STATE COUNCIL OF EDUCATIONAL RESEARCH AND TRAINING Varun Marg, Defence Colony, New Delhi-110024

i Chief Advisor Anita Satia Director, SCERT

Guidance Dr. Pratibha Sharma Joint Director, SCERT

Coordinator Ms. Meenakshi Yadav, Sr. Lecturer, SCERT

Associate Coordinator Ms. Raman, Lecturer, SCERT Ms. Ila Rani, Lecturer, SCERT

Contributors Ms. R. P. Tiwari, Sr. Lecturer, International Polytechnic for Women Akansha Nautiyal, Assistant Professor Group of Institutional Greater Noida (FMG) Praveen Tiwari, Vocational Teacher, Govt. Co. Ed. Sr. Sec School, Lajpat Nagar Vandana Gupta, Free Lancer, Affiliated with CCRT Dwarka Neeru Chadha, Vice Principal SV, Moti Bagh – II Nanak Pura Swati Dhawan, Asstt. Merchandiser, Pearl Institute Of Technology Bharti Mehta, Vocational Teacher, GGSSS No.-1 East of Kailash. Sushanta Guha, TGT (SCL), Drawing, Painting, Birla Vidya Niketan Ms. Meenakshi Yadav, Sr. Lecturer, SCERT Ms. Raman, Lecturer, SCERT Ila Rani, Lecturer (Cont.), SCERT

Publication Incharge Ms. Sapna Yadav Ms. Meenakshi Yadav

Publication Team Mr. Navin Kumar Ms. Radha Mr. Jai Bhagwan

Designed & Printed by: M/s Royal Offset Printers, A-89/1, Naraina Industrial Area, Phase-I, New Delhi-110028

ii P R E F A C E

Education is an important aspect of everyone’s life. Education prepares the individual for life. It is the society that makes individual life meaningful. The society teaches the core values, culture, customs and moreover the way of life to an individual. Modern day society has changed a great deal in terms of availability of various services, fields, professions etc. Vocational education signifies the education based on occupation or employment. It is an important education introduced at the Senior Secondary Stage. The objective of Vocational education is to prepares people for specific trades, crafts and careers at various levels from a trade, a craft, technician, or a professional position in engineering, accountancy, nursing, medicine, architecture, pharmacy, law Textiles fashion industry etc Vocational Education and Training (VET) in Schools are programs undertaken by school students as part of their Senior Secondary Certificate. These programs provide credit towards a nationally recognised VET qualification.The training that students receive reflects specific industry competency standards and is delivered in partnership with the school curriculum Great advances have been made in the areas of health, nutrition, textile, psychology, housing and managerial skills, which the individual requires to become a professional in the specific Field. It is a need-based, professionally oriented education to assist community towards improved living. Textile industries have an important role in the contribution of GDP of an Economy. The industry sector works for the preparation and designing of different kinds of fabric based on the need of the customers of an economy. Textile designing involves producing patterns for cloth used in clothing, household textiles (such as towels) and decorative textiles such as carpets. The field encompasses the actual pattern making as well as supervising part or all of the production process. In other words, textile design is a process from the raw material into finished product. Fiber, yarn and finishes are the key elements to be considered during the textile design procedure. SCERT, Delhi provides training to teachers in different school subject for capacity building of the teachers. It helps them in orienting teachers with different pedagogical skills that are needed for better classroom transaction. The present Module is an attempt in the capacity building of the vocational teachers (Textile Designing Dying and Printing). The module is based on various aspects of Textile Designing

iii such as preparation of Yarn, Fibre and Fabric, Identification of different types of Fibres, Fabric Finishes, Motifs, Textile printing, Indian Embroideries, Care and Maintenance of Fabric etc which have been prepared keeping in mind the curriculum that is being transacted at the senior secondary stage for vocational students. The module deals with all the practical aspects of teaching vocational subject (Textile Designing Dying and Printing). It gives ample scope to teachers to think, choose and conduct the activities for vocational students that can be transacted in the classroom to make them develop their practical skills. This will help the learner to become more productive and responsible citizen of the nation. SCERT, Delhi takes the opportunity to thank all the Contributors, Principles, and Teachers who have helped in preparation of this module. We hope this module will be a great help for the Vocational Teachers in their classroom preparation and transaction of curriculum to make the learners professionally better citizen of tomorrow. Your suggestions are always welcomed.

iv C O N T E N T S

TOPICS PAGE NO.

Preface iii About Vocational Education 1 Business Entrepreneurship 5 Basic Computational Skills 9 Textile Designing 17 Basic of Colour/Fundamental Aspects of Colour 19 Understanding Basics of Fibers and Fabric 22 Fabric Finishes 36 Designing of Motifs 41 Tie and Dye 47 Textile Printing 56 Production of Fancy Yarns and Their Application for Various Products 63 Weaving of Man Made Fiber : Yarn to Fabric 69 Indian Embroideries 82 Care and Maintainance of Clothes 91 Computers in Textile Designing 98 Career in Textile Designing 101

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ABOUT VOCATIONAL EDUCATION

Education and Employment Education, in every sense is one of the fundamental factors of development. Education enriches people's understanding of themselves and the world. It improves the quality of their lives and leads to broad social benefits to individuals and society. Education raises people's productivity and creativity and promotes entrepreneurship and technological advances. In. addition, it plays a very crucial role In securing economies and social progress and Improving Income distribution. Historically, the purpose of education has been to prepare the next generation for work, family and citizenship; to shape their future. India being a 'young nation', with 28 million population of youth added every year requires employment-oriented education i.e., Vocational Education of a massive dimension for channelizing the youth energy to constructive and productive work. Vocational Education has been understood as an education defined to prepare skilled personnel at lower levels of qualification for one or more groups of occupations, trades or jobs. With the progress of human civilization, skill up-gradation also progressed. The need, time and place have been decisive factors in the process of skill development. With liberalization, privatization and globalization, the need for skill development and up gradation in our country has increased. In the present employment scenario, each one of us needs skills - basic skills, life or survival skills, communication skills, inter-personal and social skills, occupational skills, techno-managerial skills, leadership skills and many more. It is the level of competence based on knowledge and skills acquired which makes us successful in our life. In this broader perspective, therefore, everyone. needs vocational education and training in one form or the other, at one stage or the other for better living. Vocational education aims to build up a knowledge based skilled workforce that can meet the requirements of entrepreneurial society at local, global and national level thereby, significantly reducing the unemployment and enabling people to earn their livelihood. In Indian context, the work-based education and dignity of labour has always been significant. The Father of the Nation, Mahatma Gandhi had the vision to visualize the Basic Education (Buniyadi Shiksha) or Nai Talim seeking to harmonize intellectual and manual work and to develop desirable work values. Since independence, several Commissions and Committees have reiterated the need of Vocationalization of education in India. As a matter of fact in India, all committees and commissions on education appointed by the Govt. of India had emphasized the role of vocational education I and training in the country's economic

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development. It was recommended that at an appropriate stage, students should be exposed to varieties of courses of , practical nature, which would fit them to occupations. The society need up gradation of skills and knowledge base is the key that will unlock avenues for m9re employment and better quality employment.

Vocational Education Programme at Higher Secondary Level The Kothari Commission (1964-66) recommended diverting 50 per cent of students beyond class X to full-time and part-time vocational and professional courses in order to prepare students for gainful employment and reduce pressure on higher education. On the basis of -recommendations of Kothari Commission, the National Policy on Education (NPE, 1968), made two very significant changes I in the education system: (i) 10+2+3 year pattern of education and (ii) distinct academic and vocational streams at the +2 level. In pursuance of the National Policy on Education, 1968, NCERT brought out a guideline document 'Higher Secondary Education and its Vocationalization' in 1976 to facilitate the States UTs to launch Vocational Education Programme (VEP) at higher secondary level. The Vocational Education Programme at higher secondary stage was, therefore initiated in 1976-77. However, the programme could not expand In terms of enrolment of students and coverage of states till 1987-88 because of lack of resources with the implementing states Governments. Therefore, there was at) urgent need of central intervention of the programme. In 1986, the central government came out with the new National Policy on Education followed by Programme of Action in 1986. The objectives of the VEP as spelt out in the NPE, 1986, are: (i) to provide diversification of educational opportunities and enhance individual employability, (ii) to reduce the mismatch between demaod and sUpply of Skilled manpower, and (iii) to provide an alternative for those pursuing higher education.

In pursuance of National Policy of Education 1986 and POA 1986, a Centrally Sponsored Scheme (CSS) of Vocationalisation of Secondary Education was launched in 19"88. Under CSS, substantial financial assistance was provided to the States UTs as well as NGOs for implementation of the VEP. The VEP has emerged as the largest programme amongst all the States UTs. Capacity for enrolling more than 10 lakhs students at the +2 stage in different vocational courses has been created in 6800 higher secondary institutions. Some of the States/UTs have made visible impact through vocational education programme despite several constraints in their way . The Programme of Action (POA) formulated for implementation of NPE (1986), stated that vocational programmes for students after class VIII will be introduced on experimental basis. The Ramamurti Committee (1990) on Review of N-PE also favoured this in the form of pre-vocational education. The Committee in fact recommended 'Vocationalisation for All' for the secondary school students from class IX to XII covering 4 years with a curricular mix of academic and vocational subjects.

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VOCATIONAL EDUCATION AND TRAINING Vocational Education and Training is an important element of the nation's education initiative. In order for Vocational Education to play its part effectively in the changing national context and for India to enjoy the fruits of the demographic dividend, there is an urgent need to redefine the critical elements of imparting vocational education and training to make them flexible, contemporary, relevant, inclusive and creative. The Government is well aware of the important role of Vocational education and has already taken a number of important initiatives in this area. School-based vocational education in India is currently covered by a centrally sponsored scheme which was mooted in 1988 and was aimed at providing an alternative to the pursuit of higher academic education. One of the objectives of the Vocational Education Programme is to meet the need for skilled and middle-level manpower for the growing sectors of economy, both organized and unorganized. The range of Vocational Education courses has been expanding over the years depending upon needs of learners and market demands.

NCF 2005 ON VOCATIONAL EDUCATION AND TRAINING At present, Vocational Education is provided only at the +2 stage and, even here, it is restricted to a distinct stream that is parallel to the academic stream. In contrast to the NPE 1986 goal of covering 25 per cent of the +2 enrolment in the vocational stream by the year 2000, less than 5 per cent of students choose this option at present. The programme has been debilitated by a range of conceptual, managerial and resource constraints for more than 25 years. Apart from being viewed as an inferior stream, it suffers from poor infrastructure, obsolete equipment, untrained or underqualified teachers (often on a part-time basis), outdated and inflexible courses, lack of vertical or lateral mobility, absence of linkage with the ‘world of work’, lack of a credible evaluation, accreditation and apprenticeship system, and, finally, low employability (Report of the Working Group for the Revision of the Centrally Sponsored Scheme of Vocationalisation of Secondary Education, NCERT, 1998). Clearly, the gigantic and urgent task of building an effective and dynamic programme of vocational education is long overdue. Institutionalisation of work-centred education as an integral part of the school curriculum from the preprimary to the +2 stage is expected to lay the necessary foundation for reconceptualising and restructuring vocational education to meet the challenges of a globalised economy. The VET curriculum should be reviewed and updated from time to time if the programme is not to become moribund and irrelevant to the vocations and livelihoods in a given area or region. The centre in-charges or institutional leadership would need to have access to adequate infrastructure and resources as well as be vested with the necessary authority and academic freedom to establish ‘work benches’ (or ‘work places’ or ‘work spots’) in the neighbourhood or regional rural crafts, agricultural or forest-based production systems and industries and services, thereby utilising the available human and material resources optimally. This collaborative arrangement has three advantages. First, the VET programme can be set up with minimum capital investment. Second, the students would have access to the latest techniques and technology that become available in the area. Third, the students would get on-the-job experience and exposure to real-life problems of designing, production and marketing. For this purpose, it should be made obligatory for all kinds of facilities engaged in production and services such as agriculture, forestry, private and public sector industries (including cottage and small-scale

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manufacturers) to collaborate with the schools in the area by providing the required ‘work benches’ (or ‘work places’ or ‘work spots’), in the addition to offering training and monitoring support. In order to translate this vision of VET into practice, several new support structures and resource institutions will have to be created at various levels, including districts, states/ UTs and the centre, besides strengthening and reviving the existing national resource institutions like NCERT’s PSSCIVE at Bhopal.

TEXTILES AND DESIGN Overview to specific: Textile design is the process of creating designs and structures for knitted, woven, non-woven or embellishments of fabrics. Textile designing involves producing patterns for cloth used in clothing, household textiles (such as towels) and decorative textiles such as carpets. The field encompasses the actual pattern making as well as supervising part or all of the production process. In other words, textile design is a process from the raw material into finished product. Fiber, yarn and finishes are the key elements to be considered during the textile design procedure.

The Textile Industry in India The Indian textile industry boasts of having an overwhelming presence in the economy of the country. The industry plays a pivotal role through its contribution to industrial output, employment generation, and export earnings of the country. Currently, it contributes about 14 % to industrial production, 4 % to the GDP and 17 % to the country’s export earnings. Notably, it provides employment to over 35 million people. And with the decentralisation of power loom/hosiery and knitting sectors, and new techniques to produce a variety of products to suit different market sections, there is a huge demand for trained professionals in the textile and apparel industry. For the growth of the industry, the Indian Ministry of Textiles believes that there is a strong need to focus on aspects like product development, CAD to develop designing capabilities, investment in trend forecasting to enable the growth of industry. The growth opportunities for the professionals of the field, as per the Ministry, exists in areas including medical textiles, construction textiles and packaging textiles; baby diapers; home textiles( with fire-retarded fabric); blankets and travelling rugs; bed, toilet and kitchen linen; curtains, drapes and interior blinds; furnishing articles; sacks and bags; and tarpaulin, sail, tent and camping goods.

Career Opportunities Graduates can have opportunities in production development and management, retail management, apparel designing, visual merchandising, technical designing, fashion writing and editing, quality control, museum collection management, and theatrical costuming. Other related fields and career titles could include operations manager, apparel sales representative, patternmaker, product developer, fashion buyer, fashion consultant, textile research scientist, technical designer, store manager, quality assurance evaluator, costume designer and many more. After gaining some experience people even start up their own venture

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BUSINESS ENTREPRENEURSHIP

Entrepreneurship' is the act and art of being an entrepreneur or one who undertakes innovations or introducing new things, finance and business acumen in an effort to transform innovations into economic goods. This may result in new organizations or may be part of revitalizing mature organizations in response to a perceived opportunity. The most obvious form of entrepreneurship is that of starting new businesses; however, in recent years, the term has been extended to include social and political forms of entrepreneurial activity.

Characteristics of an Entrepreneur Entrepreneurs are generally considered as leaders of their organization. They are the spirit of their team as many real-life entrepreneurs operate in teams rather than as single individuals. Certain traits seem to be associated with entrepreneurs as said by different authors: ◆ Bird -More prone to insights, brainstorms, deceptions, ingeniousness and resourcefulness. They are cunning, opportunistic, creative, and unsentimental. ◆ Busenitz and Barney – They are prone to overconfidence and over generalizations. ◆ Cole - found there are four types of entrepreneur: the innovator, the calculating inventor, the over- optimistic promoter, and the organization builder. ◆ Collins and Moore - Tough, pragmatic people driven by needs of independence and achievement. They seldom are willing to submit to authority. ◆ Cooper, Woo, & Dunkelberg - argue that entrepreneurs exhibit extreme optimism in their decision- making processes. ◆ John Howkins - focused specifically on creative entrepreneurship. Enterprenuers should be creative to make the difference in business world. He found that entrepreneurs in the creative industries needed a specific set of traits including the ability to prioritise ideas over data, to be nomadic and to learn endlessly. ◆ David McClelland - primarily motivated by an overwhelming need for achievement and strong urge to build.

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Qualities of the Entrepreneurs

1. Disciplined These individuals are focused on making their businesses work, and eliminate any hindrances or distractions to their goals. They have overarching strategies and outline the tactics to accomplish them. Successful entrepreneurs are disciplined enough to take steps every day toward the achievement of their objectives.

2. Confidence The entrepreneur does not ask questions about whether they can succeed or whether they are worthy of success. They are confident with the knowledge that they will make their businesses succeed. They exude that confidence in everything they do.

3. Open Minded Entrepreneurs realize that every event and situation is a business opportunity. Ideas are constantly being generated about workflows and efficiency, people skills and potential new businesses. They have the ability to look at everything around them and focus it toward their goals.

4. Self Starter Entrepreneurs know that if something needs to be done, they should start it themselves. They set the parameters and make sure that projects follow that path. They are proactive, not waiting for someone to give them permission.

5. Competitive Many companies are formed because an entrepreneur knows that they can do a job better than another. They need to win at the sports they play and need to win at the businesses that they create. An entrepreneur will highlight their own company’s track record of success.

6. Creativity One facet of creativity is being able to make connections between seemingly unrelated events or situations. Entrepreneurs often come up with solutions which are the synthesis of other items. They will repurpose products to market them to new industries.

7. Determination Entrepreneurs are not thwarted by their defeats. They look at defeat as an opportunity for success. They are determined to make all of their endeavors succeed, so will try and try again until it does. Successful entrepreneurs do not believe that something cannot be done.

8. Strong people skills The entrepreneur has strong communication skills to sell the product and motivate employees. Most successful entrepreneurs know how to motivate their employees so the business grows overall. They are

6 TEXTILE DESIGNING 2013 very good at highlighting the benefits of any situation and coaching others to their success.

9. Strong work ethic The successful entrepreneur will often be the first person to arrive at the office and the last one to leave. They will come in on their days off to make sure that an outcome meets their expectations. Their mind is constantly on their work, whether they are in or out of the workplace.

10. Passion Passion is the most important trait of the successful entrepreneur. They genuinely love their work. They are willing to put in those extra hours to make the business succeed because there is a joy their business gives which goes beyond the money. The successful entrepreneur will always be reading and researching ways to make the business better.

Enterpreneurial Motivation Successful entrepreneurs want to see what the view is like at the top of the business mountain. Once they see it, they want to go further. They know how to talk to their employees, and their businesses soar as a result. entrepreneurs were motivated primarily by the desire to create something new, the desire for autonomy, wealth and financial independence, the achievement of personal objectives and the propensity for action ('doing'). The excitement of entrepreneurship was another major motivator -- this was nicely captured by one comment: "We are not sure what's coming down the curve but it is a thrill." Importantly, most entrepreneurs stressed that the objective was never money for its own sake. They wanted to leave a legacy in the form of a profitable long-lasting business.

Be a Good Entrepreneur The 9 Personality Types of Entrepreneurs 1. The Improver: If you operate your business predominately in the improver mode, you are focused on using your company as a means to improve the world. Your overarching motto is: morally correct companies will be rewarded working on a noble cause. Improvers have an unwavering ability to run their business with high integrity and ethics. Personality Alert: Be aware of your tendency to be a perfectionist and over-critical of employees and customers. 2. The Advisor: This business personality type will provide an extremely high level of assistance and advice to customers. The advisor's motto is: the customer is right and we must do everything to please them. Companies built by advisors become customer focused. Personality Alert: Advisors can become totally focused on the needs of their business and customers that they may ignore their own needs and ultimately burn out.

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3. The Superstar: Here the business is centered around the charisma and high energy of the Superstar CEO. This personality often will cause you to build your business around your own personal brand. Personality Alert: Can be too competitive and workaholics. 4. The Artist:This business personality is the reserved but highly creative type. Often found in businesses demanding creativity such as web design and ad agencies. As an artist type you’ll tend to build your business around the unique talents and creativities you have. 5. The Visionary: A business built by a Visionary will often be based on the future vision and thoughts of the founder. You will have a high degree of curiosity to understand the world around you and will set-up plans to avoid the landmines. Personality Alert: Visionaries can be too focused on the dream with little focus on reality. Action must proceed vision. 6. The Analyst: If you run a business as an Analyst, your company is focus on fixing problems in a systematic way. Often the basis for science, engineering or computer firms, Analyst companies excel at problem solving. Personality Alert: Be aware of analysis paralysis. Work on trusting others. 7. The Fireball:A business owned and operated by a Fireball is full of life, energy and optimism. Your company is life-energizing and makes customers feel the company has a get it done attitude in a fun playful manner. Personality Alert: You may over commit your teams and act to impulsively. Balance your impulsiveness with business planning. 8. The Hero: You have an incredible will and ability to lead the world and your business through any challenge. You are the essence of entrepreneurship and can assemble great companies. Personality Alert: Over promising and using force full tactics to get your way will not work long term. To be successful, trust your leadership skills to help others find their way. 9. The Healer: If you are a Healer, you provide nurturing and harmony to your business. You have an uncanny ability to survive and persist with an inner calm. Personality Alert: Because of your caring, healing attitude toward your business, you may avoid outside realities and use wishful thinking. Use scenario planning to prepare for turmoil.

Each business personality type can succeed in the business environment if you stay true to your character. Knowing firmly what your strong traits are can act as a compass for your small business. If you are building a team, this insight is invaluable. For the solo business owners, understand that you may need outside help to balance your business personality.

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BASIC COMPUTATIONAL SKILLS

Introduction Computational skills are the selection and application of arithmetic operations to calculate solutions to mathematical problems. Arithmetic encompasses a set of mathematic processes that include number sense, the understanding of mathematic principles such as the associative and commutative properties, and computational skills. Specifically, computational skills are defined as the abilities to calculate basic addition, subtraction, multiplication, and division problems quickly and accurately using mental methods, paper-and- pencil, and other tools, such as a calculator. This requires the selection of the appropriate arithmetic operation. Also, computational skills require the execution of the steps to calculate the solution. The term computational fluency expands the definition to include the flexible application of calculation strategies.

Computation It is important to develop computation skills, in particular, which are essential in helping students fulfill their future roles as citizens, consumers, employees, employers, investors, inventors, and entrepreneurs. Computation skills, as defined are more than just the skills needed to make quantitative and precise calculations. Rather, these skills encompass the ability to ◆ solve mathematical problems, ◆ analyze and interpret data, and ◆ apply sound decision-making skills. These abilities are an important component of what it takes to succeed in all areas of business and finance in our technology- and data-driven society. The computation standards demonstrate a developmental approach to the acquisition of computation skills. The business entrepreneurs offers multiple opportunities to develop, use, and integrate computation skills at all levels, including how to choose and use the technology resources available for calculation, computation, analysis, and interpretation of data. students develop the computation skills needed to solve business-, personal finance-, and economics-related problems.

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Basic Computational Skills Mathematics computation skills are often simply known as basic mathematics skills. This is because they refer to your basic ability to calculate numbers or amounts. Simple mathematics computations are taught in early elementary years, and the level of sophistication in computations increases as you get older. Whole numbers, fractions and mixed numbers, decimals, percents, ratios and proportions and estimations are key computation skill areas. I. Mathematical Foundations Achievement Standard: Apply basic mathematical operations to solve problems.

II. Number Relationships and Operations Achievement Standard: Solve problems involving whole numbers, decimals, fractions, percents, ratios, averages, and proportions.

III. Patterns, Functions, and Algebra Achievement Standard: Use algebraic operations to solve problems.

V. Statistics and Probability Achievement Standard: Analyze and interpret data using common statistical procedures.

VI. Problem-Solving Applications Achievement Standard: Use mathematical procedures to analyze and solve business problems.

Whole Numbers ◆ Learning to count to 10 is a common first math skill learned in preschool or kindergarten. Once students master this, the next step is to learn numbers up to 100 and beyond. As students become more familiar with whole numbers, they are introduced to computations involving addition, subtraction, multiplication and division.

Fractions and Mixed Numbers ◆ Students must learn the concepts of simple fractions like one-half and one-third, students are taught how to compute math problems with fractions. Then, mixed numbers with whole numbers and fractions are introduced and computed.

Decimals and Percents ◆ As students recognize the concepts of number parts through fractions, they should learn decimals. This typically includes translating fractional numbers into their decimal equivalents. Work begins with one and two decimal computations and evolves into more decimal place computations. Percentage computations are closely related as students learn to translate both fractions and decimals into percentages.

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Ratio and Proportion ◆ Building on percentages, students learn about ratios and proportions. For instance, a simple ratio of 5 players playing for 1 basketball team helps students understand the real life application of ratios and correct proportional relationships of one item to another.

Estimation ◆ Estimation skills are often challenging for kids to learn once they have mastered technically accurate math computations. Students often struggle to understand the merits of estimating because this skill is usually introduced when students have strong enough computation skills to accurately complete problems. However, it is important for children to understand the importance of estimating values.

Perimeter is the distance around a closed figure white area is the part of plane or region occupied by the closed figure Area — The amount of surface enclosed by a closed figure is called its area. Area of Rectangle = length X breadth

Rectangle

Identify some rectangular shapes from your surroundings and find area eg - Board, door, window, top of table, etc. Area of Square = Side X Side (as l = b)

Square

Questions Q1. Find the area of rectangle whose length and breadth are (a) 12 cm, 8 cm respectively (b) 10 cm, 4.5 cm respectively

Q2. The area of rectangular piece of cardboard is 108 cm2 and its length is 12 cm, find width of the cardboard

Q3. A floor is 8 cm long and 6 m wide. A square carpet of side is laid on the floor. Find the of floor that is not carpeted.

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Area of parallelogram = Base X Height 1 Parallelogram Area of Δ = — X Base X height 2 Triangle The distance around a circular region is called its circumference Circumference of Circle = 2Πr Area of Circle = Πr2 1 cm = 10 mm 1 m = 100 cm 1 cm2 = 100mm2 1m2 = 10000cm2 1 hectare = 10000m2

Volume Amount of space occupied by a three dimensional object is called its volume. Volume of Cuboid = Area of base X height

= L x B x H

Volume of Cylinder = Area of base X height

= Πr2 X h = Πr2h

Volume of Cube = Side X Side X Side (Side)3

Volume and Capacity Volume refers to the amount of space occupied by an object while capacity refers to the quality that a container holds 1 ml = 1 cm3, 1 L = 1000 cm3, 1 m3 = 1000000 cm3 = 1000 L

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Comparing Quantities

Ratio and Proportion In our daily life, many a times we compare two quantities of the same type like, heights, weights, makes etc. One way of comparison is by taking difference eg — Radha is 25 yrs old Asha is 20 yrs old Difference is age = 25 yrs - 20 yrs = 5 yrs The other way of comparison is by saying how many times one quantity is of the other eg — Radha is 10 yrs old Asha is 5 yrs old 10 2 Ratio = 10:5 — — 5 1 Radha is twice as old as Asha eg — Length of field = 60 m Breadth of field = 15 m 60 4 Ratio of the length of the breadth = — — = 4:1 15 1 Note: Two quantities can be compared only if they are in the same unit.

Q 1. Out of 40 students in a class 12 like cricket, 20 like tennis and remaining like football (a) Find the ration of no. of students liking football to total number of students (b) No. of students liking football to no. of students liking tennis.

Q 2. Divide 450 in the ratio of 2:3 Proportion: If two ratios are equal, we say that they are in proportion and use the symbol ': :' or '=' to equate the two ratios eg — We can say 2, 7, 12, 42 are in proportion 2:7 : : 12:42 it is read as 2 is to 7 as 12 is to 42.

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eg — If ratios 20:25 and 28:35 are in proportion 20 4 28 4 Sol 20:25 = — = — 28:35 = — = — 25 5 35 5 So 20:25 : : 28:35

Q1. Find if the following ratios form a proportion (a) 240 km : 60 km and 5 l : 1 l (b) 40 person : 300 person =  8 :  60

Percentage % Percent is derived from latin word 'per centum' meaning 'per hundred'. Percent is represented by the symbol % means hundredths too. That is 5% means 5 out of hundred or 5 hundredths. 5 5% = —— = 0.05 100 eg — Out of 40 children in a class 30 are girls. What is the percentage of girls. 30 25 % of girls = — X 100 = 75%. 40 30 3 Method — I. Write the fraction of girls in class = — = — 40 4 II. Multiply by 100 3 25 — X 100 = 75% 4 Q1. Ritu earns  50,000 per month. She saves 25% of her salary. find the amount does she save. Q2. Find the total quantity if 40% of it is  2500.

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Profit & Loss Cost Price — Buying price of any item Selling Price — Price at which any item is sold. If C.P. < S.P. then we have made a profit If C.P. > S.P. then we have a loss If C.P. = S.P. no Profit no Loss

Profit % or Loss % is always calculated on the C.P. I. eg — If C.P. =  1000 S.P. =  1300 Profit Profit % = X 100 C.P. 300 X 100 = 30% 1000 II. eg — The cost price of a painting is 15000. If the shopkeeper sells it at a profit of 20%, find the price at which it is sold. C.P. =  15000 Profit = 20% Profit = 20% of the cost price 20 20% of 15000 = X 15000 = 3000  100 CP + Profit Selling price of painting is =  15000 +  3000 =  18000 To find cost price, if S.P. and profit / Loss is given 100 100 C.P. = S.P. X or C.P. = S.P. X 100 + P 100-L To find selling price, If C.P. and P/< is given 100+P 100 — L S.P. = C.P. X or S.P. = C.P. X 100 100

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S.I. The money you borrow is known as sum borrowed or principal This money would be used by the borrower for sometime before it is returned. For keeping this money for some time the borrower has to pay some extra money to the bank. This is known as interest. The amount borrower has to pay at the end of year can be calculated by adding the sum borrowed / principal and the interest. Amount = Principal + Interest Interest is given in percent for a period of one year. It is written as say 8%, 10%, 12%, p.a. (per annum) eg — Ritu takes a loan of  50,000 at 15% per year as rate of interest find the amount she has to pay at the end of one year Principal =  50,000 Rate of interest = 15% P x R x T 50000 x 15 x 1 S.I. = = = 7500  100 100 Amount = P + S.I. = 50,000  + 7500  = 57500  Ritu has to pay  57,500.

Interest is the extra money paid by institutions like banks or post office on money deposited (kept with them) Int. is also paid by people when they berrow money.

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TEXTILE DESIGNING

Introduction If the food is considered the first necessity of mankind then clothes is the second in importance. They keep the body warm and also protect it. Under modern living conditions clothes are further important for adornment and have an aesthetic value. It helps us to derive a sense of being and sometimes importance from the wearing of correctly styled and well fitting clothes. Every person comes in contact with various textile products each day. But the textile industry is not concerned with clothes and general wearing apparel alone. Much fabric is used for utility and industrial purposes. Most of us must make decision at some point concerning the selection of textile items. This process can be relatively easy if one has knowledge about the appearance, maintenance, durability and comfort of textile products and factors involved in making these decisions. Throughout human history, people have adapted the things around them to clothe themselves. At first animal skins and various plants were used to protect against the cold, the heat and the vagaries of the weather and all the evidence suggests that people were wearing such clothes as far back as 500,000 years ago. The first textiles or materials turned into yarn and looped, knit, netted or woven to produce cloth were probably felts. They are believed to have been used in the Middle East during the latter part of the Stone Age. Evidence of weaving has been found from 27,000 years ago and needles have been discovered that date back to 15,000 BC.

Textile design Textile design is the process of creating designs and structures for knitted, woven, non-woven or embellishments of fabrics. Textile designing involves producing patterns for cloth used in clothing, household textiles (such as towels) and decorative textiles such as carpets. The field encompasses the actual pattern making as well as supervising part or all of the production process. In other words, textile design is a process from the raw material into finished product. Textile designing is a creative field that bridges fashion design, carpet manufacturing and any other cloth-related field. Textile designers marry a creative vision of what a finished textile will look like with a deep understanding of the technical aspects of production and the properties of fiber, yarn, and dyes.

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Elements in textile design procedure Fiber, yarn and finishes are the key elements to be considered during the textile design procedure. Designs for both woven and printed textiles often begin with a drawing or watercolor sketch of the finished design. Traditionally, drawings of woven textile patterns were translated onto special forms of graph paper called point papers which were used by the weavers in setting up their looms. Nowadays, designers might use software, hand paint, or grab a pencil and paper to record their design. Once a pattern is agreed upon, the design process shifts to choosing the proper fabrics and then to getting the design printed on or woven into the fabric.

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BASIC OF COLOUR/FUNDAMENTAL ASPECTS OF COLOUR

What is Colour? Everything has colour, but it is necessary for light to fall on an object in order to see that colour. White light consists of the seven colours of the visible spectrum and is a form of electromagnetic radiation. The seven colours are red, orange, yellow, green, blue, indigo and violet. Each operates on a different electromagnetic wavelengths. Every objects absorbs a number of electromagnetic wavelengths, while reflecting others. We ‘read’ the reflected wavelengths as the colour of the object: a green field is perceived as being green because the green wavelengths are reflected while the other are absorbed. We see black when all the wavelengths are absorbed, and white when all are reflected. If a textile material is examined in white light the material has a particular colour. This colour occurs because the textile material will absorb all the light failing upon it, and reflect only the wavelengths of its colour. Thus, a white fabric appears white in white light because it reflects all the light waves. However, a green fabric appears green in white light because the dye on the fabric absorbs most of the light and reflects only light with wavelengths which appear green to the eye. There are different greens because the reflected light is composed of different wavelengths which depend on the type of dye, amount of dye and structure of the textile material. The green fabric when viewed under green light will appear green because most of the incident green light is reflected. On the other hand, if the green fabric is viewed under any light source other than white or green the fabric will appear black. This occurs because the green fabric will absorb nearly all the light that is incident on it and since the light is not white or green, very little light will be reflected and the fabric will be seen as black. Any coloured fabric which is viewed under the light which is not white or the particular colour of the fabric will also appear black.

Colour Terminology A distinct terminology is used when discussing colour which, if learnt, makes a complicated subject much clearer and more easily understood. The most common terms relating to drawing and drawing materials are listed below. Colour wheel : The colour wheel presents colours in a circular sequence that corresponds to the order of spectrum colours that make up white light (seep opposite). The device is useful for looking at, and making sense of, colour relationships.

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Primary Colours : Red, Yellow and blue are primary colours. They cannot be made by mixing other colours.

Secondary colours : Mix together any two primary colours and the result is a secondary colour. Red and yellow make orange, yellow and blue make green and blue and red make violet.

Tertiary colours : Tertiary colours result from mixing a primary with the secondary colour next to it in equal measure.

Complementary colour : Complementary colours are those that fall opposite one another on the colour wheel. When placed next to each other they have the effect of making one another look brighter. The effect is very different when the colours are mixed together, however. This has neutralizing effect on the colours and results in a range of grays and browns that echo the colours seen in nature.

Colour temperature : Colours are generally considered to be either warm or cool. Red, orange and yellow are considered warm, while green, blue and violet are considered cool.

Hue : Is simply another name for colour. Ultramarine, cerulean blue and cobalt blue are all hues albeit similar.

Value : Is a term used when discussing tone and describes the relative light or darkness of a colour. Yellow is light in value, while Prussian blue is dark in value.

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Saturation : This describes the relative intensity of a colour. Colours that are similar in hue will have different intensities or brightness. Cadmium yellow is a highly saturated bright yellow while Naples yellow is not. Harmony: Certain colours work better together than other, and are called harmonious. There are several different groups of these. Monochromatic harmony is achieved by using various tones of the same colour. Analogous harmony uses those groups of colours that are close together on the colour wheel. Complementary harmony is achieved by using groups of colours that appear opposite one another on the wheel.

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UNDERSTANDING BASICS OF FIBERS AND FABRIC

Introduction The textile industry use many kinds of fiber as its raw material. Some of these fibers were known and used in the earlier years of the civilization as well as in modern times. The factor influencing the development and civilization of all these fibers include their ability to be spun their ability in sufficient quantity, the cost or economy of production and the desirability of their properties to consumer. As a result of the development, new fiber difficulties across in the textile industry in term of nomenclature, classification and identification. The confusion was compounded by the tend of manufacturers. To identify each of fiber with the different trade mark, consumer become confused by the name and founded difficult and sometime impossible to identify the fiber contained of the products, they saw in the store. Subsequently the United State Congress enacted the Textile Fiber Products Identification Act which become effective on March 3, 1960. This Act require that the label of all textile product must show the fiber contents for amount of over 5%. The Federal Trade Commission (FTC) assigned generic group of manufactured fiber according to chemical composition. This arrangement has brought about some standardization of fiber.

22 TEXTILE DESIGNING 2013 Glass ceramic Glass ceramic or graphite : Silica Source carbon sand Aluminum sil- Aluminum steel gold ver Rubber Source : Source Rubber & Syn- Natural thetic Rubber Polyester Polyester Acrylic Source: Dihydric and alcohol acid teriphaatic Acrylic Aeron- Source: 85% atleast itc Nylon Source : Source Nylon Poly- Aliphatic amide Rayon Ac- Rayon Triacetate etate : Cot- Source and linters ton wood Different typesFiberof and their sources Different Asbestos Rock Source: of (silicate magnesium calcium) Natural FibersNatural Fibers Manmade Silk : silk Source (protein) warm fur or Hair : Hair Source (Protein) Wool Sources: Sources: Wool (protein) Sheep Linen : Flax Source stalk (cellulose) Jute : Jute Source stalk (cellulose) Coir : Coco-Source (Cel- husk nut lulose) Vegetable Sources Cotton ball : Cotton Animal(Cellulose) Mineral Cellulosic Noncellulosic Rubber Metallic Mineral

23 TEXTILE DESIGNING 2013 ds have ds have ion. ion. Emerged in sulfuricEmerged acid Emerged in sulfuricEmerged acid in concen- Dissolve hydro- cold trated acid chloric Dissolve in concen- Dissolve hydro- cold trated acid chloric sulfuric acid & In blue dark iodine give color Dissolve in acetone in acetone Dissolve Dissolve in meta- Dissolve cresol Dissolve in 70% am- Dissolve thiocyanete monium tube with a rough a rough with tube surface boo stick cylindrical tape surface Scalp on Microscopic TestMicroscopic Chemical Test Filament appear lustrous and fine rod transparent like Glass like lustrous diameter uniform Fine round smooth Fine round transparent Light reflective reflective Light straight and Smooth Straight smooth Straight sparkle with bright Light featheryLight a twisted Resemble Feathery gray Feathery gray smooth bam- Strait crustCrisp dark roughly Irregular Round crisp Round beat black shiny crusteasily & gray Light feathery Hard round round Hard beat gray Hard round round Hard beat black brittle Brittle hard hard Brittle beat black black beat black Odder Ash Odder Burning paper paper Burning paper hair hair Burning paper Somewhat Somewhat pleasant sweetish sweetish Burning Burning meat Fiber Identification flame after rapidly Burn glow Continue to burn burn to Continue Burning burn to tinue Freeze flamingFreeze Burning glow after Flame diminish Flame die to tend and out Continue to burn burn to Continue and melt Self extinguished Pleasant brittle Hard In flameIn flame yellow Removedrom burn slow slowly Burn slowly with melting Burn slowlyBurn difficully Burn Slightly Rapidly Rapidly shrinked away from flame flame shrink away flame from shrink shrink away Fiber to Approaching By burning test burning By Cotton readily Scorches quickly Burn Linen readily Scorches flame Yellow Wool Smolder melt Silk flame Flicking Burn Smolder Sizzles curls con- Rayon and quickly Burn Fuses Nylon flame Yellow burn to Continue Polyester and Fuses Acrylic and Fuses Rubber Smolder shrink and Melt certain limitation. They are useful because they are simple to perform and under certain circumstances provide ready identificat ready provide under certainand circumstances to perform useful simple are They are because they certain limitation. Identification of Textile Fiber Identification of Textile thesethrough Allmetho textile of fiber. identification for special equipments any require do not several methodsare that There

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FABRICS OF INDIA If you look around, you would notice that in everyday life you use many kinds of fabrics. A fabric is a pliable, plane like structure which is made from yarns which in turn are made from fibers. A fabric can be made into two- or three-dimensional products that require some shaping and flexibility. Fabrics are used in apparel, furnishings, and many industrial products. This chapter focuses on the various types of fabrics and their uses in current times. As it was mentioned that fabrics are manufactured from fibers, lets quickly review the common fibers of the textile industry. Fibers are broadly classified into two main groups: Natural fibers Man – made fibers

Natural fibers Natural fibers are obtained from natural sources like plants, animals or mineral. All natural fibers are short (except silk) are measured in inches. These are known as staple fibers.

Animal / protein fiber Fibers obtained from animal sources are called animal or protein fibers. These fibers are further divided into hair fibers and extruded fibers. Wool is the most important hair fiber which grows from the skin of sheep (Figure 1). Wool is a bad conductor of heat as it traps heat between its fibers. Therefore it is warm on wearing. Wool is used for making sweaters, mufflers, shawls, caps etc. Other hair fibers are: Cashmere : from cashmere goat Camel hair : from camel Rabbit fur : from rabbit Alpaca, Llama : from llama Mohair : from angora goat

Figure 1: Wool is derived from sheep

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The larvae of silk moth secrete a continuous filament from their mouth to form a cocoon which is processed to recover silk fibers. Rearing of silkworms is known as ‘Sericulture’. Silkworms are generally cultivated; another variety wild silk is obtained from uncultivated silkworm cocoons (Figure 2). Silk fabric is strong and good water absorber. It is also lustrous and because of this property it is an expensive fabric. It is used in making sarees, ties, scarves, suits etc.

Figure 2: Silkworm and cocoon

Plant / cellulosic fiber Fibers derived from plant sources are called cellulosic or plant fibers. These fibers are classified by reference to the part of the plant from which they belong. Cotton , linen, jute are the most common fibers which comes from seed hair and stem or bast respectively. Cotton fiber grows in the seedpod or boll of the cotton plant (Figure 3). Cotton fabrics are soft and durable. They are cool to wear. They have good water absorbency and hence take time to dry. Cotton fabric creases easily. They are used to make shirts, bedsheets, pillow covers, T-shirts etc.

Figure 3: Cotton plant

Linen fiber is obtained from stem of flax plant. The properties are similar to cotton. But it is less strong and creases easily as compared to cotton. It is cool to wear.

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Figure 4: Flax plant

Jute is obtained from jute plant. It is cheapest of all the fibers and is very strong. Due to its strong property it is used for making jute bags, ropes, carpets, strong packing material like gunny bags.

Figure 5: Jute plant and fiber

Natural rubber This is processed from the latex of the rubber tree. On the stem of rubber plant slashes are made through which the thick milky secretion is collected and converted into rubber. It is used in making tyres, tubes, gloves etc (Figure 6).

Figure 6: Products of natural fiber

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Natural mineral Asbestos is a natural fiber obtained from variety of rocks which is a fibrous form of silicate of magnesium and calcium (Figure 7).

MAN – MADE FIBERS These fibers are manufactured in factories. These fibers are extruded as filaments. Man – made fibers have the following properties: Figure 7: Asbestos fiber ◆ They are very strong ◆ They catch fire easily ◆ They do not wrinkle easily ◆ They dry quickly ◆ They do not absorb sweat ◆ They are easy to clean ◆ They need little ironing They can be broadly divided into three groups depending on their raw material : regenerated fibers, synthetic fibers and inorganic fibers.

Regenerated fibers The raw material of these fibers are obtained from nature and include cotton fibers, wood, milk protein and other diverse substances which cannot be used for textiles in its original form. Therefore they are regenerated or reformed through chemicals. Rayon is the first regenerated fiber which produced in 1905. Fibers are good absorbent of moisture and its lusture can be controlled during manufacturing. It is also known as artificial silk (Figure 8).

Figure 8: Rayon fabrics

Rayon is used in apparel, furnishings, industrial uses like medical surgery products etc. Acetate and triacetate are two more common fibers of this category.

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Synthetic fibers These fibers are produced from chemicals to create a polymer which does not exist in a natural state. Nylon was the first synthetic fiber to be manufactured. It is a strong fiber and resistant to insects. Nylon fiber is used in ropes (Figure 9), military applications and apparels.

Figure 9: Nylon rope

Polyester is also a very commonly used synthetic fiber. It is widely used in making plastic bottles, home furnishings, ropes, threads etc (Figure 10).

Figure 10: polyester threads and ribbons

Some of the other common synthetic fibers are acrylic, modacrylic, aramid, spandex and olefin.

Inorganic fibers There are some inorganic substances which do not have large chain of molecules. But, they can be made soft by heating them and can be made into thin, long strands. These fibers are not used in apparels and are mostly used in industries. Glass and metallic fibers are the examples of inorganic fibers. Glass fibers are used in optical fiber, home furnishings and industries. Figure 11. Glass fiber

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After getting familiarized with the various fibers, let us now know about the various kinds of fabrics which are manufactured from these fibers. Buckram is a low textured, loosely woven, very heavily sized and stiffed fabric (Figure 12). It is made of cotton, and still occasionally linen and is used for interlinings and all kinds of stiffening in clothes. Figure 12: Buckram fabric

Cambric is a soft, closely woven and light fabric with slight luster on one side (Figure 13). It launders well and has a good body which sews and finishes well. Initially it was made of linen (flax) but in the 19th century then cotton. Cambric is used for linens, shirtings, handkerchiefs, nightgowns, aprons and as fabric for lace and needlework. Figure 13: Cambric fabric

Canvas is an extremely heavy-duty plain-woven fabric made of cotton or acrylic (Figure 14). It is produced in many grades and qualities. It may have a soft or firm hand. It is used for awnings, tents, marquees, backpacks, and other items for which sturdiness is required. It is also popularly used by artists as a painting surface, typically stretched across a wooden frame. It is also used in such fashion objects as handbags and shoes (Figure 15).

Figure 14: Canvas fabric

Cheesecloth is a light weight, sheer plain-woven cotton fabric with a very soft texture and a very low count. It may be natural-coloured, bleached, or dyed. If dyed, it may be called bunting and could be used for flags or banners. It is also used for curtains, bandages, hat lining, surgical guaze, food wrapping, costumes and basket tops (Figure 16 (a) Figure 15 : Canvas shoes and bagback and (b)).

Figure 16(a): Cheesecloth – Dyed and undyed Figure 16 (b) : Cheesecloth used as food wrapping

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Muslin is a loosely-woven cotton fabric which originated in Bengal in South Asia, which was introduced to Europe from the Middle East in the 17th century. It became very popular at the end of the 18th century in France. Muslin is most typically an unbleached or white cloth, produced from carded cotton yarn. It is often used for clothing, curtains, or upholstery (Figure 17). Because air moves easily through muslin, muslin clothing is suitable for hot, dry climates. Figure 17: Muslin Fabric

Poplin, sometimes called tabinet, is a type of medium- to heavy- weight, durable fabric that is now most frequently made of cotton or a cotton/polyester blend (Figure 18). The name derives from the French papelaine, a fabric normally made with silk, that was used in the 1400s. Until about the 20th century, different types of poplin were often used to make dresses suitable for winter wear. It finds its use in sportswear of Figure 18: Poplin fabric all kinds, shirts, uniforms, draperies, blouses and dresses.

Organdy is a transparent, crisp, light weight plain-weave fabric made of cotton spun yarns. The fabric is treated with acid to create a crispy hand. It is used in trims, collars and cuffs, dolls clothes, blouses, curtains, bedspread, artificial flowers and curtains (Figure 19).

Figure 19: Organdy fabric used as curtain, dress and gift wrapper

Voile is a soft, sheer, loosely woven fabric, usually made of cotton, wool, silk or cotton blends including linen or polyester (Figure 20). The term comes from French, and means veil. Because of its light weight, the fabric is mostly used in soft furnishing. Voiles are available in a range of patterns and colours (unlike net curtains which are generally white or off-white). Figure 20: Voile fabrics Because of their semi-transparent quality, voile curtains are made using specially manufactured heading tape that is less easily noticeable through the fabric. Voile fabric is also used in dress-making, either

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in multiple layers or laid over a second material. Voile is very similar to chiffon, which is also used in dress-making. Chiffon, is a lightweight, plain-woven sheer fabric made from cotton, silk or synthetic fibres (Figure 21 (a)). Chiffon can be dyed to almost any shade, but chiffon made from polyester can be difficult to dye. Under a magnifying glass it resembles a fine net or mesh which gives chiffon some see-through properties. Chiffon is most commonly used in evening wear, especially as an overlay, for giving an elegant and floating appearance Figure 21 (a): Chiffon Figure 21 (b): Chiffon to the gown. It is also a popular fabric used in blouses, fabric scarves ribbons, scarves and lingerie (Figure 21(b)).

Crape or crepe is a silk, wool, or polyester fabric of a gauzy texture, having a peculiar crisp or crimpy appearance (Figure 22).

Figure 22: Crepe fabric

Georgette (from crêpe Georgette) is a sheer, lightweight, dull-finished crêpe fabric named after the early 20th century French dressmaker Georgette de la Plante. Originally made from silk, and later rayon or rayon blends, modern georgette is often made of synthetic filament yarns. Georgette is made in solid colors and prints, and is used for blouses, dresses, evening gowns, and trimmings. It is springier and less lustrous than the closely related chiffon (Figure 23). Figure 23: Georgette fabric Linen is a fabric made from the fibers of the flax plant (Figure 24). Linen garments, it is valued for its exceptional coolness and freshness in hot weather. The collective term "linens" is still often used generically to describe a class of woven and even knitted bed, bath, table and Figure 24: Linen fabrics kitchen textiles. The name linens is retained because traditionally, linen was used for many of these items. In the past, the word "linens" was also used to mean lightweight undergarments such as shirts, chemises, waistshirts, lingerie (a word also cognate with linen), and detachable shirt collars and cuffs, which were historically made almost exclusively out of linen. Many products are made of linen: aprons, bags, towels (swimmers, bath, beach, body and wash towels), napkins, bed linens, linen tablecloths, runners, chair covers, and men's & women's wear.

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Ninon is a sheer, slightly crisp, light-weight plain- weave fabric made of silk, rayon, or nylon made in a variety of tight smooth weaves or open lacy patterns and/or open mesh-like appearance. It is described as very delicate or lightweight and is sometimes referred to as "French tergal". Because the fabric is made with high twist filament yarns, it has a crisp hand. It finds its end uses in Figure 25: Ballet shoes and satin ribbons eveningwear and curtains. Satin is a strong lustrous, medium-weight to heavyweight, filament -yarn satin fabric. A satin fabric tends to have a high luster due to the high number of floats on the fabric. Satin is commonly used in apparel: satin baseball jackets, athletic shorts, women's lingerie, nightgowns, blouses and evening gowns, but also in some men's boxer shorts, shirts and neckties. It is also used in the production of pointed shoes for use in ballet. Other uses include interior furnishing fabrics, upholstery, and bed sheets (Figure 25). Corduroy is a filling-yarn pile fabric usually made from cotton and blends usually with polester and rayon. The pile is created by long-filling floats that are cut and brushed in finishing. The ground weave may be a plain or a twill weave. Corduroy fabric has parallel, lengthwise cords or ridges (Figure 26). As a fabric, corduroy is considered a durable cloth. Corduroy is found in the construction of trousers, shirts, breeches, coats, jackets Figure 26: Corduroy fabrics and trousers. Seersucker is a thin, puckered, all-cotton fabric, commonly striped or chequered fabric (Figure 27 (a)). Seersucker is woven in such a way that some threads bunch together, giving the fabric a wrinkled appearance in places. This feature causes the fabric to be mostly held away from the skin when worn, facilitating heat dissipation and air circulation. Seersucker is used in curtains and summer suiting, dresses, and sportswear (Figure 27(b)).

Figure 27 (a): Seersucker fabric Figure 27(b): Seersucker dresses

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Tweed is a rough, unfinished woollen fabric, of a soft, open, flexible texture, resembling cheviot or homespun, but it more closely woven (Figure 28). It is made in either plain or twill weave and may have a check or herringbone pattern. Tweeds are desirable for Figure 28: Tweed fabrics informal outerwear, being moisture- resistant and durable. Tweeds are commonly worn used in wide range of suits, coats, and sportswear for men, women and children. Tafetta, is a general term that refers to any plain-weave filament yarn fabric with a fine, crisp hand usually made from silk or rayon (Figure 29). It is smooth with a sheen on its surface. It is used in suits and coats, slip, ribbons and blouses. Figure 29: Tafetta fabrics

Velvet is a type of woven tufted fabric in which the cut threads are evenly distributed, with a short dense pile, giving it a distinctive feel. Velvet can be either synthetic or natural. Velvet is used in upholstery, clothing, curtains and shadowbox (Figure 30). Figure 30: Velvet fabrics

Velveteen is a filling-pile fabric with a plain-or twill-ground weave made with long floats that are cut in the finishing process to form a short pile. Velveteen is usually a spun-yarn fabric made of cotton or rayon, although some also contain silk. It comes in many colors, and may have patterns painted or embossed into the nap. Velveteen has a variety of uses, from children's clothing to home décor items. Because of its thickness, it is warm, which makes it a good choice for winter garments such as jackets and capes. While velveteen is a lovely option for drapes, it may not be a good choice for upholstery, since the nap of some varieties of the fabric can wear over time and with abrasion

Denim is a cotton or cotton/polyester blend, twill weave, yarn dyed fabric (Figure 31). Usually the warp is coloured and the filling is white. It is often a left- hand twill with a blue warp and white weft for use in apparel in a variety of weights. Denim is used in clothing, accessories and furniture. Figure 31: Denim fabrics

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Flannel is a lightweight to heavyweight plain-or twill-weave fabric with a napped surface (Figure 32) . Flannel can be made using a number of fabrics, usually in a blend. Different manufacturers use cotton, wool or synthetic blends. Flannel is used for a number of products. One of the more common uses is for winter bedding and blankets. Flannel is also used for pajamas. Many shirts made of flannel come in a plaid pattern. Suits can even be made of flannel, usually using a wool blend.

Figure 32: Flannel fabrics Gabardine is a tightly woven, medium-weight to heavyweight, steep- or regular-angle twill-weave fabric with a pronounced wale. The fabric can be wool, a wool blend, or synthetic fibers that resemble wool (Figure 33). Gabardine can also be 100 percent texturized polyester or a cotton/polyester blend. Due to the use of blends gabardine fabric acquires a sheen which makes it ideal for creating fashions for women as well as men. Along with suits and trousers for the men, gabardine became a popular choice for women’s skirts and matching jackets, Figure 33: Gabardine fabric slacks, and pantsuits. Overcoats for both genders are another enduring use of gabardine today. Mulberry silk is shiny, smooth and has a fluidity and makes it perfect for evening wear (Figure 34 (a)). Tussar silk, often referred to as wild silk and is a lot more textured than Mulberry silk. It has an elegant, dull gold sheen and it is a lot more breathable than Mulberry silk making it more suitable for warmer climates(Figure 34 (b)). Eri silk is thick silk with a dull sheen and it has a soft, cotton-like feel.

Figure 34: (a) Mulberry silk, (b) Tussar silk, (c) Eri silk ACTIVITY: Collect various types of fabrics from the tailors shop and analyse their texture. Identify them and paste them in a scrapbook.

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FABRIC FINISHES

Finishing In textile manufacturing, finishing refers to the processes that convert the woven or knitted cloth into a usable material and more specifically to any process performed after dyeing the yarn or fabric to improve the look, performance, or "hand" (feel) of the finished textile or clothing. Some finishing techniques such as bleaching and dyeing are applied to yarn before it is woven while others are applied to the grey cloth directly after it is woven or knitted. Some finishing techniques, such as fulling, have been in use with hand-weaving for centuries.

Introduction In order to impart the required functional properties to the fiber or fabric, it is mandatory to subject the material to different types of physical and chemical treatments. For example, wash and wear finish for a cotton fabric is necessary to make it crease-free or wrinkle-free. In a similar way, mercerizing, singeing, flame retardant, water repellent, waterproof, anti-static and peach finishing achieve various fabric properties desired by consumers. The use of 100% synthetic textiles has increased considerably since the development of textured yarns made of filaments, and the growing production of knit goods. The use of open weave has enabled production of lighter, breathable, fabrics to ensure better wearing comfort. The properties of plastic-based synthetic fibers, most important among them being polyamide, polyester and polyacrylonitrile, are essentially different from those of natural cellulosic and wool fibers. Hence the sequence of finishing operations is likely to be different. While cellulosic fabrics require a resin finishing treatment to impart easy-care properties, synthetic fibers already exhibit these easy-care criteria and require only a heat setting operation.

Finishing- processing of cotton

A. Purification and preliminary processes The grey cloth, woven cotton fabric in its loom-state, not only contains impurities, including warp size, but requires further treatment in order to develop its full textile potential. Furthermore, it may receive considerable added value by applying one or more finishing processes.

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◆ Singeing Singeing is designed to burn off the surface fibres from the fabric to produce smoothness. The fabric passes over brushes to raise the fibres, then passes over a plate heated by gas flames. In the textile industry, loose fibres protruding on the surface of textile goods are singed to remove them. When done to fabrics containing cotton, this results in increased wettability, better dyeing characteristics, improved reflection, no "frosty" appearance, a smoother surface, better clarity in printing, improved visibility of the fabric structure, less pilling and decreased contamination through removal of fluff and lint. The process is usually to pass one or both sides of a fabric over a gas flame to burn off the protruding fibres. Other methods include infra-red or heat for thermoplastic fibers. Singeing of yarns is called "gassing". It is usually the first step after weaving or knitting, though the fabric may be brushed first to raise the surface fibres. Cellulose fibres such as cotton are easily singed because the protruding fibers burn to a light ash which is easily removed. Thermoplastic fibres are harder to singe because they melt and form hard residues on the fabric surface.

◆ Desizing Desizing is the process of removing the size material from the warp yarns in woven fabrics. Sizing (Sizing of the warp yarn is essential to reduce breakage of the yarn and thus production stops on the weaving machine. On the weaving machine, the warp yarns are subjected to several types of actions i.e. cyclic strain, flexing, abrasion at various loom parts and inter yarn friction.)agents are selected on the basis of type of fabric, environmental friendliness, ease of removal, cost considerations, effluent treatment, etc.Depending on the size that has been used, the cloth may be steeped in a dilute acid and then rinsed, or enzymes may be used to break down the size.

Natural sizing agents Natural sizing agents are based on natural substances and their derivatives: ■ Starch and starch derivatives; native starch, degradation starch and chemically modified starch products ■ Cellulosic derivatives. carboxymethylcellulose (CMC), methylcellulose and oxyethylcellulose ■ Protein-based starches; glue, gelatin, albumen

◆ Scouring Scouring, is a chemical washing process carried out on cotton fabric to remove natural wax and non-fibrous impurities (e.g. the remains of seed fragments) from the fibres and any added soiling or dirt. Scouring is usually carried in iron vessels called kiers. The fabric is boiled in an alkali, which forms soap with free fatty acids (saponification). A kier is usually enclosed, so the solution

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of sodium hydroxide can be boiled under pressure, excluding oxygen which would degrade the cellulose in the fibre. If the appropriate reagents are used, scouring will also remove size from the fabric although Desizing often precedes scouring and is considered to be a separate process known as fabric preparation. Preparation and scouring are prerequisites to most of the other finishing processes. At this stage even the most naturally white cotton fibres are yellowish, and bleaching, the next process, is required.

◆ Bleaching The next process of decolonization of greige material in to a suitable material for next processing is called bleaching. Bleaching of textiles can be classified in to oxidative bleaching and reductive bleaching. Oxidative bleaching Generally oxidative bleachingare carried out using sodium hypochlorite, sodium chlorite or hydrogen peroxide. Natural fibres like cotton, ramie, jute, wool, bamboo are all generally bleached with oxidative methods. Reductive bleaching Reductive method of bleaching is done with Sodium hydrosulphite, a powerful reducing agent. Fibres like Polyamide, Polyacrylics and Polyacetates can be bleached using reductive bleaching technology. Optical whiteners After scouring and bleaching, Optical Brightening Agents (OBA),are applied to make the textile material to appear more brilliant whites. These OBA are available in different tints such as blue, violet and red. Bleaching improves whiteness by removing natural coloration and remaining trace impurities from the cotton; the degree of bleaching necessary is determined by the required whiteness and absorbency. Cotton being a vegetable fibre will be bleached using an oxidizing agent, such as dilute sodium hypochlorite or dilute hydrogen peroxide. If the fabric is to be dyed a deep shade, then lower levels of bleaching are acceptable, for example. However, for white bed sheetings3 and medical applications, the highest levels of whiteness and absorbency are essential.

◆ Mercerizing Mercerization is a treatment for cotton fabric and thread that gives fabric or yarns a lustrous appearance and strengthens them. The process is applied to cellulosic materials like cotton or hemp. A further possibility is mercerizing during which the fabric is treated with caustic soda solution to cause swelling of the fibres. This results in improved luster, strength and dye affinity. Cotton is mercerized under tension, and all alkali must be washed out before the tension is released or shrinkage will take place. Mercerizing can take place directly on grey cloth, or after bleaching.

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B. Coloration Color is a sensation caused when white light from a source such as the sun is reflected off a pigment on the surface. The pigment selectively reflects certain wavelengths of light while absorbing others. A dye can be considered as a substance that can be fixed to a material that has these properties. The colour it reflects is defined by the structure of the molecule, and particular the parts of the chromogen molecule called the chromophore group. There are two processes used to apply colour:

◆ Dyeing Dyeing is the process of adding color to textile products like fibers, yarns, and fabrics. Dyeing is normally done in a special solution containing dyes and particular chemical material. After dyeing, dye molecules have uncut chemical bond with fiber molecules. The temperature and time controlling are two key factors in dyeing. There are mainly two classes of dye, natural and man-made. Finally, cotton is an absorbent fibre which responds readily to colouration processes. Dyeing, for instance, is commonly carried out with an anionic direct dye by completely immersing the fabric (or yarn) in an aqueous dyebath according to a prescribed procedure. For improved fastness to washing, rubbing and light, other dyes such as vats and reactives are commonly used. These require more complex chemistry during processing and are thus more expensive to apply.

◆ Printing Textile printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fiber, so as to resist washing and friction. Textile printing is related to dyeing but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns. In printing, wooden blocks, stencils, engraved plates, rollers, or silkscreens can be used to place colours on the fabric. Colourants used in printing contain dyes thickened to prevent the colour from spreading by capillary attraction beyond the limits of the pattern or design. Printing, on the other hand, is the application of colour in the form of a paste or ink to the surface of a fabric, in a predetermined pattern. It may be considered as localizeddyeing. Printing designs on to already dyed fabric is also possible. The common processes are block printing, roller printing and screen printing The different printing types are ■ Discharge ■ Reactive ■ Khadi (White Ink ) ■ Water Base Pigment ■ Oil Base Pigment ■ Cotton Burn out

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C. Mechanical finishing ■ Raising Another finishing process is raising. During raising, the fabric surface is treated with sharp teeth to lift the surface fibres, thereby imparting hairiness, softness and warmth, as in flannelette. ■ Calendering Calendering is the third important mechanical process, in which the fabric is passed between heated rollers to generate smooth, polished or embossed effects depending on roller surface properties and relative speeds. ■ Chemical finishing Many other chemical treatments may be applied to cotton fabrics to produce low flammability, crease resist and other special effects. ■ Shrinking (Sanforizing) Mechanical shrinking (sometimes referred to as sanforizing), whereby the fabric is forced to shrink width and/or lengthwise, creates a fabric in which any residual tendency to shrink after subsequent laundering is minimal.

Special finishes for natural fibers Bio-polishing removes the protruding fibers of a fabric through the action of an enzyme. Enzymes, such as cellulose for cotton, selectively remove protruding fibers. These enzymes may be deactivated by an increase in temperature. ◆ Mercerisation makes woven cotton fabric stronger, more lustrous, to have better dye affinity, and to be less abrasive. ◆ Raising lifts the surface fibers to improve the softness and warmth, as in flannelette. ◆ Peach Finish subjects the fabric (either cotton or its synthetic blends) to emery wheels, making the surface velvet-like. This is a special finish used mostly in garments. ◆ Fulling or waulking is a method of thickening woollen material to make it more water-resistant. ◆ Decatising to bring dimension stability to woollen fabrics. ◆ Calendering makes one or both surfaces of the fabric smooth and shiny. The fabric is passed to through hot, fast-moving stainless steel cylinders. ◆ Sanforizing or Pre-shrinking prevents a fabric and the produced garment from shrinking after production. This is also a mechanical finish, acquired by feeding the fabric between a roller and rubber blanket, in such a way the rubber blanket compresses the weft threads and imparts compressive shrinkage. ◆ Crease-Resist finish or "wash-and-wear" or "wrinkle-free" finishes are achieved by the addition of a chemical resin finish that makes the fiber take on a quality similar to that of synthetic fibers.

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DESIGNING OF MOTIFS

Introduction Motif is an element of pattern, image, or part of one, or more themes. Motif can be an idea, object or creativity, or we can say a motif differs from a theme. Motif means a design that consists of recurring shapes or colours, theme that elaborated on in a piece of unifying idea that is a recurrent element in a literary or artistic work. It can be called as decorative art. In the Textile Arts, a Motif is a smaller element in a much larger work. Motifs are made one at Time and Joined together to create larger work. A good example of a Motif is the grandly square. Motif may be varied or rotated for contrast and variety or to create new shapes. Motifs can be any size but usually all the motifs in any given work are the same size. The patterns and stitches used in a motif may very greatly, but there is almost always some unifying colour, which gives the finished piece more or convey information. A design start with a motif. When a motif is repeated at certain intervals over a surface it is called a pattern. Repetition of this pattern creates a design. Certain Principals are used when repeating design. A look at the following illustration will help you to realize how a motif can be used to make a pattern and the pattern to make a design. Motif plays a very important role in designing. It is used by the designers to express their ideas. A good designer should always be well informed about art, and current events. It is the designer’s responsibility to tanslate the stylist concept, with the help of reference material.

Motifs helps in creating a focal point that directs the viewers eye to certain areas

Motif, Pattern, Design

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Types of Motifs Motifs fall into five basic categories i. Geometrical Motifs ii. Simplified Motifs iii. Naturalized Motifs iv. Stylized Motifs v. Abstract Motifs

Geometrical Motifs Design and motifs created by using various geometrical shapes, such as lines, circle, squares, rectangle , triangle etc. are called geometrical motifs. It is possible to draw many man – made objects using geometrical shapes. Geometrical motifs are totally can be made more attractive with

the use of colour and with the combination of various shapes. Diagram Geometrical Motifs

The above Motifs are creates using various geometrical shapes thus are called geometrical motifs. Simplified Motifs These Motifs comprise of slight curves and few detail. See the following Motifs observe and compare the geometrical and simplifies Motifs. Simple lines and curves with few details create simplifies Motifs. Diagram Simplified Motifs

Naturalized Motifs As the name suggests, these are the motifs inspired from nature. Patterns in nature change all the times, different seasons unfold different colours and scenes. Man is inspired by all that happening around him. You must have seen beautiful flowers leaves, vines, birds and animals embroidered on different garments very close to natural designs and motifs. Thus the pattern in naturalized motifs will be very close to nature Stylized Motifs Naturalized Motifs These are made to make the motif look more beautiful. The motifs loses its natural form as it becomes more decorative and stylized. Thus the motifs which have more curves and details are away from their natural form and look more complicated such motifs are called stylzed motifs. Stylized Motifs

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Abstract Motifs These motifs does not have any specific inspiration. Both natural and abstract motifs used the same source of inspiration but results would be quite different. The natural motifs of a leaf will look like a leaf but an abstract motif of the same can be created by only using its texture, weins, patterns or colour to produce an attractive motif. Every day of objects, when viewed from different angles, can be exciting source for abstract motifs.

Abstract Motif Enlargement and Reductions of Motifs

Some of the motifs may have to be enlarged or reduced. To understand this let us answer this question. What will you do, if you have to decorate a Diwan Cover and a Cushion cover with the same motifs? Let us say that the motif used is a flower. If you select a large flower it will look too big on the cushion cover. So what can you do? You can use a large flower on the Diwan cover ands same flower can be reduced to a small size for the Cushion cover. In this way the motifs size can be made appropriate to the article size. The idea behind enlarging and reducing a design is to be able to use one motif of different sizes and shapes of the articles. It sound very simple but what do you do when you have a complicated designs ? Let us try and learn the steps which can be followed Step-1 Find a design that you would like to use in your embroidery Step-2 Trace it on a tracing paper Step-3 use a carbon paper to transfer the tracing on the graph paper Step-4 Using the squire as a guide, draw the illustration on to the large squares.

This must be done very carefully. It is only by following the position of the outline on the squares that the drawing stays in proportion that is each part is increased by the same amount in width and height. This is because the squares are of the same shape but are larger in size.

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Placement of Motifs Motif is simply a shape. Some costumes have no design motifs, but instead in all over pattern or texture, like that created by Sequins and beats completely covering the surface. Apart from use of different ideas, images in motifs, it is very important to place the motifs in such a way that it appears pleasing and reflect the appropriate idea. Motifs are placed where one want the focal point of the design. The motifs can also be repeated in few times to give a pleasing view. Motifs can be placed in any manner in which the designer like. Some placements of motifs are as follows 1. From and back motifs :- the Audience sees the costume from all angles therefore the back is as important as front. Continuous motifs infront and single motifs in back give an interesting view to the design. 2. Center Motifs :- Motifs can also be placed on the back of the belt, Halters strap etc. It gives a taller and slimmer appearance. 3. Identical Motifs: - Two identical motifs visible from the same angles gives a nice appearance to the design. 4. Motifs from different angles :- The motifs can also be placed at varying angles. Of two motifs, one can be “Reflected” in the opposite direction. The two can phase toward or away from each other to create another interesting shape. 5. Asymmetrical placement of motifs :- off center placement of motifs such as one o waist line, shoulder, neck, sleeves etc. gives a dynamic visual appearance. Asymmetrical motifs gives looks balanced if they are placed on alternative side of the body design.

Repeating Motifs A repeated is basically an arrangement of a tiny pattern which are repeated all over the design area. Motifs can be arranges length wise or width wise depending on the direction of draping

Kind of Repeats : 1. Simple Repeats - when a basic motif block is repeated in a single array both horizontally and vertically it is termed as simple repeat.

Simple Repeat

2. Mirror Repeat - a vertically and/or Horizontally flipped image is called a mirror repeat. When holistically viewed, the effect of a compact uniform block is achieved

Mirror Repeat

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3. Cross Repeat – The arrangement of cross repeat is as placed vertically and diagonally in brick type.

Arrangement of figures/ patterns Mirror Repeat All designs which choose must be eventually capable of containment with ina rectangular base to produce a weaves repeat. With in the repeat however many different based can be employed for the construction of figures, and finalized shapes themselves can be placed in varying relationship with one another Whether the design form itself is geometric , floral, or abstract, the base line on which it is constructed with in the repeat usually take the aspect of a well defined lattice or net. The lattice may be varying form, and common starting points are ◆ Rectangle ◆ Diamond ◆ Hexagon ◆ Circles etc.

When a figure is finally designed it may represents the full repeat in which case its relationship is predetermined or it may represent one of many units of the repeat in which case its relationship with a number of like units within the repeat must be considered.

Unit repeating design The term unit repeating is applied to designs in which the unit figure an the repeats are the same. The repeats are combined in such a way that they fit satisfactorily together within the repeat area, and joined correctly when repeated. It one feature of unit repeating designs shows more prominently then the rest, the repetition of the pattern, from side to side and from to the end of the cloth, is liable to cause the leading feature to form lines in one or both directions

The drop device This is a common device which enables the designer to place two similar units in different relationship to one another.

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Half drop Design In Half Drop Design one half of the complete repeat is exactly the same as that in the other half. In this, if the repeat is divided into four equal parts the design is created in both the directions and the alternate section design are exactly the same.

Bases of Half drop Design the following bases are applied for Half drop Design a. Diamond b. Ogee c. Diagonal d. Waved line e. Rectangle

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TIE AND DYE

Introduction Bandhana and Bandha are Sanskrit words meaning ‘to tie’. This technique is internationally known by its Malay-Indonesian name Plangi. It is a form of resist dying used to pattern fabric by time parts of it in different ways. This craft is one of the oldest in the world. In Sind and Madhya Pradesh this technique is known as coarser bandhani. Rajasthan and Gujarat are famous for their fine and prolific bandhani. Bandhani comes in different designs, colors and motifs with variations specific to each region. Each district has its own specialty which makes it recognizable and gives it a different name. Bhuj is a town with a great many Bandhani workers. The largest Bandhani workshops are in Saurashtra,especially in Jamnagar. The fabrics used for Bandhani are muslin, handloom or silk. Traditionally vegetables were used to make dyes such as Spinach for green color, Turmeric for yellow color, Palash flower for red color, Indigo plant for blue color. These were the basic primary and secondary colors. These vegetable and flower dyes are replaced by chemical dyes nowadays. Bandhani textiles are inexpensive and one of the cheapest ways for the women of poor communities to dress in a colorful fashion. Not only for poor women but in rocher classes of Gujarat, very fine bandhani odhnis tied on silk or fine quality cotton are worn as wedding garments. A bandhani sari traditionally worn foe for Gujarati wedding is known as ‘Garchola’. this pattern is with a grid work of small bandhavi squares of yellow dots against a bright red background with motifs of lotus flower, elephants, kalash, peacock etc. the material used is thin millmade cloth, loosely woven silkknown as ‘georgette’ or cotton known as ‘malmal’ and ‘cambric’. Each design is named from the shape it forms. In this process of tie and dye whether the tie and dye is done at random intervals, on the diagonals, criss-cross, zigzag and whether the pattern are of scattered dots, waves or checks, all these techniques are based on the same principle: they involve folding, tying and stitching . in this process , fabric is tied in small and big knots and then dipped in the dye to prevent coloring of the tied area. This process leads to the creation of colorful concentric circle and squares in all sizes. This may be repeated several times, by time different parts. Dying always starts with lighter shades and darker shades are used at the end. After each successive dying the cloth is untied and dried. The result from tying and dying of fabric are in accordance with the overall design scheme. Some of the common design are ‘dungar shahi’ or the ‘mountain pattern’, ‘boond’ which result in a small dot with a dark centre and ‘swirling’ like jalebi. There are many different kinds of dyes that may be used.

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Tie and Dye Tie-dye is a process of tying and dyeing a piece of fabric or cloth which is made from knit or woven fabric, usually cotton; typically using bright colors. It is a modern version of traditional dyeing methods used in many cultures throughout the world. "Tie-dye" can also describe the resulting pattern or an item which features this pattern Tie-dyeing is accomplished by folding the material into a pattern, and binding it with string or rubber bands. Dye is then applied to only parts of the material. The ties prevent the entire material from being dyed. Designs are formed by applying different colors of dyes to different sections of the wet fabric. A wet t-shirt is much easier to dye than a dry t-shirt. Once complete, the material is rinsed, and the dye is set.

Dyes Although many different kinds of dyes may be used, most tie-dyers now dye with Procion MX fiber reactive dyes. This class of dyes works at warm room temperatures. The molecules permanently bind with cellulose based fibers (cotton, rayon, hemp, linen), as well as silk, when the pH is raised. Soda ash (sodium carbonate) is generally used to raise the pH and is either added directly to the dye, or in a solution of water in which garments are soaked before dyeing. They do not fade with washing, but sunlight will cause the colors to fade over time.

Designs and patterns With tie-dye it is possible to create a wide variety of designs and patterns, such as stripes, spirals, swirling designs, marbled patterns etc. A dye is a colored substance that has an affinity to the substrate to which it is being applied. The dye is generally applied in an aqueous solution, and requires a mordant to improve the fastness of the dye on the fiber. Both dyes and pigments appear to be colored because they absorb some wavelengths of light more than others. In contrast with a dye, apigment generally is insoluble, and has no affinity for the substrate. Some dyes can be precipitated with an inert salt to produce a lake pigment, and based on the salt used they could be aluminum lake, calcium lake or barium lake pigments.

Natural dye The majority of natural dyes are from plant sources – roots, berries, bark, leaves, and wood, fungi, and lichens. Textile dyeing dates back to the Neolithic period. Throughout history, people have dyed their textiles using common, locally available materials. Scarce dyestuffs that Dyeing wool cloth, 1482

48 TEXTILE DESIGNING 2013 produced brilliant and permanent colors such as the natural invertebrate dyes Tyrian purple and crimson kermes were highly prized luxury items in the ancient and medieval world. Plant-based dyes such as woad, indigo, saffron, and madder were raised commercially and were important trade goods in the economies of Asia and Europe. Across Asia and Africa, patterned fabrics were produced usingresist dyeing techniques to control the absorption of color in piece-dyed cloth. Dyes from the New World such as cochineal and logwoodwere brought to Europe by the Spanish treasure fleets, and the dyestuffs of Europe were carried by colonists to America The discovery of man-made synthetic dyes late in the 19th century ended the large-scale market for natural dyes.

Synthetic dye The first human-made (synthetic) organic dye, mauveine, was discovered serendipitously by William Henry Perkin in 1856. Many thousands of synthetic dyes have since been prepared. Synthetic dyes quickly replaced the traditional natural dyes. They cost less, they offered a vast range of new colors, and they imparted better properties to the dyed materials. Dyes are now classified according to how they are used in the dyeing process.

Dye types RIT brand dye from mid 20th century Mexico, part of the permanent collection of the Museo del Objeto del Objeto. Acid dyes are water-soluble anionic dyes that are applied to fibers such as silk, wool, nylon and modified acrylic fibers using neutral to acid dye baths. Attachment to the fiber is attributed, at least partly, to salt formation between anionic groups in the dyes and cationicgroups in the fiber. Acid dyes are not substantive to cellulosic fibers. Most synthetic food colors fall in this category. Basic dyes are water-soluble cationic dyes that are mainly applied to acrylic fibers, but find some use for wool and silk. Usually acetic acid is added to the dyebath to help the uptake of the dye onto the fiber. Basic dyes are also used in the coloration of paper. Direct or substantive dyeing is normally carried out in a neutral or slightly alkaline dyebath, at or near boiling point, with the addition of either sodium chloride (NaCl) or sodium sulfate (Na2SO4) or sodium carbonate (Na2CO3). Direct dyes are used on cotton, paper, leather, wool, silk and nylon. They are also used as pH indicators and as biological stains. Mordant dyes require a mordant, which improves the fastness of the dye against water, light and

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perspiration. The choice of mordant is very important as different mordants can change the final color significantly. Most natural dyes are mordant dyes and there is therefore a large literature base describing dyeing techniques. The most important mordant dyes are the synthetic mordant dyes, or chrome dyes, used for wool; these comprise some 30% of dyes used for wool, and are especially useful for black and navy shades. The mordant,potassium dichromate, is applied as an after-treatment. It is important to note that many mordants, particularly those in the heavy metal category, can be hazardous to health and extreme care must be taken in using them. Vat dyes are essentially insoluble in water and incapable of dyeing fibres directly. However, reduction in alkaline liquor produces the water solublealkali metal salt of the dye, which, in this leuco form, has an affinity for the textile fibre. Subsequent oxidation reforms the original insoluble dye. The color of denim is due to indigo, the original vat dye. Reactive dyes utilize a chromophore attached to a substituent that is capable of directly reacting with the fibre substrate. The covalent bonds that attach reactive dye to natural fibers make them among the most permanent of dyes. "Cold" reactive dyes, such as Procion MX, Cibacron F, andDrimarene K, are very easy to use because the dye can be applied at room temperature. Reactive dyes are by far the best choice for dyeing cotton and other cellulose fibers at home or in the art studio. Disperse dyes were originally developed for the dyeing of cellulose acetate, and are water insoluble. The dyes are finely ground in the presence of a dispersing agent and sold as a paste, or spray-dried and sold as a powder. Their main use is to dye polyester but they can also be used to dye nylon,cellulose triacetate, and acrylic fibres. In some cases, a dyeing temperature of 130 °C is required, and a pressurised dyebath is used. The very fine particle size gives a large surface area that aids dissolution to allow uptake by the fibre. The dyeing rate can be significantly influenced by the choice of dispersing agent used during the grinding. Azoic dyeing is a technique in which an insoluble azo dye is produced directly onto or within the fibre. This is achieved by treating a fibre with both diazoic and coupling components. With suitable adjustment of dyebath conditions the two components react to produce the required insoluble azo dye. This technique of dyeing is unique, in that the final color is controlled by the choice of the diazoic and coupling components. This method of dyeing cotton is declining in importance due to the toxic nature of the chemicals used. Sulfur dyes are two part "developed" dyes used to dye cotton with dark colors. The initial bath imparts a yellow or pale chartreuse color, This is aftertreated with a sulfur compound in place to produce the dark black we are familiar with in socks for instance. Sulfur Black 1 is the largest selling dye by volume.

Food dyes One other class that describes the role of dyes, rather than their mode of use, is the food dye. Because food dyes are classed as food additives, they are manufactured to a higher standard than some industrial dyes. Food dyes can be direct, mordant and vat dyes, and their use is strictly controlled by legislation. Many are azo dyes, although anthraquinone and triphenylmethanecompounds are used for colors such as green and blue. Some naturally-occurring dyes are also used.

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Dyeing of fabric Dyeing of Fabrics are coloured compounds used for imparting colour to the textiles, silk, wool, food stuffs, etc. A dye is an organic compound which can absorb some band of the light falling on it. The rest of the light is reflected. The reflected light will eventually have colour complementary to that of the absorbed. A dye may absorb all visible light except one band that may be reflected. The dye will then have colour of the reflected band.

Classification of Dyes Based on Application 1. Acid Dyes : Acid media is required for application of this dye. The substantivity of this dye is maximum to wool and least to cellulosic fibre. The acid causes adverse effect on silk in terms of appearance. The dye has good fastness to light. These dyes, which are sodium salts of organic acids just as sulphuric acid, have poor washing fastness property.

2. Basic Dyes : These dyes are the salts of the coloured basic groups containing amino group ( --NH2

or - NR2 ). Modified nylon and polyesters can be dyed with these dyes. e.g. Aniline Yellow and Malachite Green 3. Direct Dyeing of Fabrics : These are the Dyes which can be applied directly to the fabrics from an aqueous solution. These are most useful for fabrics which can form hydrogen bonds with the Dyeing of Fabrics. Thus they are used for dyeing cotton, wool, silk, rayon, nylon. e.g. Congo red and Martius yellow 4. Insoluble Dyeing of Fabrics : These are Insoluble Dyeing of Fabrics compounds produced in site on the surface of the fabric i.e. why they are also called as ingrain Dyeing of Fabrics. The reaction involves the coupling between napthal absorbed on the surface of the fabric with the diazonium salt. As there is only surface absorption, the colour is not very fast. These Dyeing of Fabrics are generally used for dyeing cotton, silk, nylon, polyester etc. e.g. Orange - 1 5. Vat Dyeing of Fabrics : These are insoluble Dyeing of Fabrics which are first reduced to a colourless form in a large vat with a reducing agent such as alkaline sodium hypo-sulphite and then applied to the fabrics. e.g. Indigo. 6. Fibre Reactive Dyeing of Fabrics : These are the Dyeing of Fabrics which contain a reactive group which combines directly with the hydroxyl or the amino group of the fibre. Because of the chemical reaction the colour is fast and has a very long life. Cotton, wool or silk can be dyed with this type of Dyeing of Fabrics. 7. Disperse Dyeing of Fabrics : These Dyes are water soluble Dyeing of Fabrics which are dispersed in suitable reagents before application to the synthetic fibres. These Dyeing of Fabrics Dyeing of Fabrics are used for dyeing nylon and polyester. 8. Mordant Dyeing of Fabrics : These Dyeing of Fabrics do not dye the fabric directly but require a binding agent known as mordant. The mordant acts as a binding agent between the fibre and the dye. These are used to dye wool. e.g. Alizarin (Turkey Red).

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Classification of dyes The English chemist William Perkins accidentally discovered the synthetic dye, mauve, in 1856, while he was trying to synthesize quinine in aniline. Before that time, all coloring materials were extracted from barks, roots, seeds, leaves and shellfish. Most synthetic dyestuffs are made from coal-tar derivatives. Their manufacture is a highly complicated technical operation, which is constantly changing. There is variation in the manner in which different fibers respond to dyestuffs and even the same fibers do not produce a full range of colors with a particular type of dye.

Basic or Cationic Dyes This group was the first of the synthetic dyes to be taken out of coal-tar derivatives. As textile dyes, they have been largely replaced by later developments. However, they are still used in discharge printing, and for preparing leather, paper, wood, and straw. More recently they have been successfully used with some readymade fibers, especially the acrylics. The name means that these are dyes with an organic material, which is soluble in a simple acid. Basic dyes were originally used to color wool, silk, linen, hemp, etc., without the use of a mordant, or using agent. With a mordant like tannic acid they were used on cotton and rayon. Basic dyes give brilliant colors with exceptional fastness to acrylic fibers. They can be used on basic dyeable variants of nylon and polyester. Nowadays basic dyes are no longer used to any great extent on cotton or linen and seldom on wool. Since they are cheap, however, they are used for hemp, jute and similar fibers. Their most important use today is on acrylics. They can also be used on basic dyeable variants of nylon and polyester.

The Direct Dyes Historically, the direct dyes followed the basic dyes and were widely hailed because they made it unnecessary to use a mordant or binder in dyeing cotton. The colors are not as brilliant as those in the basic dyes but they have better fastness to light and washing, and such fastness can be measurably improved by after treatments (diazotized and developed.) Direct dyes can be used on cotton, linen, rayon, wool, silk and nylon. These dyes usually have azo linkage –N=N- and high molecular weight. They are water soluble because of sulfonic acid groups.

The Acid Dyes This is a very large and important group of dyestuffs. While an acid dye is a salt the color comes from the acidic component, while in the basic dye it's from the organic base. The first acid dyes were combinations of basic dyes with sulphuric or nitric acid. Adding metallic salts especially chrome to the dyed fabric in an after-treatment generally has increased colorfastness of acid dyes. Acid dyes cannot be used for wool tops but are used in dyeing wool piece goods, silk, nylon, and some of the other manmade fibers. If a mordant is used they will successfully dye cotton and linen, though this is seldom done today. The ordinary type of acid dye is reserved largely for apparel fabrics and for knitting and rug yarns. A great deal of it is used on nylon carpeting.

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The Premetalized Dyes This is an important group of acid dyes, which have been complexed with metallic ions to improve light fastness on wool and nylon.

The Sulphur Dyes The sulphur dyes provide very deep shades, which have excellent resistance to washing but poor resistance to sunlight. They will dye cotton, linen, and rayon, but not brightly. A problem with sulphur dyes especially the black colors is that they make the fabric tender, or weaken its structure, so that it breaks easily. Sulphur dyed fabrics therefore usually must be treated with alkalis to neutralize the acids, which have formed.

Azoic Dyes These dyes are used primarily for bright red shades in dyeing and printing since most other classes of fast dyes are lacking in good red dyes. Azoic dyes, called Naphthols in the industry, are actually manufactured in the fabric by applying one half of the dye. The other half is then put on and they combine to form the finished color. Unless they are carefully applied and well washed, they have poor fastness to rubbing or crocking.

The Vat Dyes These are perhaps the best known group of dyes in use today because of their all round fastness to washing and sunlight on cotton and rayon. The term vat comes from the old indigo method dyeing in a vat: indigo had to be reduced to light form. Vat dyes are made from indigo, anthraquinone and carbazole. They are successfully used on cotton, linen, rayon, wool, silk, and sometimes nylon. Vat dyes are also used in the continuous piece of dyeing process sometimes called the pigment application process. In this method the dyes are not reduced before application, but after they have been introduced into the fabric. This makes for a dyeing superior appearance and economy. There are no light red vat dyes. Soluble Vats: There are no water-soluble preparations for dyes. Indigo: The oldest known vat dyestuff, formerly made from the indigo plant, but now made synthetically.

Group Application Direct Cotton, cellulosic and blended fibers Vat dyes Cotton, cellulosic and blended fibers Sulphur Cotton, cellulosic fiber Organic pigments Cotton, cellulosic, blended fabric, paper Reactive Cellulosic fiber and fabric Disperse dyes Synthetic fibers Acid Dyes Wool, silk, paper, synthetic fibers, leather Azoic Printing Inks and Pigments Basic Silk, wool, cotton

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Types of Dyes

Dyes Substances that add color to textiles. They are incorporated into the fiber by chemical reaction, absorption, or. dispersion. Dyes differ in their resistance to sunlight, perspiration, washing, gas, alkalies, and other agents; their affinity for different fibers; their reaction to cleaning agents and methods; and 'their solubility and method of application.

Acid Dyes A class of dyes used on wool, other animal fibers, and some manufactured fibers. Acid dyes are seldom used on cotton or linen since this process requires a mordant. Acid dye are widely used on nylon when high wash fastness is required. In some cases, even higher wash fastness can be obtained by after treatment with fixatives.

Natural Dyes Direct Printing, it is the most common approach to apply a color Pattern onto a fabric. If done on colored fabric, it is known as overprinting. The desired pattern is produced by pressing dye on the fabric in a, paste form. To prepare the print paste, a thickening agent is added to a limited amount of water and dye is dissolved in it.

Basic (Cationic) Dyes Basic dyes are water-soluble and are mainly used to dye acrylic fibers. They are mostly used with a mordant. A mordant is a chemical agent which is used to set dyes on fabrics by forming an insoluble compound with the dye.

Synthetic Dyes Synthetic dyes are classified based upon their chemical composition and the method of their application in the dyeing process

Direct(substantive) Dyes Dyes Direct dyes color cellulose fibers directly without the use of mordant’s. They are used for dyeing wool, silk, nylon, cotton, rayon etc. These dyes are not very bright and have poor fastness to washing although they are fairly fast to light.

Disperse Dyes Disperse Dyes Disperse dyes are Water insoluble. These dyes are finely round and are available as paste or a powder that gets dispersed in water. These particles dissolve in the fibers and impart color to them. These dyes were originally developed for the dyeing of cellulose, acetate but now they are used to dye nylon, cellulose triacetate, and acrylic fibers too.

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Sulfur Dyes Sulfur Dyes are insoluble and made soluble by the help of caustic soda and sodium sulfide. Dyeing is done at high temperature with large quantities of Salt so that the color penetrates into the fiber. After dyeing the fabric is oxidized for getting desired shades by exposure to air or by using chemicals. Excess dyes and chemicals are removed by thorough washing. These dyes are fast to light, washing and perspiration and are mostly used for cotton and linen.

Pigment Dyes Pigment Dyes Although pigments are not dyes in a true sense, they are extensively used for coloring fabrics like cotton, wool and other man made fibers due to their excellent light fastness. They do not have any affinity to the fibers and are affixed to the fabric with the help of resins. After dyeing, the fabrics are subjected to high temperatures.

Vat Dyes Vat Dyes Vat dyes are insoluble in water and cannot dye fibers directly. However, they can be made soluble by reduction in alkaline solution which allows them to affix to the textile fibers. Subsequent oxidation or exposure to air restore the dye to its insoluble form. Indigo is the original vat dye. These dyes are the fastest dyes for cotton, linen and rayon. They are used with mordants to dye other fabrics such as wool, nylon, polyesters, acrylics and modacrylics.

Reactive Dyes Reactive Dyes Reactive dyes react with fiber molecules to form a chemical compound. These dyes, they are either applied from alkaline solution or from neutral solutions which are then alkalized in a separate process. Sometimes heat treatment is also used for developing different shades. After dyeing, the fabric is washed well with soap so as to remove any unfixed dye. Reactive dyes were originally used for cellulose fibers only but now their various types are used for wool, silk, nylon, acrylics and their blends as well.

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TEXTILE PRINTING

Introduction Printing can be called a transfer of ink or similar material fro one surface to another, in its predetermined shapes. Textile printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fiber, so as to resist washing and friction. Textile printing is related to dyeing but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns. Colourants used in printing contain dyes thickened to prevent the colour from spreading by capillary attraction beyond the limits of the pattern or design. Designer might want to use the method of dyeing or printing to create their design. There are many printing method. Such as: ◆ Direct (Blotch) Printing ◆ Overprinting ◆ Discharge Printing ◆ Resist Printing ◆ Block Printing ◆ Roller Printing ◆ Screen Printing

Traditional textile printing techniques Traditional textile printing techniques may be broadly categorised into four styles: ◆ Direct printing, in which colourants containing dyes, thickeners, and the mordants or substances necessary for fixing the colour on the cloth are printed in the desired pattern. ◆ The printing of a mordant in the desired pattern prior to dyeing cloth; the color adheres only where the mordant was printed. ◆ Resist dyeing, in which a wax or other substance is printed onto fabric which is subsequently dyed. The waxed areas do not accept the dye, leaving uncoloured patterns against a coloured ground. ◆ Discharge printing, in which a bleaching agent is printed onto previously dyed fabrics to remove some or all of the colour.

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Resist and discharge techniques were particularly fashionable in the 19th century, as were combination techniques in which indigo resist was used to create blue backgrounds prior to block-printing of other colours. Most modern industrialised printing uses direct printing techniques.

Making Coloured patterns on cloth There are seven distinct methods at present in use for producing coloured patterns on cloth:

Hand block printing This process, though considered by some to be the most artistic, is the earliest, simplest and slowest of all methods of printing. In this process, a design is drawn on, or transferred to, a prepared wooden block. A separate block is required for each distinct colour in the design

Making Blocks

Art of Hand Block Printing Hand block printing process consists of several co-ordinated steps. Detail of each step are as follows :

Hand Block Making ◆ The design is first drawn on paper and stretched out on a smooth wooden surface. ◆ The motif or design is then pierced with needle so that the impression is transferred on the wooden surface. ◆ Later the unwanted areas are carved out. Iron nails and wooden felt are also used to improve the quality of impression. Types of wooden blocks Wooden blocks can be classified in three types: Rekh – the out line block, Gudh – the background block, and Dutta – the filling block. Sheesham, a kind of Indian teak is used for making blocks. Since it is tough wood the outline block which wears out most are made out of it , Roahda and Gurjan which are softer and lighter wood are used for making the rest of the blocks including mud resist blocks ( for Daboo prints ) which generally need deep carving and light weight . The craft of block making is now concentrated in few parts of India. I.e. Rajasthan Jaipur and its surrounding area, U.P. i.e. Varanasi, and some other parts of U.P. Delhi, Karnataka (near Bangalore) and Andhra.

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Procedure of block printing: To print the design on the fabric, the printer applies colour to the block and presses it firmly and steadily on the cloth, ensuring a good impression by striking it smartly on the back with a wooden mallet. The second impression is made in the same way, the printer taking care to see that it fits exactly to the first, a point which he can make sure of by means of the pins with which the blocks are provided at each corner and which are arranged in such a way that when those at the right side or at the top of the block fall upon those at the left side or the bottom of the previous impression the two printings join up exactly and continue the pattern without a break. Each succeeding impression is made in precisely the same manner until the length of cloth is fully printed. If the pattern contains several colours the cloth is usually first printed throughout with one, then dried, and printed with the second, the same operations being repeated until all the colours are printed. Block printing by hand is a slow process it is, however, capable of yielding highly artistic results, some of which are unobtainable by any other method.

Stencil printing The art of stenciling is very new. It has been applied to the decoration of textile fabrics from time immemorial by the Japanese, and, of late years, has found increasing employment in Europe for certain classes of decorative work on woven goods for furnishing purposes. Steps: ◆ The pattern is cut out of a sheet of stout paper or thin metal with a sharp-pointed knife ◆ Leave uncut portions representing the part that is to be reserved or left uncoloured. ◆ The sheet is now laid on the material to be decorated and ◆ Colour is brushed through its interstices.

It is obvious that with suitable planning an all over pattern may be just as easily produced by this process as by hand or machine printing, and that moreover, if several plates are used, as many colours as plates may be introduced into it. The peculiarity of stenciled patterns is that they have to be held together by ties, that is to say, certain parts of them have to be left uncut, so as to connect them with each other, and prevent them from falling apart in separate pieces. For instance, a complete circle cannot be cut without its center dropping out, and, consequently, its outline has to be interrupted at convenient points by ties or uncut portions. Similarly with other objects. The necessity for ties exercises great influence on the design, and in the hands of a designer of indifferent ability they may be very unsightly. On the other hand, a capable man utilizes them to supply the drawing, and when thus treated they form an integral part of the pattern and enhance its artistic value whilst complying with the conditions and the process.

Screen printing is a printing technique that uses a woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substrate. A fill blade orsqueegee is moved across the screen stencil, forcing or pumping ink into the mesh openings for transfer by capillary action during the squeegee stroke. Basically, it is the process of using a stencil to apply ink onto another material.

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Screen printing is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance. Ink is forced into the mesh openings by the fill blade or squeegee and onto the printing surface during the squeegee stroke. It is also known as silkscreen, serigraphy, and serigraph printing. A number of screens can be used to produce a multi coloured image.

Method of Preparation of Screen : The photographic (photochemical) Method: This method used a silk, nylon, polyester gauze and has become the most important method for the preparation of screen for some of the more intricate design considerable experience and skill are required. Procedure : The silk gauze stretched on the frame is painted with the sensitizing solution such as gelatin dichromate and dried in the dark. The pattern to be produced is painted on transparent paper with a danced opaque ink. A separate painting and screen being necessary for each colour of the design. The coated screen may be regarded as a piece of daylight photographic printing paper and the painted pattern as a negative or as it is more generally known a positive. The positive is now placed in contact with the sensitized screen and exposed to light. The length of exposure will vary according to the actual distance from the source of light and the type of light used (electric or sunlight). The exposure screen is now well washed first in cold water to harden the insolublied gelatin and then in warm water to remove the soluble gelatin. The screen is allowed to dry slowly. The layer of gelatin must be reinforced by the application of a lacquer which should be reasonably resistant to acid alkalis and organic solvents. Printing operation: In using the screen a suitable amount of print paste is poured into the wall of the screen frame and transferred through on the cloth under by drawing it to and pro across the screen with the squeeze. Two to four pressures generally being given. Then it is important that each screen should be washed as soon as possible after use. A screen that is left to dry with print paste on it is difficult to clean in extreme case this may lead to blocking of the screen mesh so rendering the screen useless for future printing. Screen are usually washed by a jet of water and drying is by wiping them with the absorbent cloth and keeping them in the warm place.

Screen Printing Process Steps 1. Design image, print seperations of colors printed on vellum and print a composite printed on copy paper 2. Coat both sides of the screen with emulsion, let it dry overnight

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3. Tape composite to alignment tool (whiteboard) Align seperation onto composite Tape seperation to screen 4. Place screen into the Deep Well Plate Maker, Burn image onto screen, Remove vellum before next step. 5. Rinse by washing away the emulsion in the image area 6. Dry the screen 7. Tape any areas that are not covered with emulsion part of the image, wrap some of the tape on the frame for easy clean up 8. Align the screen to the image on the Screen Press 9. Place ink onto the screen 10. Printing steps a. Flood image area b. Print stroke 11. First print should be on pellon Second print if first is good can be on final medium 12. Remove from press place in dryer to harden or cure ink

BATIK PRINTING Batik has now become an established and popular art. Creating coloured patterns on the cloth, by the method known as “Batik” is an Indonesian art. It has a spontaneous, exciting craft, which is well within the capabilities of the non-specialist. “Batik” is described as a resist technique because no dye can penetrate the parts of the fabric covered with wax. This wax is heated and the hot melted wax is applied on the fabric in the form of a design by using brush or any other such equipment. The waxed material is then dyed in any of the cold dyes or ice dyes. During dyeing process minute cracks occur in the wax, thus letting in tiny specks of dye. This process dine veins of colour on a piece of “Batik” which are the characteristic of the work. The work is then removed at the end of the process.

Choice of material The suitable material for batik is cotton, silk and rayon. Among these cotton is the best suited material. The surface of the material should be as smooth as possible. The choice of fabric depends on what one is going to do with batik piece. The material should be free of stretch and ironed properly.

Using wax as a resist When the material is ready for the work the selected design needs to be drawn on the fabric and then start working. The type of wax is selected according to the particular design on which one is working. A standard combination contains equal quantities of bees wax and paraffin wax. If the quantity of

60 TEXTILE DESIGNING 2013 paraffin wax is increased then the cracks would be much more for, the higher the paraffin content the more friable the wax. The mixture of the wax is heated. It should be uniformly heated and must not smoke or over-boil. This melted wax is applied on the fabric with the help of the brush of T-janting. For better effect the waxing should be done twice on either side of the material. The portions that are required blank (white) should be waxed.

The dyebath Most commonly used dyes for ‘Batik’ work are the ‘Naphthol dyes’. They are also known as cold dyes or ice dyes.

Method a. Take one teaspoonful of naphthol colour in a bowl and mix thoroughly with two teaspoonful of turkey-red oil. Then add 50 m of boiling water, stir well and then add 2-3 pallets of caustic soda, heat it and stir it properly till solution becomes transparent. b. Take two teaspoonful of naphthol salt in another bowl and add to it 3-4 teaspoonful of common salt, mix well and add to it 50ml of water.

Now take two basin and take in them enough water to dip the waxed fabric. In first basin add the solution from the bowl B. Next soak the waxed fabric in water, squeeze out excess water, open the fabric and dip it in a naphthol colour solution (first basin). Work for 10 minutes in the above solution, squeeze out the excess dye, open the fabric and then dip it in naphthol salt solution (second basin). Again work for 10 minutes, remove it, wash it, and soap it. First always start with a lighter colour and then proceed with the darker colour.

Removal of wax. The wax can be removed by boiling the fabric in a soap solution containing a little of caustic soda. But before that it is better that the excess of wax is removed by rubbing. The wax can also be removed by petrol but it is an expensive process. Useful dye mixture and reference

Naphthol colour Naphthol Salt Result AT Bardeaux GP Golden Yellow BS Scarlet R Scarlet red ASBS Blue B Salt Blue ASBS Bardeaux GP Maroon ASBS Scarlet R Blue B Salt Purple ASBS Orange GC Orange ATAS Blue B Salt Black

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Digital textile printing Digital textile printing, often referred to as direct to garment printing, DTG printing, and digital garment printing is a process of printing on textiles and garments using specialized or modified inkjet technology. Inkjet printing on fabric is also possible with an inkjet printer by using fabric sheets with a removable paper backing. Today major inkjet technology manufacturers can offer specialized products designed for direct printing on textiles, not only for sampling but also for bulk production. Since the early 1990s, inkjet technology and specially developed water-based ink (known as dye-sublimation or disperse direct ink) has offered the possibility of printing directly onto polyester fabric. This is mainly related to visual communication in retail and brand promotion (flags, banners and other point of sales applications). Printing onto nylon and silk can be done by using an acid ink. Reactive ink is used for cellulose based fibers, such as cotton and linen. Using inkjet technology in digital textile printing allows for single pieces, mid-run production and even long-run alternatives to screen printed fabric.

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Production of fancy yarns and their application for various products

Introduction Fancy yams which are also termed as novelty yams, specialty yams, effect yams and fashion oriented yams generally incorporate deliberate 'defects' or variations which are randomly distributed along .its length. Sometimes, these yams may have normal construction but have enhanced appeal through appearance. The fancy yams clearly differentiate themselves from standard commodity yams in terms of raw material and .production technique used. They incorporate new concepts in yam construction. )PXFWFS
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into a successful product. The success of any fancy yam is tied to many complex factors, which include design appeal, exploitation of its salient features in the fabric, its trouble free conversion into fabric and prevailing fashion trends.

Significance of fancy yarns The fancy yams invariably go into creating fabrics, which cater to the crave for exclusivity in fashion garments, upholstery or tapestry. They are most effective tools utilized in creating the continuously changing fashion effects required by the garment industry. The taste and trends in clothing, like other fashion items, changes with season overall environment and many other undefined parameters, which are sometimes beyond comprehension. At times these parameters may border on incredible and irrational. Forecasting such situation with reasonably accuracy is extremely difficult. However, a large segment of production of fancy or fashion fabrics can be planned and promoted in the market by expert designers, notwithstanding the risk factor. Both the risks and the gains are high in this market, a mistake generally proves to be costly. The fancy yams generally emanate from an imaginative and judicious interplay amongst fiber specifications, yam specifications, colors and length differential of individual strands. The fancy effects in yarns can be created in various ways but they fall into one or more of the following:

Manipulation of fiber specifications Fiber Specifications such as type, length, denier, cross-sectional shape, crimp, modulus, colour, luster, affinity for dyes, shrinkage, etc. of two or more fibres can be manipulated to produce fancy effects. A deliberate difference in length, denier, cross section and modulus of component fibres can be exploited, to position them at predetermined zones of the yarn cross-section. The fibres are forced to occupy the

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desired position anywhere from the core to the yarn surface. The effect fibres are generally brought onto the surface by having them coarser and shorter. In most of the cases, these fibres differ from normal fibres in terms of their denier:- color, lustre and crirmp. For increased Lustre fibres with flat cross-section such as trilobal and ribbon -shape arc often employed. Using a larger fiber-length differential, one can produce randomly distributed spots or slubs of varying dimensions .For example ,addition of small amounts of comber noil in final drawing operation produces linen like slubs on standard machinery. An appealing effect can also be created by blending two sets of fibres which have different dyeing affinities (cross-dyeing, etc.). Cationic dyeable polyester can be used to get attractive colors, contrast and fancy effects. Similarly, a, blend of fibres having varying shrinkage can also lead to unique structures, which when combined with color difference can give many fancy effects. On relaxation, the shrinkable fibres tend to migrate towards the core and the non shrinkable fibres dominate the yarn surface. A randomly varying denier incorporated during fiber spinning can also, be exploited to produce fancy effects in filament yarns. There is a large range of effect fibres which include both natural fibres like Ramie, Flax, Jute, Mohair, Angora wool (normal length fibres as well as noils) & man made fibres like. Bright Nylon, Acrylic (differential shrinkage), Trilobal Polyester, Bright viscose, Flat visco;(30 & ll dtex; to imitate Mohair and Angora) Triacetate and Cuprammonium rayon. As mentioned earlier, these effect fibres are of a very coarse denier so as to bring them on to the yarn surface. While some of the fibres are available in India, most of them have to be imported. Adding fibre aggregates and yarn pieces Neps, lumps, hard ends etc. are added at various spinning stages such as blowroom, card or drawframe. The method of addition of these aggregates has to be properly chosen so as to fully exploit the effect additives. This would produce nep yarns (neps of silk, viscose etc. added at the blend stage or drawing stage), bead yarns (lumps added at blowroom), Knickerbockers or spot yarn (small tufts or fibre balls added at card which more or less remain unopened). The addition of hard ends, cut into small lengths, of a contrasting color produces a beautiful effect with yarn ends twisted on the yarn surface.

Manipulation of yarn specification Manufacture of fancy yarns often involves plying and cabling together, yarns of varying linear densities and twist densities. The density and direction of twist are often manipulated during plying and cabling so as to create many subtle and unique effects. A suitable difference in individual yarn fineness is employed to make Corkscew and spiral yarns. This effect can be further accentuated by having higher tension on the finer yarn during assembly winding. If the direction of twist in the component yarns is kept different the plying operation will produce an unbalanced twist spiral yarn. Cable twisting of two or more unbalanced twist spiral yarns, in a direction opposite to that of ply twist produces Mock Chenille yarn. This yarn is cabled with a binder thread in the opposite direction produces Gimp yarn having semi-circular loops around a core.

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Similarly, if a coarser yarn or roving is twisted with a fine filament or spun yarn in one direction and then cabled with a similar yarn in the opposite direction, one can produce a unique structure known as diamond yarn.

Positional manipulation of colored strands The application of color to textile material is one of the most important steps in sequence of manufacture, as it is often the color and design of a fabric or garment, which appeals to the customer. Slivers, rovings or yarns of two or more colors can be arranged in the feed zone to produce various types of fancy yarns. Slivers of different colors can be fed at the drawframe or the roving frame to spin Marl yarns at the ringframe. Roving different colors are red to the ringframe to produce Mottle or Mock Grandrelle yams. Similarly, combining single yarns at doubling produces the well-known Grandrelle yarns. If one of the single yarns is of solid color and the other a printed one, the resultant yarn is called Print Grandrelle. One can further go on for combing Mottle and Marl yarns at doubling to produce, many other novel yarns.

Use of space dyed or printed strands The tops of slivers, which are to be spun: are dyed or printed in different color-patterns. This is known as Vigoureux or Melange Printing. This process which is mainly used for wool and Mohair can also be used for man-made fibres. New and appealing fancy effects can also be brought about by new techniques such as space dyeing of packages.

Integration of dissimilar components This technique uses standard post-spinning machinery to produce multi-component yarns. The use of bright filament (polyester & viscose), textured (polyester) and metallic yarns gives a certain desired luster to the component yarns.

Random pulse generator Specialized machines or attachments at spinning, pre-spinning and post-spinning stages are also used for producing special effects in yarns. The use of such special machines or attachments is one of the most prolific methods of producing modern novelty yarns. One can have a variety of attachments, which can alter .the speed of the doffer or inject colored slubsor fibre , aggregates at the front end of the card or at the feed to the drawframe. The amounts of such added aggregates vary according to a program and they normally do not fully open during subsequent drafting processes. This produces spots or slubs of varying size. The slubs can also be introduced in a yarn by providing slub generators at the ring-frame. This attachment can also give variable twist yarn by setting large slub length. The aforementioned attachments could either be mechanical or electro-mechanical (computer- controlled) in nature with latter being more reliable and efficient .The latter method provides a random pulse generator to intermittently accelerate the back roller to produce slubs which are random in both dimension and distribution.

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A variety of core yarns can also be produced on a ringframe by providing a suitable arrangement for feeding an additional smooth and textured filament or metallic yarn at the front roller nip. The position of this additional yarn in relation to the staple component can be varied by adjusting the tension imposed on it.

Microprocessor- controlled doubling machines In the recent past the use of specialized, microprocessor controlled doubling machines is gaining a lot of attention due to their capability of producing incredible structural combinations. The machine has facilities for feeding two or more yarns at speeds which are independently controlled. The speeds TIPVME
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types of yarns produced on these machines are:

Loop yarns One component is fed faster at regular intervals to form loops around the other yarn which forms the core.

Loop Yarn

Snarl yarns Same as for loop -yarn except that the looping yarn has high twist ,so that the loop turns into a snarl.

Snarl yarns

Spiral yarn One component is fed slightly faster so that it spirals around the other component.

Spiral yarn

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Knop Yarn The foundation or core thread is fed intermittently and the effect thread is fed uniformly. Whenever the foundation thread stops the effect thread lumps on the core yarn and makes a Knop or Knickerbocker yarn. If the root so formed is small, it is called nub yarn or spot yarn.

Knop yarn

Boucle yarn In a set of two or three colored threads, each yarn is fed faster than the others by turn to produce Boucle's yarn. The effect ranges from a curl to small spots or nubs.

Boucle yarn

Slub yarn An intermittent action in one of the rollers causes small length of roving pulled out and fed between two continuously moving threads. Such slub yarns are stronger and neater thread spun slubs produced on the ring frame.

Slub yarn Caterpillar yarns The effect thread is fed continuously along with the basic thread, which is slowed down at intervals to produce Caterpillar effect. In alternating Caterpillar yarns there is no basic thread, the two-effect thread alternately act as basic and effect thread. In reverse Caterpillar, the Caterpillar effect already formed is reversed at slow speed. All these structure when interplayed with different colors produce extremely beautiful effects in yarns

Using texturing and unconventional' spinning systems Air texturing and unconventional spinning systems such as rotor spinning, self-twist spinning, air-jet spinning, friction spinning and hollow-spindle spinning can also be manipulated to produce many

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fancy effects in the yarns. In fact on rotor spinning, such, modifications are commercially available. In friction spinning, the silvers at the feed which provide the sheath, can be colored to facilitate various color pattern on the yarn surface. These yarns are readily acceptable for fancy furnishings. The Repco self-twist system, which integrates filament, and staple yarns can also be used for producing beautiful fancy yarns by employing various color combinations. Air texturing machines has also been provided, with devices to feed one or more ,components at controllable overfeeds. Such controls give a continuous or intermittent over-feed in the component yarns to produce hovel effects such as filament slubs and woolen-like yarn.

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WEAVING OF MAN MADE FIBER : YARN TO FABRIC

Introduction Synthetic fibres have poor moisture absorption, so they give poor comfort while natural fibres like cotton, silk, wool etc, and the celltilosic man-made fibres like viscose rayon due to their higher moisture absorption give better comfort. However, in terms of fabric properties like durability, crease, recovery, wrinkle, resistance, brightness of prints and easy care properties, that man made fibres have an edge over the natural fibres. With the advent of man made fibres the natural fibres are increasIngly replaced by them. There is practically no limit to the use of man-made fibres within a wide range of textile products, be they blended spun yams or filament yams, standard or textured by various techniques. Viscose rayon, among regenerated cellulose and polyester, among synthetic fibres have emerged as the main fibres and forma sizeable segment of total textile production. The' large consumer preference for rayon textiles is due to its price competitiveness, bright appearance and moisture absorption properties whereas for polyester textiles, it is due to its high durability, good appearance, crease recovery, excellent wash and wear properties. In India, polyesteris the most important used synthetic fiber. Man-made fibres in their staple form are mostly used as blends and general principles and practices for controlling the productivity and quality of blended fabrics is the same as for cotton fabrics Due to static problem a lot of dust in attracted by the polyester yarn/fabric. Therefore, the Yam the warp, the pirns, and the c1oth should be well protected with suitable covering during storage or manufacture on the loom

A. WEAVING OF YARNS PUN FROM MAN-MADE FIBRES AND THEIR BLENDS Certain precautions. are. to betaken on looms weaving yarns spun from man-made fibres and their blends. Some of the points which need attention are: i) A higher, warp tension than that applied for cotton yarns would result in a better, weaving performance and eliminate stitches. ii) Shed opening for these yarns should be such that the top shed line should clear the front edge of the shuttle by 3 to 4 nun at back center /weft insertion time. This will ensure clear shed formation as otherwise protruding fibres will get entangled due to yarn to yarn abrasion and hinder clear shed formation, resulting in "Small stitches and floats. Yam-to -yarn abrasion can be reduced by the use of staggering tappets. iii)Because of relatively light construction and more regular yarns, warp streaks become more prominent,. It is recommended that dent spacing should be- uniform and for that all metal reeds

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must be used. Reeds with 60% air space and long baulk length shouldi be preferred. Flat heals are preferred to wire heald s either twisted or inserted eye. iv)The relative humidity on loom shed should be between 72%-78% and temperature between 24-30°C B WEAVING OF FILAMENT YARNS The usage of filament yarns in weft direction is becoming very popular, filament weft needs additional care in weaving than the blended yarn. Some of the recommendations are: (i) The suitable shed for silk (natural and polyester) is closed shed. In open shed, unnecessary dragging' and stretching causes damage to the yam elasticity and increases thread breakage (ii) The filament weft should be wound on hard wood or laminated wood pirns having a smooth surface. The pirns should be relatively short in length having a large base diameter (iii) It is recommended that pirns from only one cone should be woven on a loom. In addition, the pirns should be used on the loom in the order in which they are produced on pirns winding machines. This will reduce the occurrence of very broad weft bars coinciding with a shuttle change resulting from: systematic variation in the filament characteristics in different layers of a cone/ cheese from beginning to end. For this, pirns winding machine with stacking device which store the pirns on pegged board in the serial order of their production should be used. (iv) The residual yarn from unworkable weft bobbins should be removed by unwinding the yarn on a machine or pulling it out manually and not by use of a knife. The bobbins should be regularly smoothened with fine grain sand paper and then wax polished (v) The full pirns should be handled and transported very carefully so that any damage or disturbance of the layers of filament and stains on the pirns are avoided. (vi) Special attention should be paid to cleaning of pirns tips and butts. This is mportant as, it can stain the yarn on the pirns. The chuck and tip holder on the pirns winding machine should be regularly cleaned with petrol; this will avoid chances of butt and tip becoming during pirn winding (vii) The pim winding yarn tension is kept lower than required for spun yarn. The winding tension depends upon the type of yarn-zero twist, low twist or textured. The desirable yarn tension for zero twist filament yarns is less than that for twisted filament yarns. The tension for texture filament yarns is kept still lower to preserve the special elastic property of this yarn. The tension should be the minimum which does not cause slough off during weaving. Spring' type tension devices are more suitable than the dead weight type If possible tension compensating device should be used.

(viii) Pirn winding- speed for filament yarn is kept lower than for spul1 yam. For non-automatic and automatic winding machines, speed of 300m/min and 550m/min respectively are advised. Higher speeds tend to increase slough off from supply package and fraying tendency of filament yarn. (ix) Supply package for zero twist yarns should be pineapple cones and not parallel tubes. Parallel tubes give more tension variation during winding and are more prone to damage during handling. Twisted or textured yams should be a small package of about 800gm but not exceeding

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1 kg. A conical package is better than parallel or cheese type package. The base of cone should have rounded edges on the top-Side. (x) The full pirn diameter should not exceed 20mm. This will help to reduce the chance of slipping of coils and the consequent fraying of filaments. (xi) A lightweight shuttle is used for light weight Silk/polyester fabrics. The shuttle eye should be very smooth to protect the yam from scratches and to give proper and regular tension. (xii) The inside of shuttle should be lined with fur or continuous nylon loops strip to control yam ballooning and also to prevent slipping of coils at high unwinding speed. (xiii) Pirns with smooth surface should be used. The pirns having scratched surface will produce most serious defects. Loose, tight and spoiled weft running across the width will produce puckered effect, bars etc. which are clearly visible in wet processing and thus spoil the fabric; The use of metal pirns should be avoided. (xiv) The surface of the shuttle should be maintained smooth. The shuttle should be polished with fine grain sand paper and soft cotton cloth. Other parts, like weft fork prongs, weft fork grate box plates etc should be maintained smooth. (xv) The pins should contain continuous length of yam, be of uniformed diameter, compact, have small tail end and be correctly filled jerky movement or play in traverse must be avoided. A yam break should not be mended, instead such a bobbin should be prematurely doffed, as a knot is most likely to cause a break in weaving. It is essential that the shuttle pegs be of such construction that they hold the pirn or bobbin very firmly inside the Shuttle. The nose of pirn and shut peg should be centrally situated so that it is in direct line with the eye in the shuttle. (xvi) Use of some antistatic agent to filament weft is also recommended. This helps to reduce the sloughing - off tendency also. (xvii) The beating up process should be very regular specially relating to the impact to the fell of the cloth. The light and harsh beating produces barriness. The swing of the s1ey should be equal in all the beating ups which is easily attained on modified looms with slay controller. This helps the insertion of pick regularly and evenly In Sley controller a pair of light or medium weight fly wheels depending on the construction particulars of the fabric is mounted On the central shaft. This central shaft is mounted on the loom framing through ball bearing. The fly wheels are connected to the rear of the sley through tDSBOLT
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which is similar to sley drive on power looms and is fitted on modified handlooms. Looms with Sley Controller are fitted with ratchet type positive take-up motion. This produces a cloth with uniform weft spacing. (xviii) The most common temples used in handlooms are of wooden sticks having needles at ends. These are set near the fell and need to be reset after weaving 8-10 cm of cloth. This type of temples produce cloth with imperfect selvedges as the weft tension is not uniform on every subsequent pick, and the selvedge tend to roll. Further selvedge ends get more abraided and harm the dents of the reed. In addition, workers time is wasted in. readjusting the temples. Roller temples with rubber rollers should be used as these do not requirea djustment every now and then. For heavier construction ring temples will roduce better results.

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(xix) Other suggestions include a reduction of 5 to 10% in loom speed, care by weaver to reduce stains by keeping environment, hands and parts clean. For weaving fabrics having filament yarns in wrap and weft, the two things which must be kept in mind are the necessity of minimizing friction at every point, and the absolute control of weft tension in the shuttle during weaving. While the recommendations for weft have already been discussed, care for warp treatment is summarized below :- (a) It is advisable to use revolving fluted roller as back roller. This should be placed in such a position as to give equal tension to top and bottom sheds and also should be in a position which will give sufficient stretch in the loom during weaving. (b) Drop wires should be as light and as smooth as possible, the object being to give minimum friction to yarn during weaving. (c) Flat steel healds give best results during the minimum friction. In low ended fabrics, cotton healds may be used. (d) It is advisable when making the 'shed to see that the lower sheds just miss the raceboard when the sley in on its back center. (e) All metal reeds give best results with knotless yarn. However due to its high cost and difficulty of repairs, pitch bound reeds made with highly polished flexible dents, good dent spacing and sharp edges of the dents taken off may be used. (f) Polyester filament yarns should be woven with the smallest possible shed while polyester textured yarns are woven with a bigger shed to prevent occurrence of tied ends. (g) Polyester warps sized with acrylic agents should be woven under controlled atmospheric conditions between 22 and 24°C and relative humidity of 65% to 70%. At higher humidity’s warps become sticky and are difficult to separate on lease rods and the size is abraded on the lease rods, in the harness and reed, so that single filaments are easily damaged (h) The warps which can be woven unsized on shuttle weaving machines have following general specifications: Polyester yarns with twist of 600 t.p.m. all yarn counts and fabric sett. Polyester yarns with twist of 350 t.p.m. – 150tex yarn counts for medium sett fabrics while higher counts sett for heavy fabrics maybe used. Polyester yarns with low twist all yarn counts for light weight fabrics with loose setts to the limit of thread slippage. (i) The common type of emery beams which are used for cotton weaving looms are not suitable for filament weaving loom. The use of steel, brass or perforated steel strips will damage the filaments of the yarn and thus the fabric will be spoiled. The use of rubber fillet do not damage the filaments of the yarn. The work of emery beams is to the woven cloth and to supply the same to get wound on the cloth roll. Due to ten in the warp there is chance of the woven cloth to slip off from emery beam and thus result in thick and thin places. As such a proper grip of woven cloth

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is essential on the emery beam. An additional pressure rod covered with rubber fillet can be used just near the passage of the woven cloth to the cloth beam, so that more woven Cloth is in contact with emery emery beams (j) The common type of lease rods used in hand looms is made of wood or bamboo. The lease rod of fiberous variety causes damage to the filaments of the yarn. The lease rods should be of plastic or aluminum pipes as these are light in weight and resist to rosting.

Some Standard Fabrics India has probably the largest variations in textiles produced by using various techniques, materials, art of dyeing and design expression which are part of our cultural heritage. This is in addition to the variety of fabrics that are produced on power looms in decentralized and organized sector. Some of the fabrics are discussed here with their particular and uses. AEROPLANE FABRICS: Plain weave closely woven, desized, medium weight and light weight fabrics used in the manufacture of aeroplane wings and parts. Made of two fold combed and mercerized yams, usually in square sett. 2/60 x 2/60 Ne; 80 x 84 TPI ASBESTOS CLOTH: A fire proof structure used for such purposes as brake lining, firemen's garments, theatre curtain etc. Plain woven from 500 tex or coarse yarn having 50-70 ends and 36-50 picks per decimeter. BAG CLOTH: Used for flour, salt, grain, etc. Made of cotton, plain or 2/2 twill. Rather light and open structure and heavily sized in order to close up the interstices and prevent the contents from coming through. A plain cloth with 30texwarp 28tex weft 22 ends and 19 picks per cem in grey cloth. BAGGING/SACKING CLOTH: It is a coarse plain woven jute fabric made with double ends in the warp and thick weft. Jute sacking is largely woven in 2/1 twill with double ends in warp. BALOON CLOTH: Plain cloth made from finest yam of high thread density. Usually mercerized. When used for balloons, is given a special coating. Also used for frocks, sirts, type-writer ribbon etc. 80 x 90 Ne, 120 x 128 TPI, - 38 x 38 Ne, 94 x 90 TPI BALUCHER: A type of silk brocade saree produced in the Murshidabad district of West Bengal in 18th and 19th Century with supplementary weft motif of diagonal rows of small flowers worked on the central part and in the same technique vivid depictions' of warriors, -of aristocrats, ships, carriages and canons on the 'pallu' and end pieces. Copies are being made I in traditional manner at Varanasi. BED FORD CORDS: Warp face fabrics in worsted, linen and cotton in which rounded cord effects are formed longitudinally. Bold cords produced by using wadded ends. Medium weight qualities used for blouses, dress wear, sports wear etc. Heavier qualities for furnishing and trousers etc. Warp 14/2 tex, Thread density Wadding 23 tex,Weft 12 tex 50 x 36 per em.

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BILLIARD CLOTH: A plain woven, heavily milled woollen cloth with fibrous finish, made from very fine merino wool and shrunk about 33% in width and 25% in warp from loom state. About 84 to 72 Tex warp and weft, 12 to 13 ends/em and 14/16 picks per cm on loom. BLANKETS: Thick, heavily milled fabrics woven with woollen spun yams composed entirely of wool or of wool with admixture of cotton. The weft is soft spun. These are generally woven plain or 2/2 twill and finished with a dense fibrous pile (raised). BLAZER CLOTH: A wool flannel somewhat heavily milled and raised and finished with fibrous surface. Used for sports jackets and caps. 80 Tex warp and weft. 16 ends and picks/ cm. BOOK MUSLIN: It is a soft, fine plain woven cotton musliri and also a very stiffy finished cotton cloth used for stiffening and lining clothing and millinery. The latter fabric is very fine and very open and flimsy. Very highly sized to give board like glossy finish. Warp/ Weft 12 to 10 Te~; 13 ends and 11 picks/cm BROCADE: A figured fabric usually of single texture in which the figure is developed by floating the warp threads, the weft threads or both and interlaced in more or less irregular order. The ground is usually formed of a weave of simple character. BUKRAM: A coarse cotton fabric, woven, plain, piece dyed, and stiffened with resin or size according to purpose for which it is intended. Thus if employed as an underlining (book muslin), it is not made so stiff as if used as a foundation for hats. For use as hat shapes, one class of bukram is composed of two 'stiffened fabrics cemented together, one of which is rather fine muslin, the other like cheese cloth. i) 40 x 50 Tex : 26 x 18 Threads/ cm ii) 50 x 60 Tex: 22 x 16 Threads/cm

CAMBRIC: Plain woven cotton, or linen fabrics fairly fine and not very closely woven. This is given a slightly stiffened finish and is flattened by calendaring. i) 10 to 8 Tex cotton warp 38 ends/cm. ii) 8 to 6 Tex cotton weft 32 picks/cm. CANVASIDUCK: A strong and firm plain or some times oxford (2 x 2 weft rib) weave fabric usually made from cotton, hemp or jute in weights ranging from 150 g per sq. meter to 1500 g per sq. meter. The yarns out of which it is composed are generally single except in cotton canvas where these are plied. These are warp predominating, warp way closely packed, warp is highly crimped over a more or less straight weft. Heavy weight R 75/2, 65/2 tex; 20 x 16 ends/picks/cm Light weight R 120/2, 120/2 tex; 12 x 12 ends/picks/cm. Bolt canvas R 600/6, 600/6 tex; 20 x 16 ends/picks/cm. Hose canvas R 250/3, 250/3 tex, 10 x 10 ends/picks/cm. Shoe canvas R 85/2, 50/ 2 tex, 20 x 16 ends/picks/cm.

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CASEMENT: A light and medium weight, plain weave, weft faced cotton fabric used for curtains, table cloths and decoration purpose. Also used for decreases. Warp/ Weft:' 18 x 36 tex Ends/Picks: 21x 25 per cm

CHEESE CLOTH/DAIRY CLOTH/TOBACO CLOTH: An open loosely woven, light weight, plain weave fabric usually made from cotton carded yarns. Soft finished are used for wrapping butter and cheese, and sized and stiffened are used for underlining. 26 x 44 Ne; 44 x 40 T.P.I. 36 x 36 Ne; 24 x 20 T.P.I.

CHIFFON: A very light sheer open mesh, soft pliable feel, flimsy plain weave silk texture fabric, made from hard twisted continuous filament or finest singles, Woven in gum condition and being degummed afterwards. 14 D x 14D 108 x 100 T.P.I. 16D x 16D 100 x 96 T.P.I.

DAMASK: A figured fabric made with one warp and one weft in which, generally, warp satin and weft -sateen weaves are used. DENIM: A strong warp face cotton cloth used for overalls, jeans, skirts etc largely made in 3 and 1 twill. The cloth is sometimes pre dyed but generally warp is yarn dyed brown or blue and crossed with white weft. Colours fast to washing. 33 tex / 42 tex warp weft, 36/24 ends and picks/cm.

DORIA: A light plain weave, cotton fabric in which stripe patterns are obtained by varying the denting of ends. 40 x 60 Ne 60 x 40 T.P.I. 60 x 80 Ne 80 x 60 T.P.I.

DOSUTI: A Hindi word, which literally means 'two threads' used to describe the operation' of combining two threads together at a winding machine, in which case the operation is known as ‘dosuti winding'. When applied to fabric, it means that two warp ends are working in pairs and that two weft threads are placed in the same shed. DOUBLE CLOTH: A compound fabric in which the two component fabrics are held together by interweaving some threads of one fabric with that of other fabric DRILLS: Warp face fabrics largely made in cotton yarns woven in 3,4 and 5 thread warp faced twill and 5 thread satin with twill lines running opposite to the direction of twist of warp yarn in order that a prominent twill effect will be formed. Bleached or piece-dyed. DUCK: Very heavy and strong plain woven cotton linen canvas fabric used for belting, sail cloth, awning and tents and for boot linings.

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FILTER CLOTH: High sett plain weave fabrics with certain required degree of porosity used for filtering aqueous media to remove fine, suspended impurities, the water finds its . way through the inter fibre intersitices. 52 x 56 Ne ; 112 x 114 T.P.I FLANNEL: A soft plain or twill weave fabric made from all wool, wool blended with other fibers, milled, raised and finished with a fibrous surface (width 56" finished for 68" loom). 20 skein x 24 skein 24 x 28 T.P.I, (in loom) GEORGETTE: A fine lightweight open texture plain weave fabric, made from hard twisted crepe yarns usually 25 and 2Z in both warp and weft. Cotton Georgette 2/70 2/70 . 50 x 46 TPI 2/1002/100 64 x 58 TPI Crepe Georgette 16D l6D Multifilament 102 x 84 TPI 16D l6D Nylon Monofilament 130 x 126 TPI

HESSIAN: A strong coarse, plain weave fabric made from jute fibers. Single yarns of approximately the same count in warp and weft. Used for packing purposes. HONEYCOMB FABRICS: Fabrics are woven with honeycomb weaves in which warp and weft threads form ridges and hollows, which produce a cell-like appearance in the cloth. Warp: 30/2 tex 36 ends/cm Weft: 30 tex 36 picks/c.

HUCKABACK CLOTH: An absorbent fabric, woven in huckaback weave, used for towels and glass towels, mostly made in cotton yarn. The rough surface effect is produced on a plain ground texture by short floats, warp on one side and weft on the other. Construction: Warp: 74tex 16 ends/cm Weft: 74 tex 18 picks/cm

JAMDANI: Fabric of fine cotton muslin woven near Dacca (Bangladesh), Tanda (U.P) and Varnasi. Weft figuring is done by small shuttles. JEAN: 2-and-l twill cotton cloth, made warp or weft face, when woven with a warp face with strong yarns a drill structure is formed which is used in boot lining, overall etc. Warp/ Weft: 30 tex, Ends/Picks: 36/26 per cm

KALAMKARI Pen work hand-painted cloth of Masulipatnam& Kalashti KANTHA A typical hand embroidery work of West Bengal

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KlNKHAB: Heavy silk fabric brocaded with silver and gold and used mainly for furnishings. Varanasi is the traditional production center. LAPPET: A fabric in which figure is achieved by introducing extra warp threads into a base ,fabric that is normally plain. The figuring threads are controlled by needle bar (s) between the reed and the fell, with the amount of side-traverse given to the needle bar being controlled by a pattern wheel. 60 x 60Ne; 64 x 60T.P.I 40 x 40Ne; 52 x 52T.P.I LAWN: A light open fine smooth plain weave bleached fabric made from fine cotton yarns. Used for dresses. Pure or soft finished, some times stiff or crisp finished. The lawn has 30x32 ends/ picks per cm, warp and weft of 7-8 tex. LIMBRIC: A light to medium weight plain weave cotton fabric made from good quality warp and coarse soft spun lustrous weft (weft predominating), fabric contains more picks per inch than ends per inch. The cloth is soft and weft predominates on both sides. LENO: Applied generally to all classes of fabrics in which certain ends cross from side to side of other ends. LINEN: A plain weave fabric originally from linen yams, but now it is also prepared from blended or artificial fiber yarns. 20 x 18 Ne, 70 x 56 T.P.I 94D x116D 112 x 64 T.P.I

LONG CLOTH: A firm closely packed plain weave bleached cotton fabric used for underwear/ pyjamas. Warp and weft are of similar count. Generally sized and calendered. MADRAS MUSLIN: A gauze fabric with extra weft, which is bound into the gauze texture in the figured parts and cut out else where. MADRAS SHIRTING: These are generally fine, light and good quality zphyr fabric. The base is a plain weave but they have stripes of coloured warp, also in check colouring, and ornamented with cord threads, crammed effects, and simple and elaborate figures. MELTON CLOTH: This is a heavy weight woolen cloth or with cotton warp and woolen weft which is heavily milled so as to form a firm foundation; and the fibers are drawn on to the surface by raising. But in the cropping process, which follows, the fibers are reduced in length so as to from a short, dense, non-lustrous pile. Usually woven in 2-and 2 twill. Used in coat collars. Count Warp-160 Tex Weft-95 Tex No of ends/Picks/cm = 10 - 14 Contraction= 35% width, 25% length.

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MERCERISED CLOTH: The process of mercerizing cotton cloth is similar to that of mercerizing cotton yarns, and consists of imparting a fine silky luster to a fabric by subjecting it to tension while impregnated in a cold strong solution of caustic coda. Mercerised al has a much greater affinity for dyestuffs than unmercerised cotton. MOLESKIN: Very strong, tough, smooth and leathery fustian cloth which is really an uncut cotton velveteen, (corduroy) which has l-and-5 weft face effect on the surface and a l-and-2 weft face. twill on the underside. The system of interlacing enables a very large number of piclcs of thi<:k weft to be inserted. It is usual piece dyed- warp count -72/2 to 60/2 Tex weft count. -38 to 33 Tex Ends/cm = 14 to 16 Picks/cm = 96 to 160

MULLS: A soft fine open square texture plain weave fabric made from cotton and bleached. Used for dresses:(warp and weft cover factors between 8-10) 60 Ne x 60 Ne 64 x 64 T.P.I.

MUSLIN: It is a soft, open plain woven fabrics made of silk, worsted or cotton yarns. The most common are cotton muslins, which are woven entirely plain or are ornamented with cords and crammed stripes. Some muslins are used in grey (butter muslin & cheese cloth) whereas other (dress muslin ) are bleached and dyed Cover factors of 5- 10 in warp and 5-9 in weft is used.

OATMEAL CREPE: It is a soft full fabric with an irregular appearance made in crepe weaves. Worsted, woolen, linen, or cotton yarns may be employed. It can be produced on plain base or satin base using highly twisted S and Z twist yarns. ORGANDIE: It is a light, fine, white cotton fabric of the muslin class with a stiff, wiry and translucent finish, and used for frilling and similar purposes. Count-warp= 7.5 Tex Weft = 6 Tex No. of ends/cm= 30 No. of picks/cm = 30.

ORLEANS: A Plain Bradford luster fabric mostly used as a lining Warp = 14 Tex Weft =32-2'8 Tex luster or semi-luster worsted weft. No. of ends/cm =23 No. of picks/cm =19 to 26.

PLUSH VELVETEEN: It is basically a velveteen. It is a pile fabric with a longer and less dense pile formed in silk, worsted or mohair. POPLINS: A plain warp rib fabric with fine warp and thick weft. Originally made with silk in both weft and warp, but poplin is now applied to fine warp rich clothes whether made of silk, wool, cotton or a combination of the yams. Cotton poplin is now mostly mercerized, and this class of fabric is frequently given a moire finish ..

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Warp/ Weft = 16/18 Tex No. of ends/picks = 48/24/cm

RATINE: It is a plain-woven thick woollen cloth with a rough surface, due to the use of thick spiral threads. Also made in worsted, cotton and union yams, in solid and mixture colours, and in stripes and checks- about 125 tex spiral yam in warp and weft, 7-8 ends and picks/cm. Also 74/2 to 30/2 tex, ordinary soft spun cotton warp, 170 to 130 tex cotton spiral weft, 10-16 ends and 7-10 picks per cm are used. RUG BLANKETS: Mostly made with cotton warp and woollen weft; either in solid colours or in figured styles. The cloths are woven in both coarse and fine wools and a special class of texture is made with lusture weft, and whereas the fine wool structures are mostly finished with a velvet pile surface on both sides, the fibres of the lusture weft are drawn on to the surface so as to form a long pile which is laid in one direction. RUGS: All wool traveling rugs are woven single and double in structure and are finished with a fibrous surface on both sides. The single fabrics are largely made in twill weaves and bold check style of colouring, while the double cloths frequently have different colour effects on opposite sides. Woolen yarns are used composed of wools ranging from coarse cheviot and crossbreed to fine crossbreed and merino. SARONG: A plain woven cotton cloth, used for women's wear in East and made with a rather simple coloured check pattern forming the bulk of the fabric; and a somewhat elaborate heading or 'capella' which commences about 30 cm from each end, and ranges about 35 to 53 cms in depth. The pattern of the capella follows a certain definite form, and consists of two broad bars of colours with a narrow bar in between followed by fine narrow bars. This is repeated 5 times, then a division is made and usually the pattern is again repeated 5 times. For a women's garment the cloth is made wide with a plain coloured border at each side, but me side. 20-16 tex warp, 18 tex weft, 22 ends and 20 per cm are used. SATEEN: A cotton fabric made in 5-thread weft face sateen. Manufactured in many different qualities and sold in the bleached, dyed, mercerized or printed condition. Good even yarns are required. When the direction of sateen twill is the same as that of the twist of the weft, the ~eave has an irregular appearance and the term broken sateen is applied to the cloth. SATIN: Used for ribbons, dresses, linings, etc and originally was an all silk fabric with a fine rich glossy surface formed in a warp satin weave. The warp is much finer and more closely set than the weft; and the latter which only shows on the underside, is frequently composed of cotton. Double faced satins are made on reversible warp backed principle;, with one side differently coloured from the other. The term satin is also applied to fine cotton warp satins used for shirtings and linings. There is a wide range of specifications: Generally: 32-36 Ne warp; 40-46 Ne weft. 40-60 Ends/cm, 30-36 Picks/ cm

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SHANTUNG: A plain woven, rather fabric, made of Tussar silk yarns in the natural brown colour, and usually containing imperfections such as bumps, slubs etc. About 17 tex warp and weft and 30 ends and picks per cm are employed. Cotton and spun rayon imitations are made with a weft that is spun with rather thick soft places at regular intervals. SHEETING: Woven in linen and cotton yarns; the later being generally known as Bolton sheeting. Made in comparatively thick yarns, in 2/2 twill or plain weave. It is made from 140 to 300 cm wide and sold grey or bleached. 2/2 twill cotton sheeting: Warp 45 tex, Weft 50-:60 tex, 20 ends and 25 picks per cm.

SHEETING - PLAIN: 33 tex warp, 38 tex weft, 18 ends and 22 picks per cm. Coarser cotton sheets are woven with thiek condenser weft. Fine sheetings are woven with cotton-polyester blended yarns. SHIRTINGS: Wide variety of materials from cotton to polyester to woolen and silk and varied constructions are used for their production. They are also of mercerized in the piece or woven with mercerized yarns. The term is used for fabrics woven plain, ribbed, mockleno woven. SHIRTINGS - POPLIN: Is a plain weave warp-rib cloth; frequently piece mercerized. Combed and gassed cotton 10/2 Tex warp; 12/2 Tex weft, 54 ends and 28 picks/cm. Fine shirting similar in construction to poplin are made in blended yarns containing 65 or 70% polyester fiber which imparts crease-resists properties to the cloth and improve its dyeing characteristics. SPONGE CLOTH: The sponge weave when woven with soft yams, produces a soft, spongy honey texture which is used for a variety of household and other purposes. In another kind of sponge cloth used for dress-fabrics and mostly woven plain, thick irregular ruby weft is used that is composed usually of cotton, but sometimes wool and rayon. A sponge dress fabric, is also made with soft irregular spiral yarns in warp and weft, and is rather similar to ratino, but softer. 140 Tex cotton warp and weft and 7 ends and picks per cm are employed. A third class of sponge cloths are used for cleaning machinery etc. TAFFETA: Originally a plain, smooth and crisp, closely woven, silk fabric used for dress fabrics and linings. Frequently the cloth is made with thicker weft than warp, and is set so as to produce a fine warp rib structure. TELIA RUMAL: Square double:-Ikat head cloth Of loin cloth from Andhra Pradesh. TERRY FABRIC: A warp pile fabric in which loops are created, without positive assistance, by varying the relative positions of the fell and reed. A high tension is applied t; the ground warp and a very low tension to the pile warp. TWEED: The term is applied to a wide range of woolen rough surfaced cloths used 'for suitings, and over-coatings, which include fabrics made in a wide range of weights and qualities from woolen variety of weave effects and colour. TUSSORE: Originally a light, fawn, or natural coloured plain woven silk fabric from coarse silk. Now also made in cotton yams and mercerized and dyed to imitate the colour of the silk cloth. The structure is that of plain woven warp rib and sometimes darker threads are introduced at a place to form stripes. 30 Tex cotton warp 50 Tex cotton weft, 36 ends and 14 picks/cm.

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VOILE: A plain woven, open fabric made from hard twisted warp and weft yarns which are combed and gassed in order that the threads will be smooth and produce a clear crisp fabric. 50 Ne x 50Ne 20 x 20 Threads / cm 68 Ne x 68 Ne 28 x 28 Threads / cm 2/100 Ne x 2/100 Ne 22 x 22 Threads / cm

Voile fabrics are used for semi transparent curtains, dance frocks, sarees etc. Made in both worsted and cotton yarns.

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INDIAN EMBROIDERIES

India is a secular country with different cultures and traditions. Every state has its own customs and crafts. Similarly embroidery of each state is unique in itself. The characteristic of embroidery is in the basic techniques or stitches—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch. Embroidery is an art of decorating fabric or other materials with needle and thread or yarn. Other materials such as metal strips, pearls, beads, quills, and sequins can also be used in embroidery. The various embroideries of India are: ◆ Kashida – Jammu and Kashmir ◆ Phulkari – Punjab ◆ Chamba rumal – Himachal Pradesh ◆ Chikankari – Uttar Pradesh ◆ Mirror embroidery : Guajrat ◆ Kasuti : Karnataka ◆ Kantha: West Bengal ◆ Zardozi : Lucknow, Bhopal and Chennai ◆ Applique work : Orissa and Rajasthan

KASHIDA Kashmiri embroidery commonly known with its traditional name Kashida Embroidery is famous for its sheer beauty (Figure 1). The source of inspiration of this embroidery is the beautiful nature of the state.

Materials Kashmiri embroidery is known for the skilled execution of a single stitch, thus adding elegance to the fabric. It uses cotton or wool fabrics in crème, white (sufed), green (zingari), purple (uder), blue (ferozi), yellow (zard) and black (mushki). Figure 1: Kashida Embroidery thread employed earlier was fine quality woollen yarn. Gradually these woollen yarns were replaced by rich & lustrous silk threads. Nowadays bright, gorgeous inexpensive artificial silk (rayon) thread has entered the industry by replacing the expensive silk threads. Bright coloured cotton threads with good colour fastness are also used abundantly in the embroidery.

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Techniques The stitches used are simple the chief being satin stitch, stem stitch and chain stitch. Occasionally, the darning and herringbone stitches are also used. Sozni embroidery or dorukha is often done so skilfully that the motif appears on both sides of the shawl each side having a different color. There is no wrong side. The same design is produced in different colors on both sides. Zalakdozi is a general term used for the chain stitch done with a hook. Vata-chikan, the button-hole stitch, is only used for thick fillings. These are seen in landscapes, hunting scenes, etc. Rezkar form of needle embroidery is similar in technique to sozni; the difference lies in its longer stitches and in that these are not reinforced with additional stitches. Tilla and dori work-These embroidery techniques are executed with gold or silver zari (tilla) or silk (dori). The decorative wire remains only on the surface while an additional thin cotton thread of yellow or white is stitched on top of it, thereby securing it by couching.

Designs The motifs of kashida embroidery are mostly inspired from nature. The common motifs used are the cypress cones, the almond, the chinar-leaf and the lotus. The almond is a variation of the mango design and this is also called Paisley (Figure 2). Animal and human figures are usually not seen in the embroidered products. The bird motifs used are Figure 2: Paisley motif parrot, canary, magpie, woodpecker and kingfisher (Figure 3). A large variety of floral motifs in marvelous colours, shapes, size include iris, lotus, lily, tulip and saffron. The chinar leaf is an important motif. Many beautiful coloured butterflies which are found in the sanctuary and valley have occupied an important place in the Kashida. Geometrical motifs are also seen in Kashmir embroidery (Figure 4).

Figure 4: Geometrical motif

Figure 3: Woodpecker motif

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Products Ari work- Stoles, shawls, pheran, kurta, capes Crewel work- upholstery, drapery, wall hangings, floor covering Rezkar– shawls, garments, table cover, bedspreads, household linen, capes Tilla and dori work– Pheran, sari, shawls Also, namda and gabba are also some of the popular products.

PHULKARI Phulkari, an embroidery technique from the Punjab, literally meaning ‘flower work’, is mainly done by women in Punjab (Figure 5). Bagh is also a kind of phulkari which means ‘garden’. Phulkaris and Baghs are worn by women all over Punjab during marriage festivals and other joyous occasions. Phulkari is folk art where the mother starts embroidering the cloth for her daughter and Phulkaris and Baghs are given to daughters at the time of their marriage. Figure5: Phulkari Materials Embroidery work is done on a plain cotton fabric (khaddar) handspun and hand woven with untwisted silk threads known as pat. The colours used for embroidery are vibrant colours like golden yellow, red, crimson, orange, green, blue and pink.

Techniques Satin stitch is used in horizontal, vertical or diagonal direction.

Designs Motifs of this embroidery are generally geometrical.

Types of Phulkari- 1) Chobe- is red colored cloth with embroidered borders usually presented to the bride by her grandmother during a ceremony before the wedding. 2) Vari-da-bagh (bagh of the trousseau)- is also on a red cloth with golden yellow embroidery symbolizing happiness and fertility. The entire cloth is covered patterns smaller ones within the border and intricately worked in different colors. 3) Ghunghat bagh - (covering for the head) has a small border on all four sides. In the center of each side, which covers the head, a large triangular motif is worked.

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4) Bawan bagh- (fifty-two in Punjabi) has as many geometrical patterns. 5) Darshan dwar- (the gate offering a view of the deity) is usually for presentation in temples or to adorn the walls of the home when the Granth Sahib (holy book of the Sikhs) is brought to a house. Products Shawls, odhanies and dupattas.

CHAMBA RUMAL The craft has come to be associated with Chamba owing to the patronage afforded by rulers of the area as well as to the quality of local craftsmanship. The big kerchiefs,rumals , of Chamba have always been the symbol of affection and good omen. The themes of chamba rumal are generally inspired by rasleela of Lord Krishna (Figure 6).

Figure 6: Chamba Rumal Materials Material used is hand spun thin fabric like Malmal or hand spun hand woven khaddar. It is white or cream in colour. The cloth is generally unbleached and thus appears off- white in colour. The threads used for embroidery are untwisted pat (silk), which give rich effect against dull rustic cotton ground. The infinite shades and tints of bright brilliant and contrasting colours are used. Most commonly used colours are red, yellow, green, blue, crimson and purple. Blue is used as Krishna. Red, white, blue colours are used for the Brahma, Mahesh and Vishnu respectively. Gopis are in bright colours of yellow and green or dark pink or crimson combination. The outlines are always worked with black.

Techniques The embroidery is done with double satin stitch, where the effect is reversible. The technique is known as Dorukha. It is so fine that not only the background is hardly visible but it is very difficult to identify the right side. The work is never started with a knot but with a back stitch and the threads are never joined with knots either. In some of the old wall hangings chain stitch and stem stitch was used for outlining as well as filling the motifs.

Motifs Motifs consists of symbolic animals and birds like leeping tigers, running goats cantering horses, fleeting rams, jumping deer, cows, peacocks. The motifs are collectively brought from the life history of lord Krishna. Rasleela: theme depicts the dance and the stories about Lord Krishna and Radha together. Kaliya Damana: theme depicts the stories of Krishna slaying the demons. Samudra Manthana: the story of Lord Krishna capturing the 7 headed water snake. Battle of Kurukshetra: the theme depicts stories from Mahabharat.

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Chaupad: the dice game. Bara mosai: depicts the twelve months.

Products Kerchiefs

CHIKANKARI The state of Uttar Pradesh especially the city of Lucknow is considered to be the hub of Chikankari embroidery. Chikankari is derived from the word Chakeen that means elegant patterns on the fabric. Earlier it was done with white thread on muslin clothes. However now it is been done on various types of fabrics like cotton, linen nylon, georgette, chiffon and synthetic fabrics. It is also called white embroidery (Figure 7). Figure 7: Chikankari Material In chikankari traditionally white threads were used on transparent muslin cloth. But with changing fashion chikankari is now done on synthetic fabrics also. It is also available now in various colors. Sequin work is also done on the fabrics along with chikankari to give it an exquisite and glittering look.

Techniques Various types of stitches are used on cotton or muslin fabric. Some of the stitches are: 1) Tepchi : Running Stitch. It is used to make outlines of designs. 2) Bukhia : Herringbone stitch done on the wrong side of fabric to give a shadow effect. 3) Pechani : It is a variation of running stitch. 4) Khatao : Flat style of chikankari. A very minute appliqué applied on fabric. 5) Murri : Knotted style of chikankari. It is a rice shaped stitch produced by satin stitch. 6) Phanda : Resembles millet and gives a raised effect on fabric . It is a French knot. 7) Jali work : Gives an effect of open mesh or net like appearance . Motifs The motifs are from the objects of daily life.

Products Sari borders, blouses, kurtas, suits, hankerchiefs, white caps etc. Apart from wearable garments it is also done on various other things like curtains, bedsheets, table cloths, pillow covers and cushion covers.

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MIRROR EMBROIDERY This embroidery is done in the state of Gujarat. It is done with both large and small mirrors (Figure 8). It is also done in Rajasthan.

Materials Embroidery is done using colourful threads like red, green, blue, yellow, black, maroon. The mirrors used are of different shapes and sizes like round, diamond, square shape. Round Figure 8: Mirror embroidery shape is the most common shape of mirror used.

Techniques Combination of chain, herringbone, satin and buttonhole stitch are the stitches used.

Products Garments, cushion covers, purses, bedsheets, curtains, wall hangings, decorative items, laces etc.

KASUTI Kasuti is famous embroidery of Karnataka (Figure 9). The word kasuti means hand work done on cotton as Kai means hand and suti means cotton. There is no right or wrong side. Both sides of fabric are identical.

Material Embroidery is done on cotton fabrics with cotton threads. These threads are of variety of colours like maroon, yellow, red, green etc.

Techniques Figure 9: Kasuti There are four types of stitches that are used to make designs. These are: Gavanti : it is a double running stitch and is used in straight, diagonal, horizontal and vertical lines Muragi: it is a zig-zag stitch and looks like a ladder Negi: it is a darning stitch in which long and short lines are used Menthi: it is a cross stitch which resembles fenugreek seeds.

Motifs This embroidery is rich in symbolic motifs. Symbols and designs come from temples, caves, shrines, the flora and fauna of region.

Products Sarees, cholis, lehngas and bonnets for children.

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KANTHA Kantha is the traditional form of embroidery of West Bengal (Figure 10). The wordkantha literally means ‘rags’. Originally it was done by women at their homes only but now it is commercialized and even men do it. There are 7 types of kanthas – Lep – thick quilted wrap for winters Soojni – large blanket for ceremonial occasion Bayton – wrapper for books and valuables Oaar – pillow cover Arsilata – cover for comb and mirror Durjani or Thalia – quilted wallets made of rectangular kantha pieces Rumal – plate covers Figure 10: Kantha Material The old cotton clothes are placed on the top of each other till the required thickness. The edges of all the fabrics are then folded and loosely tacked together. Most popular colours are blue, yellow, red and black. The outline of motifs is generally done in dark colours.

Techniques The embroidery is done on many layers of cloths which are old and are not used. The cloths which are now a single unit are quilted in white thread. Different types of stitches are used but the most common one is the small running stitch, producing dotted effect.

Designs Beautiful motifs of flowers, animals, birds, mythological figures and geometrical shapes, as well as themes from everyday activities are used as an inspiration for the designs. The center motif is generally lotus.

Products Originally done on sarees nowadays it is also done on quilts, bedsheets, blankets, saris, salwar suits, stoles, napkins, shirts for men and women etc.

ZARDOZI Zardozi work is an ancient form of embroidery basically done with gold or silver zari threads (Figure 11). It is also known as metal embroidery. Although now-a-days it is also done with colored metal threads. The word Zardozi is derived by combining two words Zar and Dozi which in Persian language means gold and embroidery respectively. Figure 11: Zardozi

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Techniques The process of doing Zardozi on the fabric is time consuming and done by hand. A hooked needle called ari is used to do the embroidery on the fabric which is stretched on a wooden frame. The embroidery is done by picking up single thread in the needle and sewing it into the cloth. This art requires patience and is quite complicated. Expertise is required to do it properly.

Material As zardozi is done with coiled metal wires studded with stones, beads, etc which is heavy in weight therefore is done on fabrics that are thick and heavy like silk, velvet, stain, crepe, etc.

Technique The main stitches employed are chain, satin, stem and couching. Apart from zari, badla (thin metal strip), gijai (a thin stiff wire), sitara (a small piece appearing like star), salma, sea-pearls are also used.

Designs The process of Zardozi revolves around six basic designs which have larger variation. These basic designs are jali (geometric design), bharat (filler design), patti (leaf), phul (flower),pankhi (bird) and janwar (animal).

Products Garments, cushion covers, table cloths, wall hanging, fabric purses etc.

APPLIQUE WORK Applique is practiced in the state of Orissa and Rajasthan. In this decorative art one piece of cloth is sewn or fixed onto other (Figure 12).

Materials The base material is prepared in the shape of square, rectangle, circle or oval which forms the background for the pieces of art. The colour of base material is red, purple, yellow, green and white. Figure 12: Applique Techniques Appliqué motifs in contrasting colours to the base fabric are cut in the shape of motifs. These motifs are then stitched onto the base cloth according to the design. After applying these appliqué patches to the base cloth, the borders are then stitched.

Motifs The appliqué motifs can be cut in the shape of animals, birds, flowers, leaves, celestial bodies and geometric shapes.

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Apart from these embroideries there are minor embroideries also:

BEAD EMBROIDERY This embroidery is also known as beadwork (Figure 13). It uses needle and thread to stitch beads onto a surface of fabric, leather or suede. Clothing accessories like belt buckles, handbags and household items such as pillows or boxes can also be decorated with bead embroidery.

Figure 13: Bead embroidery

KUNDAN EMBROIDERY Kundan work was brought from Delhi to Rajasthan during Mughal period. Kundan work is skillful setting of gems and stones in gold (Figure 14). This work is done in sarees and suits and they are expensive.

Figure 14: Kundan embroidery

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CARE AND MAINTAINANCE OF CLOTHES

Clothes are an integral parts of a well groomed personality. Clothing, cheap or expensive needs to be maintained properly to retain there appearance. Maintenance and care of clothes depend upon the fabric from which the outfit is made of .

Daily care of clothes 1. Clothes should be protected from dirt. While seating care should not be dirty . 2. Avoid brushing against car or leaning Walls 3. Check the nails of chair before seating 4. Avoid damaging the clothes while travelling 5. Smoothen the pleats before seating down 6. Fasten costlier jewellery, pins, clips carefully. 7. Do not over fill the pockets to avoid change of shapes. 8. Check for broken buttons, repairing of seams before wearing. 9. Completely dry clothes should be kept in cupboard to avoid damage. 10.Do not handle/Carry Newspaper and coloured bags while wearing white clothes.

Weekly care of clothes Daily care of clothes reduces the weekly efforts needed for cloth upkeep 1. Washing, ironing of clothes and then stocking in cupboards 2. Before keeping the clothes in the cupboard repair all the broken button and seems 3. Mend torn clothes 4. Woolen be brushed before storing

Seasonal care of clothes 1. Garments to be store after a season should be washed or dry cleaned and stored in neat boxes or almirah 2. While storing woolen garments moth repellent or Neem Leafs should be kept on box to safe guard clothing. 3. Wrap woolen items and place in polythene bags 4. Before storing make sure that cotton clothes or garments should be devoid of starch

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Factors affecting fabric care The selection and care of fabric depends on many factors such as ◆ Fiber content ◆ Yarn Structure ◆ Fabric constructions ◆ Colour application ◆ Different kinds of finishes etc.

Each type of fabric has its own individual characteristics so needs special care

COTTON

Properties of Cotton 1. It is strong fiber, stronger when wet, can with stand with hard finishes 2. Can with stand high temperature 3. Gets crushed easily 4. Has good colour retention and is good to print on. 5. Durable 6. It heavily starched it can beat locked by silver fish. 7. Resistant to Alkalis, can be easily washed with strong detergents. Care of Cotton Garments 1. As strong fabric, can be hand washed or machine washed 2. Should be washed in cold water 3. Needs to be damp for ironing 4. Hand on to wire dry 5. Needs to distracted before storing for season

WOOL

Properties of Wool 1. Weak fiber 2. It is hard bearing and absorbers moisture 3. Light waited 4. Does not get wrinkle easily

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5. Susceptible to damage by moth 6. When wool is put to mechanical actions during washing, they have a tendency to felt and shrink 7. Knitted articles in wool can stretch out of shape while washing Care of Wool Garments 1. As a weak fiber it should be handled gently during laundering 2. Should be washed by light detergent or shampoos 3. Bleaching should be used with care 4. Washing is to be done in cold water with minimum rubbing 5. An outline of garment is made before washing and after washing the article and stretched back to the same outline 6. No direct ironing should be done. If required steam ironing is suggested 7. While storing moth repellent should be kept with in layers of clothes

SILK

Properties of Silk 1. It is a strong fiber but becomes weak when wet 2. Careful handling is required in washing of Silk 3. Get damaged by strong Alkalis 4. Does not stretch or shrink on washing, wrinkle less during use. 5. Absolves moisture 6. Can be easily dyed 7. Lustrous in Nature 8. Scorches easily it ironed at high temperature 9. Perspiration damages the fabric 10.It gets weakened when exposed for long time to sunlight. Care of Silk Garments 1. Gently hand wash with mild detergent or get it dry clean 2. Needs to be ironed and should be thoroughly damp. 3. Ironed at low temperature 4. Should not be dried in sum

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Rayon

Properties of Rayon 1. Strength of fiber/fabric is low and is further decreased when wet 2. Shrinks on Washing, are soft and absorbent 3. Fabric tense to wrinkle and stretched easily as there elastic recovery and resilience are low 4. Mildew and silver wish are harmful to fabric Care of Rayon 1. Require careful handling in laundering 2. Mild soaps and detergents should be used while laundering 3. Rayon fibers can be weakened by chlorine bleach 4. Easy to iron but extremely high temperature can scorch fiber 5. Should be stored in clean and dry place

NYLON

Properties of Nylon 1. Man made fiber 2. It is strong and retains its strength when wet 3. Not affected by Alkalis but can get affected by Acids 4. Dry quickly and easy to laundering 5. Retain its shape 6. Sun light is destructive to Nylon 7. Highly resistant to attack by insects Care of Nylon 1. No special care is required for Nylon 2. Can be hand wash or machine washed in cold water 3. Should be rinsed well 4. Should be laundered separately 5. Does not require hot ironing

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POLYESTER

Properties of Polyester 1. It had a good strength 2. Does not loss its strength when wet 3. Easy to launder and dries quickly 4. Developed small balls in its surface which can not be removed 5. Moisture regain is very low, does not absorbs water easily 6. Resistant to Micro Organisms and Insects 7. Resistant to stretching and shrinking Care of Polyester Garment 1. Machine wash in Cold water 2. Do not bleach 3. Does not require hot ironing, if needed iron with a very low temperature 4. Oily stains need to be handled carefully

ACRYLIC

Properties of Acrylic 1. Strong fiber 2. It has a very good heat retention and fastness to light 3. Very good shape retention and durable 4. Moisture regains of Acrylic is low and the fabric dry quickly 5. Catches fire easily Care of Acrylic Garment 1. Does not require any special care for washing 2. Preferably use cold water while washing 3. Hand garments on hangers after dry to allow wrinkles to relax or fall out over a few years

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REMOVAL OF STAINS

Stain Cotton and Linen Articles Silk and Wool Articles 1. Curry 1. If the stain is fresh, put a blotting paper below 1. Put a blotting paper below and (Oil and and above the stain and then iron it. The blotting above the stain and iron it at Turmeric) paper will absorb the oil. Then wash it with hot moderate temperature. Then wash soapy water and dry it in the sunlight. it in soapy solution. 2. Make a thick solution of maida or starch and put 2. If the stain still persists then soak it over the stain and then dry it in shade. Remove it in potassium permangenate the dried patch and repeat if required. The oil solution and then in ammonia will more likely get removed with this procedure. solution. The stains of potassium 3. Solvents like- petrol, methylated spirit, kerosene permangenate can be removed by oil can also be used to remove oil stain. oxalic acid. 4. If the stain still persists then dip it in javelle 3. The stain of oil can be removed water. Then wash with soapy solution and rinse by solution of flour (maida) and thoroughly. starch. 4. Solvents like petrol, methylated spirit and kerosene oil can also be used to remove oil stains. 2. Tea or 1. If the stain is fresh, pour boiling water on the 1. Soak in luke warm water and in Coffee stain. dilute boric solution. 2. If the stain is old, spread boric powder and pour 2. Use mild hydrogen peroxide boiling water over it. solution. 3. Dip the stain in glycerine till the stain is removed. 3. Grease 1. Wash the fresh stain with hot soapy water. 1. Apply thick solution of flour Apply some wheat flour or starch solution (thick) (maida), or starch on the stain and on the stain and dry it under the shade. Repeat leave it to dry. Remove the patch the process until the stain is removed. and wash the stain. Iron the stain at moderate temperature. 2. Apply solvents like kerosene oil, petrol or methylated spirit to get rid of all traces of grease. 2. Solvents like kerosene oil, petrol or methylated spirit can also be used to get rid of all traces of grease. Ink 1. Can be removed by washing in soapy solution. 1. Can be removed by washing in 2. Apply salt and lemon juice on the stain and dry it soapy solution. under the sun. Repeat till the stain is completely 2. Just like cotton, use salt and lemon removed. Instead of lemon you can also use cut juice to remove the stains. tomatoes. 3. Use dilute peroxide to remove the 3. Soak the stain in milk or sour curd for few hours. stains. Thoroughly rinse and wash. 4. Potassium permangenate solution can be used to remove stain. To remove the stain of potassium permangenate use oxalic acid. 5. Bleach the stain with javelle water to remove it.

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Stain Cotton and Linen Articles Silk and Wool Articles Ball Pen Ink 1. Soak in detergent solution for 10-15 minutes. Same treatment as in case of cotton Rinse thoroughly and wash. and linen. 2. Use sodium hyposulphide and then hydroperoxide. 3. Dip in glycerine and then rinse well and wash. Lipstick 1. Dip the stain in methylated spirit or kerosene oil, Same treatment as in case of cotton rub gently and wash it with soap and water, and linen. Blood 1. Wash it with cold water. 1. Wash it with cold water. 2. Add 50grm. of salt in 2ltrs. of water. Dip the 2.. Use flour (maida) or starch stain in this solution till the stain is completely solution over the stain and dry it. removed. Brush off surface till, the stain gets removed. Hot Iron Stain 1. Cut a medium sized onion into two pieces and Same treatment as in case of cotton rub it over the stain in circular motion. and linen . 2. Then clean it with a cloth dipped in hot water. 3. Dip the stained portion in vinegar, rinse properly and wash. Sweat Stain 1. Dip the stained portion in glycerine and then 1. Dip a clean cloth in glycerine and wash it with soap and water. rub it over the stain in a circular motion. Then wipe it with wet cloth and dry it. Same treatment as in case Grass Use vinegar to remove the stain. Same treatment as in case f cotton and linen

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COMPUTERS IN TEXTILE DESIGNING

Computer Aided textile designing Computer Aided textile designing is the right blend of assisting creativity with acute technological advancement to assist designer's to create fabrics that is both aesthetically beautiful and technologically sound. CAD stands for Computer Aided Design. Any part of the design process that can utilize the computer as a tool fits under the CAD umbrella.

Textile Designers use CAD/CAM systems for three main areas of their work- Design, Presentation and Production

Computer aided textile designing (CATD) has now given viable solution to the designing problem with CATD, it is now possible to go straight from an initial idea to visual representation of fabric showing different types of designs and combination of colors. CAD has lead to better quality and flexibility in design development, increasing the efficiency and shortening the time between the design concept and actual marketing. All the basic components of design can be programmed in computer languages and stored in computer memory. Whenever required, the computer can be asked to plot the design with various color combinations. Now, as the traditional textiles are widely used and adopted as per the latest trends, the designers have begun to explore more and more traditional motifs in the modern style textiles, dresses as costumes. Computer-aided design (CAD) is the use of computer systems to assist in the creation, modification, analysis, or optimization of a design. CAD software is used to increase the productivity of the designer, improve the quality of design, improve communications through documentation, and to create a database for manufacturing. CAD output is often in the form of electronic files for print, machining, or other manufacturing operations. Computer-aided design is used in many fields. Its use in electronic design is known as Electronic Design Automation, or EDA. In mechanical design, it is also known as computer-aided drafting (CAD) or computer-aided design and drafting (CADD), which describes the process of creating technical with the use of computer software.

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CAD may be used to design curves and figures in two-dimensional (2D) space; or curves, surfaces, and solids in three-dimensional (3D) space. CAD has become an especially important technology within the scope of computer-aided technologies, with benefits such as lower product development costs and a greatly shortened design cycle. CAD enables designers to layout and develop work on screen, print it out and save it for future editing, saving time on their drawings.

Objectives To provide Textile Design services in the area of weaving, printing, & garmenting for the industry with the following advantages: ◆ Tasks carried out extremely fast, accurately and at low cost. ◆ Very easy to create new designs and copy old designs. ◆ Multiple choices for alterations in motifs, sizes, colours etc. of designs and for woven designs also in yarn types and densities of warp and weft threads. ◆ Fabric simulations available on monitor and on paper, thereby avoiding the need of making actual fabric samples and thus getting enormous savings in cost, time and efforts. ◆ Designs can be sent to any place around the world within seconds for approval by buyers and for production via electronic connectivity. ◆ A vast data bank of designs can be maintained for retrieval in future. ◆ Maximum utilization of available fabric in garments, thereby giving substantial reduction in fabric wastage in RMG units. Importance of Computer aided textile designing ◆ Easy to Design on the computer. ◆ Working time reduced drastically. ◆ Enables variations in your designing in seconds and matching of colours at a click of a button. ◆ Designing your own textile patterns. ◆ Intricacy in pattern & texture designing. ◆ Create original designs and convert them into desired platforms. ◆ Retouch, manipulate and enhance textures, patterns & designs. ◆ The ability to trace figures or designs on to screen for further enhancement. ◆ A variety of realistic outputs to show your customer, like laser outputs, slide matrix recorder, video tapes, inkjet printouts in 16.7 million colors etc.

Softwares ◆ Dobby designing software "Texcad" from Technograph, India. ◆ Jacquard designing package "Cadvantage Win Jacquard" from Teckmen Systems India.

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◆ Print designing software "Jay CadTex" from Jay Instruments and Pvt. Ltd., India. ◆ Adobe Photoshop

Use of Adobe Photoshop in designing

Adobe Photoshop Adobe Photoshop is an Image Processing software package that enables you to create & edit images on IBM personal Computers. Adobe Photoshop is acknowledged in professional fields as the cutting-edge Program, the final word in Commercial Art.

Salient Features ◆ With Photoshop's tools you can paint a likeness of a physical object. ◆ Mixing and Manipulating of colours at a click of a button. ◆ You can Blend 2 Images. ◆ You can create Patterns and Artistic Designs using Fills and Colours. ◆ You can manipulate your Design images with Special Effects and Techniques. ◆ You can Import and Export your Images. ◆ Retouch, Manipulate and Enhance Designs & patterns. Application ◆ It has been used to edit and create images as diverse as Commercial Art, Cosmetic ads, New Photos, Motion picture footage, Animation cells & Fine Art work. ◆ Creates original Art & converts it to desired Platforms. ◆ Retouch, manipulate & enhance photographs of Digital arts. ◆ Master the special effects you've always wanted. ◆ Learn the secrets of Output & Storage of your Images. ◆ Web page designing

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CAREER IN TEXTILE DESIGNING

Developing Career in Textile Designing

Introduction The Indian textile industry boasts of having an overwhelming presence in the economy of the country. The industry plays a pivotal role through its contribution to industrial output, employment generation, and export earnings of the country. Currently, it contributes about 14 % to industrial production, 4 % to the GDP and 17 % to the country’s export earnings. Notably, it provides employment to over 35 million people. And with the decentralisation of power loom/hosiery and knitting sectors, and new techniques to produce a variety of products to suit different market sections, there is a huge demand for trained professionals in the textile and apparel industry. For the growth of the industry, the Indian Ministry of Textiles believes that there is a strong need to focus on aspects like product development, CAD to develop designing capabilities, investment in trend forecasting to enable the growth of industry. The growth opportunities for the professionals of the field, as per the Ministry, exists in areas including medical textiles, construction textiles and packaging textiles; baby diapers; home textiles (with fire-retarded fabric); blankets and travelling rugs; bed, toilet and kitchen linen; curtains, drapes and interior blinds; furnishing articles; sacks and bags; and tarpaulin, sail, tent and camping goods.

Career Opportunities Graduates can have opportunities in production development and management, retail management, apparel designing, visual merchandising, technical designing, fashion writing and editing, quality control, museum collection management, and theatrical costuming. Other related fields and career titles could include operations manager, apparel sales representative, patternmaker, product developer, fashion buyer, fashion consultant, textile research scientist, technical designer, store manager, quality assurance evaluator, costume designer and many more. After gaining some experience people even start up their own venture

Textile Designer The person who develops his/ her carrior in textile industry is generally refered as Textile Designer. Textile designers are responsible for the creation and development of designs or patterns which are either woven, knitted or printed on to or into cloth. They need artistic skills and sound knowledge of fabric characteristics and factory reproduction techniques to design exquisite and marketable textiles.

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Textile designers work within a field where media, materials, production methods, finance and public taste all have a bearing on their work. Designers need to understand and exploit these limitations so that the fabric is readily identified with a specific need and its acceptance is facilitated. Creative artists use their skills and experience to produce designs and colourations, not only by traditional sketches and painting techniques, but also using high-tech computers. This offers aspiring designers a totally new dimension in the exciting world of textile design. Textile design moves with current fashion and reflects many moods and cultures. International travel, to capture design ideas and trends, becomes part of skilled designers' work when part of product management teams. With backgrounds of expertise and specialized knowledge, designers can fulfil important roles on the marketing or colouring side too. Textile designers are mostly employed by the fashion fabrics and home textiles industries. They are sometimes expected to travel from one country to another to study fashion trends.

Textile designer’s Job description Designers create fabric designs and patterns for woven, knitted and printed materials for clothing, furnishings, and other textile products. They do this using artistic, color, and technical skills. The designer produces hand drawn sketches or computer generated sketches using CAD software on a computer. They also make up samples or have them constructed by technicians. They research design trends and forecasts to predict what might sell. They also keep updated on developments in manufacturing technology. These individuals could either work in the manufacturing industry or as free lancers. Textile designers create two-dimensional designs that can be used, often as a repeat design, in the production of knit, weave and printed fabrics or textile products. Working in both industrial and non-industrial locations, they often specialise, or work in a specialist context, within the textile industry. The two major fields are: ◆ interiors (upholstery, soft furnishings and carpets); ◆ fabrics for clothing (fashion or specialist).

Textile designers may also work in associated industry functions, for example, designing wrapping paper, packaging, greetings cards and ceramics.

Designers Typical Work Activities These include: ◆ liaising with clients and technical, marketing and buying staff to plan and develop designs; ◆ accurately interpreting and representing clients' ideas; ◆ producing sketches, worked-up designs and samples for presentation to customers; ◆ making up sets of sample designs; ◆ working out design formulae for a group of samples;

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◆ assessing and approving completed items and production standards; ◆ working independently, if self-employed, or liaising closely with colleagues as part of a small team; ◆ using specialist software and computer-aided design (CAD) programs to develop a range of designs; ◆ experimenting with colour, fabric and texture; ◆ maintaining up-to-date knowledge of new design and production techniques and textile technology; ◆ developing new design concepts; ◆ ensuring that projects are completed on time; ◆ visiting sites and other sources of ideas for designs; ◆ sourcing fabrics and other materials at trade fairs, markets and antique shops; ◆ attending trade shows, as a delegate or as an exhibitor - this may involve representing the company with a display or stand, or appraising the work of competitors; ◆ keeping up to date and spotting fashion trends in fabric design by reading forecasts in trade magazines and using internet resources; ◆ developing a network of business contacts; ◆ if self-employed, managing marketing and public relations, finances and day-to-day business activities and maintaining websites.

What motivates you to be the designers? ◆ keeping up with fashion trends ◆ using your creative abilities ◆ being able to see the end product

Demanding aspects of designers ◆ having to continually research and keep abreast of public tastes to keep products selling ◆ working to deadlines ◆ eye-strain from doing detailed work ◆ trying to compete productivity and price-wise with the Orient

Qualities of Designers A textile designer should: ◆ be artistic, creative and practical ◆ have basic drawing skills ◆ have creative imagination ◆ have excellent feel for colour ◆ be aware of fashion trends ◆ have understanding of all marketing avenues

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◆ be hard working ◆ be able to work under pressure ◆ be friendly and tactful when dealing with clients ◆ be able to subdue personal taste to meet those of particular markets

Educational Requirements for becoming textile designer One can enter the field after doing diploma or degree level programmes in the textile and apparel or related subjects like merchandising, fashion designing, textile retailing, product management and the like. The course duration can range from one year to four or five years depending upon the opted programme level. Students need to understand the industry from the scratch and then they can jump on to the specialised levels. The Master’s programmes are mostly designed to prepare students to meet the challenges of design-driven industries through modules in manufacturing, merchandising, wholesaling and retailing. Students learn aspects like innovative problem solving, product development, and managerial strategies that incorporate the application of new technologies. The textile and apparel studies courseware generally provides students with the knowledge and multi-skills to work in companies that produce utilise and market textile and apparel products. Any programme in this industry basically prepares students to comprehend various aspects related to textile and apparel products, which could range form selection, designing, production and merchandising of the final products. Working in textile design requires training, usually through a degree program in either textile design or fine art. It's not unusual to end up specializing in one type of fabric. It is possible to enter textile designing from a related field. GraphicDesignBasics.com says a fashion designer might concentrate on textile design in order to "enhance their design ideas."

School Subjects National Senior Certificate meeting diploma requirements for a diploma course Diploma: The three-year N.Dip. Textile Technology and/or the N.Dip. Most universities of technology require a portfolio, the specifications of which differ from one institution to another.

Employer ◆ Studios ◆ Textile company (merchandiser or stylist) ◆ Chain groups ◆ Boutiques ◆ Garment manufacturers ◆ Self-employed, as consultant or doing freelance work

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Career Opportunities Graduates can have opportunities in production development and management, retail management, apparel designing, visual merchandising, technical designing, fashion writing and editing, quality control, museum collection management, and theatrical costuming. Other related fields and career titles could include operations manager, apparel sales representative, patternmaker, product developer, fashion buyer, fashion consultant, textile research scientist, technical designer, store manager, quality assurance evaluator, costume designer and many more. After gaining some experience people even start up their own venture. Textile designers may branch out into other fields in which textile designing skill is useful, such as interior design. They may also move into designing paper goods, ceramics or other items that require patterns, according to Sessions College for Professional Design. This is sometimes a necessary move due to the competitive nature of the field if there aren't enough designer jobs, though in other cases it may simply be a natural evolution of the designer's interest.

Textile Stylist: Duties: The textile stylist conducts market research to find innovative ideas and new fabric technologies to add to the brand. They also travel to conduct their research and work with retailers and wholesalers to determine the direction of the brand. Stylists also partner with merchandizing, production and design departments to provide fashion direction for designers and manufacturers. They utilize fashion models to show fashion designers what the fabric possibilities are. In other words, the stylist plans and coordinates the concepts for, development of, and production of a textile producer’s annual fabric line. They also work as liaisons between the design and production staff to make sure that the look of the line is correct. Qualifications: Problem solving skills are a must, to enable the designer and stylist to fill the need of the customer and create products that sell at the right price, yet are esthetically pleasing as well. Education: The individual pursuing these textile careers would generally be required to have a degree in a design or textile related subjects, which would be either a Bachelor of Science degree or a Master of Science degree. Some organisations even offer doctorates.

Colleges in Delhi Having vocational Courses Polytechnic Colleges in Delhi offers education at various levels. Students who have completed Class 10th and Class 12th examination may apply for admission into Polytechnic Colleges in Delhi. Courses are also offered to graduate students. Polytechnic Colleges in Delhi offers admission in various courses on the basis of entrance examination, aptitude test, etc.

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Polytechnic Colleges in Delhi offers admission into Diploma programs on full time basis. However, admission into many other vocational programs are also offered on part time basis, viz, evening programs, short term courses etc. For the benefit of working technicians different Polytechnic Colleges in Delhi organizes workshops and short -term training programs from time to time. Besides offering courses in core engineering disciplines, courses are also offered in various other disciplines like commerce, computer applications, fashion etc. The diplomas and certificates awarded by the Polytechnic Institutes in Delhi are recognized by All India Council for Technical (AICTE), as technical qualification, and all other bodies of government and industry.

Govt. Colleges in Delhi offering various vocational courses

1. Ambedkar Polytechnic 5. Guru Nanak Dev Polytechnic (Govt. Polytechnics) (Govt. Polytechnic) Patpar Ganj Road (Opposite Madhuban) Sector-15, Rohini, Delhi-1 10085 Shakarpur. Delhi-92 Tel: 22023593, 22460311, 22048336, 22428339 6. Kasturba Polytechnic for Women Fax: 22023594 (Govt. Polytechnics) Prem Bari Pul, (Near T.V. Tower), 2. Aryabhat Polytechnic Pitam Pura, Delhi-88 (Govt. Polytechnics) Tel: 91-11-27325252, 27325997 G.T.K Road, Delhi-110033 . Tel : 27465281 7. Pusa Polytechnic Fax : 011- 27426263 (Govt. Polytechnic) Pusa, New Delhi - 110012. Tel: 25847822, 25843070 3. Bhai Parmanand Institute of Business Studies (Govt. Polytechnics) 8. Meera Bai Polytechnic for Women Opp. Madhuban Colony, Shakarpur Extension, (Govt. Polytechnic) Near Railway Crossing, Delhi-110092 Maharani Bagh, Tel:011-22543891 , 011-22017393 New Delhi-110065 Fax:011-22430067 Tel: 011-26913078

4. Gobind Ballabh Pant Polytechnic 9. Tool Room & Training Centre (Govt. Polytechnics) Wazirpur Industrial Area, Okhla Industrial Estate, Delhi- 110052 Phase-III, New Delhi-110020. Tel : 27372745, 27372618, 27372615 Tel: 26826620

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Private College List : Colleges Under Board Of technical Education, Delhi

1. Ambedkar Polytechnic Courses Offered: (Govt. Polytechnics) Post Diploma Course Patpar Ganj Road (Opposite Madhuban) Duration:1 ½ year Shakarpur. Delhi-92 Diploma Courses: Automobile Engg., Civil Tel: 22023593, 22460311, 22048336, Engg., Electrical Engg.,Mechanical Engg., 22428339 Plastic Technology, Production Engg., Fax: 22023594 Duration: 3 years Courses Offered: Computer Engg, Part Time Diploma Courses Instumentation & Contol, Electronics Civil Engg., Electrical Engg., Mechanical with specialization in: a) Digital Electronics Engg. & Microprocessor System Design, b) Duration: 4 year Medical Electronics (Duration: 3 Years) 5. Guru Nanak Dev Polytechnic 2. Aryabhat Polytechnic (Govt. Polytechnic) (Govt. Polytechnics) Sector-15, Rohini, Delhi-1 10085 G.T.K Road, Delhi-110033 . Courses Offered: Computer Engg., Chemical Tel : 27465281 Engg., Electronics & Communication Fax : 011- 27426263 Engg., Mechanical Engg., PlasticEngg./ Full Time Courses: Electrical Engineering, Technology (Duration: 3 years) Civil Engineering, Mechanical Engineering, Mechanical Engineering (Maintenance), 6. Kasturba Polytechnic for Women Architectural Assistantship, Garment (Govt. Polytechnics) Fabrication Technology Prem Bari Pul, (Near T.V. Tower), Part Time Courses: Electrical Engineering, Pitam Pura, Delhi-88 Civil Engineering, Mechanical Engineering Tel: 91-11-27325252, 27325997 Tele-Fax: 91-11-27327192 3. Bhai Parmanand Institute of Business Studies Courses Offered: Computer Engg., Public (Govt. Polytechnics) Health and Environmental Engineering, Opp. Madhuban Colony, Shakarpur Fashion Design, Electronics with Extension, Near Railway Crossing, specialisation in a) Digital Electronics Delhi-110092 & Micro Processor System design,b) Tel:011-22543891 , 011-22017393 Medical Electronics, Public Health & Fax:011-22430067 Environmental Engg. (Duration: 3 years) Courses Offered: Diploma in Modern Office Practice (English), Diploma in Modern 7. Meera Bai Polytechnic for Women Office Practice (Hindi), Master of Computer (Govt. Polytechnic) Application (Duration: 3 years) Maharani Bagh, New Delhi-110065 Tel: 011-26913078 4. Gobind Ballabh Pant Polytechnic Fax: 011-26318809 (Govt. Polytechnics) Courses Offered: Pharmacy, Beauty Culture, Okhla Industrial Estate, Library Science, Medical Lab Technology Phase-III, New Delhi-110020. (Duration: 2 years) Tel: 26826620

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Modern Practice in English & Hindi, 12. Father Agnel Polytechnic, Interior design, Architecture Assistantship, Gautam Nagar, New Delhi-110049 Electronics & Communication Engg., Tel: 26863286, 26859961 Commercial Art (Duration: 3 years) Courses Offered: Computer Engg., Modern Office Practice in English, Electronics & 8. Pusa Polytechnic Communication Engg. (Duration: 3 years) (Govt. Polytechnic) Pusa, New Delhi - 110012. 13. Guru Tegh Bahadur Polytechnic, Tel: 25847822, 25843070 Poorvi Marg, VasantVihar, New Delhi-110057 Fax: 25847822 Tel: 26145171, 26140156 Courses Offered: Automobile Engg., Civil Courses Offered: Computer Engg., Electrical Engg., Electrical Engg., Electronics & Engg., Electronics & Communication Communication Engg., Mechanical Engg., Engg., Mechanical Engg, Automobile Engg., Printing Technology, Construction Engg Digital & Microprocessor Design Engg. (Duration: 3 years) (Duration: 3 years) Electronics & Comm. Engg, Automobile Engg.(Duration: 2 years) 14. International Polytechnic for Women, A-3, South Extn.l, New Delhi-110021 9. Tool Room & Training Centre, Tel: 24624049 Wazirpur Industrial Area, Delhi- 110052 For more details, please click here. Tel : 27372745, 27372618, 27372615 Courses Offered: Fashion designing Courses Offered: Tool & Dye Making (Duration: 2 years); Textile designing (Duration: 3 years) 10. Aditya Institute of Technology, 107/9, Kishan Gharh, Vasant Kunj, 15. Maharaja Suraj Mal Institute of Pharmacy New Delhi-1 10070 & Technology, Tel : 26121328, 26125195, 26125497 C-4, Janakpuri, Delhi-110058 Courses Offered: Computer Engg., Tel : 25552956, 22528117 Electronics & Communication Engg. Courses Offered: Computer Engg., Electrical (Duration: 3 years) Engg., Electronics & Communication Pharmacy (Duration: 2 years) Engg. (Duration: 3 years)

11. Chhoto Ram Rural Institute of Technology, 16. Marathwada Institute if Technology, Kanjhawala, Delhi-110041 Mundka, Delhi-110040 Tel : 25960689, 25953892 Tel : 25260964, 28343320 Courses Offered: Pharmacy (Duration: 2 Email: [email protected] years) Website: http://www.mitindia.net Architectural Asstt., Civil Engg., Electrical Courses Offered: Electronics & Engg., Electronics & Communication Communication Engg., Mechanical Engg. Engg., Electronics with specialisation in - i) (Duration: 3 years) Digital Electronics & Micro Processor System design, ii) Medical Electronics, 17. Rao Tula Ram Polytechnic, Instrumentation & Control (Duration: Rao Tula Ram Marg, Delhi-110021 3 years) Tel: 4670345, 24670345 Courses Offered: Architectural Asstt. (Duration: 3 years

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Other Top Polytechnic Institutes in Delhi ◆ Father Agnel Polytechnic, Delhi ◆ Guru Tegh Bahadur Polytechnic, Delhi ◆ International Polytechnic for Women, Delhi ◆ Maharaja Suraj Mal Institute of Pharmacy & Technology, Delhi ◆ Marathwada Institute if Technology, Delhi ◆ Rao Tula Ram Polytechnic, Delhi

Indian Institutes teaching 'Fashion and Textile Design ' and related specialisations:

NIFT Delhi, NID Ahmedabad CLRI Chennai NIFD Chadigarh, Kolkata JD Institute of Fashion Tech. Mumbai Sristi Bangalore Symbiosis Pune Pearl Academy Delhi, Jaipur Wigan & Leigh Delhi + more Ajeejay N Delhi Sophia Polytechnic Mumbai Raffles Design International Mumbai Northeast Institute of Fashion T. Guwahati Army Institute of Fashion Design Bangalore Creative-i College of Arts Pune IILM School of Design Gurgaon BIFT Bangalore Arch Academy Jaipur IIFT Delhi GIGT - Garment Technology Amritsar Gemmological Institute (GII) Mumbai IAM - Apparel Management Delhi GIFT Ahmedabad

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