This document provides information about using tea bags to create ink. It discusses the history of tea and ink, how tea leaves produce pigments like theaflavin that can be used as dyes. The document outlines an experiment to determine if tea bag extracts can be used to create ink, and whether adding vinegar and cornstarch affects the color and consistency. The goal is to produce a cheaper alternative to commercial inks, which can be toxic. Several references are provided about the history and production of inks from natural sources like plants.

1. INK OUT OF
TEA BAGS
(investigatory project in
science)

2. INTRODUCTION
Tea is created by using the leaves of a
plant known as Camellis sinensis. This
plant is a native to China, South Asia
and Southeast Asia but is now found all
over the world. Tea-drinking can be
traced back to the 10th century BC in
China before it was spread to Korea
and Japan.

3. But in1903, the creation of the first tea
bags were recorded. It was then in 1904
that these were shipped around the world
and they are infact still used until now.
They are not only cheaper, but also they
are easier to find and to use in making
tea. The reason for their more affordable
price compared to loose tea leaves is
bacause most companies use fannings or
the left-overs of larger tea leaves after
they are gathered to be sold.

4. Basically, this drink is made by
brewing tea leaves to create an
extract. Due to the chlorophylls and
other pigments in the leaves, the
extract commonly appears with a
brown color.
In
www.webexhibits.org/causesofcolor/7H
.html, it was mentioned that theaflavin
is the reddish-brown pigment found in
tea. It is an example of a flavonoid
which acts to create color.

5. This research is being done to find out the potency of the
extract of the leaves from the the plant Camellis sinensis
as an ink. Nowadays, ink is a pigment in a liquid or paste
form used as colorants and dyes. Also, they are
becoming more and more expensive because of their
increasing purposes. Our research aims to produce this
ink as a cheaper alternative to those commercial ones.
Compared to the ink we are aiming to
create, commercially produced inks are toxic and can be
hazardous to a person's health once there is
inappropriate contact with it. To match with the color and
consistency of other inks, we will be adding other
substances, specifically vinegar and cornstarch, which
are common and easy to find.

6. STATEMENT OF THE PROBLEM
Generally, this investigatory project aims to
find out if tea bags can be used to create an
ink.
Specifically, it aims to answer the following
questions:
a. Can vinegar strengthen the color of the
product, ink?
b. Can cornstarch contribute to achieving
the right consistency of the ink?
c. Are the processes boiling and straining
efficient in taking the extract out of the tea
bags?

7. HYPOTHESES
 Extracts taken from tea bags
have the potential to be
made into an ink.
 If vinegar and cornstarch are
added to the mixture, then
the product would have a
stronger color and a thicker
consistency than that with
none.

8. SIGNIFICANCE OF THE
STUDY
This investigatory project will benefit us by
producing an alternative for other inks. These
other manufactured inks nowadays come
quite expensive prices, but since the
materials to be used in our project are
common and easy to find, you will be
spending less money. Also, no harmful
chemicals will be used in making our ink.
Therefore, it is non-toxic compared to
commercially sold inks which have the
tendencies of causing harm to one's health
and to the environment.

9. SCOPE AND LIMITATIONS
Our research and experiments are only
limited to making a simple ink as a
colorant. It does not include inks that are
used in machines such as
printers, copiers, etc. Also, our study
includes the effects of vinegar and
cornstarch on the product. To have
accurate observations, we will be
creating two set-ups: an ink without
vinegar and cornstarch and one with
vinegar and cornstarch.

10. REVIEW OF RELATED
LITERATUREThe history of Chinese inks can be traced
back to the 18th century BC, with the
utilization of natural plant (plant
dyes), animal, and mineral inks based on
such materials as graphite that were ground
with water and applied with ink brushes.
Evidence for the earliest Chinese
inks, similar to modern ink sticks, is around
256 BC in the end of the Warring States
Period and produced from soot and animal
glue.
(source: http://en.wikipedia.org/wiki/Ink)

11. The India ink used in ancient India since at
least the 4th century BC was
called masi, and was made of burnt
bones, tar, pitch, and other substances.
Indian documents written in Kharosthi with
ink have been unearthed in Chinese
Turkestan. The practice of writing with ink
and a sharp pointed needle was common in
early South India. Several Jain sutras in
India were compiled in ink.
(source: http://en.wikipedia.org/wiki/Ink)

12. Saffron (Crocus sativus) is well known as
the source of a truly brilliant if rather
fugitive yellow and there is evidence of its
use, both as a colorant and medicine, in
the Greek and Persian civilizations of the
same period. (Cannon, 1995)

13. Pliny, in his “Historia Naturalis”, speaks of
vegetable dyeing in Egypt during Roman
times (Ciba Review, 1938) and it is thought
that these people could have learned their
craft from India, where textile dyeing had
reached a position of preeminence. Indian
skill in vegetable dyeing and painting
reached a high point in the two centuries
from 1600 to 1800 AD, when the painting
and resist dyeing of cotton cloth known to us
as Chintz became the basis of the largest
trade in textiles that the world had ever
seen. (Irwin and Brett,1970)

14. In Mediaeval and renaissance Europe treatises and
manuals on the preparation of artists colours contain
many references to plant colours, one such being
Cennini‟s, „Il Libro dell‟ Arte‟ of 1437, in which he sets out
recipes for the preparation of block-printing inks from
saffron and brazilwood (Caesalpinia sp.) The Strasbourg
manuscript, of an earlier period, also describes the use of
a whole range of plants used in the manufacture of inks
and water-colours. Later we see developments in
vegetable block-printing inks in 17th and 18th century
Japan where it is interesting to note that some colours
were actually leached from previously dyed
cloth. (Strange,1924)
(source:http://www.artmondo.net/printworks/articles/
growink2.htm)

15. It's interesting to note that with all the attention
given today to the health benefits of tea, this
wonderful plant began in China not as a
beverage, but as a medicinal herb. Have we
come full circle? Early historical accounts of tea
are unclear, for the Chinese character for tea had
not been standardized, and several other
Chinese characters appear in books referring
very likely to the same plant, Camellia
Sinensis, what we now call tea.
(source:
http://www.indigotea.com/chinateahistory
.shtml)

16. Flavonoids are the yellow plant pigments seen most
notably in lemons, oranges, and grapefruit. The name
stems from the Latin word "flavus," which means yellow.
Flavonoids in flowers and fruit provide visual cues for
animal pollinators and seed dispersers to locate their
targets. Flavonoids are located in the cytoplasm and
plastids. Many of the foods that we eat, including dark
chocolate, strawberries, blueberries, cinnamon, pecans,
walnuts, grapes, and cabbage, contain flavonoids. These
chemicals lower cholesterol levels, and many have
antioxidant properties. Anthocyanins and
proanthocyanidins, and the reddish-brown pigment
theaflavin found in tea, act to create color, while most
other flavonoids are visible only under UV
light.(source:http://www.webexhibits.org/causesofcolor/7H
.html)

17. Theaflavin (TF) and its derivatives, known
collectively as theaflavins, are
antioxidantpol-yphenols that are formed
from flavan-3-ols such as in tea leaves
during the enzymatic oxidation
(called fermentation by the tea trade) of tea
leaves, such as in black tea. Theaflavins are
types of thearubigins, and are therefore
reddish in color. Analogous compounds
include EGCG in green tea; theaflavins are
not found in green tea.
(source:
http://en.wikipedia.org/wiki/Theaflavin)

18. “Extraction is very simple, and a few basic rules quickly
become apparent. I started by soaking plant
material, then simmering or boiling it to release the
colour. Boiling is not always advisable, particularly with
reds, as some tend to become more brown or even
disappear when boiled. Thus if you know that a certain
plant should produce red then my advice would be not
to heat above 800 C. until you‟re sure it won‟t spoil the
resultant colour. Most plants do in fact produce some
colour especially in soft, or artificially softened water
(by adding washing soda, Sc), but many are simply too
dull, weak or uneconomic to persist with.”
(source:
http://www.artmondo.net/printworks/articles/grow
ink4.htm)

19. Tea dyeing is an easy way to mute fabrics or give
them an older, antiqued look. Tea stains the fibers
and gives a semi-permanent dull brown "dirty"
tone to the whole piece. It is used when you want
to "antique" a craft textile such as a doll dress or
small quilt.
Because the process uses tea bags it is not
suggested for use on large objects. Tea also
leaves an irregular spotted stain over the whole
piece and it is not going to give you a "perfect" or
even color. If you want to color large objects or
get an even tone, use a commercial dye product.
(source: http://www.redda
wn.net/quilt/teadye.htm)

20. Though we first introduced you to artist Carne Griffiths
by showing you his incredibly interesting lightbox
pieces, he's actually known for his beautiful paintings
that are made with ink and tea. As he tells us, "I work in
an unusual medium, I draw in calligraphy ink and use
various types of tea to blend the lines - then I repeat
the process - layering the work. In the studio I have a
host of different flavored teas.. chamomile, vanilla and
honey, chai, earl grey, fennel, green tea...you get the
idea."
(source:http://www.mymodernmet.com/profiles/blogs/p
ortra its-dripping-with-ink-and-tea)

21. Griffiths uses the medium of tea and
ink (sometimes graphite, vodka, whiskey, and
others) to create these pieces.
Tea and ink as a medium has become a
trademark for Griffiths in the art world. While
unique on its own, tea has helped him develop
a palette of colors that he is comfortable with. It
goes without saying that Griffith‟s work has a
distinct feel. The tea provides a delicate
saturation and texture that draws viewers
in.(source: http://www.nonsensesocie
ty.com/2011/12/carne-griffiths/)

22. http://www.nonsensesociety.com/2011/12/carne-
griffiths/

23. METHODOLOGY

24. SET-UP A

25. MATERIALS
 7 teabags
 1 1/2 cups of water
 1 tablespoon of vinegar
 cornstarch

26. PROCEDURE
 Place the 7 teabags in 1 ½ cups of
boiling water.

27.  Create the tea for 6-8 minutes.

28.  Remove the teabags from the boiling
water. Use a strainer and a fork to
remove all of the extracts.

29.  While stirring the tea, add a tablespoon
of vinegar.

30.  Continue to stir it. Add as much dissolved
cornstarch as you need to have your
desired consistency.

31.  Remove it from the heat and let it cool.
When done, store in a bottle.

32. SET-UP B

33. MATERIALS
 7 teabags
 1 1/2 cups of water

34. PROCEDURE
 Place the 7 teabags in 1 ½ cups of
boiling water.

35.  Create the tea for 6-8 minutes.

36.  Remove the teabags from the boiling
water. Use a strainer and a fork to
remove all of the extracts.

37.  Remove it from the heat and let it cool.
When done, store in a bottle.

38. FINDINGS
During the procedure itself, we have observed that
boiling is an effective process of extraction. Right after
we have placed the teabags in the boiling water, the
change of color is very noticeable. During this step the
mixture had a very strong smell from the tea. While
following the procedures for set-up A which included the
placing of vinegar, there was no immediate change in
color as we expected. Instead, the vinegar‟s effect was
seen when we tried to paint the two inks on paper.
While applying the ink on paper, it was harder to use ink
B because it‟s consistency was very watery. Thus it
became runny and scattered unlike in ink A.

39. After letting them dry, it was seen that ink A
had a darker color while ink B‟s writings
faded.

40. ANALYSIS OF DATA
Our hypothesis which states that tea bags have the potential
to be made into an ink if vinegar and cornstarch is added is
proven correct. We had two setups which were Setup A that
has vinegar and Setup B that has no vinegar. Vinegar is
mainly a dilute aqueous solution of acetic acid which is an
important reagent and industrial chemical, mainly used in the
production of cellulose acetate. A cellulose acetate is used
as film base in photography and a film base is a transparent
substance which acts as a support medium for the
photosensitive emulsion that lies atop it, its base generally
accounts for the vast majority of the thickness of any given
film stock. The addition of vinegar and cornstarch in making
an ink can result to a thicker consistency and consistent
color which is better for the usage of the ink.

41. Our observations prove that adding vinegar
to the mixture can be made into an ink
because without the vinegar there would be
no consistency on the mixture and it will be
less seen.

42. CONCLUSION
Tea bags can be used to create an ink.
Vinegar can strengthen the color of the
product, ink.
Cornstarch effectively contributes to
achieving to the right consistency of the ink.
The processes boiling and straining are
efficient in taking the extract out of the tea
bags.

43. SUMMARIZATION
There are many different kinds of ink. In our
experiment we will use tea bags as the main
component of our ink. Having two different set-
ups will provide the chance to compare the
colors and consistencies. Cornstarch is an
efficient additive to have the right consistency of
the product. Also vinegar is also
efficient, though there is no obvious change in
color, it was seen that it gave the ink a
consistent color whether wet or dry.

44. We therefore conclude that one can create
an improvised ink using the extract from
tea bags. This will be very convenient and
cheap because the ingredients to be used
are commonly found around the house.
Also, the said processes, boiling and
straining, are efficient and can be easily
done.

45. RECOMMENDATION
Based on the conducted experiment, we recommend the
following for further improvements. To have better results of
extraction, suggest that there would be longer minutes of
boiling. We also recommend that one should make use of a
large amount of corn starch, a thickening agent, so the
application of ink would be done easier. Instead of directly
placing your desired amount of cornstarch in the mixture
above low fire, it would be better to dissolve it first in cold or
warm water to avoid forming lumps. We still recommend the
usage of vinegar because of the results we have observed.
Depending on the availability, one can also use processed
soybean oil as a drying oil. This is used as a base for
printing inks and oil paints.

46. BIBLIOGRAPHY
Cannon, 1995
Ciba Review, 1938
Irwin and Brett,1970
Strange,1924
 http://www.wikihow.com/Make-Ink-from-Tea
 http://chemistry.about.com/b/2011/08/09/how-to-
make-ink-easy-ink-recipes.htm
 http://www.diylife.com/2008/06/27/remove-ink-
with-tea-bags/
 http://www.ehow.com/how_4493973_create-
ink.html

47.  http://en.wikipedia.org/wiki/Vinegar
 http://en.wikipedia.org/wiki/Tea
 http://en.wikipedia.org/wiki/Tea_bag
 http://en.wikipedia.org/wiki/Corn_starch
 http://www.stinkyinkshop.co.uk/blog/a-short-
history-of-ink/
 http://ancienthistory.about.com/b/2004/09/27/the-
history-of-ink.htm
 http://en.wikipedia.org/wiki/History_of_tea
 http://www.chcp.org/tea.html

48.  http://www.2basnob.com/tea-history-timeline.html
 http://www.freesciencefairproject.com/requirement
s.htm
 http://www.investigatoryprojectexample.com/exam
ple.html
 http://www.webexhibits.org/causesofcolor/7H.html
 http://dictionary.reference.com/browse/boiling
 http://www.wordreference.com/definition/straining
 http://www.thefreedictionary.com/extraction