Weird Science

Non-Flammable Fireworks from the Land of the Rising Sun

Polish ver­sion is here

The fol­lo­wing article was ori­gi­nally publi­shed in the jour­nal for edu­ca­tors Che­mia w Szkole (eng. Che­mi­stry in School) (1/2022):

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Ples M., Nie­palne fajer­werki z Kraju Kwit­nącej Wiśni (eng. Non-Flam­ma­ble Fire­works from the Land of the Rising Sun), Che­mia w Szkole (eng. Che­mi­stry in School), 1 (2022), Agen­cja AS Józef Szew­czyk, pp. 46-50

As I write this article at the begin­ning of Janu­ary, the echoes of New Year's Eve cele­bra­tions still reso­nate in my memory. Fire­works displays, a long-stan­ding tra­di­tion, were once again an inte­gral part of the festi­vi­ties.

Pyro­tech­nics, deri­ved from the Greek word pyro (πῦρ, mea­ning fire), is a prac­ti­cal branch of che­mi­stry­—c­lo­sely lin­ked to engi­ne­e­ring and tech­no­lo­gy­—fo­cu­sed on desi­gning devi­ces that uti­lize com­bu­sti­ble mate­rials to pro­duce visual, ther­mal, aco­u­stic, or smoke effects.

Pyro­tech­nics is not limi­ted to fire­works; it also finds appli­ca­tions in safety equ­ip­ment such as flash and bang char­ges, emer­gency signa­ling fla­res, and auto­mo­tive safety mecha­ni­sms like seat­belt pre­ten­sio­ners and air­bags. In other words, pyro­tech­nics serves both civi­lian and mili­tary pur­po­ses.

One of the more enter­ta­i­ning appli­ca­tions of pyro­tech­nics is the pro­duc­tion of fire­works. The term ori­gi­na­tes from the Ger­man word Feu­er­werk and refers to low explo­sive pyro­tech­nic devi­ces desi­gned for visual and signa­ling pur­po­ses that, when igni­ted, pro­duce stun­ning light and sound effects.

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New Year's Eve fire­works
Ani­ma­tion: sup­ple­men­tary mate­rial

The first fire­work­s—just like the gun­pow­der used in the­m—most likely ori­gi­na­ted in what is now China. As early as the period of the Sou­thern and Nor­thern Dyna­sties (420–589 AD), fire­works were used in reli­gious cere­mo­nies. It is unsur­pri­sing that they later found appli­ca­tions on the bat­tle­field and even­tu­ally evo­lved into various forms of fire­arms.

Han­dling most pro­fes­sio­nal-grade fire­works requ­i­res spe­cia­li­zed know­ledge, and pro­du­cing flam­ma­ble and explo­sive pyro­tech­nic mixtu­res is not only dan­ge­rous but also highly disco­u­ra­ged for ama­teurs. Every now and then, news reports sur­face about self-tau­ght pyro­tech­ni­cians who, along with bystan­ders, suf­fer severe inju­ries or even fata­li­ties due to acci­dents. For this rea­son, I will not describe such expe­ri­ments or enco­u­rage their per­for­mance.

Howe­ver, there are much safer types of fire­works. One of them is the so-cal­led spar­kler. These can be descri­bed as a type of fire­work desi­gned for use in indoor envi­ron­ments.

Spar­klers typi­cally con­sist of a thin meta­l—u­su­ally ste­e­l—wire, par­tially coa­ted with a pyro­tech­nic com­po­und that, when igni­ted, pro­du­ces a sho­wer of sparks. The pyro­tech­nic mixture is com­po­sed of appro­xi­ma­tely 45–50% barium nitrate Ba(NO3)2 and iron Fe or alu­mi­num Al sha­vings, which cre­ate bri­ght, silvery-white sparks during com­bu­stion (Photo 1).

Photo 1 – Sparks pro­du­ced during the com­bu­stion of spar­klers

The pre­sence of toxic barium com­po­unds in spar­klers means they sho­uld be han­dled with care, espe­cially when bur­ning, and kept away from food pro­ducts.

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Bur­ning spar­klers
Ani­ma­tion: sup­ple­men­tary mate­rial

Inte­re­stin­gly, Japa­nese tra­di­tion fea­tu­res a simi­lar small and rela­ti­vely safe fire­work known as senkō hanabi (jap. 線香花火) [1]. Like our spar­klers, senkō hanabi pro­du­ces a spec­ta­cu­lar sho­wer of sparks when igni­ted. Howe­ver, its che­mi­cal com­po­si­tion and con­struc­tion are enti­rely dif­fe­rent. What makes it par­ti­cu­larly fasci­na­ting is that some ver­sions of this fire­work rely on an almost non-flam­ma­ble, and thus very safe, mixture of non-toxic che­mi­cal com­po­unds. Howe­ver, it is impor­tant to note that in Japan, some tra­di­tio­nal ver­sions of senkō hanabi are still made using flam­ma­ble and even explo­sive sub­stan­ces.

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Tra­di­tio­nal Japa­nese fire­work
Ani­ma­tion: sup­ple­men­tary mate­rial

My dear rea­der, you might agree that the idea of safe yet beau­ti­ful and uni­qu­ely exo­tic fire­works is quite appe­a­ling. The con­cept beco­mes even more wor­th­while con­si­de­ring that, bey­ond pro­vi­ding a mesme­ri­zing visual effect, expe­ri­ments like these can inspire stu­dents and enthu­sia­sts to explore che­mi­stry fur­ther.

Pro­duc­tion

As I men­tio­ned ear­lier, pro­du­cing this ver­sion of senkō hanabi requ­i­res only rea­dily ava­i­la­ble, non-toxic, and ine­xpen­sive mate­rials. These are:

Sul­fur is a non­me­tal that exi­sts in seve­ral allo­tro­pic forms, the three most impor­tant being rhom­bic, monoc­li­nic, and amor­phous sul­fur. Under nor­mal con­di­tions, it is a cry­stal­line, brit­tle, yel­low sub­stance.

Sodium bicar­bo­nate, also known as baking soda, is widely used in baking as a lea­ve­ning agen­t—when hea­ted, it decom­po­ses, rele­a­sing car­bon dio­xide CO2, which makes dough rise. It is also used as a food addi­tive, a pH regu­la­tor, a com­po­nent of effe­rve­scent drink pow­ders and tablets, and a remedy for acid indi­ge­stion. Instead of sodium bicar­bo­nate, potas­sium bicar­bo­nate KHCO3 can be used as an alter­na­tive.

The final ingre­dient is char­coal, a ligh­twe­i­ght, black sub­stance pro­du­ced by the pyro­ly­sis of wood. It con­si­sts pri­ma­rily of ele­men­tal car­bon, along with some ash and orga­nic impu­ri­ties. The best char­coal for making Japa­nese spar­klers comes from softwood trees, par­ti­cu­larly pine (Pinus).

It is rela­ti­vely easy to pro­duce small amo­unts of highly pure char­coal from dry pine wood (Photo 2, left).

Photo 2 – Pine­wood (left) and the char­coal pro­du­ced from it (right)

To cre­ate char­coal, place a few pie­ces of dry pine­wood in a metal can. The can sho­uld be sea­led rela­ti­vely well, either by crim­ping its ope­ning or using a fit­ted lid. Since some flam­ma­ble gases are pro­du­ced during the pyro­ly­sis of wood, a few small holes sho­uld be made in the can to allow them to escape and burn off. Howe­ver, these holes sho­uld be small eno­ugh to limit oxy­gen intake. The can is then pla­ced in a fire and hea­ted until gas emis­sion cea­ses. Once coo­led, the can will con­tain very ligh­twe­i­ght, porous, and pure char­coal (Photo 2, right). This char­coal is extre­mely brit­tle and must be finely gro­und to a pow­der, as the effec­ti­ve­ness of the final pro­duct depends lar­gely on the par­ticle size of this mate­rial.

All requ­i­red sub­stan­ces are shown in Photo 3.

Photo 3 – Requ­i­red sub­stan­ces; a – sul­fur, b – gro­und char­coal, c – sodium bicar­bo­nate

Accor­ding to an online recipe, the com­po­nents must be mixed in a wei­ght ratio of 7:4:2 [2]. I mea­su­red:

Unlike typi­cal pyro­tech­nic mixtu­res, this com­po­si­tion is an excep­tion because it does not con­tain strong oxi­di­zers and redu­cing agents. The­re­fore, the com­po­nents can be safely gro­und toge­ther in a mor­tar and pestle (Photo 4).

Photo 4 – Grin­ding the sub­stan­ces in a mor­tar

A fasci­na­ting para­dox of this mixture is that, when direc­tly expo­sed to an open flame, it beha­ves more like a fire sup­pres­sant rather than a fue­l—thanks to the sodium bicar­bo­nate con­tent, which rele­a­ses car­bon dio­xide (CO2) when hea­ted, cut­ting off the oxy­gen sup­ply and pre­ven­ting fur­ther com­bu­stion. This uni­que pro­perty makes the com­po­si­tion par­ti­cu­larly well-sui­ted for edu­ca­tio­nal demon­stra­tions.

The final mixture appe­ars as a dark gray pow­der with a sli­gh­tly hygro­sco­pic nature, mea­ning it sho­uld be kept away from moi­sture.

The last neces­sary mate­rial is sui­ta­ble paper. It sho­uld not be too thin and fra­gile, yet thick she­ets like stan­dard note­book or prin­ter paper are also unsu­i­ta­ble. Sin­gle lay­ers of sepa­ra­ted multi-ply paper towels can work, but a bet­ter cho­ice is mode­ra­tely thick tis­sue paper (Photo 5).

Photo 5 – The selec­ted type of paper

The paper sho­uld be cut into strips appro­xi­ma­tely 1.5 cm (0.6 in) wide and at least 10–15 cm (4–6 in) long. The dimen­sions may requ­ire sli­ght adju­st­ments based on expe­ri­men­ta­tion. Each strip is then fol­ded to cre­ate a shal­low tro­ugh (Photo 6).

Photo 6 – Pre­pa­red paper strip

Next, a small amo­unt of the pre­pa­red mixture is pla­ced in the fold of the paper, about 1–2 cm (0.4–0.8 in) from one end. Only a pinch is nee­de­d—ap­pro­xi­ma­tely 10–30 mg—as using a lar­ger amo­unt does not pro­long the bur­ning time but makes igni­tion more dif­fi­cult (Photo 7).

Photo 7 – The requ­i­red amo­unt of mixture for one fire­work

The paper strip is then fol­ded along the cre­ase, and rol­ling begins from the side con­ta­i­ning the mixture (Photo 8).

Photo 8 – Rol­ling the senkō hanabi

Care must be taken to ensure that the che­mi­cal mixture rema­ins con­cen­tra­ted in a sin­gle spo­t—c­lose to the end of the rol­led paper. The fini­shed fire­work sho­uld resem­ble the one in Photo 9.

Photo 9 – Com­ple­ted fire­work; the arrow indi­ca­tes the thic­ke­ned sec­tion con­ta­i­ning the mixture

As seen in the image, the fini­shed senkō hanabi fea­tu­res a small bulge con­ta­i­ning the pyro­tech­nic mixture, sup­por­ted by a tigh­tly rol­led paper han­dle. Tra­di­tio­nal Japa­nese cra­ft­smen often leave a deco­ra­tive, unrol­led sec­tion of paper at the end.

Pro­perly sto­red in a dry place, these fire­works can be kept for long periods. Since only a few grams of the mixture are nee­ded to pro­duce a large num­ber of senkō hanabi, this method is both effi­cient and cost-effec­tive.

The Effect – A Reward for the Effort

Altho­ugh this home­made fire­work is rela­ti­vely safe, it is impor­tant to remem­ber that it still gene­ra­tes high tem­pe­ra­tu­res when bur­ning. The­re­fore, it sho­uld only be used over heat-resi­stant sur­fa­ces and away from flam­ma­ble mate­rials. The com­bu­stion pro­cess also rele­a­ses small amo­unts of sul­fur oxi­des, so it sho­uld be con­duc­ted out­do­ors, under a fume hood, or in a well-ven­ti­la­ted area.

Nor­mally, senkō hanabi is held in the hand, with the che­mi­cal end poin­ting down­ward. Howe­ver, for the sake of this demon­stra­tion, I pla­ced it in a hol­der (Photo 10).

Photo 10 – Fire­work pla­ced in a hol­der

One chal­lenge with this fire­work is its igni­tion. A regu­lar match or ligh­ter will not suf­fi­ce­—an appro­priate mini-torch or high-tem­pe­ra­ture flame source is requ­i­red. To ignite senkō hanabi, the sec­tion con­ta­i­ning the mixture must be hea­ted for a short time without bur­ning thro­ugh the sup­por­ting paper roll (Photo 11).

Photo 11 – Igni­tion method

The bur­ning pro­cess con­si­sts of seve­ral distinct pha­ses.

Hea­ting can be stop­ped once a visi­ble mol­ten dro­plet of reac­tants forms at the tip of the paper roll, glo­wing with an orange hue (Photo 12). From this point onward, the reac­tion pro­ce­eds inde­pen­den­tly.

Photo 12 – For­ma­tion of the mol­ten dro­plet

Shor­tly after, faint his­sing sounds can be heard as small ton­gues of flame emerge from the mol­ten dro­plet (Photo 13).

Photo 13 – Fire ton­gues appe­a­ring from the dro­plet
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Ani­ma­tion: sup­ple­men­tary mate­rial

While the sight of a glo­wing dro­plet emit­ting flic­ke­ring fla­mes is mesme­ri­zing, an even more stun­ning effect fol­lows moments late­r—a cascade of orange sparks begins to radiate from the mol­ten dro­plet (Photo 14).

Photo 14 – A cascade of sparks; the arrow indi­ca­tes the mol­ten dro­plet
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Ani­ma­tion: sup­ple­men­tary mate­rial

After a few more seconds, the large sparks give way to a deli­cate, shim­me­ring sho­wer of tiny glo­wing specks (Photo 15).

Photo 15 – Deli­cate glo­wing sparks

This marks the final stage of the fire­work’s com­bu­stion. Shor­tly after­ward, the fire extin­gu­i­shes itself, lea­ving only smol­de­ring paper.

Using potas­sium bicar­bo­nate instead of sodium bicar­bo­nate results in sli­gh­tly dif­fe­rent spark pat­terns and a lon­ger burn time. Howe­ver, in this case, the mol­ten dro­plet stage with fla­mes does not occur.

During the bur­ning pro­cess, the glo­wing dro­plet slowly moves up the rol­led paper, gra­du­ally shrin­king. This requ­i­res care­ful han­dlin­g—any sud­den move­ment or vibra­tion could dislodge the dro­plet, pre­ma­tu­rely ending the display.

Expla­na­tion

Most conven­tio­nal fire­works rely on a mixture of fuel (such as sul­fur or car­bon) and an oxi­di­zer (such as chlo­rate or nitrate salts), often with addi­tio­nal che­mi­cal com­po­unds to pro­duce spe­ci­fic effects. These mixtu­res are highly flam­ma­ble and sen­si­tive to mecha­ni­cal sti­muli, mea­ning they can ignite or explode due to impact, fric­tion, or com­pres­sion. Various addi­ti­ves are used to reduce mecha­ni­cal sen­si­ti­vity. Howe­ver, they remain extre­mely dan­ge­rous due to their inhe­rent com­bu­sti­bi­lity and explo­si­ve­ness.

By con­trast, the fire­work descri­bed in this article con­ta­ins no strong oxi­di­zers. The pre­cise mecha­ni­sms of the che­mi­cal reac­tions occur­ring during com­bu­stion have not yet been fully stu­died. Howe­ver, ana­ly­sis of the mol­ten dro­plet has reve­a­led the pre­sence of sodium (or potas­sium) sul­fi­des reac­ting with car­bon in the pre­sence of atmo­sphe­ric oxy­gen [3] [4]. In an oxy­gen-free envi­ron­ment, the fire­work extin­gu­i­shes imme­dia­tely.

Inte­re­stin­gly, senkō hanabi is asso­cia­ted with a pro­fo­und con­cept in Japa­nese cul­ture known as mono no aware (jap. 物の哀れ)—a deep, empa­the­tic appre­cia­tion of the fle­e­ting beauty of the world and human life [5]. This emo­tion, while posi­tive, often car­ries a touch of sad­ness and nostal­gia, beau­ti­fully mir­ro­ring the tran­sient nature of senkō hanabi, which burns bri­gh­tly but fades quic­kly, suscep­ti­ble to the sli­gh­test gust of wind or an unste­ady hand.

Fur­ther rea­dings:

All pho­to­gra­phs and illu­stra­tions were cre­a­ted by the author.

This text has under­gone sli­ght edi­to­rial modi­fi­ca­tions com­pa­red to the ver­sion publi­shed in the jour­nal to bet­ter suit online pre­sen­ta­tion.

Adden­dum

As a sup­ple­ment to the article, I am pre­sen­ting my video on this topic below:

Sub­ti­tles are ava­i­la­ble in both Polish and English.

Marek Ples

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