WEBVTT - Why Are Blueprints Blue?

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<v Speaker 1>Welcome to brain Stuff production of iHeart Radio. Hey brain Stuff,

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<v Speaker 1>Lauren vocal bomb here. If you have a blueprint for success,

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<v Speaker 1>you're not alone, at least when it comes to the

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<v Speaker 1>blueprint part. The word blueprint has become part of a

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<v Speaker 1>global lexicon used to symbolize a plan, strategy, or framework.

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<v Speaker 1>But what is a blueprint really? At its most basic,

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<v Speaker 1>a blueprint is a reproduction of an image that already exists.

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<v Speaker 1>Engineers or architects use these large format prints to illustrate

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<v Speaker 1>project plans, using white lines and text on a backdrop

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<v Speaker 1>of blue. And it's not just because they happen to

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<v Speaker 1>like the color. A blueprint signature hue is tied to

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<v Speaker 1>a chemical process. In eighteen forty two, an English photographer, chemist,

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<v Speaker 1>and astronomer named John Herschel discovered the combining ferric ammonium

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<v Speaker 1>citrate and potassium fair cyanide created a chemical reaction and

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<v Speaker 1>a compound called blue ferric fair sydanide or Prussian blue.

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<v Speaker 1>This photosensitive solution could be used to reproduces documents in

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<v Speaker 1>a process similar to developing a photograph from a negative.

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<v Speaker 1>The process, called cyana type, was adopted by early photographers

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<v Speaker 1>and led to the first book illustrated by photography, and

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<v Speaker 1>then became the darling of architects and engineers. Here's how

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<v Speaker 1>it works. First, you create a drawing, then transfer it

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<v Speaker 1>to vellum paper or tracing cloth, both of which are

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<v Speaker 1>so thin that light can pass through them. Then you

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<v Speaker 1>saturate a piece of regular paper with an ammonium potassium

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<v Speaker 1>mixture and let it dry. Place the transparent vellum or

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<v Speaker 1>tracing cloth with the drawing atop the paper coated in

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<v Speaker 1>the chemical solution, Shine a bright light down through the drawing,

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<v Speaker 1>and wait for the chemical reaction to take place. Within

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<v Speaker 1>a matter of minutes, the chemical coated paper will be

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<v Speaker 1>transformed into blue ferric fairr cyanide, with one important exception,

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<v Speaker 1>wherever the light can't shine through the top paper because

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<v Speaker 1>of the lines from the drawing, the blue printing paper

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<v Speaker 1>remains white. After rinsing the paper in cold water to

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<v Speaker 1>halt the chemical action and allowing the paper to dry

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<v Speaker 1>in the dark, you're left with a nearly identical duplicate

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<v Speaker 1>of the original drawing, just the lines are white and

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<v Speaker 1>the background is dark, where the lines were originally dark

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<v Speaker 1>and the background was light. Although this process requires several steps,

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<v Speaker 1>it became a big hit with the pre computer crowd

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<v Speaker 1>of the nineteen and twenty centuries, as it was still

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<v Speaker 1>faster and cheaper than creating large scale drawings by hand.

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<v Speaker 1>The story of the creation of Prussian blue has all

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<v Speaker 1>the elements of a dark fairy tale. In seventeen o four,

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<v Speaker 1>an alchemist and a dye maker shared a laboratory in Berlin, Germany.

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<v Speaker 1>The former, Johann Konrad Dipple, sought to create a universal remedy,

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<v Speaker 1>one that treated everything from animal mange to human epilepsy

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<v Speaker 1>by boiling hoofs, horns, and leather into a smelly elixir.

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<v Speaker 1>The ladder, a fellow named Teese Box made batches of

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<v Speaker 1>vibrant dyes. One day, as these, Box simmered insects, alum,

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<v Speaker 1>iron and sulfate to create a deep red, he borrowed

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<v Speaker 1>some potash to the alchemist and added it to his

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<v Speaker 1>viscous mixture. This horrible brew created a blue as deep

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<v Speaker 1>as the night sky. After retracing the steps in the process,

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<v Speaker 1>Dipple realized the potash contained ox blood that, when mixed

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<v Speaker 1>with iron sulfate, caused a chemical reaction and turned a

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<v Speaker 1>brilliant shade of blue. Unlike other blue dyes that were

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<v Speaker 1>difficult to make and easily faded. This blue remained vivid,

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<v Speaker 1>and it was inexpensive. Other blue dyes of the time

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<v Speaker 1>required ingredients like lapis lazili, which at the time cost

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<v Speaker 1>more than gold. Initially, Dipple called the color Berlin blue

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<v Speaker 1>as a nod to his city of residents. Later it

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<v Speaker 1>was called Prussian blue because it was used to dye

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<v Speaker 1>uniform fabric for the Prussian Army. The color became both

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<v Speaker 1>the symbol of aggression and a term of endearment because

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<v Speaker 1>of the army's fierce battles and serendipitous interventions and conflicts

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<v Speaker 1>like the Battle of Waterloo. By the late eighteen hundreds,

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<v Speaker 1>Prussian blue had found favor with impressionist artists and Japanese printmakers.

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<v Speaker 1>As the nineteen hundreds wore on, it became the hue

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<v Speaker 1>of newspaper inc typewriter ribbon, and eyeshadow. Scientists even discovered

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<v Speaker 1>Prussian blue works as an antidote to heavy metal poisoning

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<v Speaker 1>by acting as a magnet to attract and evacuate heavy

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<v Speaker 1>metals from the bloodstream. Eventually, Prussian blue became as important

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<v Speaker 1>for its practicality as its novelty. But not While John

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<v Speaker 1>Herschel was alive to see it. It wasn't until five

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<v Speaker 1>years after his death that blueprints were recognized as an

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<v Speaker 1>inexpensive and simple way to reproduce architectural drawings. By the

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<v Speaker 1>nineteen seventies, the blue printing process was a dying art

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<v Speaker 1>in the United States because new technology was becoming more prevalent.

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<v Speaker 1>Zerographic copies could create duplicates with the push of a button,

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<v Speaker 1>and by the nine eighties the architecture, engineering, and construction

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<v Speaker 1>industries were making the move from hand drawing to computer

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<v Speaker 1>aided design that could be printed on large scale paper. Today,

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<v Speaker 1>blueprints aren't usually blue. They're most often black or gray

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<v Speaker 1>lines on a white background. Today's episode was written by

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<v Speaker 1>Laurel Dove and produced by a Playing Brain. Stuff is

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<v Speaker 1>a production of I Heart Radio's How Stuff Works. For

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<v Speaker 1>more on this and mons of other original topics, visit

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<v Speaker 1>our home planet, how stuff Works dot com. And for

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<v Speaker 1>more podcasts from my heart Radio, visit i heart Radio app,

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