of this recipe
+
+Bioplastic production is older than petrol based plastics. In 1500 BC, people in Egypt were already using glues based on gelatin, casein and albumin for furniture constructions. Gelatin casting as a technique has also been used in production of jelly-based foods such as aspic, jelly desserts and candy.
+
+**Needs further research?**   Not sure
+
+### References this recipe draws from
+
+- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3) 
+
+### Known concerns and contestations\*
+
+Needs further research
+
+Gelatin is an animal-based ingredient. Some might find it problematic to use resources that requires killing an animal because of religious or animal welfare beliefs. Arguments are also made that as long as there's a meat industry, it is better to use product from the entire animal, including skin and bones. Some might consider gelatin to be a product that comes from a waste stream, but this is considered controversial by others.
+
+Acrylic (for the mold) is a petrol based plastic but results in very shiny foils and sheets and can be reused endlessly for casting high quality bioplastic sheets.
+
+Using renewable ingredients is not by definition petrol-free. Imagine they have to travel long distances by plane, boat or truck: it takes fuel. Also, the effects of GMO technologies and pesticides can be harmful to the environment and it's worth using knowing the source and production standards involved. If you can afford it, buying organic ingredients is a good starting point.
+
+### Sustainability tags
+
+- Renewable ingredients: yes
+- Vegan: no
+- Made of by-products or waste:  no
+- Biocompostable final product:  yes
+- Reuse: yes, by melting and recasting
+
+Needs further research?:  not sure
+
+Gelatine-based bioplastics can be recasted by melting them in a pot with some water. Recycling them with PET plastics contaminates the waste stream. Compost bioplastics in a warm environment with sufficient airflow.
+
+## Material properties
+
+### Comparative qualities
+This resin is dense and rather heavy, but not rock hard like synthetic epoxy or cold like glass. It keeps certain level of bounciness to it.
+
+### Technical and sensory properties
+
+- **Strength**: strong
+- **Hardness**: rigid
+- **Transparency**: transparent
+- **Glossiness**: matt
+- **Weight**: heavy
+- **Structure**: closed
+- **Texture**: medium
+- **Temperature**: medium
+- **Shape memory**: high
+- **Odor**: moderate in final product, high during production
+- **Stickiness**: low
+- **Weather resistance:** low
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research
+- **Non-allergenic:** needs further research
+- **Electrical properties:** needs further research
+- **Heat resistance:** low
+- **Water resistance:** water resistant
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** moderate
+- **Surface friction:** medium
+- **Color modifiers:** none 
+
+
+## About this entry
+
+### Maker(s) of this sample
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Rotterdam, the Netherlands
+- Date: 06-03-2020 – 16-03-2020
+
+### Environmental conditions
+
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+### Recipe validation
+
+Has recipe been validated? Yes
+
+By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
+
+### Estimated cost (consumables) in local currency
+
+0,01 Euros for a yield of approx 100 ml if made from food dye
+
+## Copyright information
+
+### This recipe is in the public domain (CC0)
+
+Yes
+
+### This recipe was previously published by someone else
+
+Yes, in: **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+##References
+
+- **The Secrets of Bioplastic** by Clara Davis (Fabtex, IAAC, Fab Lab Barcelona), 2017, [link](https://issuu.com/nat_arc/docs/the_secrets_of_bioplastic_).
+- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3)
+- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+## Images of final product
+
+![](../../images/finalpics-29.jpg)*Bioresin slab, Loes Bogers, 2020*
+
+![](../../images/finalpics-30.jpg)*Bioresin slab, Loes Bogers, 2020*
+
+![](../../images/finalpics-37.jpg)*Bioresin slab and half dome, Loes Bogers, 2020*
+
+

docs/files/recipes/boraxcrystals.md → docs/files/recipes/in progress/beetrootdye.md

-# BIORESIN
+# BEETROOT DYE
 
 ### Tactility & sound impression
 
@@ -211,12 +211,6 @@ By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
 
 2,56 Euros for a yield of approx 300 ml
 
-### Local supplier/sourcing info
-
-Gelatin powder - Jacob Hooy (online retailers)
-Glycerine 1.23 - Orphi/Chempropack (online retailers)
-Molds - Houseware stores, thrift shops
-
 ## Copyright information
 
 ### This recipe is in the public domain (CC0)

docs/files/recipes/eggshellpowder.md → docs/files/recipes/in progress/biomassfillers.md

-# EGG SHELL POWDER
+# BIOMASS FILLERS
 
 ### Tactility & sound impression
 
@@ -211,12 +211,6 @@ By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
 
 2,56 Euros for a yield of approx 300 ml
 
-### Local supplier/sourcing info
-
-Gelatin powder - Jacob Hooy (online retailers)
-Glycerine 1.23 - Orphi/Chempropack (online retailers)
-Molds - Houseware stores, thrift shops
-
 ## Copyright information
 
 ### This recipe is in the public domain (CC0)

docs/files/recipes/in progress/bluevitriol.md

+# BLUE VITRIOL (COPPER SULPHATE)
+
+![](../../images/finalpics-93.jpg)*Petri dish with blue vitriol (copper sulphate), Loes Bogers, 2020*
+
+
+### Description
+
+Blue vitriol can be used as an ink, or used as a mordant for textile dyeing (opens up the fibres so natural dye can penetrate better). Copper sulphate can be used as ink and dye modifier as well. 
+
+**SAFETY NOTE**: use with caution, this compound can irritate skin and eyes, do not ingest, wear gloves, keep away from pets.
+
+### Physical form
+
+Liquids
+
+Color without additives: bright blue.
+
+### Fabrication time
+
+Preparation time: 10 mins
+
+Processing time: 2 weeks
+
+Need attention: swirl the liquid around every day 
+
+Final form achieved after: 14 days
+
+## Ingredients
+
+* **Copper scraps**, maybe a piece of copper pipe, or whatever you can find, also copper coins might work
+* **White vinegar** enough to cover your copper scraps
+* **Salt**
+	* To dissolve and mix the polymeer and plasticizer
+
+## Tools
+
+1. **Cooker or stove** (optional: temperature controlled)
+1. **Pot**
+1. **Scale**
+1. **Moulds** (ideally with removeable base to increase airflow). I have modular silicon walls with metal wire inside them that allow me to cast and then turn the moulds on their side for more airflow and drying from top and bottom. I use a silicon or acrylic sheet with these mould walls.
+1. **Spoon** 
+
+
+## Yield before processing/drying/curing
+
+Approx. 300 ml (make sure to evaporate a lot of water during cooking time)
+
+## Method
+
+1. **Preparation**
+
+	- Weigh your ingredients
+	- Prepare the mold and find a place where you can leave it for a while, ideally near an open window where there's air flow.
+
+1. **Mixing and dissolving the ingredients**
+	- bring the water to the boil
+	- optional: add natural dye if you wish to use color
+	- add the glycerine
+	- add the gelatine
+	- keep the temperature below 80 degrees celcius while stirring *very very slowly and gently* to avoid making bubbles. I prefer a simple spoon to do this, not a whisk.
+
+1. **Cooking the ingredients**
+
+	- 	Simmer and slowly stir the mixture between 60-80 degrees celcius for at least 20 minutes or up to an hour. Turn it lower when bubbles appear: you don't want the liquid to move, don't boil it. This sample has some bubbles due to vigorous mixing.
+	-  Longer cooking time allows more water to evaporate. You will get a thicker liquid. To cast larger volumes and solids with this recipe, evaporate a lot of water, until it's very thick.
+	
+1. **Casting**
+
+	- 	Let the liquid cool for a couple minutes until it gels a little but is still liquid and pourable.
+	-  Cast into the mould slowly to avoid bubbles
+	-  Pour from the middle and hold still, let the liquid distribute itself.
+	-  Put the mould away to dry in a cool place with lots of air flow (like near an open window). A warmer place might speed up the drying process but also allow bacteria to grow faster and can result in fungal growth.
+	-  If the mould has a removable base, remove it after 4-8 hours and put the mould on its side to allow air flow from both sides. 
+	-  When using a flexible mould: let it dry without releasing to keep the form as much as possible. The resin will likely shrink and release itself from the mold. If it feels cold to the touch it is still drying. If you are using a rigid mold: release after 4-8 hours and dry flat.
+
+
+### Drying/curing/growth process
+
+- Mold depth:  				 7 cm (filled up until 2.5cm high)
+- Shrinkage thickness:      20-30 %
+- Shrinkage width/length:   20-30 %
+
+**Shrinkage and deformation control**
+
+Letting it dry up to ten days to get to the final form. It will be flexible at first but will slowly harden until its totally rigid.
+
+**Curing agents and release agents**
+
+None. 
+
+**Minimum wait time before releasing from mold**
+
+Using a silicon mold: 7 days (or until it comes undone)
+
+**Post-processing**
+
+Store in a dry and ventilated room.
+
+**Further research needed on drying/curing/growth?**
+
+Casting larger volumes without growing fungus/mold, and limited warping can be challenging. Fillers like debris or egg shells can help. More research can be done on ideal conditions for drying larger volumes.
+
+The resin does not cure evenly across the surface, some might be negotiated by shaving off some slides while it is still relatively soft and flexible.
+
+
+### Process
+
+![](../../images/resin5a.jpg)*Evaporating water until the liquid is thick like honey, Loes Bogers, 2020*
+
+![](../../images/resin5.jpg)*Preparing molds for small half domes (egg cups), and a big slab (silicon mould and separate base), Loes Bogers, 2020*
+
+![](../../images/resin6.jpg)*Casting the resin (I had to put a weight on top to press the mold into the base and prevent leakage, Loes Bogers, 2020*
+
+![](../../images/resin8.jpg)*Putting the mold on its side next to open window to allow further drying from top and bottom, Loes Bogers, 2020*
+
+
+## Variations on this recipe
+
+- Add a **natural colorant** such as a vegetable dye or water-based ink (e.g. hibiscus, beetroot, madder)
+- Add **less glycerine** for a more rigid foil
+- **Stiffeners** such as fibres, yarn or natural debris may be added for more structure and reinforcement.
+- **Fillers** such as almond or sunflower oil, can be added to prevent additional shrinkage but might affect stickyness.
+
+### Cultural origins of this recipe
+
+Bioplastic production is older than petrol based plastics. In 1500 BC, people in Egypt were already using glues based on gelatin, casein and albumin for furniture constructions. Gelatin casting as a technique has also been used in production of jelly-based foods such as aspic, jelly desserts and candy.
+
+**Needs further research?**   Not sure
+
+### References this recipe draws from
+
+- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3) 
+
+### Known concerns and contestations\*
+
+Needs further research
+
+Gelatin is an animal-based ingredient. Some might find it problematic to use resources that requires killing an animal because of religious or animal welfare beliefs. Arguments are also made that as long as there's a meat industry, it is better to use product from the entire animal, including skin and bones. Some might consider gelatin to be a product that comes from a waste stream, but this is considered controversial by others.
+
+Acrylic (for the mold) is a petrol based plastic but results in very shiny foils and sheets and can be reused endlessly for casting high quality bioplastic sheets.
+
+Using renewable ingredients is not by definition petrol-free. Imagine they have to travel long distances by plane, boat or truck: it takes fuel. Also, the effects of GMO technologies and pesticides can be harmful to the environment and it's worth using knowing the source and production standards involved. If you can afford it, buying organic ingredients is a good starting point.
+
+### Sustainability tags
+
+- Renewable ingredients: yes
+- Vegan: no
+- Made of by-products or waste:  no
+- Biocompostable final product:  yes
+- Reuse: yes, by melting and recasting
+
+Needs further research?:  not sure
+
+Gelatine-based bioplastics can be recasted by melting them in a pot with some water. Recycling them with PET plastics contaminates the waste stream. Compost bioplastics in a warm environment with sufficient airflow.
+
+## Material properties
+
+### Comparative qualities
+This resin is dense and rather heavy, but not rock hard like synthetic epoxy or cold like glass. It keeps certain level of bounciness to it.
+
+### Technical and sensory properties
+
+- **Strength**: strong
+- **Hardness**: rigid
+- **Transparency**: transparent
+- **Glossiness**: matt
+- **Weight**: heavy
+- **Structure**: closed
+- **Texture**: medium
+- **Temperature**: medium
+- **Shape memory**: high
+- **Odor**: moderate in final product, high during production
+- **Stickiness**: low
+- **Weather resistance:** low
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research
+- **Non-allergenic:** needs further research
+- **Electrical properties:** needs further research
+- **Heat resistance:** low
+- **Water resistance:** water resistant
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** moderate
+- **Surface friction:** medium
+- **Color modifiers:** none 
+
+
+## About this entry
+
+### Maker(s) of this sample
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Rotterdam, the Netherlands
+- Date: 06-03-2020 – 16-03-2020
+
+### Environmental conditions
+
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+### Recipe validation
+
+Has recipe been validated? Yes
+
+By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
+
+### Estimated cost (consumables) in local currency
+
+2,56 Euros for a yield of approx 300 ml
+
+## Copyright information
+
+This recipe .....
+
+##References
+
+- **The Secrets of Bioplastic** by Clara Davis (Fabtex, IAAC, Fab Lab Barcelona), 2017, [link](https://issuu.com/nat_arc/docs/the_secrets_of_bioplastic_).
+- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3)
+- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+## Images of final product
+
+![](../../images/finalpics-29.jpg)*Bioresin slab, Loes Bogers, 2020*
+
+![](../../images/finalpics-30.jpg)*Bioresin slab, Loes Bogers, 2020*
+
+![](../../images/finalpics-37.jpg)*Bioresin slab and half dome, Loes Bogers, 2020*
+
+

docs/files/recipes/in progress/boraxcrystals.md

+# BORAX CRYSTALS
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/v0EhkKF5i5Q" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+##GENERAL INFORMATION
+
+Borax crystals - grown on a nylon wire and on textile. The technique used here is crystallization from a solution. The borax crystal is clear and faceted with great definition so it is often compared to diamonds. However these can get so big that it is not really credible that they are diamonds, but they play with light in similar ways. Less triangular than for example alum crystals. 
+
+**Physical form**
+
+Surface treatment, Solids
+
+Color without additives: transparent and translucent white. (Turns opaque after baking in the oven for 10 minutes at 100 degrees Celcius.)
+
+**Fabrication time**
+
+Preparation time: 1 Hour
+
+Processing time: 6-24 hours
+
+Need attention: None. Leave in a warm place, don't move or touch it.
+
+Final form achieved after: 1 day
+
+**Estimated cost (consumables)**
+
+2,25 Euros for a 400 ml saturated solution
+
+##RECIPE
+
+###Ingredients
+
+* **Borax powder - 7 tbsp** (approx. 150g) 
+	* also called: sodium tetraborate decahydrate: we will try to reorganize these molecules into crystals. 
+* **Water - 400 ml/gr**
+	* To dissolve the borax powder and reorganize into a crystal 
+* **Water - 1000 ml/g**
+	* to create a bain marie
+* **Vinyl fish wire - 20 cm**
+	* This is so smooth it is harder for the molecules to attach to so they will all attach to the rougher surfaces you put in.
+* **Fluffly textile decorations** get fluffy balls or balls on a string. Pipe cleaners also work very well.
+
+###Tools
+
+1. **Cooker or kettle** 
+1. **A smooth glass jar or bowl** big enough to fit your textiles without it touching the sides or having to fold or crease it. Make sure this is totally clean. Prepare as many jars as you have textile surfaces. You can't put them together: the two surfaces would compete in attracting the available borax molecules.
+1. **A wide heat-resistant bowl or oven pan** this is the bain marie: the glass jar(s) should fit inside this bowl and have some space for hot water
+1. **Spoon** 
+1. **Sticks or chopsticks** that are long enough to stay put on top of the glass jar(s). 
+1. **Clips** to fasten the string(s) to the stick
+
+
+###Yield 
+
+About 80-100% of the borax powder will attach itself the silk in the form of larger crystals.
+
+###Method
+
+1. **Preparation**
+
+	- Weigh the borax
+	- Prepare the longer fluffy textile by draping it over a jar. Secure where necessary. 
+	- Tie the fish wire around a fluffy ball of piece of fabric even, and suspend it inside the bowl with clips and a stick. None of the materials should touch the bottom or the sides of the jar(s). 
+	- Boil the water 
+	- Put the glass jar(s) inside the wide oven dish/pan. Pour as much boiling water as possible into the bigger pot, without making the glass jar(s) float. This is the bain marie that will keep your crystal solution warm and help it cool down very very slowly (resulting in bigger crystals). 
+	- Put this in a (warm) place where you can leave it for 8-16 hours without anyone moving or touching it.
+
+1. **Dissolving the alum**
+	- Measure 400 ml and put it in the glass jar (which is already inside the bain marie to keep it warm). 
+	- Spoon by spoon, add the borax while stirring. When no more borax dissolves and just sinks to the bottom, your solution is *saturated*. If there are grains on the bottom, pour off the liquid and clean the jar before continuing. You don't want anything on the bottom of the jar. 
+	- Now suspend your textiles into the jar, again making sure it doesn't touch any sides or the bottom. 
+
+1. **Let the crystals form**
+
+	- 	Leave the crystal to grow. The less you touch it, the easier it is for the molecules to find each other on the silk and form big beautiful crystals. 
+	-  If you have the patience, give it 16-24 hours. But pretty decent-sized crystals will have formed as soon as 6-8 hours later.
+	-  Rinse them under cold tap water and let them dry. 
+
+###Drying/curing/growth process
+
+- Mold depth:  				 N/A
+- Shrinkage thickness:      N/A
+- Shrinkage width/length:   N/A
+
+**Shrinkage and deformation control**
+
+N/A
+
+**Curing agents and release agents**
+
+None. 
+
+**Minimum wait time before releasing**
+
+8 hours but more is better
+
+**Post-processing**
+
+Store the crystals in a dry place. They will re-dissolve immediately when the are submerged in hot water. Starts to dissolve after 4 hours in water at room temperature. 
+
+Don't throw away left-over liquid or unused crystals, they can be redissolved a next time. 
+
+**Further research needed on drying/curing/growth?**
+
+More research on colorants could be done. Black soot ink results in black crystals. 
+
+###Process pictures
+
+![](../../images/borax1.jpg)*Preparing the jars and textiles, Loes Bogers, 2020*
+
+![](../../images/borax2.jpg)*Suspending the textiles, Loes Bogers, 2020*
+
+![](../../images/borax3.jpg)*Growing borax crystals, Loes Bogers, 2020*
+
+![](../../images/borax4.jpg)*Pipe cleaner (top), a fluffy ball on fish wire (left) and string with balls (right), Loes Bogers, 2020*
+
+![](../../images/borax5.jpg)*String with crystals grown on the fluffy balls, Loes Bogers, 2020*
+
+![](../../images/borax_opaque.jpg)*Borax crystal turned opaque white after 10 mins in the oven at 100 degrees celcius, Loes Bogers, 2020*
+
+###Variations
+
+- Add a **colorant** such as black soot ink (other natural dyes are still experimental!)
+- Turn your crystals **opaque white** by putting them in the oven for 10 minutes at 100 degrees celcius. It adds definition to the faceting.
+- Try to grow even **bigger crystals** by using the crystal you grew on the string as a *seed crystal*. Make a new saturated solution (let it cool enough so it doesn't feel hot anymore but more towards lukewarm, so your seed crystal doesn't dissolve). Suspend the crystal in it and watch it grow bigger. Take it out immediately if it dissolves: check that it is fully saturated and let the liquid cool more before trying again.
+- The same technique can be used with epsom salt, sugar and [borax](https://class.textile-academy.org/2020/loes.bogers/files/recipes/alumcrystalsilk/). 
+- Adding conductive paint to the solution creates crystals that can be used as capacitive sensors.
+- troubleshoot and tweak further by playing with the known parameters for crystal growth: 
+	- **properties of the input material:** concentration, solvent type, using a seed crystal or not, scale, temperature, impurity profile of the starting materials. 
+	- **processes** are: agitation, cooling rate, hold time, seeding protocol (see below), anti-solvent addition and temperature cycle. 
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+Crystallization is a general process by which a solid forms, where the atoms or molecules or atoms are highly organized into a structure known as a crystal. It happens in nature (salt lakes) but can also be induced artificially. Crystallization also has a broad industrial application as a separation and purification step in the pharmaceutical and chemical industries.
+
+This particular technique comes from the field of chemistry and there are many more techniques known. The technique used here is crystallization from a solution. A solution is made, and made supersaturated until it can take no more. Then the solubility is reduced by cooling (letting the water come to room temperature), but this can also be done by adding socalled *antisolvents*, by letting the solvent evaporate, or by creating another chemical reaction.
+
+Crystallization happens in two steps: *nucleation*, when clusters of molecules start to form, and the second phase is *crystal growth*, when the clusters grow bigger, basically. These phases can be separate from each other, for example: you can just enable further crystal growth from a previously grown borax crystal (which is called a "seed crystal"). Jaroslav Nývlt's work the *Kinetics of nucleation in solutions* from 1968 is considered seminal work on the formation of crystals from a solution.
+
+**About borax**: borax is a brand name for powdered sodium borate. It was first discovered in dry lake beds in Tibet - where it was called "tincal" and then imported via the Silk Road to the Arabian Peninsula in the 8th century AD. It has been in common use, also in Europe and the U.S. since the 1900s. It is used as cleaning product, in fertilizers, as fire retardant, wood treatment, and anti-fungal product. It is used the production of fiberglass and the heat-resistant glass used in consumer electronics. Arabian goldsmiths and silversmiths used *borates* as soldering agents (flux) in the 8th century A.D. It is said that the name borax comes from the Arabic ‘buraq’ meaning ‘white’. They were used in China as early as 11th century A.D. as ceramic glazes. 
+
+Further research on the use of crystal growth techniques for design is needed. 
+
+**Needs further research?**   Not sure
+
+###Key Sources
+
+This is a variation on: **Borax Crystals**, in: "Textile as Scaffold" by Anastasia Pistofidou for Fabricademy 30 October 2019. Lecture notes: https://class.textile-academy.org/classes/week088/
+
+###Copyright information 
+
+It is unclear if there is copyright on this material, further research is required. 
+
+##ETHICS & SUSTAINABILITY
+
+Saying anything about the ethics and sustainability mineral crystals is relative. What do you compare it to? It is *currently* not known to be tied to practices of exploitation (when compared to, for example, the blood diamonds people fight horrific wars over. Substantial deposits of borates (minerals that contain boron) are relatively abundant - again, compared to say, diamonds - but are still a finite resource that involves mining practices with all its historical problematics around stealing land from indigenous peoples, as well as worker's safety and depletion of the earth's resources (which is likely to be downplayed in factsheets from the mines themselves). Boron, California is one of the world's biggest mining sites and is considered one of the safest mining corporations in the U.S. Borax has been found in Chile, Bolivia, Romania and Turkey but can also be synthetically produced from other boron compounds (for which there are many more sources). 
+
+Unlike diamonds, borax and alum crystals can be regrown into different constellations infinitely allowing for multiple designs that can be executed reusing the same compound. They are not precious in the way diamonds and are, but pretty brilliant in their own right. 
+
+**Sustainability tags**
+
+- Renewable ingredients: no
+- Vegan: yes
+- Made of by-products or waste:  no
+- Biocompostable final product:  yes
+- Reuse: yes, dissolve and regrow in hot water
+
+Needs further research?:  yes, local producers seem reluctant to share sourcing information about these products. It is unclear where it comes from exactly, whether it is natural or synthetic and what kind of mining practices are involved. 
+
+##PROPERTIES
+
+- **Strength**: medium
+- **Hardness**: rigid
+- **Transparency**: transparent/variable (turns opaque after 10 mins at 100 degrees celcius)
+- **Glossiness**: glossy/satin
+- **Weight**: heavy
+- **Structure**: closed/variable
+- **Texture**: rough
+- **Temperature**: cool
+- **Shape memory**: high
+- **Odor**: none
+- **Stickiness**: low
+- **Weather resistance:** poor
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research
+- **Non-allergenic:** needs further research
+- **Electrical properties:** needs further research
+- **Heat resistance:** low/needs further research
+- **Water resistance:** low
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** high
+- **Surface friction:** sliding
+- **PH modifiers:** none 
+
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 25-02-2020 – 26-02-2020
+
+**Environmental conditions**
+
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? Yes, by Cecilia Raspanti, TextileLab, Waag Amsterdam, 9 March 2020
+
+**Images of the final sample**
+
+![](../../images/finalpics-10.jpg)*Borax crystals on fish wire and textile, Loes Bogers, 2020*
+
+![](../../images/finalpics-11.jpg)*Borax crystal on fish wire, Loes Bogers, 2020*
+
+![](../../images/finalpics-12.jpg)*Borax crystal on textile decoration, Loes Bogers, 2020*
+
+
+##REFERENCES
+
+- **Textile as Scaffold** by Anastasia Pistofidou for Fabricademy 30 October 2019. Lecture notes: [link](https://class.textile-academy.org/classes/week088/)
+- **Dark diamond mining** by EJTech, 25 February 2020: [link](https://wikifactory.com/@ejtech/dark-diamond-mining)
+- **Borax Crystals: How to Grow Giant DIY Borax Crystals** by Tanya for Dans Le Lakehouse, 2015: [link](https://www.danslelakehouse.com/2015/01/diy-borax-crystals.html)
+- **Kinetics of nucleation in solutions**, by Jaroslav Nývlt, Journal of Crystal Growth, Volumes 3–4, 1968: [link](https://www.sciencedirect.com/science/article/pii/0022024868901796)
+- **Brunsteiner et al., Toward a Molecular Understanding of Crystal Agglomeration**, Crystal Growth & Design, 2005, 5 (1), pp 3–16: [link](https://pubs.acs.org/doi/abs/10.1021/cg049837m?src=recsys)
+- **Crystal Growth Kinetics**, Material Science and Engineering, Volume 65, Issue 1, July 1984: [link](https://www.sciencedirect.com/science/article/abs/pii/0025541684901940)
+- **Crystallization and Precipitation: Optimize Crystal Size, Yield, and Purity with Crystallization Equipment** by AuthoChem Applications, n.d.:[link](https://www.mt.com/us/en/home/applications/L1_AutoChem_Applications/L2_Crystallization.html)
+- **Crystallization**, Wikipedia, n.d. [link](https://en.wikipedia.org/wiki/Crystallization)
+- **Boron Operations**, by U.S. Borax Operations, n.d.: [link](https://www.borax.com/borax-operations/boron-california)
+- **Borax**, Wikipedia, n.d.[link](https://en.wikipedia.org/wiki/Borax)
+- **Borax ( Na2B4O7. 10H2O ) - Sodium Borate - Occurrence, Discovery and Applications** by AZoM, 16 August 2004: [link](https://www.azom.com/article.aspx?ArticleID=2588)
+

docs/files/recipes/in progress/coffeedye.md

+# DYE OF COFFEE WASTE
+
+![](../../images/finalpics-119.jpg)*Silk dyed with cabbage and modified with PH modifiers, Loes Bogers, 2020*
+
+### Description
+
+Dye of cold coffee and used coffee grounds
+
+### Physical form
+
+Pastes, gels & liquids
+
+Color without additives: Purple
+
+### Fabrication time
+
+Preparation time: 2 Hours
+
+Processing time: for dying is variable (overnight for intense color on silk)
+
+Need attention: the entire processing time (temperature and stirring)
+
+Final form achieved after: 2 hours
+
+## Ingredients
+
+* **Half a red cabbage** (also: brassica oleracea), this is the dye stuff. Try to get these as food waste
+* **water -  1000 ml/g** solvent
+* **salt - 5 g** for preservation (stabilizer)
+* **PH modifiers** (see [this recipe](https://class.textile-academy.org/2020/loes.bogers/files/recipes/phmodifiers/))
+* optional: a piece of silk, or aquarel paper and a brush for testing.
+
+## Tools
+
+1. **Cooker**, ideally with temperature control
+1. **Pot**
+1. **A knife** to finely chop the cabbage , or a mandoline
+1. **A spoon**
+1. **A cheese cloth or coffee filter**
+1. **A strainer**
+1. **A glass jar** to store the dye
+
+## Yield
+
+Approx. 250 ml
+
+## Method
+
+1. **Preparation**
+
+	- Chop the cabbage until it is very small, or grate it with a mandoline
+
+1. **Extract the pigment**
+
+	- Put the cabbage in a large pot and cover with water
+	- Bring it to the boil and let it simmer for 2 hours (make sure not all the water evaporates)
+	- Strain the liquid and put it back in the pot
+	- Reduce the liquid to 25% of the original volume for a very concentrated dye or ink. 
+
+1. **Testing and storing the ink/dye**
+
+	- Add a teaspoon of salt while the liquid is still hot, stir to dissolve. 
+	- To dye silk: let the dye cool until it's no more than 70 degrees and put in a piece or wet (mordanted) silk. Leave overnight for an intense color. 
+	- Test the ink on paper using a brush and aquarel paper. Use the PH modifiers wet-on-wet, or let the ink dry before brushing or spraying on some of the modifiers. Play and experiment!
+	- To store: add a clove to the ink, label it, and store in the fridge. If it starts to grow mold or smells weird/different than cabbage smell, through it away. 
+
+
+### Process
+
+![](../../images/coffee.jpg)*, Loes Bogers, 2020*
+
+
+## Variations on this recipe
+
+- You add the PH modifiers to the dye, or use the modifier after drying (on dried, dyed textiles).
+- Add a binder such as arabic gum to create a nicer flow if you wish to use this ink for painting and arts, not dyeing textiles.
+- Instead of making a water-based ink, you can also use red cabbage to make an alcohol-based marker ink. Grate the cabbage and chop as finely as possible, cover with denatured alcohol 96% and put in a jar with a tightly fitting lid. Shake every hour for 24 hours. Strain the liquid, add a clove, label and store. The ink can be modified with PH modifiers as well but this ink fades quicker than the dye. 
+- You can even use red cabbage dye to test the PH of a liquid. Dip some strips of coffee filter in the red cabbage dye. Let it dry. Then use a cotton swab to dab a bit of liquid (tap water, juice, wine, other) on the paper. If the paper becomes red/pink the PH is 2-4, purple is 5-7, blue is 8-9 and green/yellow is PH 10-12 approximately. See also [link](https://www.thoughtco.com/make-red-cabbage-ph-paper-605993)
+
+### Cultural origins of this recipe
+
+The anthocyanin in red cabbage is what makes it PH sensitive, and is why it changes color as you modify it with acidic or alkaline solutions.  
+
+**Needs further research?**   Not sure
+
+### This recipe draws together information from these other recipes
+
+No recipe in particular. Boiling in water is a common way of extracting pigments from a dye stuff. 
+
+### Known concerns and contestations
+
+Cabbage can be found in abundance in many countries (including the Netherlands). It is not a hugely popular vegetable but still very common. Try to get red cabbage as food waste instead of buying it fresh. Dye materials should not compete with food. 
+
+The color purple this dye or ink creates is quite contested. Historically, purple is considered to be the color of power, reserved for kings and queens and the like. It is also one of the colors that has historically ben rather expensive to produce as it required significant amounts of (often expensive) resources to generate intense and colorfast dyes using natural resources. Due to it's changing nature, red cabbage dye would not be considered an option worth considering for current textile dyeing practice. But perhaps its humble background and volatility make it the perfect everywoman's purple. Could it be instrumental in conveying the temporary luxury of purple textiles? Perhaps it is sufficient to be queen for a day?
+
+
+### Sustainability tags
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  (ideally) yes
+- Biocompostable final product:  yes
+- Re-use: no
+
+Needs further research?:  Yes
+
+How often can this dye be reused? Overview of colors different PH modifiers during and after dyeing would be useful. Are there sustainable ways of making the dye more colorfast?
+
+## Material properties
+
+### Comparative qualities
+
+This dye gives bright purples. Alkaline modifiers create blues and greens, acidic modifiers towards pinks and reds. Less colorfast than other dyes like, madder dye. 
+
+### Technical and sensory properties
+
+- **Color fastness:** low
+- **Light fastness:** low
+- **Washability:** low
+- **Color modifiers:** alkaline/acidic/copper
+- **Odor**: moderate (disappears after drying)
+
+## About this entry
+
+### Maker of this sample
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 05-03-2020 - 06-03-2020
+
+### Environmental conditions
+
+- Humidity:  not sure
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+### Recipe validation
+
+Has recipe been validated? 
+
+Yes, by Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
+
+### Estimated cost (consumables) in local currency
+
+0,00 Euros, for a yield of approx. 250 ml if made from food waste
+
+## Copyright information
+
+### This recipe is in the public domain (CC0)
+
+Yes
+
+##References
+
+- xxxxx
+
+
+### Images of final product
+
+![](../../images/finalpics-118.jpg)*Coffee dye, 2020*
+
+![](../../images/finalpics-120.jpg)*Coffee dye on paper, 2020*
+
+![](../../images/finalpics-122.jpg)*Coffee dye on silk, 2020*
+
+![](../../images/finalpics-121.jpg)*Dye of used coffee grounds, Loes Bogers, 2020*
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+

docs/files/recipes/in progress/coffeewasteleather.md

+# ALGINATE FOIL
+
+### Tactility & sound impression
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/vKj-X4PUmIw" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+### Description
+
+An alginate based, heat-resistant and waterproof semi-transparent, matte foil
+
+### Physical form
+
+Surfaces
+
+Color without additives: semi-transparent, white when layered
+
+### Fabrication time
+
+Preparation time: 1 hour (plus resting overnight)
+
+Processing time: 5-7 days
+
+Need attention: daily, to check if sheet needs to be taped down to stay in place on the mold
+
+Final form achieved after: 7 days
+
+## Ingredients
+
+* **Sodium alginate powder - 12 gr**
+	* the polymeer (so it becomes a solid)
+* **Glycerine - 20 gr**
+	* the plasticizer that bonds with the alginate (makes it flexible). 
+* **Water - 400 ml/gr**
+	* to dissolve and mix the polymeer and plasticizer
+	* optional: use a (diluted) natural dye instead for a colored plastic
+* **Sunflower oil - 10 gr**
+	* filler to reduce shrinkage
+* **Calcium chloride solution 10% (10 gr to 100 gr water)**
+    * is the curing agent: calcium chloride attracts moisture very strongly: spraying it onto the alginate plastic starts the curing process. 
+
+## Tools
+
+1. **Scale**
+1. **Spoon** 
+1. **Blender** 
+2. **Glass jar with lid**
+3. **Spray bottle** (150 ml contents, for the calcium chloride solution)
+2. **Acrylic sheet** smooth surface to cast the foil onto. A smooth surface will create a smooth matte foil.
+3. **A strip of acrylic or squeeguee** to push the alginate mixture into place and form an even and flat rectangle
+3. **Painting tape** to tape down if edges of the sheet start to come off of the surface
+4. **Kitchen paper** to soak up the water that will be released from the alginate mixture
+
+## Yield before processing/drying/curing
+
+Approx. 200 ml of alginate plastic that can be stored for two weeks and used for any alginate application
+
+Approx. 100 ml of calcium chloride 10% solution that can be used for any alginate recipe
+
+## Method
+
+1. **Preparation**
+	- Weigh your ingredients for the alginate plastic (alginate, glycerine, water, sunflower oil). Optional: use a diluted natural dye instead of water in the same amount for a colored plastic.
+	- Put the oil, alginate and glycerine in a blender and add a dash of the water. Blend into a thick and homogenous paste. Then add the rest of the water and blend again (this is to avoid lumps).
+	- Leave the mixture overnight to allow the bubbles to come to the surface and pop.
+	- Make the calcium chloride solution by dissolving 10 gr in 100 gr hot water. Put it in a spray bottle.
+
+1. **Casting**
+	- Prepare some space on an acrylic or glass surface 
+	- Pour the alginate onto the acrylic sheet and use the squeeguee or acrylic strip to mold the liquid into a rectangular shape of about 3mm high
+	- Spray the sheet with the calcium chloride solution (use quite a lot)
+	- Let it sit for a few minutes, then spray again if you see the liquid is starting to ooze out from the sides. The film that is created in the curing process can break from the weight of the liquid bubble. By respraying you can close these until the sheet is cured enough and stable to dry further. 
+	- The alginate can release quite a lot of water at this stage, so it's wise to place some kitchen paper around it to absorb excess water.
+
+### Drying/curing/growth process
+
+- Mold depth:  				N/A
+- Shrinkage thickness:      20-30 %
+- Shrinkage width/length:   10-20 %
+
+**Shrinkage and deformation control**
+
+Keep an eye on the sheet every few hours, especially on the first day. The thinner edges of the sheet might curl up when drying and pull of parts of the sheet. When it comes off it will start to warp. Taping it down onto the acrylic helps to keep it in place an dry in shape.
+Let it dry up to seven days to get to the final form. When it no longer feels cool to the touch it is dry enough to take off. If you want to trim the edges do it while the foil is still a bit softer for a clean cut. 
+
+**Curing agents and release agents**
+
+Calcium chloride 10% as curing agent 
+
+**Minimum wait time before releasing from mold**
+
+3 days but ideally a week
+
+**Post-processing**
+
+trim the edges with scissors or a scalper and ruler if you wish
+
+**Further research needed on drying/curing/growth?**
+
+Not sure
+
+### Process
+
+![](../../images/algi_ingredients.jpg)*Preparing the alginate the day before, Loes Bogers, 2020*
+
+![](../../images/algidone.jpg)*The mixture is ready, Loes Bogers, 2020*
+
+![](../../images/alginateNET6.jpg)*Preparing a 10% calcium chloride solution with hot water, Loes Bogers, 2020*
+
+![](../../images/alginateNET7.jpg)*The calcium chloride solution in a spray bottle, Loes Bogers, 2020*
+
+![](../../images/alginatefoil.jpg)*alginate casted onto acrylic sheet, first few minutes of curing, Loes Bogers, 2020*
+
+## Variations on this recipe
+
+- Replace the water with a (diluted) **natural colorant** such as a vegetable dye or water-based ink (e.g. hibiscus, beetroot, madder) 
+- Add **less glycerine** for a less flexible foil
+- Take out the sunflower oil and use 30% less alginate to cast thinner foils
+- You can also use this recipe to make composites such as the one described in the [alginate net recipe](https://class.textile-academy.org/2020/loes.bogers/files/recipes/alginatenet/)
+
+### Cultural origins of this recipe
+
+Alginate plastic is used a lot in molecular gastronomy, for (reverse) spherification that was patented by  William J. S. Peschardt in the 1940s and popularized in the molecular cuisine popularized by Adrian Ferra from restaurant El Bulli. Alginate plastics are also used a lot in molding and casting of dental technology industry. 
+
+**Needs further research?**   Not sure
+
+### References this recipe draws from
+
+The alginate recipe is a modified version of: **Flexible Bio-plastic Alginate Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+### Known concerns and contestations\*
+
+Sodium alginate...... add text here 
+
+### Sustainability tags
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  no
+- Biocompostable final product:  yes
+- Reuse: no
+
+Needs further research?:  not sure
+
+Recycling this bioplastic with PET plastics contaminates the waste stream. Compost bioplastics in a warm environment with sufficient airflow.
+
+## Material properties
+
+### Comparative qualities
+
+The foil has a feel that can be compared with a window foil (to blind windows but let the light through): it's matte but very translucent. It doesn't crackle or jump back like a lot of other foils.
+
+### Technical and sensory properties
+
+- **Strength**: medium
+- **Hardness**: flexible
+- **Transparency**: translucent
+- **Glossiness**: matt
+- **Weight**: light
+- **Structure**: closed
+- **Texture**: medium
+- **Temperature**: medium
+- **Shape memory**: medium
+- **Odor**: none
+- **Stickiness**: low
+- **Weather resistance:** needs further research 
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research
+- **Non-allergenic:**needs further research
+- **Electrical properties:** needs further research
+- **Heat resistance:** high, up to 150 degrees celcius
+- **Water resistance:** waterproof (for PH neutral and acidic water, not for alkaline water)
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** high
+- **Surface friction:** medium
+- **Color modifiers:** none 
+
+## About this entry
+
+### Maker(s) of this sample
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 25-02-2020 – 02-03-2020
+
+### Environmental conditions
+
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+### Recipe validation
+
+Has recipe been validated? Yes
+
+By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
+
+### Estimated cost (consumables) in local currency
+
+1,12 Euros for a yield for a sheet of alginate plastic (about a 50 cm x 12 cm sheet, 2 mm thick)
+
+
+## Copyright information
+
+### This recipe is in the public domain (CC0)
+
+Yes
+
+### This recipe was previously published by someone else
+
+This is a modified version of: **Flexible Bio-plastic Alginate Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+##References
+
+- **Flexible Bio-plastic Alginate Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+- **The Science Of Spherification: Theoreticians examine the atomic details of an avant-garde culinary technique"**, by Bethany Halford, Chemical and Engineering News, Volume 92 Issue 42, pp. 35-36, October 2014: https://cen.acs.org/articles/92/i42/Science-Spherification.html 
+
+## Images of final product
+![](../../images/finalpics-49.jpg)*Alginate foil, Loes Bogers, 2020*
+
+![](../../images/finalpics-49.jpg)*Alginate foil, Loes Bogers, 2020*
+
+![](../../images/finalpics-50.jpg)*Alginate foil, Loes Bogers, 2020*
+
+![](../../images/finalpics-51.jpg)*Alginate foil, Loes Bogers, 2020*
+
+![](../../images/finalpics-52.jpg)*Alginate foil, Loes Bogers, 2020*
+
+![](../../images/finalpics-53.jpg)*Alginate foil, Loes Bogers, 2020*
+
+
+
+

docs/files/recipes/in progress/hibiscusdye.md

+# HIBISCUS DYE
+
+### Tactility & sound impression
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/gNOtGunJc2A" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+### Description
+
+A (naturally) amber-coloured hard bioresin, gelatin-based.
+
+### Physical form
+
+Solids
+
+Color without additives: transparent, yellow/orange/amber colored.
+
+### Fabrication time
+
+Preparation time: 1 Hour
+
+Processing time: 5-10 days
+
+Need attention: None, just leave it to dry as long as is feasible with lots of airflow.
+
+Final form achieved after: 10 days
+
+## Ingredients
+
+* **Gelatine powder - 96 gr**
+	* Functions as the polymeer (so it becomes a solid)
+* **Glycerine - 16 gr**
+	* Functions as plasticizer that bonds with the gelatine (makes it flexible). 
+* **Water - 480 ml/gr**
+	* To dissolve and mix the polymeer and plasticizer
+
+## Tools
+
+1. **Cooker or stove** (optional: temperature controlled)
+1. **Pot**
+1. **Scale**
+1. **Moulds** (ideally with removeable base to increase airflow). I have modular silicon walls with metal wire inside them that allow me to cast and then turn the moulds on their side for more airflow and drying from top and bottom. I use a silicon or acrylic sheet with these mould walls.
+1. **Spoon** 
+
+
+## Yield before processing/drying/curing
+
+Approx. 300 ml (make sure to evaporate a lot of water during cooking time)
+
+## Method
+
+1. **Preparation**
+
+	- Weigh your ingredients
+	- Prepare the mold and find a place where you can leave it for a while, ideally near an open window where there's air flow.
+
+1. **Mixing and dissolving the ingredients**
+	- bring the water to the boil
+	- optional: add natural dye if you wish to use color
+	- add the glycerine
+	- add the gelatine
+	- keep the temperature below 80 degrees celcius while stirring *very very slowly and gently* to avoid making bubbles. I prefer a simple spoon to do this, not a whisk.
+
+1. **Cooking the ingredients**
+
+	- 	Simmer and slowly stir the mixture between 60-80 degrees celcius for at least 20 minutes or up to an hour. Turn it lower when bubbles appear: you don't want the liquid to move, don't boil it. This sample has some bubbles due to vigorous mixing.
+	-  Longer cooking time allows more water to evaporate. You will get a thicker liquid. To cast larger volumes and solids with this recipe, evaporate a lot of water, until it's very thick.
+	
+1. **Casting**
+
+	- 	Let the liquid cool for a couple minutes until it gels a little but is still liquid and pourable.
+	-  Cast into the mould slowly to avoid bubbles
+	-  Pour from the middle and hold still, let the liquid distribute itself.
+	-  Put the mould away to dry in a cool place with lots of air flow (like near an open window). A warmer place might speed up the drying process but also allow bacteria to grow faster and can result in fungal growth.
+	-  If the mould has a removable base, remove it after 4-8 hours and put the mould on its side to allow air flow from both sides. 
+	-  When using a flexible mould: let it dry without releasing to keep the form as much as possible. The resin will likely shrink and release itself from the mold. If it feels cold to the touch it is still drying. If you are using a rigid mold: release after 4-8 hours and dry flat.
+
+
+### Drying/curing/growth process
+
+- Mold depth:  				 7 cm (filled up until 2.5cm high)
+- Shrinkage thickness:      20-30 %
+- Shrinkage width/length:   20-30 %
+
+**Shrinkage and deformation control**
+
+Letting it dry up to ten days to get to the final form. It will be flexible at first but will slowly harden until its totally rigid.
+
+**Curing agents and release agents**
+
+None. 
+
+**Minimum wait time before releasing from mold**
+
+Using a silicon mold: 7 days (or until it comes undone)
+
+**Post-processing**
+
+Store in a dry and ventilated room.
+
+**Further research needed on drying/curing/growth?**
+
+Casting larger volumes without growing fungus/mold, and limited warping can be challenging. Fillers like debris or egg shells can help. More research can be done on ideal conditions for drying larger volumes.
+
+The resin does not cure evenly across the surface, some might be negotiated by shaving off some slides while it is still relatively soft and flexible.
+
+
+### Process
+
+![](../../images/resin5a.jpg)*Evaporating water until the liquid is thick like honey, Loes Bogers, 2020*
+
+![](../../images/resin5.jpg)*Preparing molds for small half domes (egg cups), and a big slab (silicon mould and separate base), Loes Bogers, 2020*
+
+![](../../images/resin6.jpg)*Casting the resin (I had to put a weight on top to press the mold into the base and prevent leakage, Loes Bogers, 2020*
+
+![](../../images/resin8.jpg)*Putting the mold on its side next to open window to allow further drying from top and bottom, Loes Bogers, 2020*
+
+
+## Variations on this recipe
+
+- Add a **natural colorant** such as a vegetable dye or water-based ink (e.g. hibiscus, beetroot, madder)
+- Add **less glycerine** for a more rigid foil
+- **Stiffeners** such as fibres, yarn or natural debris may be added for more structure and reinforcement.
+- **Fillers** such as almond or sunflower oil, can be added to prevent additional shrinkage but might affect stickyness.
+
+### Cultural origins of this recipe
+
+Bioplastic production is older than petrol based plastics. In 1500 BC, people in Egypt were already using glues based on gelatin, casein and albumin for furniture constructions. Gelatin casting as a technique has also been used in production of jelly-based foods such as aspic, jelly desserts and candy.
+
+**Needs further research?**   Not sure
+
+### References this recipe draws from
+
+- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3) 
+
+### Known concerns and contestations\*
+
+Needs further research
+
+Gelatin is an animal-based ingredient. Some might find it problematic to use resources that requires killing an animal because of religious or animal welfare beliefs. Arguments are also made that as long as there's a meat industry, it is better to use product from the entire animal, including skin and bones. Some might consider gelatin to be a product that comes from a waste stream, but this is considered controversial by others.
+
+Acrylic (for the mold) is a petrol based plastic but results in very shiny foils and sheets and can be reused endlessly for casting high quality bioplastic sheets.
+
+Using renewable ingredients is not by definition petrol-free. Imagine they have to travel long distances by plane, boat or truck: it takes fuel. Also, the effects of GMO technologies and pesticides can be harmful to the environment and it's worth using knowing the source and production standards involved. If you can afford it, buying organic ingredients is a good starting point.
+
+### Sustainability tags
+
+- Renewable ingredients: yes
+- Vegan: no
+- Made of by-products or waste:  no
+- Biocompostable final product:  yes
+- Reuse: yes, by melting and recasting
+
+Needs further research?:  not sure
+
+Gelatine-based bioplastics can be recasted by melting them in a pot with some water. Recycling them with PET plastics contaminates the waste stream. Compost bioplastics in a warm environment with sufficient airflow.
+
+## Material properties
+
+### Comparative qualities
+This resin is dense and rather heavy, but not rock hard like synthetic epoxy or cold like glass. It keeps certain level of bounciness to it.
+
+### Technical and sensory properties
+
+- **Strength**: strong
+- **Hardness**: rigid
+- **Transparency**: transparent
+- **Glossiness**: matt
+- **Weight**: heavy
+- **Structure**: closed
+- **Texture**: medium
+- **Temperature**: medium
+- **Shape memory**: high
+- **Odor**: moderate in final product, high during production
+- **Stickiness**: low
+- **Weather resistance:** low
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research
+- **Non-allergenic:** needs further research
+- **Electrical properties:** needs further research
+- **Heat resistance:** low
+- **Water resistance:** water resistant
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** moderate
+- **Surface friction:** medium
+- **Color modifiers:** none 
+
+
+## About this entry
+
+### Maker(s) of this sample
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Rotterdam, the Netherlands
+- Date: 06-03-2020 – 16-03-2020
+
+### Environmental conditions
+
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+### Recipe validation
+
+Has recipe been validated? Yes
+
+By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
+
+### Estimated cost (consumables) in local currency
+
+2,56 Euros for a yield of approx 300 ml
+
+## Copyright information
+
+### This recipe is in the public domain (CC0)
+
+Yes
+
+### This recipe was previously published by someone else
+
+Yes, in: **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+##References
+
+- **The Secrets of Bioplastic** by Clara Davis (Fabtex, IAAC, Fab Lab Barcelona), 2017, [link](https://issuu.com/nat_arc/docs/the_secrets_of_bioplastic_).
+- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3)
+- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+
+## Images of final product
+
+![](../../images/finalpics-29.jpg)*Bioresin slab, Loes Bogers, 2020*
+
+![](../../images/finalpics-30.jpg)*Bioresin slab, Loes Bogers, 2020*
+
+![](../../images/finalpics-37.jpg)*Bioresin slab and half dome, Loes Bogers, 2020*
+
+

docs/files/recipes/kombuchapaper.md

+# KOMBUCHA FOIL/LEATHER
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/XaFScq8vYMQ" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+##GENERAL INFORMATION
+
+This is a thin translucent bacterial cellulose material resembling paper or a foil, made of a dried 3-5mm kombucha SCOBY cellulose pellicle. The kombucha foil is translucent, sometimes with visible traces of the yeast and bacteria strings. The color varies with the liquid the SCOBY was grown in. It is comparable to parchment paper or tracing paper in terms of sound and translucence, but has less uniform shape, thickness and color. Yeast strains that may be browner etc, give the finished product a type of "grain" like wood or leather might have. 
+
+**Physical form**
+
+Surfaces
+
+Color without additives: varies, often yellow/brown-ish
+
+**Fabrication time**
+
+Preparation time: 1 Hour
+
+Processing time: 5 days
+
+Need attention: every day
+
+Final form achieved after: 5 days
+
+**Estimated cost (consumables)**
+0,64 Euros, for a yield of one piece
+
+##RECIPE
+
+###Ingredients
+
+* **Kombucha SCOBY pellicle** - 1 piece of 5-7 mm thickness for paper-like materials, or 8-15 mm for leather-like material. Grow one with [this recipe](https://class.textile-academy.org/2020/loes.bogers/files/recipes/kombuchascoby)
+* **Coconut oil** - 1 tbsp (15 ml)
+* **Beeswax, melted** - 1 tbsp (15 ml)
+
+###Tools
+
+1. **Gloves**
+1. **A glass jar**, to mix the treatment
+1. **A pot**, big enough to put the glass jar in (bain marie)
+1. **A spoon**, for stirring
+1. **A cooker**
+1. **A silicone mat**, to dry the paper on, baking paper also works.
+1. Optional: a brush
+
+
+###Yield 
+
+One sheet of kombucha paper.
+
+###Method
+
+1. **Preparing the after-treatment for a kombucha sheet**
+
+	- Take the kombucha sheet out of its bath, wash in soapy cold water and dry it off with some kitchen paper. Put it on the silicone mat. Some kombucha SCOBY's will be a bit uneven and might have a hole or a tear. You can rearrange it a bit and put these bits back together, in the drying process these parts will reattach if they're overlapping. 
+	- Melt the beeswax so you can take one tablespoon of it. (Put a chunk of wax in a glass jar that I melt au bain marie. You can then let it cool inside the jar where I store it for later).
+	- Warm up a bit of coconutoil so it becomes liquid (you can use the bain marie)
+	-  Mix the liquid bees wax and coconut oil and store in a container.
+
+	
+1. **Applying the water-proofing treatment**
+	
+	- Place the kombucha pellicle on a smooth surface for drying 
+	-  Apply the coconut oil/beeswax mixture to one side of the kombucha sheet with a brush or with your fingers. Massage it in. 
+	- Let the kombucha sheet dry for a few days
+	- Peel the sheet off, turn over, and apply the treatment to the other side.  
+
+1. **Drying and pressing**
+
+	- Leave to dry again. When the sheet is fully dehydrated, any excess treatment can be wiped off with a paper towel.
+	- Once dry, press it between baking paper under a stack of heavy books so it becomes totally flat and even.
+
+###Drying/curing/growth process
+
+- Thickness before drying:		5 mm for thin paper-like sheets, 8-12 mm for leather-like material
+- Shrinkage thickness       70-80%
+- Shrinkage width/length     0-10 %
+
+**Shrinkage and deformation control**
+
+Do not peel it the kombucha scoby off the silicone mat in between stages. Just let it be to get a very flat sheet. It will start to curl if you take it off the mat and manipulate it a lot. 
+
+**Curing agents and release agents**
+
+None, any flexible surface to dry the sheet on will work fine as long as you can peel it off (don't use acrylic or glass sheets, it will get stuck). Use vaseline as release agents for other types of moulds. 
+
+**Minimum wait time before releasing from mold**
+3-7 days or when dry
+
+**Post-processing**
+Keep pressed for a few more days. Store dry and flat, add some rice as desiccant.
+
+**Further research needed on drying/curing/growth?**
+
+Not sure
+
+###Process pictures
+
+![](../../images/kombu_treat_coconut_beeswax.jpg)*Ingredients for the pellicle treatment, Loes Bogers, 2020*
+![](../../images/kombuleather8.jpg)*Melting the beeswax au bain marie, Loes Bogers, 2020*
+![](../../images/kombuleather14.jpg)*Two kombucha papers: one that was left alone during the drying process (top), one that was moved and lifted during the drying process (bottom), Loes Bogers, 2020*
+
+###Variations
+
+- The same process can be used to create more leather-like sheets. Follow the exact same recipe but use a SCOBY that grew into 8-15 mm thickness instead of 3-5mm. 
+- The kombucha paper takes on the shape it dries in, try drying the paper on top of a mold to let it dry and contract into a 3D shape. Use vaseline as a release agent. 
+- Dye the pellicle before oiling and drying, by dipping it into a concentrated natural dye. It takes on dye quite well.  
+- Other treatments have been suggested to make the leatherlike pellicles more water resistant. Without a sealant, the kombucha could become sticky if worn in the rain. Full water resistance can be achieved if using acrylic or oil based sealers, but then the material is no longer safely biodegradable. One such variation consists of one part turpentine, one part boiled linseed oil and one part bees wax (see also th34d5 in the references).
+- Other alternatives can be found in treatments for wooden chopping boards (food safe!). [Uulki wood oil & wax](https://www.uulki.com/en/shop/uulki-natural-wood-wax-cutting-boards/) is one that creates nice smooth results when applied to the wet pellicle. It's a Belgian product and is 100% vegan (if you don't want to use bees wax), and contains no mineral oils or solvents. Apply this treatment **after** drying. 
+-  If your SCOBY pellicles are very uneven, you can also puree them with a blender, and spread the puree out to dry. Apply after-treatment when dry in this case.
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+See also the entry for [Kombucha SCOBY](https://class.textile-academy.org/2020/loes.bogers/files/recipes/kombuchascoby/) Using Kombucha SCOBY's as a design material took off most notably after Suzanne Lee's Ted talk "Grow Your Own Clothes" in 2011. And the use of kombucha cellulose as vegan leather has been further developed and shared by many other initiatives like thr34d5, the fashion department of Queensland University of Technology and scientists from The Edge, State Library of Queensland, Australia. 
+
+Besides for leather alternatives, thinner Kombucha SCOBY pellicles like the one described here, has also be used in the production of food packaging, such as Emma Sicher's from Peel to Peel project where she also documents the process and experiments beautifully. 
+
+**Needs further research?**   Not sure
+
+###Key Sources
+
+- **Open Source Kombucha**, by thr34d5. n.d., [link](https://thr34d5.org/2019/08/28/open-source-kombucha/)
+- **Biofabricating Materials** by Cecilia Raspanti for Fabricademy 2019-2020: [link](https://class.textile-academy.org/classes/week05A/)
+
+###Copyright information 
+
+thr34d5's recipe is published under a Creative Commons Attribution Share Alike 4.0 Licence. Raspanti's recipe is shared under a CC Attribution, non-commercial licence. 
+
+##ETHICS & SUSTAINABILITY
+
+Because the SCOBY scan regrow itself infinitely with a bit of water, tea and sugar, and can be composted, it's a relatively uncontroversial material but still requires resources and more importantly, a lot of time. Especially in colder climates it is tempting to use heating to speed up the growth. As a material, it is still very much in development.
+
+Other suggested post-treatments may contain boiled linseed oil and turpentine, or mineral oil (e.g. vaseline). These are not eco-friendly products: turpentine and mineral oil are petrol-based (by-products), and boiled linseed oil contains all sort of chemicals for faster drying. There is room for improvement in the area of techniques and compounds to make the pellicles stronger, water resistant and more durable. That said, beeswax might be a no-go as it's an animal product, and coconut oil has been linked to child labour and monkey labour. So always research the sources and production ethics of companies where you are buying. 
+
+**Sustainability tags**
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  yes
+- Biocompostable final product:  yes
+- Re-use: you can continue to use SCOBYs to grow more SCOBY, more kombucha, more is more. 
+
+Needs further research?:  Not sure
+
+##PROPERTIES
+
+- **Strength**: variable; paper is more fragile, thicker pellicles are very strong.
+- **Hardness**: resilient
+- **Transparency**: translucent
+- **Glossiness**: matt
+- **Weight**: light
+- **Structure**: closed
+- **Texture**: medium
+- **Temperature**: medium
+- **Shape memory**: high
+- **Odor**: moderate (the smell of fermentation and the treatment linger but largely disappear eventually)
+- **Stickiness**: low
+- **Weather resistance:** needs further research
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research (anti-microbial properties have been suggested)
+- **Non-allergenic:** needs further research (bio-compatibility has been suggested)
+- **Electrical properties:** needs further research
+- **Heat resistance:** low
+- **Water resistance:** water resistant after treatment
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** moderate
+- **Surface friction:** medium
+- **Color modifiers:** none 
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Rotterdam, the Netherlands
+- Date: 13-03-2020 – 20-03-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? Yes, By Cecilia Raspanti, TextileLab, Waag Amsterdam, 9 March 2020
+
+**Images of the final sample**
+![](../../images/finalpics-14.jpg)*Kombucha paper, Loes Bogers, 2020*
+
+![](../../images/finalpics-13.jpg)*Kombucha paper, Loes Bogers, 2020*
+
+![](../../images/finalpics-15.jpg)*Kombucha paper, Loes Bogers, 2020*
+
+
+##References
+
+- **Open Source Kombucha**, by thr34d5. n.d., [link](https://thr34d5.org/2019/08/28/open-source-kombucha/)
+- **Biofabricating Materials** by Cecilia Raspanti for Fabricademy 2019-2020: [link](https://class.textile-academy.org/classes/week05A/)
+- **Grow your own clothes** TED talk by Suzanne Lee, 2011: [link](https://www.ted.com/talks/suzanne_lee_grow_your_own_clothes?language=en)
+- **Kombucha Fashion** by Cameron Wilson, Peter Musk and Jimmy Eng for the The Edge, State Library of Queensland, n.d. [link](https://wiki.edgeqld.org.au/doku.php?id=workshops:public:kombucha_fashion:start)
+- **QUT reveals how you can make your own leather at home** by The Conversation, republished by SmartCompany, 24 November, 2016: [link](https://www.smartcompany.com.au/startupsmart/advice/startupsmart-growth/startupsmart-innovation/qut-reveals-how-you-can-make-your-own-leather-at-home/)
+- **From Peel to Peel** by Emma Sicher, n.d. [link](https://frompeeltopeel.tumblr.com/)
+- **Palm vs. Coconut Oil: What's the more Sustainable Choice?** by Nithin Coca for *Pulitzer Center*, 8 April 2020, [link](https://pulitzercenter.org/reporting/palm-vs-coconut-oil-whats-more-sustainable-choice)
+

docs/files/recipes/kombuchascoby.md

+# KOMBUCHA SCOBY
+
+![](../../images/finalpics-194.jpg)*A young kombucha SCOBY pellicle, Loes Bogers, 2020*
+
+##GENERAL INFORMATION
+
+This is a recipe to grow a cellulose pellicle from a living microbial culture. The bacteria cultivated here is called *acetobacter* and can be found in a fermented tea drink called kombucha. This recipe describes how to cultivate a kombucha SCOBY (Symbiotic Culture Of Bacteria and Yeast), which is often used to ferment sugary tea, because it can transform sugars into acids. Acetobacter is one of the important bacteria in the bacteria/yeast culture, and requires oxygen to live and grow; it is *aerobic*. As a result it slowly forms a cellulose pellicle where the liquid is in contact with air (i.e. at the surface). 
+
+When dried, the cellulose pellicle can be used as leather alternatives and paper-like thin materials. Following this procedure will grow a thin pellicle to start with, it will get thicker as you start to use it more. See also this [recipe for Kombucha Paper](https://class.textile-academy.org/2020/loes.bogers/files/recipes/kombuchapaper/). 
+
+*Note: this recipe is meant to provide tips on how to make a microbial _material_. Whereas the process is safe to do, it does not cover a process for human consumption per se, and cannot guarantee food safe practices. Don't consume your SCOBY or kombucha tea until you have thoroughly informed yourself on safe fermentation processes. When in doubt, throw it out.*
+
+**Physical form**
+
+Surfaces
+
+Color without additives: varies, may be white transparent with darker areas, or get yellow brownish yeast strands. 
+
+**Fabrication time**
+
+Preparation time: 2 hours (incl cooling)
+
+Processing time: 21 days or more
+
+Need attention: check for mold growth and irregularities every few days.
+
+Final form achieved after: 3-5 weeks if all goes well. 
+
+**Estimated cost (consumables)**
+
+Approx. 6,15 Euros for a yield of initially two, but eventually infinite cellulose pellicles if kept alive with more sugar and tea or other nutrient. 
+
+##RECIPE
+
+###Ingredients
+
+There are various ways to do this and different methods work for different people, also depending on the temperature in your home. Here we use the living culture from store-bought kombucha and add some extra nutrients by preparing some sugary black tea for it to grow a little faster. This recipe helps you start, but growing a healthy culture can take multiple cycles, so don't give up!
+
+Try to work as sterile as possible throughout. 
+
+* **Kombucha drink with live culture (raw), without flavouring** 
+	* used here: Yaya Kombucha Original (Ekoplaza supermarket)
+	* 660 ml (2x 330 ml) or just make sure to make a 2:1 ratio of raw kombucha and sugary tea).
+	* we will cultivate the live bacteria in the drink and grow them into a solid cellulose pellicle
+	* some say it's best to find a bottle that already has some blobs of culture (baby scoby's) sitting at the bottom. 
+* **Denatured alcohol 96%, or white vinegar** to desinfect all your tools and pots
+* **Two large round coffee filters**, or clean cloth like a tea towel, to prevent contamination by fruit flies
+* **Two rubber bands** to prevent contamination by fruit flies
+* **Water - 330 ml**,  to make black tea
+* **1 tea bag of black tea**, organic simple black tea such as ceylon, darjeeling or English breakfast are good options. 
+* **(organic) sugar - 30 g**, white sugar or cane sugar.
+* Optional: a splash of vinegar if your water is alkaline
+
+###Tools
+
+1. **Two glass jars** try to get a wider ones, min 10 cm diameter
+1. **A pot** 
+1. **Kitchen paper**
+1. **Anti-bacterial soap** to wash your hands
+1. **A scale**
+1. **A spoon**
+1. **A thermometer**
+1. **PH paper**
+
+###Yield 
+
+2 cellulose pellicles if all goes well. They will grow the same size and shape as the diameter of the jars you grown them in. 
+
+###Method
+
+1. **Create a sterile environment**
+
+	- Wash your hands with soap for at least 20 seconds
+	- Sterilize all your tools with 95% denatured alcohol or white vinegar.
+	- If you don't have alcohol: sterilize with hot water. Don't put cold glass inside hot water! It will break. Heat up slowly.  
+
+1. **Prepare the sugary tea**
+
+	- Boil the water
+	- Add the teabag and turn off the heat. Let the tea brew for 5 minutes (for black tea, or 3 minutes for green tea)
+	- Take out the teabags with a sterile tool
+	- Let it cool all the way down to 30 degrees Celcius (so you don't kill the bacteria of the kombucha). 
+
+1. **Mix in the kombucha and seal**
+	- Make sure all is sterile - maybe wash your hands again? 
+	- Mix in the store-bought kombucha and stir
+	- Measure the PH of the mixture. It should be between PH 4 - PH4.5 if it is more acidic than that (lower values) make more tea to bring the values up. The fermentation process will produce acids that bring the PH down eventually. 
+	- Distribute your kombucha/tea mix into the sterilized jars
+	- Seal them with a coffee filter and a rubber band to prevent fruit flies from going in. You don't want their larvae in your SCOBY. You want to ensure air flow without letting any bugs in. You can also do this with a clean cloth, but make sure the mesh is small enough. 
+
+1. **Let it grow**
+	- Put it in a warm place but away from direct sunlight (preferably in the dark, like a cupboard), and leave it for 2-3 weeks, or until it has grown 5-8 mm thick (to create paper-like cellulose) or closer to 10-15 mm thick, to grow for leather-like pellicles. 
+	- Do NOT move the jars, the pellicle will sink and you will have to start over
+	- Check regularly for unusual growth. Ideally your SCOBY becomes a thick white-ish film floating on top of the liquid. But it takes many forms and can definitely look funny. Learn how to discriminate between a heathy SCOBY and fungal or yeast growth. The resources from [Kombucha Camp](https://www.kombuchakamp.com/kombucha-mold-information-and-pictures) are a good starting point. 
+
+1. **Use your SCOBY**
+
+	- If it has grown to a thickness of minimum 5 mm you can use your SCOBY pellicle to make paper or leather (or kombucha tea) see [this recipe for Kombucha paper](https://class.textile-academy.org/2020/loes.bogers/files/recipes/kombuchapaper/). Take it out with clean hands!
+	- and/or: re-use the liquid to grow more pellicles, it now has more living culture in it.	
+		- wash your hands and sterilize your tools again?
+		- make some more sugary tea as described above and add it to the liquid from the previous brew. Use at least 25-75% sour liquid from a previous brew (it smells like vinegar).  More mature culture = faster pellicle growth.
+		- instead of adding tea, you can also continue brewing by adding sugar and beer. You don't need to dissolve the sugar. 
+
+###Drying/curing/growth process
+
+It is important not to disturb the SCOBY, just leave it in peace. Use glass jars so you can peek inside without touching it. Check for irregular growth. Start over if unsure. 
+
+- Mold depth and diameter: liquid should reach 5-10 cm deep
+- Shrinkage thickness       N/A
+- Shrinkage width/length    N/A
+
+
+**Minimum wait time before releasing from mold**
+2 weeks, or until it is 5 mm thick (to make paper) or 10-15 mm thick (or more) for leather. 
+
+**Post-processing**
+
+Make a **SCOBY hotel** to store your SCOBY for later use: 
+
+- Never put it in the fridge
+- Instead: learn to make a SCOBY hotel, and perform maintenance every 2-6 months, to keep growing for ever and ever and ever. Kombucha Camp has very good resources to learn this (see references). 
+- Also learn how to trim and thin big SCOBY's to learn how to achieve optimal growth. 
+
+**Further research needed on drying/curing/growth?**
+
+Yes, there's a huge kombucha community out there. Get connected and learn all the ins and outs. [This article](http://users.bestweb.net/~om/kombucha_balance/) by Len Porzio is helpful for troubleshooting. You are basically growing bacteria and yeast here, but in the end you want the bacteria (the pancake) to become big and thick and smooth and the kombucha tea is secondary. Len describes ways to balance that out and influence the growth. Know that most of hese recipes have the objective to brew the *tea*, whereas we're looking to grow the pellicle.
+
+Note: there's some confusion about what is the SCOBY. It is interpreted here as the culture of bacteria and yeast as a whole that resides in the liquid *and* the pellicle. When we refer to SCOBY it is the whole whereas other might use the word to refer only to the pellicle. To grow pellicles, you don't need a pellicle per se, but you do need a starter culture (that can be liquid or in the form of the pellicle, or both).
+
+###Process pictures
+
+![](../../images/kombu1.jpeg)*Preparing for a few jars, Loes Bogers, 2020*
+
+![](../../images/kombunew1.jpg)*Without cover for the picture: some experiments brewing, slowly growing a thin pellicle after two weeks, Loes Bogers, 2020*
+
+![](../../images/kombunew2.jpg)*Cover to keep some light out, Loes Bogers, 2020*
+
+
+###Variations
+
+- Kombucha SCOBY can grow in many different liquids (wine, beer, green/black tea) that each give a different color to the pellicle as well. Natural colorants can be added to the tea (such as hibiscus, beetroot etc). 
+- Green tea is said to produce thicker SCOBY pellicles (see also Len Porzio's article listed below), brew green tea for only 3 mins. Or use a mix of black and green tea.
+- Try out different treatments for the kombucha, such as coconut oil or other natural and essential oils.
+- Research the use of growing mats and temperature controlled boxes to keep your SCOBY at 24 to 30 degrees Celcius for optimal growth and the smallest chance at mold formation. Ideal temperature is 27 degrees celcius. If you use a plant mat, don't put it underneath the jar but rather wrap it around it (otherwise you're more likely to increase yeast growth instead of SCOBY growth). 
+- Or try growing a piece of SCOBY (5x5cm) further on 250 ml of dyed water (consider autoclaving it first to sterilize), some of the kombucha starter liquid (up to 250 ml), 50g sugar and 50 ml vinegar. 
+- **The NOMA guide to fermentation** is a great resource on microbial growth for safe human consumption that describes how you can make a fermentation chamber form a styrofoam cooler. 
+- Try growing a mature piece of SCOBY in other liquids such as **Lorena Trebbi's recipes** using 200 ml (organic) red wine, 200ml water and 40g sugar. Or start a new one with 200 ml raw kombucha tea, 200 ml of organic red wine and 20 g sugar.  
+- Or Lorena's **beer version** that grows very fast, using 300 ml (organic) beer, 300 ml water, 60 g sugar and 60 g white vinegar with a SCOBY pellicle (of at least 5x5 cm), see images below. 
+- A **simpler variation** on the beer brew is: use starter liquid from a previous brew, add the same amount of beer (just lager is fine), and 120 g of sugar for each added liter of liquid (by Loes Bogers). 
+
+![](../../images/kombu_beerscoby.jpg)*the SCOBY pellicle from this recipe after continuing to grow it on beer for 2.5 weeks, following Lorena's recipe. The bottom side is totally smooth*
+
+![](../../images/kombu_beerscoby2.jpg)*the SCOBY pellicle from this recipe after continuing to grow it on beer for 2.5 weeks, following Lorena's recipe. The bottom is totally smooth*
+
+
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+Kombucha is an ancient Chinese fermented drink made of sweetened green or black tea and yeast and bacteria cultures. It is said to have originated in Manchuria (now Northeast China) and was hailed for its curing qualities. It spread across Asia and later also Russia. It was brought to Europe with the expansion of trade routes in the 1900s where it gained popularity (most notably in Germany and Switzerland, as "Kombuchaschwamm" due to alleged health benefits comparable to those of yoghurt. Initially it was brewed by enthousiasts sharing the mother SCOBY or mushroom with a grassroots community of fermentation lovers, both in Europe and the U.S. Commercial enterprises started to pop up from the mid-90s onwards and recently one of the big kombucha brewers KeVita was purchased by PepsiCo for $200 million. 
+
+Using Kombucha SCOBY pellicles as a design material took off most notably after Suzanne Lee's Ted talk "Grow Your Own Clothes" in 2011. And the use of kombucha cellulose as vegan leather has also been developed and shared by many other initiatives like thr34d5, the fashion department of Queensland University of Technology and scientists from The Edge, State Library of Queensland, Australia. 
+
+**Needs further research?**   Not sure
+
+
+###Key Sources
+
+- **How to Start Brewing Kombucha Without a SCOBY** by Kathleen Quiring, for Becoming Peculiar, 6 November 2013: [link](http://becomingpeculiar.com/how-to-start-brewing-kombucha-without-a-scoby/)
+- **How to Grow a Kombucha SCOBY from Bottled Komucha** by Carol Lovett, for Ditch the Wheat, n.d. [link](https://ditchthewheat.com/how-to-grow-a-kombucha-scoby-from-bottled-kombucha/)
+- **How to Grow a Kombucha SCOBY** Kristen Michaelis, 2 February 2018:[link](https://www.foodrenegade.com/how-to-grow-a-kombucha-scoby/)
+- **How to Grow a Kombucha SCOBY in just 10-12 days** by Brod and Taylor, n.d. [link](https://brodandtaylor.com/kombucha-scoby/)
+
+###Copyright information 
+
+Techniques for growing kombucha SCOBY are documented widely and considered something of an oral culture that may be 200 to 2000 years old.  Although none can really claim the intellectual rights to such an old recipe, references used are listed under key sources and in the references. 
+
+##ETHICS & SUSTAINABILITY
+
+Needs further research
+
+Because the pellicle can regrow itself infinitely with a bit of water, tea and sugar, and can be composted, it's a relatively uncontroversial material but still requires resources and more importantly, a lot of time. Especially in colder climates it is tempting to use heating to speed up the growth. As a material, it is still very much in development.
+
+Additives and post-treatments to dry and tan the pellicle, like boiled linseed oil and turpentine are not necessarily eco-friendly products. Chemicals are added to boiled linseed oil to make it dry quicker than raw linseed oil for example. There is room for improvement in the area of techniques and compounds to make the pellicles stronger and more durable. 
+
+**Sustainability tags**
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  yes
+- Biocompostable final product:  yes
+- Re-use: you can continue to use the liquid SCOBY to grow more SCOBY pellicles, and more kombucha, more is more. 
+
+Needs further research?:  Not sure
+
+##PROPERTIES
+
+- **Strength**: fragile
+- **Hardness**: resilient
+- **Transparency**: translucent
+- **Glossiness**: glossy 
+- **Weight**: medium
+- **Structure**: closed
+- **Texture**: smooth
+- **Temperature**: cool
+- **Shape memory**: low
+- **Odor**: strong (while growing, can be acidic or other flavours depending on the growth of bacteria and yeast)
+- **Stickiness**: low
+- **Weather resistance:** N/A
+- **Acoustic properties:** N/A
+- **Anti-bacterial:** antimicrobial effect on some types of microbes, (see Jayabalan et.al. below) 
+- **Non-allergenic:** needs further research
+- **Electrical properties:** needs further research
+- **Heat resistance:** needs further research
+- **Water resistance:** N/A (while alive)
+- **Chemical resistance:** low (while alive, will likely kill bacteria)
+- **Scratch resistance:** N/A (while alive)
+- **Surface friction:** N/A
+- **Color modifiers:** none 
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 20-03-2020-20-03-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? Yes, by Cecilia Raspanti, TextileLab, Waag Amsterdam, 9 March 2020
+
+**Images of the final sample**
+
+![](../../images/finalpics-194.jpg)*A young, thin kombucha SCOBY pellicle, Loes Bogers, 2020*
+
+##REFERENCES
+
+- **How to Make Your Own Kombucha SCOBY** by Emma Christensen for Cooking Lessons From the Kitchn, 5 june 2019: [link](https://www.thekitchn.com/how-to-make-your-own-kombucha-scoby-cooking-lessons-from-the-kitchn-202596)
+- **How to Start Brewing Kombucha Without a SCOBY** by Kathleen Quiring, for Becoming Peculiar, 6 November 2013: [link](http://becomingpeculiar.com/how-to-start-brewing-kombucha-without-a-scoby/)
+- **How to Grow a Kombucha SCOBY from Bottled Komucha** by Carol Lovett, for Ditch the Wheat, n.d. [link](https://ditchthewheat.com/how-to-grow-a-kombucha-scoby-from-bottled-kombucha/)
+- **How to Grow a Kombucha SCOBY** Kristen Michaelis, 2 February 2018: [link](https://www.foodrenegade.com/how-to-grow-a-kombucha-scoby/)
+- **Kombucha Mold Information and Pictures** by Kombucha CAmp, n.d. [link](https://www.kombuchakamp.com/kombucha-mold-information-and-pictures)
+- **SCOBY hotel video quick tip** by Kombucha Camp, n.d. [link](https://www.kombuchakamp.com/scoby-hotel-video-quick-tip)
+- **SCOBY hotel maintenance** by Kombucha Camp, n.d. [link](https://www.kombuchakamp.com/scoby-hotel-maintenance)
+- **How to Trim SCOBYS: Kombucha Care** by Kombucha Camp, n.d. [link](https://www.kombuchakamp.com/trim-scobys-kombucha-care)
+- **The NOMA guide to Fermentation** by René Redzepi and David Zilber, Foundations of Flavour 2018. 
+- **Kombucha** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+- **How to Grow a Kombucha SCOBY in just 10-12 days** by Brod and Taylor, n.d. [link](https://brodandtaylor.com/kombucha-scoby/)
+- **A Review on Kombucha Tea—Microbiology, Composition, Fermentation, Beneficial Effects, Toxicity, and Tea Fungus** by Rasu Jayabalan, Radomir V. Malbaša, Eva S. Lončar, Jasmina S. Vitas, Muthuswamy Sathishkumar, in *Comprehensive Reviews in Food Science and Food Safety*, 21 June 2014: [link](https://onlinelibrary.wiley.com/doi/full/10.1111/1541-4337.12073)
+- - **Open Source Kombucha**, by thr34d5. n.d., [link](https://thr34d5.org/2019/08/28/open-source-kombucha/)
+- **Biofabricating Materials** by Cecilia Raspanti for Fabricademy 2019-2020: [link](https://class.textile-academy.org/classes/week05A/)
+- **Grow your own clothes** TED talk by Suzanne Lee, 2011: [link](https://www.ted.com/talks/suzanne_lee_grow_your_own_clothes?language=en)
+- **Kombucha Fashion** by Cameron Wilson, Peter Musk and Jimmy Eng for the The Edge, State Library of Queensland, n.d. [link](https://wiki.edgeqld.org.au/doku.php?id=workshops:public:kombucha_fashion:start)
+- **QUT reveals how you can make your own leather at home** by The Conversation, republished by SmartCompany, 24 November, 2016: [link](https://www.smartcompany.com.au/startupsmart/advice/startupsmart-growth/startupsmart-innovation/qut-reveals-how-you-can-make-your-own-leather-at-home/)
+- **Kombucha 101: Demystifying the Past Present and Future of the Fermented Tea Drink** by Christina Troitino for Forbes, 1 Feb 2017:[link](https://www.forbes.com/sites/christinatroitino/2017/02/01/kombucha-101-demystifying-the-past-present-and-future-of-the-fermented-tea-drink/)
+- **Why is PH important for brewing kombucha?** by Fermentaholics, n.d.: [link](https://fermentaholics.com/why-is-ph-important-for-kombucha/)
+- **Kombucha: the balancing act** by Len Porzio, n.d. [link](http://users.bestweb.net/~om/kombucha_balance/)
+- **What's in my kombucha?** by Cultures for Health, n.d. [link](https://www.culturesforhealth.com/learn/kombucha/kombucha-bacteria-yeast/)
+

docs/files/recipes/madderdye.md

+# MADDER DYE
+
+![](../../images/finalpics-87.jpg)*Madder dye on silk, Loes Bogers, 2020*
+
+##GENERAL INFORMATION
+
+Madder dye (can also be used as a water based ink) produces bright red to orange brownish colors on silk. One of the few natural dyes that can provide such bright red hues. It gives pink/salmon tones on paper. 
+
+**Physical form**
+
+Pastes, gels & liquids
+
+Color without additives: bright reds to orange/brown. 
+
+**Fabrication time**
+
+Preparation time: 2 Hours
+
+Processing time: for dying is variable (overnight for intense red on silk)
+
+Need attention: the entire processing time (temperature and stirring)
+
+Final form achieved after: 2 hours
+
+**Estimated cost (consumables)**
+
+2,01 Euros, for a yield of approx. 500 ml
+
+##RECIPE
+
+###Ingredients
+
+* **madder roots (dried) -  50 g** also: Rubia Tinctorum, this is the dye stuff. Is enough for 50-100g WoF (weight of fibre).
+* **water -  500 ml/g** solvent
+* **soda ash - 5 g** (sodium carbonate Na2CO3), changes PH (more alkaline) to create bright reds
+* **a coffee filter** to filter the fine particles from the dye
+* optional: 100% pure silk, or aquarel/water colors paper and a paint brush to test the dye/ink
+
+
+###Tools
+
+1. **Cooker**, ideally with temperature control
+1. **Pot**
+1. **A spoon**
+1. **A cheese cloth or coffee filter**
+1. **A thermometer** (if your cooker doesn't have temperature control)
+1. **A strainer**
+1. **A glass jar** to store the dye
+1. Optional: a blender or mortar and pestle
+
+
+###Yield
+
+Approx. 500 ml
+
+###Method
+
+1. **Preparation**
+
+	- Weigh the ingredients
+	- Put the madder roots in water and let them soak for 24 hours before processing (also when using madder powder)
+	- optional: grind the madder root into a powder using a blender. By making the dye stuff smaller, you create more surface, which makes it easier to pull the pigments out of the madder root. 
+
+1. **Extract the pigment**
+
+	- Heat 600 ml of water up to 70 degrees celcius. Use a thermometer and make sure it doesn't exceed 70 degrees throughout the entire cooking process (the madder pigment will turn dull and brown).
+	- Add the ground madder roots and simmer at 70 degrees for 60 minutes.
+	- Strain the liquid into a bowl (keep the madder roots)
+	- Put the dye back into the pot, and add the soda ash (it will froth a little), stir and continue to simmer for 10-15 minutes. This is the dye for bright reds. 
+	- Filter the liquid through a cheesecloth or coffee filter to filter out the solid bits. This may take a while.   
+
+	- Optional: you can keep the madder roots for a second filtration. It won't be as intense but you will continue to get color from it albeit a bit lighter. If it holds no more color, add vinegar or another acid to modify the color of the dye from the second filtration to orange and yellow colors. 
+
+1. **Using the ink as a dye or on paper**
+
+	- Use a funnel to transfer your dye into a glass jar.
+	- Use the warm dye immediately by adding a piece of wet silk or other (mordanted) fibre to it and leave overnight. Don't put silk in hot water, it damages the fibre. Then rinse and dry the silk. 
+	- You can also use it as an ink (hot or cold). Use fine chinese brushes and aquarel/water colors paper.
+	- To store: add a clove and store in the fridge or freeze. If it smells weird or grows fungus, throw it away and make new ink. 
+	- Using the dye at a later stage: warm up the dye by putting the glass jar au bain marie (put it in a larger pot with boiling water). Slowly heat it up until warm, not hot. Add (mordanted) fibres such as silk, leave overnight for deep hues. 
+	- Rinse and dry
+
+###Process Pictures
+
+![](../../images/madder1.jpg)*Madder roots, Loes Bogers, 2020*
+
+![](../../images/madder3.jpg)*After the first extraction, Loes Bogers, 2020*
+
+![](../../images/madder4.jpg)*Add a pinch of soda ash, Loes Bogers, 2020*
+
+![](../../images/madder5.jpg)*Froth after adding soda ash, Loes Bogers, 2020*
+
+
+###Variations
+
+- You can extract pigment (insoluble particles) for paints by adding a 10% carbonate soda solution (25g of soda ash on 250g hot water). Add only little bits because it froths a lot. Let it precipitate and filter it through a fine cloth. Dry the solids and add a binder to create paints. See also: https://www.youtube.com/watch?v=_YVO2Dr8gD8.
+- Add a binder such as arabic gum to create a nicer flow if you wish to use this ink for painting and arts, not dyeing textiles. 
+- madder can also used cold: liquidize the soaked roots, add 6% WoF calcium carbonate, add water and let it stand - covered - for 4-7 days. Stir occasionally. Then add mordanted fibre. See also: http://www.wildcolours.co.uk/html/madder_dye_nest_rubio.html
+- when dyeing cotton: add 6% WoF calcium carbonate (limestone) dissolved in a bit of hot water for richer color, the chalk acts as a calcium binder.
+- when dyeing silk or wool: some ammonia may be added for deeper reds, either by soaking the madder in ammonia overnight, or by adding some to the dye bath. 
+- make a post-mordant bath with 6% WoF calcium carbonate (chalk) dissolved in a bit of hot water to help attach the fibre. 
+ 
+
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+Before synthetic dyes were discovered in 1856, you would have had to use natural dyes which were made from animals and plants. The most common - and intense -  being madder for red, and indigo for blue. Madder came from the roots of 35 species of plants (Rubia Tinctorum) found in Southern Europe and West-Asia. It has been found in the cloth of mummies and was the first dye to be used as camouflage. It was a popular dye madder in the Middle Ages and is mentioned in the Plichto van Gianventura Rosetti from 1548. Madder was brought to the south of the Netherlands and Flanders around 1300 where the clay soil was optimal for madder cultivation. This led to a thriving local industry - and for a while a monopoly - for madder production (NL: "meekrap") deemed the best quality in Europe .This was the case until *garancine* the synthetic counterpart for alizerine was discovered and gained in popularity around 1870. 
+
+The agricultural industry of madder plants has started growing again recently in Belgium and the Netherlands since experiments in Groningen from 1989 onwards. In 1999 a technique was discovered to create powdered pigment from the roots that is viable for the industry. The textile and fashion industry started rediscovering its potential as a natural pigment for textile dyeing. Its yellow and blue counterparts have also been developed from "wouw" (Reseda lutolea L.) in other parts of Europe and the cultivation of "wede" (Isatis tinctoria L.) in France.
+
+**Needs further research?**   Not sure
+
+###Key Sources
+
+- **Genuine Madder Lake Pigment Extraction** by Jeremy Francis, The Alchemical Arts, Youtube, 13 August 2019, [link](https://www.youtube.com/watch?v=_YVO2Dr8gD8).
+- **Madder - Biochromes** by Cecilia Raspanti for Fabricademy 2019-2020, Class slides [link](https://drive.google.com/file/d/1Ar8j0cJntsFiBxdnrhqTA_9lgDDzB1Wg/view?usp=sharing)
+
+###Copyright information 
+
+This is an adaptation of the recipes listed in the references but there are many very similar recipes out there. One might consider this to be in the public domain. Further research needed. 
+
+##ETHICS & SUSTAINABILITY
+
+Compared to red pigments coming from the synthetic garancine, madder is less ecologically taxing. It doesn't require the sulphuric acid was used in the synthetic product. The plant can easily be multiplied and can be harvested for dyeing only after 2-3 years. The process is deemed rather labour intensive (require a fair amount of weeding and fertilizing). The roots need to be dried, which happens naturallly in sun light in warme climates. Heat needs to be generated in cold areas such as northern Europe. In comparison to commercial synthetic dyes, it is surely an improvement. 
+
+Intense colors can be considered a thing of great luxury. To create very concentrated inks and dyes, one needs a lot of dye stuff and additional compounds like alum and soda for intensification. Although sulphuric acids are left out of this recipe, could and should we not consider deep, concentrated dyes as a thing of luxury, not necessity? How might beauty be found in more subtle hues? Could we consider limiting ourselves to pigments extracted from e.g. food waste like avocado stones, onion skins or leftover red cabbage?
+
+As far as natural dyes go, madder is one that has been developed to a little that is applicable in the dyeing industry, not just crafts dyeing. Rubia Pigmenta Naturalia is a powdered form of meekrap pigment that is suitable for most industrial settings. 
+
+Needs further research: Madder traveling from other parts of Europe and Asia to Northern Europe is possibly tied to practices of colonization and/or warfare. 
+
+**Sustainability tags**
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  no
+- Biocompostable final product:  needs further research
+- Re-use: the madder roots can be filtered more times than once (results in oranges and yellows)
+
+Needs further research?:  Yes
+
+How often can this dye be reused? Overview of colors from second, third, fourth(?) extraction would be useful. 
+
+##PROPERTIES
+
+- **Color fastness:** high, it is traditionally called a "grande teint" for this reason
+- **Light fastness:** high
+- **Washability:** high
+- **Color modifiers:** acidic/alkaline
+- **Odor**: moderate
+- **Suitable fibres**: animal fibre like wool or silk will take better than cellulose fibres. Use of alum as mordant is recommended for intense reds.  Synthetic fibres won't take on this dye. 
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 20-02-2020 - 22-02-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? Yes, by Cecilia Raspanti, TextileLab, Waag Amsterdam, 9 March 2020
+
+**Images of the final sample**
+
+![](../../images/finalpics-87.jpg)*Madder dye on silk, Loes Bogers, 2020*
+
+![](../../images/finalpics-88.jpg)*Madder dye on silk, modified with soda solution (PH 13), Loes Bogers, 2020*
+
+![](../../images/finalpics-89.jpg)*Madder dye on paper, Loes Bogers, 2020*
+
+##REFERENCES
+
+- **Genuine Madder Lake Pigment Extraction** by Jeremy Francis, The Alchemical Arts, Youtube, 13 August 2019, [link](https://www.youtube.com/watch?v=_YVO2Dr8gD8).
+- **Madder - Biochromes** by Cecilia Raspanti for Fabricademy 2019-2020, Class slides [link](https://drive.google.com/file/d/1Ar8j0cJntsFiBxdnrhqTA_9lgDDzB1Wg/view?usp=sharing)
+- **Meekrap**, Dutch page for "madder" on Wikipedia, n.d. [link](https://nl.wikipedia.org/wiki/Meekrap)
+- **Meekrap**, by Jan Zwemer for Zeeuwse Ankers, n.d. [link] (https://www.zeeuwseankers.nl//app/uploads/2018/07/Meekrapteelt-en-bewerking.pdf)
+- **A brief history of natural dyes**, by James P. Bernard for First Source Worldwide, 14 November 2017, [link](http://www.fsw.cc/NATURAL-DYES-HISTORY/)
+- **Natuurlijk Verven, Grand Teints**, by Jantine Koobs for Textiel Museum, Tilburg, 2017: [link](https://textielmuseum.nl/uploads/content/BTME001.pdf).
+- **Natuurlijk verven: textielverven op ecologische wijze**, by Roos Soetekauw, Thesis about natural dyes and dying of wool and silk, 2 May 2011:
+ [link](https://issuu.com/roossoetekouw/docs/scriptie_-_natuurlijk_verven_klein)
+
+
+
+

docs/files/recipes/mangoleather.md

-# BIORESIN
+# OVERRIPE MANGO LEATHER
 
-### Tactility & sound impression
+<iframe width="560" height="315" src="https://www.youtube.com/embed/iDgNwzSzTF4" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
 
-<iframe width="560" height="315" src="https://www.youtube.com/embed/gNOtGunJc2A" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+##GENERAL INFORMATION
 
-### Description
+Flexible leather-like sheet made from overripe mangos. The material is thin but emulates the feeling of leather quite well but feels a little dryer to the touch than leathers used in most clothing items and accessories. It is translucent unlike leather however. Its natural color is amber/orange (but can be dyed), and it keeps a lovely mango smell. 
 
-A (naturally) amber-coloured hard bioresin, gelatin-based.
+**Physical form**
 
-### Physical form
+Surfaces
 
-Solids
+Color without additives: translucent, yellow/orange.
 
-Color without additives: transparent, yellow/orange/amber colored.
-
-### Fabrication time
+**Fabrication time**
 
 Preparation time: 1 Hour
 
-Processing time: 5-10 days
+Processing time: 1 week
+
+Need attention: Ideally needs about 16 hours (over 2 days) of drying at low temperature in the oven 40-50 degrees fan setting). Then 5 more days alternating air drying with pressing (every 8 hours). 
+
+Final form achieved after: 7 days
+
+**Estimated cost (consumables)**
 
-Need attention: None, just leave it to dry as long as is feasible with lots of airflow.
+0,21 Euros for a yield of approx one 25x25 cm sheet
 
-Final form achieved after: 10 days
 
-## Ingredients
+##RECIPE
 
-* **Gelatine powder - 96 gr**
-	* Functions as the polymeer (so it becomes a solid)
-* **Glycerine - 16 gr**
-	* Functions as plasticizer that bonds with the gelatine (makes it flexible). 
-* **Water - 480 ml/gr**
-	* To dissolve and mix the polymeer and plasticizer
+###Ingredients
 
-## Tools
+* **1 Overripe mango - with skin** get these as waste from the market, they can have dents and bruises it doesn't matter. We will dehydrate the mango until it becomes leather-like.
+* **Potato starch - 1 tbsp (10 g)** functions as the polymeer (makes the mango puree harder)
+* **White vinegar - 1 tbsp (8 gr)** vinegar is almost always added to starch-based biopolymers to change the molecular structure of the starch, making it stronger and more workable
+* **Salt - 5 gr** as a preservative and stabilizer. 
+* **Vegetable oil - 1 tbsp** as a release agent for the mould.
+
+
+###Tools
 
 1. **Cooker or stove** (optional: temperature controlled)
 1. **Pot**
+1. **Blender or stick mixer**
 1. **Scale**
-1. **Moulds** (ideally with removeable base to increase airflow). I have modular silicon walls with metal wire inside them that allow me to cast and then turn the moulds on their side for more airflow and drying from top and bottom. I use a silicon or acrylic sheet with these mould walls.
+1. **Oven** that can go as low as 50 degrees (or ideally 40)
+1. **Mould or flat surface** you can cast the fruit leather into a shallow mould with wals (need not be higher than 5 mm) or cast directly onto a smooth sheet. Applying some oil helps to release it. Make sure it fits into your oven
 1. **Spoon** 
 
 
-## Yield before processing/drying/curing
+###Yield 
 
-Approx. 300 ml (make sure to evaporate a lot of water during cooking time)
+Approx. 25 x 25 cm sheet of 1-2 mm thick
 
-## Method
+###Method
 
 1. **Preparation**
 
-	- Weigh your ingredients
-	- Prepare the mold and find a place where you can leave it for a while, ideally near an open window where there's air flow.
+	- Cut the mango into smaller pieces and puree it in a blender or with a mixer. 
+	- Optional: Prepare the mold by applying some oil
+	- Dissolve the starch in a dash of water until liquid
 
-1. **Mixing and dissolving the ingredients**
-	- bring the water to the boil
-	- optional: add natural dye if you wish to use color
-	- add the glycerine
-	- add the gelatine
-	- keep the temperature below 80 degrees celcius while stirring *very very slowly and gently* to avoid making bubbles. I prefer a simple spoon to do this, not a whisk.
+1. **Mixing the ingredients and activating the starch**
+	- put the mango puree in the pot with the salt and vinegar
+	- heat it at a low heat while stirring, you don't want it to boil and stick to the pot, but you want to kill any bacteria in there and dissipate some water. 
+	- dissipate some of the excess water if it is very liquid but keep a low heat and stir.
+	- add the starch mixture and continue to stir for at least a minute until it transforms into a thick paste. If the paste is too liquid it will shrink a lot during the dehydration process and your leather sheet will tear. 
 
-1. **Cooking the ingredients**
+1. **Casting and dehydrating in the oven**
 
-	- 	Simmer and slowly stir the mixture between 60-80 degrees celcius for at least 20 minutes or up to an hour. Turn it lower when bubbles appear: you don't want the liquid to move, don't boil it. This sample has some bubbles due to vigorous mixing.
-	-  Longer cooking time allows more water to evaporate. You will get a thicker liquid. To cast larger volumes and solids with this recipe, evaporate a lot of water, until it's very thick.
-	
-1. **Casting**
+	-  Pour the paste onto the surface or mould and spread it out evenly, knock it on a hard surface gently to even it out more. 
+	-  Heat the oven to 50 degrees Celcius on the fan setting and put the paste into the oven for at least 16 hours (you can spread it out over a few days with airdrying in between). If your oven allows it without turning itself off: keep the door slightly open with a cloth to let the moisture escape). 
+	-  Carefully peel thea leather off the tray, flip it, and check if the bottom has fully dried. If not, put back in the oven with the moist side up for another few hours. 
+	-  Optional: you can airdry the leather as well, but there is some more risk of molding. Don't dry it in direct sunlight. 
 
-	- 	Let the liquid cool for a couple minutes until it gels a little but is still liquid and pourable.
-	-  Cast into the mould slowly to avoid bubbles
-	-  Pour from the middle and hold still, let the liquid distribute itself.
-	-  Put the mould away to dry in a cool place with lots of air flow (like near an open window). A warmer place might speed up the drying process but also allow bacteria to grow faster and can result in fungal growth.
-	-  If the mould has a removable base, remove it after 4-8 hours and put the mould on its side to allow air flow from both sides. 
-	-  When using a flexible mould: let it dry without releasing to keep the form as much as possible. The resin will likely shrink and release itself from the mold. If it feels cold to the touch it is still drying. If you are using a rigid mold: release after 4-8 hours and dry flat.
+1. **Air drying**
 
+	- when the leather is dry to the touch (it will be a bit darker of color now), let it airdry in a well-ventilated space for another 5-7 days. 
+	- alternate drying and pressing under a stack of heavy books or dry on a roster with weight on top for further drying while keeping it flat. 
 
-### Drying/curing/growth process
+###Drying/curing/growth process
 
-- Mold depth:  				 7 cm (filled up until 2.5cm high)
-- Shrinkage thickness:      20-30 %
-- Shrinkage width/length:   20-30 %
+- Mold depth:  				 5 mm (filled 3mm high)
+- Shrinkage thickness:      50 %
+- Shrinkage width/length:   0-5% %
 
 **Shrinkage and deformation control**
 
-Letting it dry up to ten days to get to the final form. It will be flexible at first but will slowly harden until its totally rigid.
+Letting it dry up to 7 days to get to the final form. Mango leather tends to dry at a different pace every time, depending on the amount of juice and amount of dissipating. This is a slow process. Trying to demould too quickly will damage the leather. 
 
 **Curing agents and release agents**
 
-None. 
+Some oil helps to release from the mould. 
 
 **Minimum wait time before releasing from mold**
 
-Using a silicon mold: 7 days (or until it comes undone)
+2 days
 
 **Post-processing**
 
-Store in a dry and ventilated room.
+Trim frayed edges and cut or slice into desired shape before the slab is completely dry and hardened to obtain the best results. 
 
-**Further research needed on drying/curing/growth?**
+Store in a dry space. Baking paper between sheets prevents sticking. Some suggests using desiccants to keep the sheets dry (e.g. sprinkling starch onto the sheet). 
 
-Casting larger volumes without growing fungus/mold, and limited warping can be challenging. Fillers like debris or egg shells can help. More research can be done on ideal conditions for drying larger volumes.
+**Further research needed on drying/curing/growth?**
 
-The resin does not cure evenly across the surface, some might be negotiated by shaving off some slides while it is still relatively soft and flexible.
+Some more experimentation could be done on the effect of dissipating more or less water before drying, and adding more starch. Some post-treatments could be experimented with to make the leather more water proof (see also "variations on this recipe"). 
 
+###Process pictures
 
-### Process
+![](../../images/mango1.jpg)*Find some overripe mangos that would otherwise be trashed, Loes Bogers, 2020*
 
-![](../../images/resin5a.jpg)*Evaporating water until the liquid is thick like honey, Loes Bogers, 2020*
+![](../../images/mango2.jpg)*Cut up one mango with skin, Loes Bogers, 2020*
 
-![](../../images/resin5.jpg)*Preparing molds for small half domes (egg cups), and a big slab (silicon mould and separate base), Loes Bogers, 2020*
+![](../../images/mango4.jpg)*Heating the puree, Loes Bogers, 2020*
 
-![](../../images/resin6.jpg)*Casting the resin (I had to put a weight on top to press the mold into the base and prevent leakage, Loes Bogers, 2020*
+![](../../images/mango3.jpg)*Dissolving the starch in some water, Loes Bogers, 2020*
 
-![](../../images/resin8.jpg)*Putting the mold on its side next to open window to allow further drying from top and bottom, Loes Bogers, 2020*
+![](../../images/mango6.jpg)*Casted onto a previously oiled tray, Loes Bogers, 2020*
 
 
-## Variations on this recipe
+###Variations
 
-- Add a **natural colorant** such as a vegetable dye or water-based ink (e.g. hibiscus, beetroot, madder)
-- Add **less glycerine** for a more rigid foil
+- Add a **natural colorant** such as a vegetable dye or water-based ink (e.g. hibiscus, beetroot, madder). The puree is acidic (PH6-7), consider this in your choice of colorant. Dissipate some more water or to compensate for the added liquid. Adding spices may also work to create color (and smell variations).
+- Add 1 tablespoon of **melted bees wax** for a more rigid, more water proof mango leather. 
 - **Stiffeners** such as fibres, yarn or natural debris may be added for more structure and reinforcement.
-- **Fillers** such as almond or sunflower oil, can be added to prevent additional shrinkage but might affect stickyness.
+- **Other starches** will work, pick whatever is (organically) produced locally.  Different starches may have different levels of binding power. If it gets too brittle and cracks, you used too much. 
+- For recipe made of local produce, rather than local waste, try other **fibrous fruit waste** like, apples, peaches, plums or even rhubarb. 
+- Using the fruit leftovers from juicing 10 pears gave good results with this recipe but require longer drying time. Use 2 tbsp of starch and 1/2 a tbsp of glycerine for this amount. 
 
-### Cultural origins of this recipe
+![](../../images/pear_leather1.jpg)*Variation using pear waste, Loes Bogers, 2020*
+![](../../images/pear_leather2.jpg)*Variation using pear waste, Loes Bogers, 2020*
+![](../../images/pear_leather3.jpg)*Variation using pear waste, Loes Bogers, 2020*
 
-Bioplastic production is older than petrol based plastics. In 1500 BC, people in Egypt were already using glues based on gelatin, casein and albumin for furniture constructions. Gelatin casting as a technique has also been used in production of jelly-based foods such as aspic, jelly desserts and candy.
+##ORIGINS & REFERENCES
 
-**Needs further research?**   Not sure
+**Cultural origins of this recipe**
+
+Fruit leather was originally conceived of as a way to preserve fruit and is eaten as a snack! It's a way to preserve fruits, which is especially handy in hot climates where fruit is abundant but ripens and spoils ever so quickly. To make fruit leather, overripe fruit is best, used with skin and all. 
 
-### References this recipe draws from
+"T'tu Lavash" for example, is "sour lavash" (lavash is flatbread). An Armenian specialty often made from apricots, which is the national pride. It's pureed and the pulp is dried on sheets of cardboard. It is also called called pastegh or bastegh. Similar fruit leathers are called "tklapi" in Georgia, "lavashak" in Iran, "pestil" in Turkey, and "amerdeen" or "qamar el deen" in Lebanon, Syria, and other Arabic-speaking countries. It has become very popular recently as it preserves a lot of the nutrients of fruit, without needing any additives: it has become a healthy snack for conscious eaters. 
 
-- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
-- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3) 
+As a design material it has gained a lot of recognition from the development of fruit leather as alternative for mammal hides and leather tanning practices, which is considered heavily polluting and cruel to animals. Rotterdam Leather is a start-up based in the Netherlands that recognized the local waste stream of market fruits: 3500 kgs are thrown away after an average market day, vendors have to pay to dispose of this waste. Rotterdam Leather now sells technically tested fruit leather as design material commercially, and can produce up to 50-70 square metres a month. 
 
-### Known concerns and contestations\*
+**Needs further research?**   Not sure
 
-Needs further research
+###Key Sources
 
-Gelatin is an animal-based ingredient. Some might find it problematic to use resources that requires killing an animal because of religious or animal welfare beliefs. Arguments are also made that as long as there's a meat industry, it is better to use product from the entire animal, including skin and bones. Some might consider gelatin to be a product that comes from a waste stream, but this is considered controversial by others.
+this is a variation on experiments documented by Beatriz Sandini: 
 
-Acrylic (for the mold) is a petrol based plastic but results in very shiny foils and sheets and can be reused endlessly for casting high quality bioplastic sheets.
+**Ephemeral fashion lab** by Beatriz Sandini for Fabricademy 2019-2020 at Textile Lab Amsterdam, Waag: [link](https://class.textile-academy.org/2020/beatriz.sandini/projects/final-project/)
 
-Using renewable ingredients is not by definition petrol-free. Imagine they have to travel long distances by plane, boat or truck: it takes fuel. Also, the effects of GMO technologies and pesticides can be harmful to the environment and it's worth using knowing the source and production standards involved. If you can afford it, buying organic ingredients is a good starting point.
+###Copyright information
 
-### Sustainability tags
+Sandini's recipes are published under an Creative Commons Attribution Non-Commercial licence.
 
-- Renewable ingredients: yes
-- Vegan: no
-- Made of by-products or waste:  no
-- Biocompostable final product:  yes
-- Reuse: yes, by melting and recasting
+##ETHICS & SUSTAINABILITY
 
-Needs further research?:  not sure
+Fruit leather as design material can only exist with the grace of excessive food waste. We should consider if we should make it easier to dispose of food waste at all or try to eliminate it. Others might argue it is better to use the fruit than to let it go to waste. 
 
-Gelatine-based bioplastics can be recasted by melting them in a pot with some water. Recycling them with PET plastics contaminates the waste stream. Compost bioplastics in a warm environment with sufficient airflow.
+Moreover, if you live in northern Europe, you should consider mango's to be exotic fruit. So first they are shipped long distances, only to be thrown away. This is an issue that needs to be addressed not celebrated. 
 
-## Material properties
+Some climates might be too cold for a natural drying process, so it will involve more time to produce, and/or more energy to use ovens and dehydrators, like described in this recipe. 
 
-### Comparative qualities
-This resin is dense and rather heavy, but not rock hard like synthetic epoxy or cold like glass. It keeps certain level of bounciness to it.
+**Sustainability tags**
 
-### Technical and sensory properties
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  yes
+- Biocompostable final product:  yes
+- Reuse: needs further research
+
+Needs further research? yes, possibilities of re-using the leather
+
+##PROPERTIES
 
-- **Strength**: strong
-- **Hardness**: rigid
-- **Transparency**: transparent
-- **Glossiness**: matt
-- **Weight**: heavy
+- **Strength**: medium
+- **Hardness**: flexible
+- **Transparency**: translucent
+- **Glossiness**:matt
+- **Weight**: medium
 - **Structure**: closed
-- **Texture**: medium
+- **Texture**: variable (if dried on acrylic one side will be smooth)
 - **Temperature**: medium
-- **Shape memory**: high
-- **Odor**: moderate in final product, high during production
-- **Stickiness**: low
-- **Weather resistance:** low
+- **Shape memory**: medium
+- **Odor**: moderate (but a nice mango smell)
+- **Stickiness**: medium (can get sticky easily with moisture)
+- **Weather resistance:** needs further research
 - **Acoustic properties:** needs further research
 - **Anti-bacterial:** needs further research
 - **Non-allergenic:** needs further research
-- **Electrical properties:** needs further research
+- **Electrical properties:** no
 - **Heat resistance:** low
-- **Water resistance:** water resistant
+- **Water resistance:** low
 - **Chemical resistance:** needs further research
-- **Scratch resistance:** moderate
+- **Scratch resistance:** medium
 - **Surface friction:** medium
 - **Color modifiers:** none 
 
 
-## About this entry
+##ABOUT
 
-### Maker(s) of this sample
+**Maker(s) of this sample**
 
 - Name: Loes Bogers
 - Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
 - Location:  Rotterdam, the Netherlands
-- Date: 06-03-2020 – 16-03-2020
+- Date: 29-03-2020 – 05-04-2020
 
-### Environmental conditions
+**Environmental conditions**
 
+- Humidity:  40-50%
 - Outside temp:  5-11 degrees Celcius
 - Room temp:  18 – 22 degrees Celcius
 - PH tap water:  7-8
 
-### Recipe validation
-
-Has recipe been validated? Yes
-
-By Cecilia Raspanti, Textile Lab, Waag Amsterdam, 9 March 2020
-
-### Estimated cost (consumables) in local currency
+**Recipe validation**
 
-2,56 Euros for a yield of approx 300 ml
+Has recipe been validated? Yes, By Beatriz Sandini, Fabricademy student at TextileLab, Waag Amsterdam, 2 April 2020
 
-### Local supplier/sourcing info
+**Images of the final sample**
 
-Gelatin powder - Jacob Hooy (online retailers)
-Glycerine 1.23 - Orphi/Chempropack (online retailers)
-Molds - Houseware stores, thrift shops
+![](../../images/finalpics-20.jpg)*Mango leather, Loes Bogers, 2020*
 
-## Copyright information
-
-### This recipe is in the public domain (CC0)
-
-Yes
-
-### This recipe was previously published by someone else
-
-Yes, in: **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
+![](../../images/finalpics-21.jpg)*Mango leather, Loes Bogers, 2020*
 
 ##References
 
-- **The Secrets of Bioplastic** by Clara Davis (Fabtex, IAAC, Fab Lab Barcelona), 2017, [link](https://issuu.com/nat_arc/docs/the_secrets_of_bioplastic_).
-- **The Bioplastics Cookbook: A Catalogue of Bioplastics Recipes** by Margaret Dunne for Fabtextiles, 2018, [link](https://issuu.com/nat_arc/docs/bioplastic_cook_book_3)
-- **Bioresin (gelatin) Recipe** by Cecilia Raspanti (Textile Lab, Waag), Fabricademy Class "Biofabricating", 2019, [link](https://class.textile-academy.org/classes/week05A/).
-
-## Images of final product
-
-![](../../images/finalpics-29.jpg)*Bioresin slab, Loes Bogers, 2020*
+- **Ephemeral fashion lab** by Beatriz Sandini for Fabricademy 2019-2020 at Textile Lab Amsterdam, Waag: [link](https://class.textile-academy.org/2020/beatriz.sandini/projects/final-project/)
+- **T'tu Lavas** by Susie Armitage for Gastro Obscura: [link](https://www.atlasobscura.com/foods/ttu-lavash)
+- **Rotterdam Leather** [link](https://fruitleather.nl/)
+- **Fruit leathers (Practical Action Brief)** on Appropedia, [link](https://www.appropedia.org/Fruit_leathers_(Practical_Action_Brief))
 
-![](../../images/finalpics-30.jpg)*Bioresin slab, Loes Bogers, 2020*
 
-![](../../images/finalpics-37.jpg)*Bioresin slab and half dome, Loes Bogers, 2020*
 
 

docs/files/recipes/mordants_tannins.md

+# MORDANTS & TANNINS
+
+##GENERAL INFORMATION
+
+Processes for *pre-mordanting* textiles and fibres is discussed here. Simultaneous and post-mordanting is also possible. 
+
+**Physical form**
+
+Pastes, gels & liquids
+
+Mordants, tannins and binders to lock pigments to fibres, for more colorfast dyeing with natural dyes
+
+**Fabrication time**
+
+Preparation time: variable 
+
+Processing time: variable
+
+Need attention: variable
+
+Final form achieved after: a couple hours, up to a week
+
+**Estimated cost (consumables)**
+
+variable
+
+##RECIPE
+
+###Ingredients
+
+One of these or a combination (see below):
+
+* **Alum** (*potassium aluminium sulfate dodecahydrate*)
+* **Cream of Tartar** *(tartaric acid)*
+* **Oak galls**, the whole nut, or powder (*galnut extract, gallotannic acid*)
+* **Soda ash** *(sodium carbonate)*
+* **Soy milk** (soya milk), unflavoured, unsweetened
+* **Symplocos** (*symplocos cochinchinensis, horse sugar, sweetleaf*), leaves or powder, a plant-based alum mordant, e.g. from the Bebali Foundation. Use the yellow ones that have fallen off the shrubs naturally. 
+* **Iron sulphate** (*ferrous sulfate*) powder
+* **Iron liquor** (*ferrous acetate*) made at home by putting rusty nails or other iron scraps in vinegar for a few weeks.
+
+
+###Tools
+
+1. **Big pan**, ideally stainless steel, that is *only* used for dyeing, not for cooking
+1. **Precision scale**
+1. **A spoon**, only used for dyeing, not for preparing food
+1. **Household gloves**
+1. **Tongs**, only used for dyeing, not for preparing food
+
+###Yield
+
+Varies
+
+
+###Method
+
+
+#### Scouring
+
+Dissolve 10% WoF sodacarbonate (soda ash) in hot water. Add damp fibre and let it soak for a few hours, or heat it (max 80 Celcius for protein fibre)
+
+#### Soaking
+
+Some suggest to soak silk for 24h before the dye bath, and wool 30 mins before. I'm not sure if this is suggested for unmordanted fibre and mordanted fibres alike. 
+
+####Mordanting
+
+**General rules of thumb:**
+
+* use 3 L water per 100 g weight of dry fibre (WoF)
+* preferably heat up the water slowly
+* don't shock protein fibre, always rinse with warm water, never heat above 75 degrees celcius. 
+* Know that there are a lot of recipes, best is to start a collection where you make small tests you can compare (be sure to write everything down very precisely). 
+* *steeping* (letting the fibre sit in the mordant bath overnight or longer) and *curing* (drying the mordanted fibre and leaving it alone for a few days before dyeing) allows the mordants to set, some recommend it. 
+* Use rainwater as much as possible
+* You can reuse alum baths to save water and mordant. To recharge the bath, add 25-50% additional dissolved alum, or 1 additional teaspoon per 100 grams of fiber, stir and mordant as above. If you observe excessive cloudiness or large flakes floating in the bath, it is time to change it (after 5 times or so). The same probably works for the other mordants (not tested).
+* Mordanted fibers may be stored damp in a plastic bag and refrigerated for 3-5 days and cured or aged, as this also seems to increase the depth of shade in the dyed fibers.  
+
+**Safety**
+
+Keep dye tools and utensils separate from kitchen tools. Natural does not mean non-toxic! None of this is made for eating or drinking so keep it separate at all times. Alum may be safely disposed in a municipal water system by pouring down the drain.
+
+##**PROTEIN FIBRES**
+
+### Alum (hot)
+
+10-15% WoF 
+
+Dissolve in hot water, add the fibre. Bring to 80 degrees Celcius and let simmer for an hour. Some suggest to steep overnight or even for 3-5 days in the mordant bath. Rinse before dyeing. 
+
+### Alum (cold) 
+
+10-15% WoF 
+
+Dissolve in hot water, add the fibre. Steep for 3-4 weeks inside the mordant bath, stir occassionally. Rinse before dyeing. 
+
+### Alum + Cream of Tartar (for wool)
+
+Cream of Tarter (NL: Wijnsteenzuur) is said to keep wool shiny and soft and brightens the colors. Take your pick: 
+
+* 15-20% alum and 5% CoT (Cecilia Raspanti)
+* 8% Alum and 5% CoT (Botanical Colors)
+* 4/8/12% alum and 3/6/8% CoT (Roos Soetekauw)
+
+Dissolve separately in hot water before adding to a pot. Enough water so the fibres can "swim". Heat slowly to 75 degrees Celcius, keep there for 30-60 minutes. Let steep overnight. Rinse before dyeing. 
+
+### Symplocos (for wool)
+
+Bark of Lodrah (*symplocos racemosa* or *symplocos cochinchinensis*  or *symplocos tinctoria*, all sold as *symplocos*) is a plant that grows on acidic soil and is naturally high in alum. It is cultivated in Asia (e.g. Bebali Foundation in Indonesia) and the Americas. 
+
+20-50% WoF (Botanical Colors) 
+
+Boil the symplocos leaves for 30 minutes at 80 degrees Celcius or until they sink to the bottom of the pot. Let the pot cool to 40 degrees C. Use 50% WoF when you use leaves, or less when using powder. 
+
+Add the fibre and slowly bring pot back to 80 degrees C. Keep there for another 30-60 mins. Rinse the fibre with warm water, it should be slightly yellow now (this will disappear during dyeing). 
+
+Another plant that is known to by naturally high in alum is club moss (NL: wolfsklauw).
+
+### Soy milk (for silk)
+
+In Japan silk is treated with soy milk (see protein recipe below for suggested process). 
+
+### Iron sulphate
+
+0.25 - 1% WoF (when using powder)
+
+Dissolve in hot water before adding to the mordant bath. Mordant fibres for 45-60 mins, rinse. Iron mordant baths can be used to shift color (cold or hot) multiple times, just dip a dyed swatch into the iron bath until the desired color is achieved.  For more info, see below. 
+
+
+##**CELLULOSE FIBRES**
+
+### Alum (hot)
+
+10-15% WoF 
+
+Dissolve in hot water, add the fibre. Bring to 80 degrees Celcius and let simmer for an hour. Some suggest to steep overnight or even for 3-5 days in the mordant bath. Rinse before dyeing. 
+
+### Alum (cold) 
+
+10-15% WoF 
+
+Dissolve in hot water, add the fibre. Steep for 3-4 weeks inside the mordant bath, stir occassionally. Rinse before dyeing. 
+
+### Tannin | Alum  
+
+**Step 1: Tannin bath**
+
+10% WoF Gallo-tannin or Tara powder
+
+Dissolve in hot water, add fiber, let it sit for 1-2 hours (no need to heat). Do _**not**_ rinse (or do rinse, like Kim Eichler Messner). But do also try with heating and an overnight steep.
+
+**Step 2: Alum bath**
+
+10-15% WoF Alum
+
+Some add  1.5% Soda ash to this bath (Roos Soetekauw, Kim Eichler Messner)
+
+Dissolve separately in hot water, add together (will create bubbles). Add water and fibre. Boil for 1 hour, steep overnight. Rinse. 
+
+Tannins are for lightfastness. The tannin is not strongly attached to the fiber but adding alum bonds it into place. Oak galls (6-10%), myrobalan, tara powder (10%), sumac, pomegranate (10%), quebracho moreno, walnut hulls and cutch all are good tannins. But some also add color. Oak galls and tara powder are clear, light tannins. 
+
+### Alum + Soda | Soy milk
+
+Treating fibre with alkaline bath and then high-protein bath allows pigment to attach to the fibre more easily. In a way the cellulose will behave more like protein. Milks arent mordants though: they don't chemically bind to the fibre). They are binders and will wash away eventually. 
+
+**Step 1:  Alkaline bath**
+
+2-3% alum | 2% soda 
+
+Dissolve each separately in hot water before combining into a mordant bath. Fibres should be able to "swim". Simmer for 1 hour, and let cool overnight. Rinse before the second bath. Some use fibres without the second bath. 
+
+**Step 2: Protein bath**
+
+(soy) milk to water 1:1 - 1:10
+
+Ratios soy milk to water vary: 1:1 - 1:5 - 1:10. One recipe mentions to add 1 tbsp of soda per 100 ml milk. 
+
+Generally: let the fibre soak in the milk mix for 8-24 hours. Squeeze it out, and let it dry. Then dip again (quick dip so you don't wash off the previous layer), squeeze out, let dry. Repeat again if you wish. 
+
+Then let the fabric cure for a week. **_Don't rinse_** it at any stage! This can be done with soy milk but also rice milk and cow's milk. 
+
+Also cow, goat and sheep's milk work. Or soaking acorns or almonds overnight and blending them can create a protein rich solution (Roos Soetekauw). Other protein baths are: gelatine, blood, yogurt.
+ 
+### Tannin + Symplocos
+
+**Step 1: Tannin bath**
+
+10% WoF Gallo-tannin or Tara powder 
+
+Dissolve in hot water, add fiber, let soak for 1-2 hours (no need to heat)
+
+**Step 2: Symplocos (alkaline) bath**
+
+20-50% WoF Symplocos (Botanical Colors)
+
+Boil the symplocos leaves for 30 minutes at 80 degrees Celcius until they sink to the bottom of the pot. Add the fibre and simmer for another 60 mins. Let it steep overnight. Rinse the fibre with warm water, it should be slightly yellow now (this will disappear during dyeing). 
+
+Another plant that is known to by naturally high in alum is club moss (NL: wolfsklauw).
+
+### Other mordants and tannins
+
+Urine, egg white, blood, ashes, ammonia, myrobalan, sumac, walnut hulls, chestnut hulls, rhubarb leaves, chitin, mango bark, aloe vera leaves, cub moss (NL: wolfsklauw) and many more.
+
+There's renewed interest in plant-based mordants rather than metal-based mordants which would always require some kind of mining, disturbing waterways and natural areas. Look for natural *bioaccummulators* of soil metals: the metals naturally occurring in the earth. These plants can live in very acidic environments, symplocos being one of them, but also club moss.  
+
+### Iron sulphate
+
+0.25 - 3% WoF (when using powder)
+
+Dissolve in hot water before adding to the mordant bath. Mordant fibres for 45-60 mins, rinse. Iron mordant baths can be used to shift color (cold or hot) multiple times, just dip a dyed swatch into the iron bath until the desired color is achieved. 
+
+Iron sulphate is the least polluting after alum and is a waste product. It should be mostly absorbed by the textile so the mordant baths can be discarded safely. But this is hard to say in home dyeing and one can wonder if it's desirable to wear textiles on the body that contain iron sulphate. Although some studies have shown that they are safe, one cannot tell when dyeing DIY. Better option is to invest in different cooking pot (a tin pot, copper pot, aluminium pot, castiron pot). Dyeing in these metal pots will give off a little bit of the metals to boost the dyes, but are all absorbed in the textile. Other heavy metal mordants are not recommended because they have larger ecological impacts. 
+
+Iron mordant baths may be discarded in municipal waste systems (down the drain), don't dump directly in nature though. **Safety note:** always wear gloves when using this, wear goggles and a mouth mask when measureing iron sulphate powder, and keep away from pets. 
+
+You can make your own iron mordant (called iron liquor or *ferrous acetate*) by putting some scrap metals - like old nails - in a glass jar and cover it vinegar (or part vinegar, part water) This won't be as precise because the amount of iron sulphate increases overtime. Just start with adding a little bit to a pot of water and add more until you achieve the color you want. 
+
+Seal with a lid and let it get rusty for 2 weeks. Label it and keep away from pets and kids. 
+
+
+###Process Pictures
+
+
+
+
+###Variations
+
+See above
+
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+
+
+**Needs further research?**   Not sure
+
+###Key Sources
+
+
+
+###Copyright information 
+
+
+##ETHICS & SUSTAINABILITY
+
+
+
+**Sustainability tags**
+
+- Renewable ingredients: yes (except alum)
+- Vegan: yes
+- Made of by-products or waste:  no
+- Biocompostable final product:  yes
+- Re-use: yes, mordant baths can be reused. For each next bath, add 25-50% of the original mordant to replenish the bath. 
+
+Needs further research?:  Not sure
+
+
+##PROPERTIES
+
+- **Color fastness:** variable
+- **Light fastness:** variable
+- **Washability:** variable
+- **Color modifiers:** N/A
+- **Odor**: moderate
+- **Suitable fibres**: see above
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 20-10-2020 - 22-10-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? No
+
+**Images of the final sample**
+
+![](../../images/finalpicslalala.jpg)*Title, Loes Bogers, 2020*
+
+
+##REFERENCES
+
+- **Natuurlijk Verven, Grand Teints** by Jantine Koobs, Textielmuseum Tilburg, 2018: [link](https://textielmuseum.nl/uploads/content/BTME001.pdf)
+
+- **Natuurlijk Verven** by Roos Soetekauw, *Issuu*, 2011: [link](https://issuu.com/roossoetekouw/docs/scriptie_-_natuurlijk_verven_klein)
+ 
+- **Mordanting with Cow's Milk** by Louise Upshall, *Gumnut Magic*, 2018: [link](https://www.gumnutmagic.com/mordanting-with-cows-milk/)
+
+- **Ecoprint op Katoen** by Nienke Smit, *Verfvirus*, 2015 [link](https://www.verfvirus.nl/2015/08/ecoprint-op-katoen-voorbeitsen.html)
+
+- **Natural Dyes, A Primer for Using Mordant Dyes on Cellulose Fabric** by Kim Eichler Messner (n.d.), *Kim E.M. Quilts*: [link](https://www.kimemquilts.com/s/Kim-E-M-Natural-Dye-Primer.pdf)
+
+- **How to Mordant with Symplocos** by *Botanical Colors*, n.d. [link](https://botanicalcolors.com/botanical-colors-how-tos/how-to-mordant-with-symplocos/)
+
+- **How to Mordant** by Botanical Colors, n.d. [link](https://botanicalcolors.com/how-to-mordant/)
+
+- **Art and Science of Natural Dyes Principles, Experiments and Results** by Joy Boutrup and Catherine Ellis, Schiffer Publishing, 2018. 
+ 
+- **Chitin - Another eco-friendly mordant for natural dyes**, by A. Poornima and A. Sharada Devi, *ResearchGate*, August 2007, [link](https://www.researchgate.net/publication/295368867_Chitin_-_Another_eco-friendly_mordant_for_natural_dyes)
+
+- **Dyeing of Wool Fabric Using Natural Dye and Natural Mordant Extracts** by Taame Berhanu Teklemedhin, *Trends in Textile Engineering & Fashion Technology*, Vol 4, Issue 4, 2018: [link](https://crimsonpublishers.com/tteft/fulltext/TTEFT.000593.php)
+
+- **Extraction and Optimization of Natural Dye from Hambo Hambo (Cassia singueana) Plant Used for Coloration of Tanned Leather Materials** by Taame Berhanu and Saminathan Ratnapandian, *Advances in Materials Science and Engineering*, 2017: [link](https://www.hindawi.com/journals/amse/2017/7516409/)
+
+- **Alum Mordanting Again**, by Jenny Dean, *Jenny Dean's Wild Color*, 2009: [link](https://www.jennydean.co.uk/alum-mordanting-again/)
+
+- **Iron Mordant Solution** by Sasha Duerr, 2013, *Mother Earth News*: [link](https://www.motherearthnews.com/diy/home/iron-mordant-solution-ze0z1312zbla)
+
+- **A New Approach To Plant-Derived Mordants** by Mel Sweetnam, *Mamie's Schoolhouse*, 2020: [link](https://www.mamiesschoolhouse.com/blogarchive/2020/4/25/a-new-approach-to-plants-as-mordants)
+
+- **Global Hyperaccumulator Database** by *SMI CMLR, Center for Mined Land Rehabilitation*, [link](http://hyperaccumulators.smi.uq.edu.au/collection/)
+
+- **Understanding Mordants** by *Griffin Dyeworks & Fiber Arts*, 2012 [link](http://griffindyeworks.com/understanding-mordants/alumtanninalum.html)
\ No newline at end of file

docs/files/recipes/oniondye.md

+# YELLOW ONION SKIN DYE
+
+![](../../images/finalpics-143.jpg)*Dye of yellow onion skins, Loes Bogers, 2020*
+
+##GENERAL INFORMATION
+
+Dye made of yellow onion skins, gives golden/yellow and orange to brown tones. Onion skin dye is relatively colorfast compared to other natural dyes. It dyes animal-based fibres like silk and wool quite well, less intense on linen and cotton (plant-based fibres). 
+
+**Physical form**
+
+Pastes, gels & liquids
+
+Color without additives: Golden yellow
+
+**Fabrication time**
+
+Preparation time: 2 Hours
+
+Processing time: for dying is variable (overnight for intense color on silk)
+
+Need attention: the entire processing time (temperature and stirring)
+
+Final form achieved after: 2 hours
+
+**Estimated cost (consumables)**
+
+0,02 Euros, for a yield of approx. 200 ml
+
+##RECIPE
+
+###Ingredients
+
+* **Yellow onion skins - 10 g** this is the dye stuff
+* **water - 500 ml/g** solvent to extract the pigment from the onion
+* **vinegar - 30 ml** to make the bath acidic (alkaline water reduced the reds from the onion skins, adding vinegar makes it warmer, more orange). 
+* **salt - 5 g**  as a stabilizer
+* **a coffee filter** to filter the fine particles from the dye
+* **a clove** for preservation
+* optional: PH modifiers (see [this recipe](https://class.textile-academy.org/2020/loes.bogers/files/recipes/phmodifiers/))
+* optional: a piece of silk, or aquarel paper and a brush for testing.
+
+###Tools
+
+1. **Cooker**
+1. **Pot**
+1. **A spoon**
+1. **A cheese cloth or coffee filter**
+1. **A strainer**
+1. **A glass jar** to store the dye
+
+###Yield 
+
+Approx. 200 ml
+
+###Method
+
+1. **Preparation**
+
+	- Weigh the onion skins.
+
+1. **Extract the pigment**
+
+	- Put the onion skins in a large pot and cover with water, add the vinegar. 
+	- Bring it to the boil and let it simmer for 2 hours (make sure not all the water evaporates), the skins should get very mushy. 
+	- Strain and filter the liquid and put it back in the pot
+	- Reduce the liquid to 25% of the original volume for a very concentrated dye or ink. Add salt to stabilize. 
+
+1. **Testing and storing the ink/dye**
+
+	- To dye silk: let the dye cool until it's no more than 70 degrees and put in a piece or wet (mordanted) silk. Leave overnight for an intense color. 
+	- Test the ink on paper using a brush and aquarel paper. 
+	- To store: add a clove to the ink, label it, and store in the fridge or freeze. If it starts to grow mold or smells weird/different than cabbage smell, through it away. 
+
+1. **Dyeing with onion dye**
+
+	- Optional (preferred) mordant the fibres with alum or other mordant for color fastness
+	- Put the wet fibres in the dyebath and simmer for an hour, then leave overnight
+	- Rinse and dry
+	- Optional: modify with PH modifiers 
+
+
+###Process pictures
+
+![](../../images/onion1.jpg)*Saving up onion skins in a glass jar, Loes Bogers, 2020*
+
+![](../../images/onion2.jpg)*10 g is enough to make a dye, Loes Bogers, 2020*
+
+![](../../images/onion3.jpg)*Cover the skins with water, Loes Bogers, 2020*
+
+![](../../images/onion4.jpg)*Bring to the boil and let it simmer to extract the color, Loes Bogers, 2020*
+
+![](../../images/onion7.jpg)*Strain the liquid, Loes Bogers, 2020*
+
+![](../../images/onion8.jpg)*Filter the liquid, Loes Bogers, 2020*
+
+![](../../images/onion9.jpg)*Adding some silk for dyeing (and a clove for preservation), Loes Bogers, 2020*
+
+![](../../images/onion10.jpg)*Onion skin dye in a jar, Loes Bogers, 2020*
+
+
+###Variations
+
+- Add a binder such as arabic gum to create a nicer flow if you wish to use this ink for painting and arts, not dyeing textiles.
+- Make dyes for other kinds of food waste, like used coffee grounds (light browns), old coffee (deep browns), PH sensitive beetroot dye (vintage pinks and salmon tones) etc. Or research and consider dyes from dried goods like turmeric powder (bright yellow), PH sensitive hibiscus tea (purple, blues, greens and gray). 
+- Try making this dye with the skin of red onions
+- Add some onion skins - or onion skin liquor - to another natural dye to give it some more warm yellow undertones. 
+- Make dyes from other food waste: such as the stones of avocados (put 2-3 of them in a bag and crush with a hammer) and boil in water with a teaspoon of soda for 2 hours. It creates fine red/brown inks and pink textile dyes. 
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+Onion dye is commonly used all over the world to dye yarns, fibres, eggs and even hair in golden yellow tones.  
+
+**Needs further research?**   Yes
+
+Where were such dyes first used? Have yellow onions always been around locally or did they travel? 
+
+###Key Sources
+
+Boiling in water is a common way of extracting pigments from a dye stuff. The resources listed under references informed this recipe. 
+
+###Copyright information 
+
+This is considered to be in the public domain.
+
+##ETHICS & SUSTAINABILITY
+
+Yellow onions can be found in abundance in many countries (including the Netherlands). Their skins are not eaten and as such are a great resource for creating dyestuffs. The collection of onion skins is not straightforward, there is no infrastructure for it yet. 
+
+**Sustainability tags**
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste: yes (partially
+- Biocompostable final product: yes, (rip silk to shreds for home composting).
+- Re-use: yes, silk can be redyed. 
+
+Needs further research?:  Would be useful to have an overview of how often this can be used as a dye bath and how it fades. 
+
+##PROPERTIES
+
+- **Color fastness:** medium
+- **Light fastness:** medium
+- **Washability:** medium
+- **Color modifiers:** acidic/alkaline (only moderately)
+- **Odor**: moderate (disappears after drying)
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Amsterdam, the Netherlands
+- Date: 06-03-2020 - 07-03-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? Yes, by Cecilia Raspanti, TextileLab, Waag Amsterdam, 9 March 2020
+
+**Images of the final sample**
+
+![](../../images/finalpics-144.jpg)*Yellow onion skin dye on paper, Loes Bogers, 2020*
+
+![](../../images/finalpics-146.jpg)*Dye of yellow onion skins, Loes Bogers, 2020*
+
+![](../../images/finalpics-147.jpg)*Dye of yellow onion skins with vinegar (PH 2) modifier, Loes Bogers, 2020*
+
+![](../../images/finalpics-148.jpg)*Dye of yellow onion skins with soda (PH 9) modifier, Loes Bogers, 2020*
+
+![](../../images/finalpics-149.jpg)*Dye of yellow onion skins with soda (PH 13) modifier, Loes Bogers, 2020*
+
+##References
+
+- **Biochromes** by Cecilia Raspanti for Fabricademy, 15 October 2019: [link](https://class.textile-academy.org/classes/week04/)
+- **Yellow onion skins in alum mordant**, in: *Vegetable Dyeing* by Alma Lesch, 1970: pp. 54-55.
+- **Natural dyeing yellows and browns with onion skins** by Andie Luijk for Renaissance Dyeing, 27 August 2009: [link](https://www.renaissancedyeing.com/en/blog/2009/08/27/natural-dyeing-yellows-and-browns-onion-skins/)
+
+
+
+
+
+
+
+
+
+
+
+
+
+

docs/files/recipes/phmodifiers.md

+# PH MODIFIERS & PH PAPER
+
+![](../../images/finalpics-185.jpg)*PH paper and an alkaline modifier, Loes Bogers, 2020*
+
+##GENERAL INFORMATION
+
+Recipe for alkaline and acidic PH modifiers to be used with natural dyes and inks (water and alcohol-based), and PH test strips made with red cabbage dye or ink. 
+
+PH modifiers can change the original color to become brighter, duller, or even go all the way from purples to greens and blues. Alkaline tends to make colors PH sensitive natural dyes "colder", while acidic dyes create warmer shades. Acidic and alkaline modifiers have an especially strong effect on dyes made of vegetables that contain *anthocyanin* such as red cabbage, hibiscus, blueberry. 
+
+Less precise than litmus paper but precise enough to indicate acidity, neutral or alkaline PH. Might lose its properties as PH indicator over time (needs further research).
+
+**Physical form**
+
+Pastes, gels & liquids
+
+Color without additives: Transparent colorless. Can take on some pigments if dyed textile is dipped in.
+
+**Fabrication time**
+
+Preparation time: 30 minutes
+
+Processing time: N/A
+
+Need attention: N/A
+
+Final form achieved after: N/A
+
+**Estimated cost (consumables)**
+
+0,02 Euros for a yield of approx. 4x 170 ml (ex. cabbage dye)
+
+##RECIPE
+
+###Ingredients
+
+* **Water - 1000 L**, the solvent, ideally has a PH of 7.
+* **Soda ash - 5g** (sodium carbonate Na2CO3), to make an alkaline solution (PH 8-PH 13)
+* **Citric acid - g** OR: 150 ml of vinegar or lemon juice, to make an acidic solution (PH 1 -PH 6). Citric acid is sold in asian supermarkets and has very high acidity (more than vinegar and lemon juice)
+* **Red cabage dye - 50 ml** see [this recipe](https://class.textile-academy.org/2020/loes.bogers/files/recipes/cabbagedye/). Alcohol-based cabage ink is also fine. 
+* **A large round coffee filter**, ideally white ones. To make PH strips. If you can't find these, get 4 smaller filters and cut them open so you have only one layer. 
+
+###Tools
+
+1. **Four glass jars** size depending on how much PH modifying solution you wish to prepare, 200 ml and up is convenient for dipping dyed textile swatches. 
+1. **Four spoons** don't mix the spoons, one per jar
+1. **A precision sclae** so you can measure tenths of a gram
+1. **A spray bottle - approx 100 ml** 
+1. **A small funnel** that fits the spray bottles
+1. **A baking tray or acrylic sheet** to dry the PH paper
+1. **A kettle**
+1. Optional: commercial PH measuring strips or a PH measuring device
+1. Optional: stapler, or some paperclips, or sticky tape and labels
+
+###Yield 
+
+Four PH modifying solutions of approx. 170 ml each (PH 1-2, PH 5-6 acidic, and PH 9-10 and PH 13-14 alkaline), and 50-75 PH strips with reference.
+
+###Method
+
+1. **Preparing the PH paper**
+
+	- Put the cabbage dye in one of the spray bottles
+	- Clean and thoroughly dry the drying surface (e.g. baking tray) to prevent staining.
+	- Put the coffee filter on the baking tray/sheet
+	- Spray the coffee filter with the cabbage dye until it is totally covered (one side only). 
+	- Lay it flat and let it dry completely
+
+1. **Cut a PH paper booklet**
+	- When the coffee filters are totally dry, take them off the tray and fold them 3 times. 
+	- Fold the sharp tip inward and secure with a paperclip, or staple, or sticky tape. 
+	- Cut the closed fold open to separate the sheets
+	- Cut parallel lines into the stack of sheets (not all the way), to create strips you can tear off easily
+
+1. **Making the alkaline PH modifiers**
+	- Boil the water and divide it over the glass jars (170 ml each)
+		- Add 0.1 g of citric acid to one, and stir to dissolve. 
+		- Add 2.0 g of citric acid to another and stir to dissolve.
+		- Add 0.1 g of soda ash to the third and stir to dissolve.
+		- Add 2.0 g of soda ash to the last jar and stir to dissolve.
+	- **Optional**: Dip a piece of commercial PH paper in each of them to test the PH, they should be PH 1-2 and PH 5-6 (the acidic ones with citric acid) and PH 9-10 and PH 13-14 (the alkaline ones with soda). If you are getting different values, adjust the solution by adding more water or more citric acid/soda to make it more or less alkaline until you get the right PH values. 
+	- If you don't have PH paper, use your dyed coffee filter instead: 
+		- PH 1-2 = fuchsia pink
+		- PH 5-6 = pink/purple
+		- PH 7-8 = blue/purple
+		- PH 9-10 = turquoise (blue/green)
+		- PH 13-14 = green
+	- Label the solutions, mentioning the PH value and store in the glass jar or in a spray bottle.
+	- **NOTE**: if you don't have citric acid, you can work with lemon juice or vinegar but these are weaker acids. So work in the opposite order: put some vinegar/lemon juice in the jar, measure the PH and add a bit of water to bring the PH value up. 
+
+1. **Make a legend for your PH paper**
+	- Tear 5 pieces off of your PH paper
+	- Dip them in each of your PH modifiers, and dip one in tap water
+	- Make sure they don't touch each other or lie in each others liquids. 
+	- Let them dry and write on them the PH value of the modifier they were dipped into. 
+	- Stick, glue or staple them on a piece of paper you can keep with your PH paper as reference. 
+
+1. **Using PH modifiers**
+	- Add the modifier directly to the dye to modify the entire batch (just add tiny little bits at a time and give it time to react, see what happens, then decide if you want to add more). Dyes can fade to very dull colors doing this. 
+	- Modify the dyed/stained material afterwards by dipping it into the modifier, spraying it on, or in some cases for textiles: let it simmer for 10 minutes on low heat. 
+	- You can use both modifiers at the same time to create colorful patterns and stains. 
+	- Some dyes allow you to go back and forth with the modifiers, but they will likely change if you modify them with PH 2 first and then bring it up to PH13, this could create hues than cannot be created using only one modifier. 
+	- Dyes that already have an alkaline additive (like soda) or an acidic additive (like vinegar) are unlikely to respond strongly to the same modifier. 
+
+1. **Using the PH paper**
+	- Use the PH paper to test the PH value of dyes, solutions and even bioplastics mixtures. 
+	- It is useful to know and record this information. For example, if a bioplastics mixture is very acidic (e.g. the starch-based plastics that contain vinegar), it will modify the color of a PH sensitive dye when you add it. Knowing this before hand will help you pick your dyes accordingly. 
+	- Also testing the PH values of water can be useful. In some recipes you might need to know if your tap water is alkaline or not so you can assess whether you need to offset it by adding some vinegar or other acid to your recipe (e.g. for growing kombucha SCOBY).  
+
+###Process pictures
+
+![](../../images/phpaper13.JPG)*The cabbage dye on a coffee filter, drying, Loes Bogers, 2020*
+
+![](../../images/phpaper11.JPG)*Folding the paper, Loes Bogers, 2020*
+
+![](../../images/phpaper10.JPG)*Securing and cutting the paper, Loes Bogers, 2020*
+
+![](../../images/phpaper9.JPG)*Cutting tear-off strips, Loes Bogers, 2020*
+
+![](../../images/phmodifiers1.jpg)*Soda ash and citric acid, Loes Bogers, 2020*
+
+![](../../images/phmodifiers3.jpg)*Preparing the acidic modifiers with citric acid, Loes Bogers, 2020*
+
+![](../../images/phmodifiers2.jpg)*Modifying until you get the right PH values, top to bottom: citric acid 2g, citric acid 0.1g, tap water, soda 0.1g, soda 2.0g, Loes Bogers, 2020*
+
+
+###Variations
+
+- Make a better design for the booklet, without wasting material.
+- Experiment by combining PH modifiers with traditional tie-dyeing and printmaking techniques.
+- Experiment by using the water-based dyes to stain paper and modify then while wet for organic water colors-like effects, or dry for clear, sharp contrasting colors. 
+- Research other foods that contain anthocyanin and make paper with juice and dyes from other fruits and vegetable waste.
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+Red cabbage juice has been known to be a PH indicator (origins unknown) and is a favourite for science experiments in education. 
+
+A historically more well-known PH indicator however, is the *litmus test*, a procedure ascribed to Spanish alchemist, astrologer and phycisian Arnaldus de Villa Nova, around 1300. The term litmus comes from an Old Norse word meaning "to dye or color." As such it is strongly associated with practices of alchemy, a precursor to contemporary science that has long been ridiculed for its esoteric philosophy, magic and quest to turn lead into gold. Eventually historians of science acknowledged alchemy for laying groundwork for science with many of its practical and experimental applications and techniques, such as litmus.
+
+Litmus paper and universal PH scale is said to have been invented by J.L. Gay-Lussac in the early 1800s. The blue dye used for litmus paper was extracted from lichens (various types could be used for this and they grow in nearly every climate). The Netherlands was and is to this day a primary producer of litmus paper, using the local lichens variety called *lecanora tartarea*. Interestingly, lichens are commonly used as gauge for environmental quality because they are sensitive to various pollutants.
+
+**Needs further research?**   Not sure
+
+###Key Sources
+
+- **How to make Red Cabbage PH Paper** by Anne Marie Helmenstine for ThoughtCo, 2 February 2020: (https://www.thoughtco.com/make-red-cabbage-ph-paper-605993)
+
+###Copyright information 
+
+The use of PH modifiers is information that is in the public domain. How to create PH paper from red cabbage is also widely documented and could be considered common knowledge, but further research recommended. The resource listed has been informative during the writing of this recipe however. 
+
+##ETHICS & SUSTAINABILITY
+
+The dye might lose its ability to indicate PH because it is not very lightfast. It's also not very precies and maybe less over time, but that's not always so important. PH of the modifiers might change over time as well, unclear how often they can be reused (further research needed). Your PH paper may look different from mine and behave differently from mine, but also that might be ok.
+
+**Sustainability tags**
+
+- Renewable ingredients: yes
+- Vegan: yes
+- Made of by-products or waste:  partially 
+- Biocompostable final product:  yes
+- Reuse: partially, the PH modifiers are re-usable. PH paper is single use only
+
+Needs further research?:  not sure
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Rotterdam, the Netherlands
+- Date: 06-03-2020 – 16-03-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? Yes, by Cecilia Raspanti, TextileLab, Waag Amsterdam, 9 March 2020
+
+**Images of the final sample**
+
+![](../../images/finalpics-184.jpg)*PH paper and an alkaline modifier, Loes Bogers, 2020*
+
+![](../../images/finalpics-185.jpg)*PH paper and an alkaline modifier, Loes Bogers, 2020*
+
+![](../../images/finalpics-186.jpg)*PH paper made with red cabbage ink, Loes Bogers, 2020*
+
+![](../../images/finalpics-187.jpg)*PH paper reference, Loes Bogers, 2020*
+
+##REFERENCES
+
+- **Biochromes** by Cecilia Raspanti for Fabricademy, Lecture slides, 15 October 2019: [link](https://drive.google.com/file/d/1Ar8j0cJntsFiBxdnrhqTA_9lgDDzB1Wg/view?usp=sharing)
+- **How to make Red Cabbage PH Paper** by Anne Marie Helmenstine for ThoughtCo, 2 February 2020: (https://www.thoughtco.com/make-red-cabbage-ph-paper-605993)
+- **Litmus**, on Wikipedia, n.d.: [link](https://en.wikipedia.org/wiki/Litmus)
+- **Litmus Paper**, on How Product are Made, n.d.:[link](http://www.madehow.com/Volume-6/Litmus-Paper.html)
+- **From alchemy to chemistry**, by Khan Academy's Big History Project, [link](https://www.khanacademy.org/partner-content/big-history-project/stars-and-elements/other-material3/a/from-alchemy-to-chemistry)
+
+
+
+
+

docs/files/recipes/recipe_takeouts.md

-# Take outs from recipe
-
-##Put these in ingredient pages
-
-### Cultural & ecological information
-
-#### Where are the ingredients locally abundant?
-
-Gelatin is collagen extracted from the skin, bones, and connective tissues of animals (e.g. cattle, chicken, pigs, fish). It can be produced almost anywhere, so try finding a local supplier. In the Netherlands, Jacob Hooy sells gelatine made from cow's skin.
-
-Glycerin is a sugar alcohol derived from animal products, plants or petroleum. As such it can be produced almost anywhere. Try to find a vegetable-based glycerine that is produced locally. In the Netherlands, Orphi is an affordable vegetable-based glycerin brand.
-
-Water quality is not of the essence for this recipe. Most tap water will be fine. The PH level of the water might affect PH sensitive natural colorants (e.g. ink or dye extracted from red cabbage).
-
-**Needs further research?**  Not sure
\ No newline at end of file

docs/files/recipes/recycledPLA.md

+# RE-USED PLA SCRAPS
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/5LEAyJeNhrM" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/jmmE_9pNVwA" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/xlE57wnyWHw" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+##GENERAL INFORMATION
+
+Melted PLA (poly lactic acid based on cornstarch that is often used as 3D print filament) has a beautiful glossy shine (if not pressed), it is strong, waterproof and very heat resistant: it maintains the same properties as before. 
+
+These sheets and rosters are strong and light and more dense than most PLA prints (because usually a partial honeycomb in-fill is used to create 3D shapes with a printer, it is usually not solid PLA). It's very glossy, like polycarbonate, acrylic sheets, or shiny PVC clothing. 
+
+**Physical form**
+
+Surfaces 
+
+Color without additives: very glossy, color of filament scraps used
+
+**Fabrication time**
+
+Preparation time: 1 Hour
+
+Processing time: none
+
+Need attention: N/A
+
+Final form achieved after: 15 minutes
+
+**Estimated cost (consumables)**
+
+0,00 euros (try to get scraps for free from local fablabs/printshops)
+
+
+##RECIPE
+
+###Ingredients
+
+* **PLA scraps - at least 20 grams** from the 3D printer (rafts, brims, skirts). 
+
+This is the material, you will use it to thermoform it in the oven. PLA is quite tough so unless you have a strong shredder it is best to use the small scraps from early failed prints (just the brims and skirts of the print) that you can easily break and cut with scissors. 
+
+You can sort them by color, or mix them up. Just make sure it's only PLA, not a mix of ABS or other types of filament.
+
+###Tools
+
+1. **Scissors**
+1. **A big transparent plastic bag**
+1. **An oven**
+1. **A baking tray**
+1. **Baking paper**
+1. **Oven mitts** or heat resistant gloves
+1. Optional: a small sheet of glass for pressing (e.g. from a picture frame)
+1. Optional: a bottom-less mold or flexible silicon mold
+1. Optional: plyers to cut thicker PLA filament
+1. Optional: a hammer to crush thicker parts into smaller bits
+
+
+###Yield 
+
+The same weight as the amount of scraps used. It will shrink in volume significantly! 20 grams will give you about a thin solid 10x10 sheet.
+
+###Method
+
+1. **Preparation**
+
+	- Break and cut the PLA scraps into small pieces with scissors. 
+	- If you have bigger pieces of filament that has not been extruded (this is quite thick, see pictures below), you can cut it with plyers, or just leave them as is and melt them into lines onto textile for example. You can also try hitting big parts with a hammer to make them smaller (put them inside a bag again for safety)
+	- You can do that in a big plastic bag to prevent the pieces from flying away when you are cutting.
+
+1. **Reshaping the PLA**
+
+	- Pre-heat the oven to 220 degrees Celius
+	- Cover your baking tray with baking paper and place the bottom less mold (if you are using one)
+	- Distribute the scraps evenly and put the piece of glass on the tray as well so it can be heated up in the oven. Not heating the glass will cause it to break when you then use it to press the hot PLA.
+	- Place the tray in the oven and let them melt for about 20 minutes
+
+1. **Pressing or forming the PLA**
+
+	- Take the melted PLA out of the oven and immediately press it down with the hot glass, or leave it as is. It's probably wise to put baking paper between the glass and the PLA to prevent sticking. It's hot so wear oven mitts!
+	- There's some chance involved in this process but the results are look nice and organic.
+	- If you don't like it re-melt the PLA and try again.
+
+###Drying/curing/growth process
+
+Just melting, no drying or curing involved. It does not shrink so much, but the volume is reduced significantly by melting. 
+
+**Shrinkage and deformation control**
+
+N/A
+
+**Curing agents and release agents**
+
+Baking paper to help release the PLA. Using a bottom-less mold or flexible (e.g. silicon) mold is essential. 
+
+**Minimum wait time before releasing from mold**
+
+15 mins
+
+**Post-processing**
+
+N/A
+
+**Further research needed on drying/curing/growth?**
+
+Yes
+
+More experimentation could be done in terms of forming the melted PLA. The challenge here is that this has to happen while it's hot. 
+
+###Process pictures
+
+![](../../images/pla1.jpg)*Cutting up PLA scraps (rafts, brims and skirts from (failed) prints, Loes Bogers, 2020*
+
+![](../../images/pla4.jpg)*Cutting them inside a transparent bag to prevent pieces flying everywhere, Loes Bogers, 2020*
+
+![](../../images/pla3.jpg)*Placing some scraps inside a bottom-less mold, glass sheet goes in the oven with it, Loes Bogers, 2020*
+
+![](../../images/pla5.jpg)*Pressing the melted PLA with the hot glass, Loes Bogers, 2020*
+
+![](../../images/pla7.jpg)*Melting filament in one piece, Loes Bogers, 2020*
+
+![](../../images/pla9.jpg)*Some results, Loes Bogers, 2020*
+
+![](../../images/pla8.jpg)*Filling another mold with cut-up - mostly- transparent scraps, Loes Bogers, 2020*
+
+![](../../images/pla10.jpg)*The melted transparent scraps, Loes Bogers, 2020*
+
+
+###Variations
+
+- Try creating an improvised heatpress to make even flat sheets
+- Layer up the scraps and make a design in stages
+- Alternate PLA and pieces of textile to create textile structures
+
+The process of recycling PLA filament waste is well researched and can be upscaled to DIY semi-industral processes. The Dutch design agency Precious Plastic provides open-source designs for shredding, extrusion, and sheetmaking machines for recycled plastics such as PLA. 
+
+##ORIGINS & REFERENCES
+
+**Cultural origins of this recipe**
+
+**About the material**: Polyactic Acid (PLA) was invented as early as the 1920s by the Wallace brothers, the same people who invented nylon. They searched for a more environmentally friendly pastic but its uptake grinded to a halt because it was too expensive for commercial use. Many bio-based plastics continue to be more expensive than their petroleum based alternatives. Patrick and Sally Gruber discovered how to create PLA from corn in their kitchen stove in 1989. Their technique reduced the cost of PLA production greatly. 
+
+In recent times, it is strongly associated with 3D printers (CNC machines that extrude thermoplastics into a 3D shape defined in a digital design (using stereolithography). It was hailed as the biodegradable alternative for ABS (Acrylonitrile Butadiene Styrene) filament, which is a derivative of natural gas and petroleum. 
+
+**PLA and bioplastics**: PLA is made of renewable materials, or biomass (like corn starch), which makes it a bioplastic. The difference with normal plastics is that it is not based on finite resources such as petroleum. The bioplastic PLA is also compostable, which means it an be turned into compost by microbes so it can be reabsorbed by nature, but only under "certain conditions": PLA degrades if it is in 55-60 degrees Celcius for at least 10 days. Not all bioplastics as biodegradable/compostable. Some, like bio-PET or bio-PP are chemically the same as their petrol-based counterparts even though they are made of renewable resources.  
+
+**Needs further research?**  Not sure
+
+###Key Sources
+
+This is a variation on some of the techniques shown in: **Failed Print Recycling Revisited: Guitar Picks, Earrings, and More**, by Devin Montes on his MakeAnything Youtube channel, 28 April 2017: https://www.youtube.com/watch?v=42c8go9A7HQ
+
+###Copyright information 
+
+This is an adaptation of many similar techniques that have been shared openly, such as (for example) the one by Devin Montes listed above. It could be considered to be in the public domain but further research is recommended.
+
+##ETHICS & SUSTAINABILITY
+
+Strictly speaking, PLA is a **compostable** bioplastic. Something is compostable when it can break down into carbon dioxide, water, inorganic compounds and biomass in small pieces in about 90 days (in an industrial composting facility). It efffectively means it can be converted into good quality *compost* and when composted, acts as a beneficial fertilizer. However, it is important to note that composting does not always happen under the same conditions: for some plastics this requires special processes and facilities to do so, which may involves the use of more energy. 
+
+PLA for example needs to be composted at 55-60 degrees Celcius for 10 days: not the temperature of your average compost heap in the garden. This is done in industrial composting plants where the right air, microbes and temperature is monitored in **controlled environment** so the composting process can take place. 
+
+Most of the other bioplastics recipes here, like the gelatin-, agar- and starch-based bioplastics will compost under almost any conditions (also in your backyard): they don't require a lot of heat and almost any microbes will do the job in composting these. As such they are suitable for *home composting* under loosely controlled conditions.
+
+Generally speaking, although highly compostable materials can return to the earth, it has been argued that this is still a waste of energy: the energy used to create the complex polymer. It is useful to consider if re-use is not better than composting for materials that allow it (e.g. PLA, but also the gelatin-based bioplastics described here). There are no simple "silver bullet" solutions to the plastic problem, but we keep searching.
+
+It has been suggested that *recycling* Poly Lactic Acid plastics (PLA) is a better end-of-cycle alternative than combusting/composting.
+
+Biocompostable is not the same as biodegradable. A *biodegradable* product *may* be broken down by microorganisms (eventually, but this can take much longer than 90 days and still be called biodegradable) but this does not necessarily imply that the product can be converted into good quality compost that is good for the soil and plants. It just means it will not harm the environment once degraded. TÜV Austria in Belgium provides several certifications for different kinds of compostable plastics: they describe the distinction between industrial and home composting on their website, but also have separate certificates form materials that are compostable in the soil and in water. Their website is a good resource for disambiguation. 
+
+Lastly, even though some plastics can be composted, it doesn't mean it happens. At the moment it is not cost-effective enough for most recycling plants to offer this service, so the compostable plastics end up getting mixed up with the PET, PE and PP's and can contaminate the waste stream, weakening the properties of recycled plastics. 
+Conversely, there's an unwillingness amongst professional composting plants to accept bioplastics, because they believe comsumers might recycle bioplastics that are not compostable, which contaminates the quality of the compost that is to be reused as a fertilizer. 
+
+NOTE: this information is based on European standards and might be different for other countries. 
+
+**Sustainability tags**
+
+- Renewable ingredients: yes (plant starch from corn, beets, sugar cane)
+- Vegan: yes
+- Made of by-products or waste:  yes
+- Biocompostable final product:  yes, but only in *special* composting facilities (requires 55-60 degrees Celcius for at least 10 days). Hence the recycling recipe.
+- Re-use: yes, it can be re-melted endlessly as long as the PLA is not combined with other materials in a composite.
+
+Needs further research?:  Not sure
+
+Recycling PLA with PET plastics contaminates the waste stream. 
+
+##PROPERTIES
+
+- **Strength**: strong
+- **Hardness**: rigid
+- **Transparency**: variable
+- **Glossiness**: glossy
+- **Weight**: medium
+- **Structure**: variable
+- **Texture**: smooth
+- **Temperature**: cold
+- **Shape memory**: high
+- **Odor**: none
+- **Stickiness**: low
+- **Weather resistance:** needs further research
+- **Acoustic properties:** needs further research
+- **Anti-bacterial:** needs further research
+- **Non-allergenic:** needs further research
+- **Electrical properties:** no
+- **Heat resistance:** high
+- **Water resistance:** waterproof
+- **Chemical resistance:** needs further research
+- **Scratch resistance:** high
+- **Surface friction:** sliding
+- **PH modifiers:** none 
+
+
+##ABOUT
+
+**Maker(s) of this sample**
+
+- Name: Loes Bogers
+- Affiliation: Fabricademy student at Waag Textile Lab Amsterdam
+- Location:  Rotterdam, the Netherlands
+- Date: 15-03-2020
+
+**Environmental conditions**
+
+- Humidity:  40-50%
+- Outside temp:  5-11 degrees Celcius
+- Room temp:  18 – 22 degrees Celcius
+- PH tap water:  7-8
+
+**Recipe validation**
+
+Has recipe been validated? 
+
+Not yet. 
+
+**Images of the final sample**
+
+![](../../images/finalpics-62.jpg)*Transparent remelted PLA scraps, Loes Bogers, 2019*
+
+![](../../images/finalpics-64.jpg)*Transparent remelted PLA scraps, Loes Bogers, 2019*
+
+![](../../images/finalpics-61.jpg)*Transparent remelted PLA scraps, Loes Bogers, 2019*
+
+##REFERENCES
+
+- **Failed Print Recycling Revisited: Guitar Picks, Earrings, and More**, by Devin Montes on his *MakeAnything* Youtube channel, 28 April 2017, [link](https://www.youtube.com/watch?v=42c8go9A7HQ)
+- **Poly (Lactic Acid) Generated for Advanced Materials** by Pranut Potiyaraj, in: Kobayashi, Takaomi, ed. *Applied environmental materials science for sustainability*. IgI Global, 2016: pp. 106-126.
+- **Precious Plastic Universe**, originally started by Dave Hakkens, then soon joined by many others, 2012 onwards, [link](https://preciousplastic.com/solutions/machines/overview.html) 
+- **The Myth of Biodegradability**, by Tom Szaky for The New York Times, 9 February 2012: [link](https://boss.blogs.nytimes.com/2012/02/09/the-myth-of-biodegradability/)
+- **Compostability**, TÜV Austria, n.d. [link](https://www.tuv-at.be/green-marks/certifications/ok-compost-seedling/)
+- **Milieu Impact van Verpakkingen**, by Milieucentraal (Dutch), n.d.: [link](https://www.milieucentraal.nl/minder-afval/verpakkingen/milieu-impact-van-verpakkingen/)
+- **Polyactic Acid**, Wikipedia, n.d.: [link](https://en.wikipedia.org/wiki/Polylactic_acid)
+- **Polyactic Acid (PLA) Plastic** by White Clouds, n.d. [link](https://www.whiteclouds.com/3DPedia/pla.html)

docs/files/tools.md

+#TOOLS
+
+![](../images/toolpics-8.jpg)*For drying: a drying rack, a wooden board, hammer and nails, metal wire, a large tray that fits in your oven, a wooden frame and a piece of sturdy fine mesh.  Loes Bogers, 2020*
+
+This is a list of the materials and tools needed (apart from the ingredients) to recreate all 25 recipes listed here. In an effort to keep it most accessible, note that most of these will already be lying around your house (or studio, or workshop).
+
+**Gathering your supplies: Do-It-Together!**
+
+Best is to form a small group of people and do the experiments together! Between you, you can probably get most of the materials listed here. If not, a trip to a thrift store won't break the bank. 
+
+**Dedicate your utensils to non-food only**
+
+Used kitchen utensils are great option anyway because you will need to dedicate them to non-food only. Although a lot of these recipes work with mostly natural materials, *none of these recipes are considered to be fit for consumption*. Any utensils used here are best kept apart from utensils used for food preparation. 
+
+**Biolab supplies**
+
+Only the lab materials needed for the bacterial dye are missing from the images below as I did't have access to them during the outbreak of the corona pandemic. Perhaps it's worth getting access to a biolab or chemistry lab at a high school to do the bacterial dye, before setting up a small biolab (which requires some special tools like an incubator and a pressure cooker). 
+
+**Space needs and smells**
+
+Choose a space where you can make a bit of a mess, where there's ample space to let things dry (flat surfaces and hanging), preferable near an open window or other place with air flow. Humid environments will affect the materials' behaviors during drying, curing and growing.
+
+Ideally you have access to do washing up easily (a sink, or maybe even a dishwasher), and access to a fridge or freezer to store inks and dyes (make sure to label them very clearly indicating it is not for consumption or dedicate a shelf to non-food only). 
+
+Some of the recipes can get smelly, so consider the people you share a space with and let them know when you plan to be cooking materials (dyes/inks, and gelatine-based bioplastics can get very smelly).
+
+**Protection**
+
+When working with inks and dyes, consider to protect your surfaces by coverig it with a piece of plastic. Wear some clothes you don't mind staining.
+
+##Kitchen utensils & household tools
+
+![](../images/toolpics-3.jpg)*Dedicated to non-food only: strainers, pots, thermometer, a syringe, a knife, and kitchen paper, Loes Bogers, 2020*
+
+- Cooker or stove (optional: temperature controlled)
+- Oven
+- Cheesecloth or clean towels
+- Baking paper
+- A knife (to cut vegetables)
+- Pots (small and large)
+- A precision scale (capable of measuring 0.1 grams)
+- Spoons
+- a whisk
+- bowls to weigh ingredients
+- A large bowl
+- A large oven dish
+- Wide glass jars (approx. diameter 20 cm, 15 cm deep) for kombucha growth
+
+![](../images/toolpics-10.jpg)*Moulds: a silicone mat and acrylic sheet for sheet casting, small bowls, ice cube trays or egg holders (or any other materials you could use as moulds), Loes Bogers, 2020*
+
+![](../images/toolpics-4.jpg)*Glass jars with lids, big and small, and a wide glass jar (collectig some nice looking ones really helps to save up and separate food waste), Loes Bogers, 2020*
+
+- Blender (dedicated to non-food processing)
+- Mortar & pestle or chopping/grinding machine
+- Glass jars with lids (small, medium and large) as many as you can find
+- Kitchen paper
+- Large round coffee filters
+- Strainer (with fine mesh)
+- Funnel (small)
+- Funnel (large)
+- A blunt scraping tool
+- A drying rack (used in the oven)
+- A silicone mat
+- Large transparent ziplock bags
+- Oven mitts/gloves
+- Access to a fridge and freezer
+- A drying rack (used for laundry)
+- Anti-bacterial hand soap
+- Heavy duty cleaning gloves
+- A squeegee, a ruler or other wide straight tool
+- Overcoat to protect clothing (like a lab coat or overall), or clothing you don't mind staining
+
+![](../images/toolpics-5.jpg)*Dedicated to non-food only: a mortar and pestle, a blunt scraping tool, baking paper, textured plastic, oven mitts, spoons, a whisk, and a silicon scraper, Loes Bogers, 2020*
+
+![](../images/toolpics-1.jpg)*A blender dedicated to non-food only, Loes Bogers, 2020*
+
+![](../images/toolpics-6.jpg)*Funnels (large and small), a precision scale, a tupperware box, antibacterial hand soap, rubber bands, chopsticks, Loes Bogers, 2020*
+
+##Arts & crafts tools
+- A stack of heavy books (for pressing)
+- 4x spray bottle(s) of 100-150 ml
+- Painting tape
+- a syringe 60 cc (without needle)
+- Sticks (like chopsticks or skewers)
+- Clips
+- A staple gun
+- 1-2 of 100% pure silk for dyeing and crystal growing
+- Rubber bands
+- Fish wire 
+- A fine japanese brush
+- Aquarel paper (used for water colors)
+- A normal painting brush
+- Paperclips
+- Labels
+- Scissors
+- Pipettes
+- Wooden board of approx 60 x 30 cm 
+- A sheet of fine mesh (plastic, textile, metal, all fine) slightly larger than the wooden frame
+- A wooden frame (e.g. a large picture frame)
+- Nails and a hammer
+
+
+![](../images/toolpics-7.jpg)*Art supplies for testing inks/dyes and trimming biomaterials: aquarel paper, silk chiffon, a cutting mat, a scalpel, a fine japanese brush, a regular brush, pipettes and a ruler, Loes Bogers, 2020*
+
+![](../images/toolpics-8.jpg)*For drying: a drying rack, a wooden board, hammer and nails, metal wire, a large tray that fits in your oven, a wooden frame and a piece of sturdy fine mesh.  Loes Bogers, 2020*
+
+![](../images/toolpics-2.jpg)*Protective gloves, labels, clips, coffee filters, large ziplock bag, spray bottle, petri dish, tape, and (optional) PH paper, Loes Bogers, 2020*
+
+##Tools for documenting
+
+- Pen and paper or a notebook
+- A laptop with an internet connection
+- Optional: software to edit markdown files, e.g. [MacDown](https://macdown.uranusjr.com/) (for Mac)
+- Labels or painting tape for temporary labeling
+- An office printer to print labels
+- A4 paper 160 or 210 grams/m2 (whatever your printer can take)
+- For now, the label templates can only be edited well in Adobe InDesign
+
+![](../images/pics-insta4.jpg)*Editing a markdown file, Loes Bogers, 2020* 
+
+##Biolab supplies for microbial growth
+
+And finally, the hard(er) but very exciting part! You will need these tools to explore the bacterial dye (with the Serratie Marcescens bacteria). You might also try to contact a local microbiology lab or open biolab (maybe at a high school even?) to take your first steps in microbiology. None of the other recipes require these tools. 
+
+- Pressure cooker pan
+- 2x Glass petri dish large 20 cm diameter
+- 12x (or more) small petri dishes, ideally glass ones 
+- A gas burner (like a campinggaz or bunsen burner)
+- A lighter
+- A permanent marker (thin)
+- An inoculation loop or any other metal wire formed as a loop
+- 2x [heat proof glass bottle](http://www.laboratoriumglas.eu/index.php?item=labfles-500-ml-met-gl-45&action=article&group_id=56&aid=301&lang=NL) with screw cap, 500 ml
+- Optional: Autoclave tape
+- Parafilm
+- An incubator or temperature controlled box (26-30 degrees C)
+- Disposable vinyl gloves
+
+*Picture will follow*
+
+##Optional tools
+
+- A wider variety of silicone and acrylic molds. You can buy these and some you can make yourself. 
+- Additional acrylic sheet to cut modular molds (if you have access to a laser cutter)
+- Nuts & bolts to keep modular molds together
+- A stand to use for the tactility videos, cut from 4 mm MDF (download the [Illustrator file](../files/tools/stopmotionstand.ai), or the [DXF file](../files/tools/stopmotionstand.dxf)). 
+
+![](../images/toolpics-9.jpg)*Optional: various silicone moulds: stackable with removable bottom, modular walls with metal wire inside to bend them into shape, and an XXL ice cube tray, Loes Bogers, 2020*
+
+![](../images/stopmotionstand.jpg)*Optional: a stand to make tactility videos with your phone, Loes Bogers, 2020*