Textile Recognition and Sorting for Recycling at an Automated Line Using Near Infrared Spectroscopy
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The Manufacture of Paper
/°* '^^^n^ //i,- '^r. c.^" ^'IM^"* *»^ A^ -h^" .0^ V ,<- ^.. A^^ /^-^ " THE MANUFACTURE OF PAPER BY R. W. SINDALL, F.C.S. CHEMIST CONSULTING TO THE WOOD PULP AND PAPER TRADES ; LECTURER ON PAPER-MAKING FOR THE HERTFORDSHIRE COUNTY COUNCIL, THE BUCKS COUNTY COUNCIL, THE PRINTING AND STATIONERY TRADES AT EXETER HALL, 1903-4, THE INSTITUTE OF PRINTERS ; TECHNICAL ADVISER TO THE GOVERNMENT OF INDIA, 1905 AUTHOR OF "paper TECHNOLOGY," " THE SAMPLING OF WOOD PULP " JOINT AUTHOR OF " THE C.B.S. UNITS, OR STANDARDS OF PAPER TESTING," " THE APPLICATIONS OF WOOD PULP," ETC. WITH ILLUSTRATIONS, AND A BIBLIOGRAPHY OF WORKS RELATING TO CELLULOSE AND PAPER-MAKING ^^RlFFeo^ ^^ ^, 11^ OCT 3 11910 ^^f-40 ^\^c> A BU\ lo\' NEW YORK D. VAN NOSTRAND COMPANY 23 MURRAY AND 27 WARREN STREETS 1908 By trassf»r trom U. S. Tariff Boarri 1012 /(o'?'<Q / PREFACE •Papee-making, in common with many other industries, is one in which both engineering and chemistry play important parts. Unfortunately the functions of the engineer and chemist are generally regai^dedi •a&n.inelepejident of one another, so that the chemist ife^o^ify e^llfeS-iii-hy the engineer when efforts along the lines of nlecTianical improvement have failed, and vice versa. It is impossible, however, to draw a hard and fast line, and the best results in the art of paper-making are only possible when the manufacturer appreciates the fact that the skill of both is essential to progress and commercial success. In the present elementary text-book it is only proposed to give an outline of the various stages of manufacture and to indicate some of the improvements made during recent years. -
Appendix 1 Sources
APPENDIX 1 SOURCES UMIST: DEPARTMENT OF TEXTILES Most of the work described in this book comes from research in the Department of Textiles, UMIST, under the direction of Professor John Hearle. It started with the purchase of a scanning electron microscope with a grant from the Science Research Council in 1967, together with five-year funding for an experimental officer and a technician. Since 1972, the staff have been supported by general UMIST funds; a second grant from SERC enabled a replacement SEM to be bought in 1979; industrial sponsors, listed below, have contributed through membership of the Fibre Fracture Research Group; special research grants have been made by the Ministry of Defence (SCRDE, Colchester, and RAE, Farnborough) and jointly by the Wool Research Organization of New Zealand (WRONZ) and the Wool Foundation (IWS); and other research programmes and contract services have contributed indirectly to our knowledge. Pat Cross was the first SEM experimental officer and she was followed in 1969 by Brenda Lomas, who retired in 1990. Trevor Jones then took on responsibility for microscopy in the Department of Textiles in addition to photography. Over the years, many staff and students have contributed to the research. Their names are given below. Some have worked wholly on fibre fracture problems. Others have used fracture studies as an incidental element in their work. PERSONNEL The following people at UMIST have contributed to the research. Academic staff J.D. Berry Aspects of fibre breakage CP. Buckley Mechanics of tensile fracture, general direction C. Carr Fabric studies W.D. Cooke Pilling in knitwear, conservation studies G.E. -
Coats® Tre Cerchi Vero™ Coats Tre Cerchi Vero Is a 100% Cotton Thread Made from Premium Quality, Sustainable Raw Materials
tre cerchi vero 100% COTTON Coats® Tre Cerchi Vero™ Coats Tre Cerchi Vero is a 100% cotton thread made from premium quality, sustainable raw materials. Our raw materials are sourced with care for an eco- friendly sewing thread that adds beautiful, lustrous seams to a wide range of products. Developed with long-staple fibres, Tre Cerchi Vero combines the natural look of cotton with high-performance thread. WHY CHOOSE TRE CERCHI VERO? MAIN USES: Tre Cerchi Vero is a top-of-class mercerised cotton sewing thread • Denim available in a selected range of colours for general sewing and • T-shirts available as unbleached for garment dye end-use. • Natural look of cotton thread • Post dye garments • Öko-Tex Standard 100, class I certified • Workwear • Meets Coats restricted substance list • Embroidery and decorative top stitching • Globally available • High quality leather jackets and other • Suitable for vegan requirements products made from leather www.coats.com tre cerchi vero Coats Tre Cerchi Vero PRODUCT RANGE CHEMICAL PROPERTIES Strength Elongation % Art / Tkt Tex Ticket Length Ply Acids: Sensitive to mineral acids especially if halogenated cN Min - Max 770C 008 270 8 1500m 9 5640 4 - 15 Alkalis: Swells in caustic mercerising but is not damaged 770C 018 105 18 5000m 3 3050 6 - 11 Generally unaffected by most organic solvents. Generally unaffected by sodium hypochlorite, sodium perborate 770C 024 80 24 5000m 3 1900 4 - 10 Organic solvents: and peroxide bleaches under controlled conditions. There 100% 770C 030 60 30 5000m 3 1800 4 - 12 is -
Guide to Equipment and Clothing
GUIDE TO EQUIPMENT AND CLOTHING GEAR FOR MOUNTAINEERING IN NEW ZEALAND This document provides advice on choosing the right clothing and gear for your Alpine Guides mountain trip. Refer to your trips' "Equipment Checklist" to find the exact gear you need. Use the information here as a guide only. We run a range of programs that vary in duration and emphasis. If you are not sure if your gear is right for the job, please contact us GUIDE TO EQUIPMENT AND CLOTHING GEAR FOR MOUNTAINEERING IN NEW ZEALAND INDEX PAGE How to Dress | Gear for Different Seasons Clothing | Layering, Thermals, and Fabrics Outer layer: Jackets & Overtrousers Hats, Gloves, Socks, Gaiters, and other items Boots and Footwear Technical Hardware | Crampons, Ice Axes, and more Sleeping Essentials | Sleeping bags, Bivouac bags Touring Gear: Skis, Boots, & Snowboards Miscellaneous Gear - Everything else How to Dress | Gear for Different Seasons Choose your mountain wardrobe around the time of year you will visit. Mountain huts are not heated. Temperatures are colder at night, even during summer. If your trip involves camping out, go for the warmest possible combination of clothing. Winter Gear (July - October) Choose: • Warmer down (500+ loft) and synthetic jackets • Medium to heavy grade thermals and socks • Warm, insulated gloves • 4-season sleeping bags (rated to approx -12°C) • Avoid using drinking bladders and hoses during winter - they are prone to freeze even when insulated. Summer Gear (November - April) There is a wide range of temperatures through summer. Be prepared for cool, to cold temperatures during storms and at night. Choose: • 3-season sleeping bags (rated to approx -5°C) • 400-500 loft down jackets or synthetic insulating jackets • Lightweight to mid-weight thermals and socks • UV Protection is Vital Through December, January and February especially bring "cooling" garments that will reflect UV. -
African Textiles in the V&A 1852- 2000
Title Producing and Collecting for Empire: African Textiles in the V&A 1852- 2000 Type Thesis URL http://ualresearchonline.arts.ac.uk/6141/ Date 2012 Citation Stylianou, Nicola Stella (2012) Producing and Collecting for Empire: African Textiles in the V&A 1852-2000. PhD thesis, University of the Arts London and the Victoria and Albert Museum. Creators Stylianou, Nicola Stella Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Producing and Collecting for Empire: African Textiles in the V&A 1852-2000 Nicola Stella Stylianou Submitted to University of the Arts London for PhD Examination October 2012 This is an AHRC funded Collaborative PhD between Research Centre for Transnational Art, Identity and Nation (TrAIN) at UAL and the Victoria and Albert Museum. Volume 1 Abstract Producing and collecting for Empire: African textiles in the V&A 1850-2000 The aim of this project is to examine the African textiles in the Victoria and Albert Museum and how they reflect the historical and cultural relationship between Britain and Africa. As recently as 2009 the V&A’s collecting policy stated ‘Objects are collected from all major artistic traditions … The Museum does not collect historic material from Oceania and Africa south of the Sahara’ (V&A 2012 Appendix 1). Despite this a significant number of Sub-Saharan African textiles have come into the V&A during the museum’s history. The V&A also has a large number of textiles from North Africa, both aspects of the collection are examined. -
No Nama Produk Deskripsi Size Color
N NAMA PRODUK DESKRIPSI SIZE COLOR MATERI VENDOR PRICE O AL 1. Ethnic Weaving Shawl hand- 196 x grape cotton 75.000 woven with a pattern typical 49 cm of the Sulawesi Quality: A, smooth / not rough and not hard. Woven with traditional looms. Suitable to be used as a scarf, pashmina, vest, combination of male and female clothing, wall hanging, tablecloths and for gifts for loved ones. 2. NTT motif shawl 188 x Brown 75.000 52 cm Quality: A, smooth / not rough and not hard. Woven with traditional looms. Suitable to be used as a scarf, pashmina, vest, combination of male and female clothing, wall hanging, tablecloths and for gifts for loved ones. 3. Bentenan motif shawl 192 x Black 85.000 52 cm mix Quality: A, smooth / not yellow rough and not hard. &brown Woven with traditional looms. Suitable to be used as a scarf, pashmina, vest, combination of male and female clothing, wall hanging, tablecloths and for gifts for loved ones. 4. NTT motif shawl 200 cm Black 75000 x 50 cm grey Quality: A, smooth / not rough and not hard. Woven with traditional looms. Suitable to be used as a scarf, pashmina, vest, combination of male and female clothing, wall hanging, tablecloths and for gifts for loved ones. 5 Maumere motif shawl 196 cm Black 75.000 x 45 cm Quality: A, smooth / not rough and not hard. Woven with traditional looms. Suitable to be used as a scarf, pashmina, vest, combination of male and female clothing, wall hanging, tablecloths and for gifts for loved ones. -
Backpacker Recommended Lower Base Layers
Backpacker Recommended Lower Base Layers Rollo is vaulted and jiggle mercilessly as unprizable Darcy debruised rubrically and attempts disappointedly. Lincoln is unctuously contactual after inseminated Georges pedicures his nicknacks confer. Questionable Spud usually paraffine some overnighters or neoterize fluidly. For thrift store water often cooked breakfast or recommended base layer The wool mesh on the sleeves, side panels, and lower torso help air out any lingering sweat from activity while still providing a small amount of insulation via the wool. Utah and lower temperature while employing the layer makes the weather conditions based on intended uses are recommended baselayer crew top worn a layered with. Downsides to layer under the layers are. This perk covers Patagonia gear our life. Wool is warm with wet, does a good thing of wicking moisture away may your creepy and is naturally antimicrobial so it dramatically reduces stench. The Montane Terra Pants are a classic example. Image courtesy of The North Face. Air base layer. All of number are models that charge been discontinued, which is beyond common. Keeping dry takes some serious effort. That like why this wear them next to obtain skin health a heavy light liner. Have you tried wearing the Warmlite pants off anything? Your layer is recommended baselayer crew is by linking to do not recommend in autumn and i think vapor expelled from. Your cart with empty. IOW, maybe pole was destroy as expected. This base layers based on a backpack and recommend looking for? Ballistic Airlight ripstop nylon coated with their Polkat. Are constant all book on gear lever the Pacific Crest Trail? From here, we dove deeper, looking at reviews from everyday customers at REI, Evo, Backcountry, and Amazon. -
Natural Dyeing and UV Protection of Raw and Bleached/ Mercerised Cotton UV Zaščita Surovega in Beljenega/Merceriziranega Bombaža Barvanega Z Naravnimi Barvili
126 Nina Čuk, Marija Gorjanc University of Ljubljana, Faculty of Natural Sciences and Engineering, Aškerčeva 12, 1000 Ljubljana, Slovenia Natural Dyeing and UV Protection of Raw and Bleached/ Mercerised Cotton UV zaščita surovega in beljenega/merceriziranega bombaža barvanega z naravnimi barvili Original Scienti! c Article/ Izvirni znanstveni članek Received/ Prispelo 03-2017 • Accepted/Sprejeto 05-2017 Abstract Dyeing with natural dyes extracted from curcuma, green tea, avocado seed, pomegranate peel and horse chestnut bark was studied to evaluate the dyeability and ultraviolet (UV) blocking properties of raw and bleached/mercerised cotton fabrics. 20 g/l of powdered plant material was extracted in distilled water and used as a dyeing bath. No mordants were used to obtain ecologically friendly fi nishing. The colour of sam- ples was measured on a refl ectance spectrophotometer, while UV-blocking properties were analysed with UV-Vis spectrophotometer. The results showed that dyeing increased UV protection factor (UPF) to all sam- ples, however much higher UPF values were measured for the dyed raw cotton samples. The highest UPF values were obtained on both cotton fabrics dyed with pomegranate peel and green tea extracts, giving them excellent protective properties (UPF 50+). The lowest UPF values were obtained by dyeing cotton with avocado seed extract and curcumin. Dyeing with selected dyes is not stable to washing, so the UV-block- ing properties worsen after repetitive washing. However, raw cotton samples retain their very good UV- blocking properties, while bleached/mercerised cotton fabrics do not provide even satisfactory UV-block- ing properties. No correlation between CIE L*a*b*, K/S and UPF values were found. -
Coats® Dymax™
® ™ STAPLE SPUN Coats Dymax COTTON Dymax is a fit-for-purpose mercerised cotton sewing thread specifically for garment dye end-use. Dymax is 100% cotton. For both untreated and mercerised 100% cotton fabrics. Coats Dymax mercerised cotton thread is produced from high quality, long staple cotton specially treated under tension to provide greater lustre and higher strength. The mercerising process also gives the thread a high affinity to the dyestuffs used in post dyeing, making it an ideal choice for sewing both untreated and mercerised 100% cotton fabrics. WHY CHOOSE DYMAX? MAIN USES: • As Dymax is mercerised cotton, the thread takes up the dye Quick response to fashion colours consistently giving the best colour result every time for post dye garments • Dymax thread has a smooth surface and high lustre or shine, resulting in beautiful seams PRODUCT RANGE • Simple one shade production Strength Elongation % Needle Size Art / Tkt TEX Ticket Length • Certified to Öko-Tex Standard 100, class I, the most stringent class cN Min - Max Metric covering textile items for babies and toddlers 7000 060 30 60 5000m 830 4 - 9 75 - 80 • Meets Coats restricted substance list 7000 050 35 50 5000m 1030 4 - 9 80 - 90 7000 040 40 40 5000m 1240 4 - 9 90 - 110 7000 030 60 30 5000m 1820 5 - 9 110 - 120 7000 024 80 24 5000m 2060 5 - 9 110 - 125 7000 018 105 18 5000m 3230 5 - 9 130 - 160 www.coats.com Coats Dymax WORKMANSHIP GUIDELINES: CHEMICAL PROPERTIES Tex 30 / Tkt 60 Non load-bearing seams and serging on lightweight fabrics Mineral acids: Sensitive to mineral acids especially if halogenated Tex 35 / Tkt 50 General seams on lightweight fabrics Alkalis: Swells in caustic mercerising but is not damaged Tex 40 / Tkt 40 Decorative stitching on lightweight fabrics Generally unaffected by most organic solvents. -
OCCASION This Publication Has Been Made Available to the Public
OCCASION This publication has been made available to the public on the occasion of the 50th anniversary of the United Nations Industrial Development Organisation. DISCLAIMER This document has been produced without formal United Nations editing. The designations employed and the presentation of the material in this document do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations Industrial Development Organization (UNIDO) concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries, or its economic system or degree of development. Designations such as “developed”, “industrialized” and “developing” are intended for statistical convenience and do not necessarily express a judgment about the stage reached by a particular country or area in the development process. Mention of firm names or commercial products does not constitute an endorsement by UNIDO. FAIR USE POLICY Any part of this publication may be quoted and referenced for educational and research purposes without additional permission from UNIDO. However, those who make use of quoting and referencing this publication are requested to follow the Fair Use Policy of giving due credit to UNIDO. CONTACT Please contact [email protected] for further information concerning UNIDO publications. For more information about UNIDO, please visit us at www.unido.org UNITED NATIONS INDUSTRIAL DEVELOPMENT ORGANIZATION Vienna International Centre, P.O. Box 300, 1400 Vienna, Austria Tel: (+43-1) 26026-0 · www.unido.org · [email protected] Dostes j« í;; r. ' í:íí ¡FI; I; /un. i?«/-} United Nations industrial Development Organisa:ion M ív\y MI? ORIGINAL: SK01T3H Report Crouf> M«fi»mr on Nt-> J Te•/iniqua? • of Y« m ir»d FnbrJf "roducxi on Mnr.ohost^r, Tini % «ri Kinprioir., 19 - .T Tun*- 197? CvfflTON IK T};?: KNITTING INDUSTRY A NB ITS "TJTT.'HK PRCfPfiCTf- K. -
Garment Dyeing
garment dyeing. apparel intelligent threads. garment dyeing basics. 3 What is Garment Dyeing and why is it so famous? What is dyed? Basic models of the collection are sewn “raw” and are dyed afterwards according to market trends and demands. A distinction is made between fabrics made from cellulosic fibres (e.g. This procedure makes it possible to respond quickly to market trends. Garment Dyeing is perfect to achieve special design cotton) and those made from synthetic fibres (e.g. polyester or polyamide). effects and a distinctive optical appearance. Garment Dyeing offers high flexibility regarding colours, logistics, materials Basically, all materials can be dyed, provided that the correct dyeing pro- management and supply. cedure is used. Most important fibre is and continues to be cotton. Other natural fibres such as silk and wool as well as blends of them are increasingly gaining significance. In addition, more and more elastic fabrics are used (”Comfort-Stretch”, ”Power-Stretch”). Common dyeing procedures. Fashionable dyeing procedures. Polyamide fabrics are less prominent in Garment Dyeing. Polyamide fab- rics are often used for underwear or for medical equipment. A future trend is Reactive dyes. Old-Dye, Antique-Dye, Cold-Dye. Garment Dyeing of polyester clothes (e.g. in the sportswear segment) using • dyestuff is linked chemically to the fibre • dyed with e.g. pigments or direct dyestuffs high-temperature dyes. • for good to very good wash and rub fastness • by means of cellulase treatment or abrasive washing Garment dyed items include e.g. trousers, jackets, T-shirts, polo- and treatments (e.g. stone wash), washed-out effects can Direct or sulphide dyes. -
Guidance on the Textile Products (Labelling and Fibre Composition) Regulations 2012
TEXTILE LABELLING REGULATIONS Guidance on the Textile Products (Labelling and Fibre Composition) Regulations 2012 JULY 2012 Guidance Notes Regulation (EU) No 1007/2011 of the European Parliament and of the Council of 27th September 2011 on textile fibres and related labelling and marking of the fibre composition of textile products and repealing Council Directive 73/44/EEC and Directives 96/73/EC and 2008/121/EC of the European Parliament and of the Council (“the EU Regulation”) and The Textile Products (Labelling and Fibre Composition) Regulations 2011 (SI 2012 No.1102) (“the UK Regulations”) These guidance notes have been produced to provide guidance to business on the EU Regulation and the UK Regulations. However, they do not carry any legal authority and should be read in conjunction with the legislation itself. 2 The Textile Products (Labelling and Fibre Composition) Regulations 2012 Contents Contents .......................................................................................................................................... 3 The EU Regulation .......................................................................................................................... 4 The definition of a textile product ................................................................................................. 4 The expressions ‘100 %’, ‘pure’ and ‘all’ ...................................................................................... 5 Use of the term ‘wool’....................................................................................................................