Second Hand Direct to Garment Printer
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Textile Printing
TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik. -
Only DTG Digital Offers the Largest Range of Printing Areas for Finished Garments Or Fashion Panels the RIGHT MACHINE for YOUR APPLICATION
INKJET TEXTILE PRINTERS www.dtgdigital.com Only DTG Digital offers the largest range of printing areas for finished garments or fashion panels THE RIGHT MACHINE FOR YOUR APPLICATION BED SIZE - ACCOMMODATES MULTIPLE PLATEN CONFIGURATIONS MAKING CUSTOMERS successful for over a decade Designed to suit most common cut material sizes in fashion products. DTG Digital has made it its mission to help companies with the Heavy duty production to finished most diverse range of textile printing equipment become more garments for greater production profitable. through-put. How do we accomplish this? With innovative inkjet engineering solutions systematically designed to meet the needs of our customers. There are more than 8,000 machines installed around the world, which is testimony to our expertise and our customer’s confidence in us. As the largest manufacturer of textile printing equipment in our category we also have a global network of M2 subsidiaries, distribution and service support centres at our 604 x 420mm disposal. This guarantees local availability, whether it’s pre-sales application tests, on-site installation or service requests. This M4 network also allows us to implement large international customer 860 x 604mm projects quickly and economically. [extendable to 2m] M6 MSERIES INDUSTRIAL 1100 x 980mm The DTG M-Series range of Direct to Garment Inkjet printers delivers the industries most advanced print platform engineered specifically for textile applications. The service is unbelievable - Greater resolutions and ink drop technologies are delivered I have owned a few machines now through an entirely new firmware – print a completely new range and never experienced such good of products with scalable platens from 2-12 shirts, print all over service, and not only good service jeans, hoodies or clothing panels from one printer series! It’s but a genuine desire to help with problems and grow our business entirely flexible, engineered for production, and will grow with you. -
July 1909 : Bulletin of the United States Bureau of Labor, No. 83
DEPARTMENT OP COMMERCE AND LABOR BULLETIN OF THE BUREAU OF LABOR NO. 8 3 -JULY, 1909 ISSUED EVERY OTHER MONTH WASHINGTON GOVERNMENT PRINTING * OFFICE 1909 Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis CONTENTS. Page. Women’s trade union movement in Great Britain, by Katherine Graves Busbey, A. B.: History of the movement........ ........................................ .............................. 1-5 Obstacles to organization of women................................................................. 5-10 Occupations temporary..................... ...................................................... 6 Low wages and low standard of living.................................................... 6,7 Class distinctions........................................................................................ 8,9 Liability to victimization and apathy...................................................... 9,10 Attitude of male trade unionists to organization of wom en ........................ 11-18 Growth of organization among women workers............................................ 18-22 Results of organization of women workers......................................................22-32 Aid secured through legal proceedings....................................................22,23 Recent legislation.........................................................................................23-25 Crusade against living-in and truck -
Education Teacher’S Kit
Industrial Heritage - The Textile Industry Education Teacher’s Kit Background There is archaeological evidence of textile production in Britain from the late-prehistoric period onwards. For many thousands of years wool was the staple textile product of Britain. The dominance of wool in the British textile industry changed rapidly during the eighteenth century with the development of mechanised silk production and then mechanised cotton production. By the mid-nineteenth century all four major branches of the textile industry (cotton, wool, flax, hemp and jute and silk) had been mechanised and the British landscape was dominated by over 10,000 mill buildings with their distinctive chimneys. Overseas competition led to a decline in the textile industry in the mid-twentieth century. Today woollen production is once again the dominant part of the sector together with artificial and man-made fibres, although output is much reduced from historic levels. Innovation Thomas Lombe’s silk mill, built in 1721, is regarded as the first factory-based textile mill in Britain. However, it was not until the handloom was developed following the introduction of John Kay’s flying shuttle in 1733 that other branches of the textile industry (notably cotton and wool) became increasingly mechanised. In the second half of the eighteenth century, a succession of major innovations including James Hargreaves’s spinning jenny (1764), Richard Arkwright’s water frame (1769), his carding engine (1775), and Samuel Crompton’s mule (1779), revolutionised the preparation and spinning of cotton and wool and led to the establishment of textile factories where several machines were housed under one roof. -
Intertextile Home Textiles Autumn Edition 2020 Shanghái 24-26 De Agosto De 2020
INFORME IF DE FERIA 2020 Intertextile Home Textiles Autumn Edition 2020 Shanghái 24-26 de agosto de 2020 Oficina Económica y Comercial de la Embajada de España en Shanghái INFORME IF DE FERIA 31 de agosto de 2020 Shanghái Este estudio ha sido realizado por Vicente López-Trompo, Daniel Bajo la supervisión de la Oficina Económica y Comercial de la Embajada de España en Shanghái http://china.oficinascomerciales.es Editado por ICEX España Exportación e Inversiones, E.P.E., M.P. NIPO: 114-20-024-0 IF INTERTEXTILE HOME TEXTILES - AUTUMN EDITION 2020 Índice 1. Perfil de la feria 4 2. Ficha técnica 5 2.1. Descripción y evolución de la feria 6 2.1.1. Expositores 6 2.1.2. Productos presentados 8 3. Tendencias y novedades presentadas 9 3.1. Participación española 10 4. Recomendaciones 11 5. Anexos 12 5.1. Expositores de Intertextile 12 5.1.1. Empresas internacionales 12 5.1.2. China, Hong Kong y Taiwán 13 3 Oficina Económica y Comercial de la Embajada de España en Shanghái IF INTERTEXTILE HOME TEXTILES - AUTUMN EDITION 2020 1. Perfil de la feria Intertextile Shanghai Home Textiles es una feria dedicada a la exhibición de telas y accesorios dentro del sector textil, especializada en materiales para el uso en hogar (cortinas, tapizados, ropa de cama, etc.). Las ferias de INTERTEXTILE comenzaron en 1995 celebrando ediciones de primavera y de otoño desde entonces. CARTEL DE LA FERIA INTERTEXTILE SHANGHAI HOME TEXTILES 2020 Fuente: Intertextile 4 Oficina Económica y Comercial de la Embajada de España en Shanghái IF INTERTEXTILE HOME TEXTILES - AUTUMN EDITION 2020 2. -
Toile De Jouy Museum
Toile de Jouy Museum Press Release The Museum’s Collections The Museographic Itinerary A Specialised Archive Collection A Short History Toile de Jouy in keeping with the style of today “Toile de Jouy”, a term with a double meaning Printing Techniques Wood block Copper plate Copper roller Practical information Château de l’Eglantine 54, rue Charles de Gaulle - 78350 Jouy-en-Josas - France Téléphone: + 33 1 39 56 48 64 • Fax: + 33 1 39 56 17 98 The Museum’s Collections The Toile de Jouy Museum, created in 1977, and dedicated to the activity of the Jouy factory and textile printing, was trasferred to a XIXth century château in 1991, to which a contemporary building was added. More than 30 000 original toile de Jouy designs exist. They are of two kinds: polychrome floral designs (les Indiennes) and monochrome scenes with figures. A fair place should be restored to the floral designs. To the collective memory, “toile de Jouy” evokes the monochrome scenes with figures. These toiles were mainly used for furnishing and decor ation, and therefore preserved in attics. Forgotten for many years, then rediscovered, they reappeared in their original colours, as if they had just been printed. The polychrome designs, mostly of floral inspiration, were, on the contrary, used predominantly for clothing (as well as fur nishing). Caracos, petticoats, scar ves, waistcoats, ne cker chiefs o ften e nde d up as r ags. Acc or ding to known de sign ar chives and prints, 30 000 motifs were created for block printing (wood block) as compared with 650 for copper. -
Digital Textile Printing Opportunities for Sign Companies
Digital Textile Printing Opportunities for Sign Companies This survey remains the property of the International Sign Association. None of the information contained within can be republished without permission from ISA. PREPARED BY: InfoTrends ISA Whitepaper Digital Textile Printing Opportunities for Sign Companies TABLE OF CONTENTS Introduction ......................................................................................................................................2 Key Highlights ..................................................................................................................................2 Recommendations ...........................................................................................................................2 Soft Signage Applications ...............................................................................................................3 The 2014 Textile Industry ................................................................................................................4 Market Growth in Wide Format Digital Printing ...............................................................................5 Technological Shifts ....................................................................................................................5 Application Trends .......................................................................................................................7 Vendors of Graphic Textile and Decorative Solutions .....................................................................7 -
Printing Techniques
PRINTING TECHNIQUES A COMPARISON OF COTTON PRINTING TECHNIQUES Modern textile printing incorporates a wide variety of colorants and technologies to produce a diverse array of printed textile products at various stages in the product development process. Today, rotary screen printing accounts for the majority of cotton printed clothing; however, newer printing technologies such as digital printing and cool transfer printing are attracting attention because of their reduced environmental footprint, and seemingly limitless color and design capabilities. COOL TRANSFER PRINTING DIGITAL PRINTING ROTARY SCREEN PRINTING A process that transfers a print design from paper A process that applies small drops of color through A continuous method of printing in which a to fabric. A special coated paper is printed with the print heads onto a fabric. There is virtually no limit perforated cylindrical screen is used to apply color. desired pattern which is then transferred to the to the number of colors or size of the request. Color is forced from the interior of the screen onto fabric under ambient conditions. the fabric. Cool Transfer Print Digital Print Rotary Screen Print FABRICAST™ SK-1871-14CT FABRICAST™ DK-2810-2A FABRICAST™ SK-1923-4P (Puff) COMPARING PRINTING TYPES = Rotary = Cool Transfer = Digital SPEED PHOTO REALISTIC PRINT PATTERN ESTIMATED WATER, ENERGY, QUALITY FLEXIBILITY COST CHEMICAL INPUTS FAST HIGH HIGH HIGH MOST SLOW LOW LOW LOW LEAST PRINTING TECHNIQUES COOL TRANSFER PRINTING Market interest in transfer printing on cotton fabrics has been strong for many years; however, standard heat transfer printing was achievable only for polyester and nylon fabrics, and the transfer prints available for cotton offered poor hand and were limited in terms of inks available. -
I – Traditional Textiles of India – Sfda 1301
UNIT – I – TRADITIONAL TEXTILES OF INDIA – SFDA 1301 1 Introduction : The term 'Textile' is a Latin word originating from the word 'texere' which means 'to weave' Textile refers to a flexible material comprising of a network of natural or artificial fibers, known as yarn. Textiles are formed by weaving, knitting, crocheting, knotting and pressing fibers together. Textile Museum is that specialized category of museum which primarily preserves different types of textile and textile products. Indian textile enjoys a rich heritage and the origin of textiles in India traces back to the Indus valley Civilization where people used homespun cotton for weaving their clothes. Rigveda, the earliest of the Veda contains the literary information about textiles and it refers to weaving. Ramayana and Mahabharata, the eminent Indian epics depict the existence of wide variety of fabrics in ancient India. These epics refer both to rich and stylized garment worn by the aristocrats and ordinary simple clothes worn by the common people. The contemporary Indian textile not only reflects the splendid past but also cater to the requirements of the modern times. The rich tradition of textile in India has been favored by a number of factors. The favorable factors leading to the extensive growth of textile tradition in India follows. Easy availability of abundant raw materials like cotton, wool, silk, jute and many more Widely prevalent social customs Variety of distinct local culture Constructive geographic and climatic conditions Each and every region of India contributes in creating a myriad of textile tradition. The hilly region of the country produces a rich variety of woolen textiles. -
Textile Printing
Textile Printing Textile printing is used to signify the production, by various means of colored patterns on designs upon all sorts of textile fiber. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. Steps of Printing The basic steps in the printing process are as follows: 1. Preparation of the fabric 2. Preparation of the print paste. 3. Printing the fabric. 4. Drying the printed fabric. 5. Fixation of the printed dye or pigment. 6. Afterwashing. Print paste and its ingredients Print paste is a viscous solution of printing ingredients referred below that is used for textile printing. The main three printing ingredients are: 1. Dyestuff or pigments 2. Thickeners: Thickener can be defined as a substance used to increase the viscosity of a print paste or other fluid, in order to control its flow properties. 3. Chemicals and waters: The main types of chemicals used for textile printing are wetting agents, solvents, solution acids, dispersing agents, hygroscopic agents, oxidizing & reducing agents, defoamers, acids, alkalis, catalyst & carriers, swelling agents etc. Plastisol vs. Water-based Ink for textile printing There are two main types of ink that are used for textile printing. Water-based ink utilizes either dyes or pigments in a suspension with water as the solvent. The evaporation of the water is necessary to set or cure the ink. Plastisol ink is a PVC based system that essentially contains no solvent at all. Usage Recommendations Plastisol Water-base T-Shirts/light colors Excellent Excellent T-Shirts/dark colored Good Poor Nylon Jackets Good Poor Towels Poor Excellent November 26, 2007 Page 1 of 7 Textile Printing Yard goods Poor Excellent Sporting Goods Excellent Poor Styles of Printing Styles of printing refer to the manner in which a printed effect is produced. -
Screen Printing on Tensioned Warps in Handwoven Fabrics
AN ABSTRACT OF THE THESIS OF MARGARET ANN MEZERA for the MASTER OF SCIENCE (Name) (Degree) CLOTHING, TEXTILES in AND RELATED ARTS presented on /979 (Major) (Date) Title: SCREEN PRINTING ON TENSIONED WARPS IN HANDWOVEN FABRICS Redacted for privacy Abstract approved: Dr. Ruth E. Gates The creating of pattern in woven fabrics by placing design on the warps and/or wefts before they are woven is ancient. Primary examples of these textiles are ikat, which is a resist dyeing technique, and chine, in which design is painted or in some way printed on the tensioned warp yarns. This study investigated the use of the screen process method to print the design on tensioned warps in handwoven fabrics.Three experimental warps (cotton, linen, and rayon), were printed and woven. The interaction of the fiber content of the warp, set, weave, and the color of warp, weft, and print were observed. Assessments were made to determine combinations which would achieve a clear and forceful design statement. Results of experiments suggested the importance of selecting yarn for warp which is inelastic, relatively fine and which will allow thorough dye penetration.Best dye penetration was achieved in rayon, and best results were achieved when the warp was threaded and woven in a pattern which exposed a high proportion of the warp yarn.In addition, the printed design was strongest after weaving when both warp and weft threads were a neutral color of light value. Using the screen process method to print design on tensioned warps gave advantages of promoting thorough dye penetration, allowed speed and ease of design replication, and gave the possibility of achieving good precision in edges of design motif. -
The Textile Mills of Lancashire the Legacy
ISBN 978-1 -907686-24-5 Edi ted By: Rachel Newman Design, Layout, and Formatting: Frtml Cover: Adam Parsons (Top) Tile wcnving shed of Queen Street Mill 0 11 tile day of Published by: its clo~urc, 22 September 2016 Oxford Ar.:haeology North, (© Anthony Pilli11g) Mill 3, Moor Lane Mills, MoorLnJ1e, (Bottom) Tile iconic, Grade Lancaster, /-listed, Queen Street Mill, LAllQD Jlnrlc S.lfke, lire last sun,ini11g example ~fan in fad steam Printed by: powered weaving mill with its Bell & Bain Ltd original loom s in the world 303, Burn field Road, (© Historic England) Thornlieba n k, Glasgow Back Cover: G46 7UQ Tlrt' Beer 1-ln/1 at Hoi till'S Mill, Cfitlwroe ~ Oxford Archaeolog)' Ltd The Textile Mills of Lancashire The Legacy Andy Phelps Richard Gregory Ian Miller Chris Wild Acknowledgements This booklet arises from the historical research and detailed surveys of individual mill complexes carried out by OA North during the Lancashire Textile Mills Survey in 2008-15, a strategic project commissioned and funded by English Heritage (now Historic England). The survey elicited the support of many people, especial thanks being expressed to members of the Project Steering Group, particularly Ian Heywood, for representing the Lancashire Conservation Officers, Ian Gibson (textile engineering historian), Anthony Pilling (textile engineering and architectural historian), Roger Holden (textile mill historian), and Ken Robinson (Historic England). Alison Plummer and Ken Moth are also acknowledged for invaluable contributions to Steering Group discussions. Particular thanks are offered to Darren Ratcliffe (Historic England), who fulfilled the role of Project Assurance Officer and provided considerable advice and guidance throughout the course of the project.