Tuesday, 29 December 2015

What is Pita or Pitta Work



Pitta work is an ancient work of embroidery in which first the filling is done with the help of metal wires and then it it beaten so that the texture becomes uniform.

Watch this video to understand Pitta work.



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Saturday, 31 October 2015

What is TR Fabric



TR fabric refers to Terry Rayon, a fabric made with a polyester/viscose blend yarn. Generally it is used for suitings.

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Saturday, 15 August 2015

Notes on Procion Printing- Part 1: Meaning, Types and Printing Paste Preparation



Procion Reactive Dyes in Textile Printing

Part 1: Meaning, Types and Printing Paste Preparation

Reactive dyes occupy a very important place in textile printing, especially for cellulosic fibres such as cotton and viscose. Among them, Procion reactive dyes are well known because they can produce bright shades with good washing and light fastness.

For a textile student, Procion dyes are also interesting because they connect three things together:

dye chemistry, fabric behaviour, and printing technique.

What Are Procion Reactive Dyes?

Procion dyes are a class of reactive dyes. They are called reactive because they do not merely deposit colour on the fibre surface. Instead, they react with the cellulose fibre and form a chemical bond.

This is the key idea.

In many dyes, the colour may remain attached to the fibre through physical attraction or weak forces. But in reactive dyes, the dye molecule chemically combines with the fibre. Because of this, the print becomes more durable.

In simple words:
Procion dyes become chemically linked with cotton or viscose fibres.

This chemical bonding is the reason why Procion dyes generally show good fastness properties.




Why Are Procion Dyes Suitable for Cotton and Viscose?

Cotton and viscose are both cellulosic fibres. Their structure contains hydroxyl groups, which can react with reactive dyes under suitable alkaline conditions.

That is why Procion dyes are mainly used for printing fabrics such as:

  • Cotton
  • Viscose rayon
  • Other cellulosic fabrics

When the right amount of alkali, moisture, temperature and time are provided, the dye reacts with the fibre and becomes fixed.

Important Advantages of Procion Dyes

1. Good Washing Fastness

Since the dye forms a chemical bond with the fibre, the printed colour can withstand washing better than many non-reactive dye systems.

2. Good Light Fastness

Procion dyes also give reasonably good resistance to light, depending on the shade and dye selection.

3. Bright Shades

Reactive dyes are known for producing clear and bright shades. This makes them suitable for printed dress materials, sarees, furnishings and many other cotton-based products.

4. Wide Shade Range

Different Procion dyes can be combined to obtain a wide variety of colours and tones.

Classification of Procion Dyes

Procion dyes can be broadly divided into three classes:

  1. Procion-H
  2. Procion-Supra
  3. Procion-M

The main difference between them is their reactivity.

Reactivity means how quickly and easily the dye reacts with the fibre.

1. Procion-H Dyes

Procion-H dyes are the least reactive among the three groups.

Because they are less reactive, the printing paste prepared with them remains stable for a longer time. This is useful in textile printing because printing paste may have to remain usable during production.

However, because Procion-H dyes are less reactive, they need proper fixation conditions. They are mainly suitable where fixation is done by the steaming process.

Practical Understanding

Procion-H dyes are slow-reacting but stable.

So, they are useful when:

  • The printing paste needs good stability
  • Steaming facility is available
  • Longer fixation conditions can be provided

2. Procion-Supra Dyes

Procion-Supra dyes are more reactive than Procion-H dyes.

They give good washing fastness and are useful where somewhat higher reactivity is needed.

Procion-Supra dyes can also be used along with Procion-H dyes in many cases.

Practical Understanding

Procion-Supra dyes are a middle category.

They are more reactive than Procion-H, but they still offer reasonable process stability.

3. Procion-M Dyes

Procion-M dyes are highly reactive.

Because of their high reactivity, they are widely used in textile printing. They can be used not only in steaming processes but also in certain methods where steaming is not used.

They are also suitable for resist-style printing.

However, there is one important caution.

Because Procion-M dyes are highly reactive, their printing paste does not remain stable for a long time. Therefore, Procion-M paste should be prepared only in the quantity required for immediate use.

Practical Understanding

Procion-M dyes are fast-reacting dyes.

They are useful when:

  • Quick fixation is required
  • High reactivity is desired
  • The paste is going to be used soon after preparation

Difference Between Procion-H, Procion-Supra and Procion-M

Dye Type Reactivity Paste Stability Main Use
Procion-H Low High Mainly steaming process
Procion-Supra Medium Good Printing where better reactivity and fastness are required
Procion-M High Low Quick fixation, resist style, wider process use
A simple way to remember:

Procion-H is stable but slow.
Procion-Supra is intermediate.
Procion-M is highly reactive but less stable in paste.

Can Different Procion Dyes Be Mixed?

Most Procion dyes are compatible with one another and can be used to produce many shades.

However, one practical point is important:

Procion-H and Procion-M should not normally be used together.

This is because their reactivity levels are quite different. One reacts slowly, while the other reacts quickly. This difference may create problems in shade development and fixation.

On the other hand:

Procion-Supra and Procion-H can be used together.

Thickener Used for Procion Dye Printing

In textile printing, the dye cannot be applied like a simple liquid. It has to be converted into a paste so that it remains on the printed area and does not spread uncontrollably.

For this purpose, a thickener is used.

For Procion reactive dyes, the commonly used thickener is:

Sodium Alginate

Sodium alginate is preferred because it is suitable for reactive dye printing. It helps create a smooth printing paste and does not interfere seriously with the dye-fibre reaction.

A good thickener should:

  • Give proper viscosity
  • Allow sharp print outlines
  • Hold the dye on the fabric surface
  • Wash out after fixation
  • Not react negatively with the dye

This is why sodium alginate is generally used for Procion dyes.

Basic Printing Paste for Procion Dyes

A printing paste for Procion dyes generally contains:

  • Procion dye
  • Urea
  • Water
  • Sodium alginate thickener
  • Resist salt
  • Alkali

Each ingredient has a specific role.

Role of Each Ingredient

1. Procion Dye

This is the colouring matter. It reacts with the cellulosic fibre and gives the desired shade.

2. Urea

Urea helps in dissolving the dye and retaining moisture during fixation. Moisture is important because the dye-fibre reaction needs suitable conditions.

For cotton fabrics, urea is generally used in the range of:

50 to 100 parts

For viscose fabrics, it is generally used in the range of:

100 to 200 parts

The exact amount depends on the process and steaming conditions.

3. Water

Water dissolves the dye, urea and alkali and helps in preparing a workable paste.

4. Sodium Alginate

Sodium alginate acts as the thickener. It gives body to the printing paste and helps produce clean printed designs.

5. Resist Salt

Resist salt helps prevent unwanted effects during printing, especially in roller printing and discharge-related situations. It also helps control unwanted reduction or discharge effects.

6. Alkali

Alkali is essential for the reaction between Procion dye and cellulose fibre.

Without alkali, the dye may remain only deposited on the fabric and may not properly react with the fibre.

Common alkalis include:

  • Sodium bicarbonate
  • Sodium carbonate

The choice of alkali depends on the dye type and process.

General Recipe for Procion Dye Printing

A stock thickening paste is first prepared, generally using sodium alginate. The required dye is then added and mixed thoroughly. A high-speed stirrer is used so that the ingredients are properly dispersed.

Ingredient Stock Paste Reduction Paste
Procion dye 50 parts
Urea 50–200 parts 50–200 parts
Water 490–240 parts 540–290 parts
Sodium alginate thickener 350 parts 350 parts
Resist salt 10 parts 10 parts
Alkali: sodium bicarbonate or sodium carbonate 25 parts or 15 parts 15 parts
Total 1000 parts 1000 parts

Method of Preparing the Printing Paste

One common method is as follows:

  1. Dissolve urea in warm water.
  2. Pour this solution onto the dye powder.
  3. Mix properly so that the dye dissolves.
  4. Add this dye solution to the sodium alginate thickening paste.
  5. Mix thoroughly with a high-speed stirrer.
  6. Add the required alkali after dissolving it in water.
  7. Use the paste for printing.

The paste should be smooth, uniform and free from lumps.

Important Practical Point: Paste Stability

Paste stability is very important in printing.

The paste of Procion-H and Procion-Supra dyes can remain usable for a longer time, up to about 28 days.

But Procion-M paste is not stable for long because the dye is highly reactive.

Therefore:
Prepare Procion-M paste only as much as required for immediate printing.

This is a very practical point in production. If highly reactive dye paste is stored for too long, the dye may lose its effectiveness, and the print quality may suffer.

Practical Summary

Procion dyes are reactive dyes used mainly for printing cotton and viscose fabrics. They form a chemical bond with cellulose fibre and give good washing and light fastness.

The three main types are:

  • Procion-H: least reactive, more stable, suitable for steaming
  • Procion-Supra: moderately reactive, good fastness
  • Procion-M: highly reactive, less stable, useful for quick fixation

Sodium alginate is commonly used as the thickener. Urea, alkali, resist salt and water are important ingredients in the printing paste.

The most important technical point is that reactivity and paste stability are connected. A highly reactive dye like Procion-M works quickly but has lower paste stability. A less reactive dye like Procion-H is slower but more stable.

Knowledge Nugget

In reactive dye printing, alkali is not just an additive. It is the chemical trigger that allows the dye to react with cellulose.

Without alkali, the dye may colour the fabric, but it will not be properly fixed.

Common Mistake

A common mistake is to treat all Procion dyes as if they behave the same way.

They do not.

Procion-H, Procion-Supra and Procion-M differ in reactivity, paste stability and suitable fixation method. Understanding this difference is essential for successful printing.

Reflection Question

Why should Procion-M printing paste be prepared only when required, while Procion-H paste can remain usable for a longer time?

The answer lies in one word:

Reactivity.

Disclaimer and Safety Note: This article is intended for educational and informational purposes only. The recipes, chemical names, quantities, temperatures and process conditions mentioned here are provided to explain the principles of Procion reactive dye printing and should not be treated as direct instructions for unsupervised practical use. Textile printing involves the use of dyes, alkalis, salts, thickeners and other auxiliary chemicals, which should be handled only with proper knowledge, suitable safety precautions and appropriate supervision. Before using any chemical, always refer to the latest supplier technical data sheet, safety data sheet and applicable local regulations. Use appropriate personal protective equipment, ensure good ventilation, safe storage, careful measurement, spill control and responsible disposal of chemical residues and wastewater. The author and publisher do not accept responsibility for any loss, damage, injury or environmental harm arising from the direct or indirect use of the information given in this article, and readers are advised to consult trained textile processing professionals before attempting any laboratory or industrial application.

Continued in Part-2

Wednesday, 12 August 2015

Is Art Silk a type of Silk ?



This term made popular by catalog-centric websites is a misnomer. Art Silk in the technical circles, is a synonym for rayon.

However, now art silk is a euphemism for the articles made in polyester, nylon or acrylic.It is also known as polysilk.

One can find out the difference between the real silk, rayon and the "art silk" ( nylon, polyester, and acrylic) by burning a small yarn from the fabric and identifying the bead and smell.

See Also

Fiber Identification of Man-made fibres

Fiber Identification of Natural Fibers



Tuesday, 11 August 2015

Weaving Technique of Tangail Sarees



The following board describes the amazing technique of producing Tangail Sarees.


Source

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What is the difference between Faux Georgette and Georgette



Faux georgette is a nice way of saying that a fabric is made of polyester or nylon Georgette.

This term is used very frequently in e-commerce, where customers are normally get offended by the term "polyester" and marketers don't want to offend them.

"Faux"- as described by Google ( Search for the word "faux") means artificial or made in imitation.

Taking the above definition into account the word "faux" is more misleading as the Georgette is genuine.

In this sense calling a fabric faux Georgette, or faux Crepe or faux Chiffon is a faux pas in technical terms.

Conclusion: If you find "faux" written before a fabric, assume that it is synthetic ( polyester or nylon).

See Also:

Difference Among Chiffon, Crepe, Georgette

What is 8 Kg Georgette



Tuesday, 16 June 2015

Simple Kameez Vs. A-Line



Draft of an A-line is the same as that of Simple Kameez. A line can be stitched with or without darts as there is no shaping at the waist.

Generally round hem has a two inch ease than than the round hip measurement for a garment without flare. 

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Uppada Jamdani Sari



In Uppada style of weaving, the design is two sided and when the surface of the cloth is touched, the design cannot be felt separately from the cloth.

The design is woven into the goods by using ada, jala and a number of Tilis.

There are no loose threads on either side and no dobbys or jacquards are used. 

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Thursday, 21 May 2015

IMPROVING FABRIC AND GARMENT DURABILITY



Note: This article is contributed by Jahangeer Mengal, a student of B.E. Textile Engineering. Jahangir also writes a blog at textilewithme.blogspot.com

Please see the Facebook page related to this article here.

For consumers, durability or serviceability is one of the primary prerequisites for dressing, alongside ease-of-consideration, elegance (style) and comfort. Durability is a measure of the reasonable wear life of an item and is a mind boggling capacity of various variables that lessen the serviceability and adequacy of the item, including abrasion (flat and flex), tearing, rupturing, bowing, extending, changes in appearance, laundering and cleaning. For example, Stoll (1949) expressed that the wear of army uniforms included 30% plane (flat) abrasion, 20% edge and projection abrasion, 20% flexing and collapsing, 20% tear and 10% other mechanical activities. Due to this, wear variables need to be assessed inside of the connection of the necessities of the particular end use for the fabric and garment. As for dress, aspects identifying with the general appearance of the fabric and garment for the most part overwhelm. 

The durability of a garment relies on the properties of the fabric as well as the conditions it experiences amid wear (even the attack of a garment on account of apparel), and laundering. For apparel fabrics and garments, imperviousness to abrasion has a tendency to be more imperative than strength as a marker of durability. Abrasion amid utilization not just adds to the disappointment of the fabric and garment, yet all the more generally adds to changes in fabric appearance, for example, fuzzing, pilling, icing (color change) and "shine" (making it look old or ugly). Often, the purchaser will consider a fabric to have come to the end of its helpful life on the basis of appearance instead of mechanical disappointment, for example, tearing or rupturing. Then again, changes in fiber and fabric structure can gainfully affect certain segments of durability (e.g. flat abrasion resistance) while unfavorably affecting others (e.g. tear strength), requiring trade off and optimization. Fabric and garment durability and wear performance are dictated by the fiber sort and properties, yarn fabric and garment construction, and any chemical and/or mechanical treatment connected to the yarn, fabric or garment. By and by, mechanical damage or breakdown is by and large more imperative than chemical damage (counting damage because of laundering and light) in deciding wear life. On account of this, wear conditions – including the size, shape, occupation and exercises of the wearer, as well as laundering and drying – have a noteworthy impact on the wear life of a garment.

 It is frequently hard to recognize such components and fabric inadequacies when endeavoring to distinguish the reasons for garment disappointment amid utilization. Frequently, variations among wearers and wear conditions are more imperative than variations in the fabrics or garments themselves in deciding wear performance and durability. Such wear for the most part happens at limited locales of the garment, for example, at the seats of jeans, elbows of coats and pullovers, and collars and sleeves of shirts, dependent upon the rough powers (greatness, recurrence and length of time) forced on the garment by the wearer, and the wear conditions, including those overall amid laundering. The moisture and sweat substance of the garment can likewise affect the degree of wear and abrasion.

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Friday, 1 May 2015

A few Notes about Pashmina



1. Pashmina is also knows as Cashmere.

2. China is the major producer of Pashmina with more than 70% of the world produce. India produces less than 1%

3. Price of Raw Pashmina is greater than 10-15 times than that of a find Merino cross bred wool. This hike goes more than 30-40 times for scoured Pashmina than that of Merino wool.

4. There are 25% outer hair that need to be removed before getting Pashmina.

5. Pashmina is spun by hand. It is also being now spun on machine by mixing 50/50 with Nylon which is than later dissolved using hydrogen chloride. The quality of machine spun Pashmina is slightly less than that of Handspun yarn. It is also spun using PVA- which is then dissolved using hot water.

6. Weight of Pashmina shawl is about 200 grams with EPI and PPI as 50-60 and 46-56 respecively.

7. Pashmina is dyed using acid or metal complex dyes.




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Sunday, 8 March 2015

Measurement ( Specification) Sheet of a Typical Churidar Kameez ( SKD)





To know how better you can use this information, please go to the facebook page here. Read more to view the full excel sheet.

Sunday, 1 March 2015

Mens Short Kurta Specification Sheet





Thursday, 12 February 2015

What is Can-can Fabric



These fabrics are stiff and extensively used for giving  volume to base of  lehengas and suits. These normally are manufactured from nylon and polyester.





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Tuesday, 10 February 2015

Vocabulary of Indian Traditional Design



Doriya

The simplest pattern is the stripe; when the stripes are longitudinal, the fabric is a Doria

Salaidar

when the stripes run along the  patterns. breadth, the fabric is Salaidar



Sunday, 11 January 2015

Beautiful Blouses, Laces and Borders



The following video depicts one of the most beautiful blouses popular today.


This video depicts Laces and Borders. I wish I knew this language

Saturday, 3 January 2015

What is Salma, Sitara, Mukaish, Badla, Gijai, Dabka and More



All these are the elements which are used in Zardozi Embroidery.

The basic element is the plain metal wire.

The plain wire is called badla, prepared from a flattened wire which is laid on surface of the fabric, and when wound round a thread, it is called kasab





Smaller spangles with hole in centre are called sitara, and tiny dots made of badla are called mukaish



Sequins or Sitara
Tilla is the flat wire which cannot be threaded and is stitched directly on to the material. 

Salma is very fine, soft unflattened wire wound spirally without a thread in the centre. 





Dabka is a light weight coiled wire which is soft, flexible, and light both in weight and colour. 





A heavier form of dabka known as kora





Nakshi is a flat metal wire coiled in angular way similar to dabka except that it is thicker. 





A round zari with a hole in the centre is called is called chakri


Gijai is circular thin stiff wire. 





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What is Zardozi - how it is different from Kamdani



Embroidery that uses pure gold and silver wire and zari is known as Zardozi. This work is also known as karchobi. Zardozi involves the use of gold threads, spangles, beads, seed pearls, wire, gota and kinari. The original embroidery of Zardozi was done with pure silver wires coated with real gold, and was known as Kalabatun.

Techniques of Zardozi Work

 there are two broad techniques of Zardozi work. These are karchobi and kamdani. Karchobi is done for heavy fabrics and furnishings eg. tent, hangings, cover, spreads, trappings, umbrella, parasols etc. The fabric is generally velvet or heavy satin with lining support underneath. The Kamdani technique on the other hand is more magnificently practiced on finer fabrics such as muslin, silk etc. which were more suitable for costumes and related accessories such as caps, veils, scarves, caps, bonnets, shoes, belts, purses, fans, jewellery etc. 



Difference of Zardozi than other stitches

Zardozi differs from other traditions of embroidery like Kantha, Phulkari, Kasuti etc. where the movement of threaded needle is guided by variety of stitches. In other embroideries silk, cotton or woollen thread are used, which are binding medium, whereas in zardozi, the body of the design is completed by laying varieties of metallic threads in several shapes and forms along with beads, stones , beetle wings, etc. The whole process is more indicative of appliqué, then embroidery. Thus it may be called metal appliqué. One can understand this from the fact that zardoz always get  payments for amount of wire stitched on the cloth by weight. They never use the word kadai, the hindi word for embroidery, instead refer to it as salme sitare ka kaam ka takna which means laying salma, sitara on the body of the fabric.


Zardozi and Aari are two classifications with a slight difference in needle holding. Zardozi is embroidered with simple hand needle thus involving more effort, while for the aari the needle is fixed in a stick, which makes the hole in the fabric and thread, can be pulled both ways. 

Zaminduzi and Gulduzi

When the embroidery completely covered the fabric the work is known as Zaminduzi or if single motifs were scattered across it was known is gulduzi. 

The stitches
The stitches used in Zardozi are laid-stitch, couching, stem stitch, running stitch and satin stitch. Raised effect is given in Zardozi by padding in soft thick cotton thread and cardboard or bukram.

Average income of Artisans
Zardozi- 10000 Rs. per month- 10/12 Hours per day- Monthly wage


Process of Zardozi Embroidery
Following are the steps in doing the embroidery:

Firstly the design is traced on to the tracing paper and then the design is perforated with the needle all over on the design. The fabric on which the embroidery is to be done is placed on a flat table and the tracing sheet is placed in position. A solution of kerosene and Robin Blue/zinc oxide is made. A wad of cloth is dipped into this solution and wiped against the tracing so that the ink seeps through the

holes to trace the design onto the fabric.




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