Zest of GIFT Textile and Learning
"TRUTH OF GIFT INSTITUTE AHMEDABAD"
Industry needs designers who possess updated designing skills along with good communication & presentation skills too. Industry doesn't require those designers who unnecessarily explain & give justification about his/her design work?
GOOD DESIGN DOESN'T NEED SUPPORT
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No doubt everyone who takes birth by virtue of God Almighty comes into the world without textile and clothing with a cheerful welcome. Gradually as they grow gradually they enjoy the versatility of wonderful clothing by wearing beautiful textiles for appropriate shape of garments to fulfill the purpose as their status.
As we are all aware that the earth’s paradise is a treasure of unaccountable wonderful gist and gesture of unmatchable to each other, in two and two varying things, in versatile usage by human beings .In the same manner mostly every human grows and his or her mind develops appropriately.
As the above mentioned understanding his or her knowledgeable especially in relation to textile and fashion garment utility to fulfill their pride and liking which varies from individual to individual by many meanings and for that development of versatility of textile becomes an endless procedure in textile industries for our human society globally.
By the virtue of god almighty human mind took the actual shape in purposeful research and development for textile in correlation to its glamorous gist and gesture for human society while keeping in mind its comforts, drape, tactile and ergonomics. Due to the above wonderful event Textile has globally become the world’s second biggest industry after the food, due to basic human needs which is why the human’s continuous research process becomes necessary for such developments to come.
This gives a clear picture of how vast this field is and to learn all that in one life is not possible by any means, but many known Design Institutions claim commonly and strongly emphasizing their abilities to teach detailed versatility of textile in various segments such as fiber, yarn, weaving, dyeing, processing, printing, non-woven and their permutations and combinations with varying aspects of its practicality and techniques, Adding flavour, churning and proudly taking the small gist and gesture of textile by giving an important example such as resist process of textile for dyeing and printing techniques, various textile craft techniques without giving much detail about textiles, geometrical, physical, chemical abilities.
While learning one should know the above said because, textile is said to be the second skin which people wear over their actual skin, and this should be smart in all means. This in todays time is not found to be totally accurate in design drawing as global textile industry is needed from designers. As said above it is their habit to talk big without possessing basic knowledge of versatility in relation to the subject, and they live with beautiful jargons, versatile names of it, and compositions in their mix and match style while copying. That is why nobody is taking shape from such institutions to be like the “Guru of Textile” William Morris. That is why the placement for them is full of struggle for their survival in the field of textile designing.
As above mentioned it is not for humiliating other institutions even though we are all grown up designers gone through with such teaching and learning process and style. Myself Prof.Khalid Ameer Rafuqe was quite hesitant after graduation from NID to practice as a designer in the renowned textile industries finds less abilities to practice as a designer appropriately with gained knowledge from NID but that era was different in comparison to present days.
The continuous effort and writing notes in relation to what was learnt in the institute as a learner and what is different in textile industry has a huge gap when compared but “who can fill that gap?” which is the biggest task for any design institute and that task is sportingly taken up by Prof.Khalid .
That is why GIFT textile design education course abstract and teaching methods along with its objectives, missions and policies are very different and very appropriate for a fresh learner as well as for understanding. GIFT being an NGO believes in helping hands working with their heart and soul in favour of the fresh learner and his or her learning.
GIFT textile Course content is meaning wise more or less the same as above where some educational aspects may be like other Design Institutes except a few, totally originated by GIFT but the teaching methods are certainly different in favor for small and large textile industrial needs. Its teaching is made so simple that it is similar to the system of eating healthy food resulting in good results for the body.
That means that GIFT textile relation and its basic understanding is very close to the needs of the human society with tremendous consideration to the depths of its existence, and thoroughly considered, without fail, every time a fresh learner is individually taught any subject.
Why does a GIFT learner not fail to inculcate al the designing skills while learning?
This is simply because each abstract course content has varying style of numerous explorations through empirical methods along with practice, before reaching the final selection of the ideal concept of any design. This is followed by an open presentation to all for a general critic and approval from GIFT faculty.
Another reason to the success of GIFT’s fresh learner is appropriately linked to the above mentioned course abstract which means that A to Z textile courses are revised and learnt at least 25 times during the course and this repetition at a regular basis drills in the knowledge in the fresh learner making the basics of their subject very strong. Due to this method of learning it has been observed over the years that these students put their heart and soul in their work producing great results.
In spite of GIFT’S Short term, part-time duration course the learning time given to these students is enough and hence its Textile Education is termed as “Composed Textile”.
The above mentioned is due to Prof. Khalid’s continuous practice and research for GIFT’s development for which he has traveled from being a student at NID, to textile industries like Arvind Mills- Ahmedabad, Jayashree Textile Rishra – Kolkatta, Raymond, Thane and many more, then coming back to NID for learning Apparel Design Under faculty development program, later coming back to the industry, simultaneously teaching as a visiting faculty and then a regular faculty for 2 years at NID.
Through this journey of life he has gained knowledge of quick learning and teaching with versatility of in depth Textile Designing. As the end result for the above a seven month specialization along with Common Foundation Course takes place for the fresh learners at GIFT which is not less than any other Design Institute’s UG and PG Courses also helping them in their future practice in industries and free lancing by the grace of god almighty.
Initially it was an extremely difficult task to create a structure of practical by demographically individual teaching course concept for the fresh learners through GIFT’s short-term part-time teaching style all as a multipurpose of Textile Design. Inspite of all the odds by the grace of God Almighty Prof. Khalid finally achieved his first batch of GIFT during 1995 of 16 students.
Their learning contents for Natural, Organic, man made and other textiles is as follows:
1. What is Textile
2. What does it comprise of?
3. Versatile meanings of the categorization of basics of Textile.
4. What is specialized Textile Design and its purpose?
5. How is textile made, and what are the needs of its existence?
6. Techniques of making a Textile
7. Fiber and its categories like natural, man-made, metallic, those which can be dyed after carding and combing made ready for its spinning.
8. Textile fiber and its blending capacity to each other for the study of preparation of versatile yarns
9. Study of various spinning systems and doubling normal or a fancy yarn as per the needs of the textile industry. Study of final spinning as needed by the Designer for the appropriate needs of the Fabric Construction.
10. Yarn setting to avoid snarl formation during warping and weaving.
11. Weaving preparation like Warping, Sizing, Drafting, Denting, along with details of instructions of usage.
12. Weaving Process
13. Mending, grading, Segregation lot wise for further processes.
14. Textile processing and various techniques and methods such shearing, bleaching, scouring, dyeing, printing, setting, finishing of cloth etc.
15. Warehouse processes like grading, cutting, as per the instructions and later labeling and packing for the appropriate market.
16. Other textiles like animal skins,(leather), fur, plastic, rubber, and felt (namada).
17. During sessions, importance also given to the development of technology and Textile Related News, Globally.
The above understanding and teaching at GIFT certainly helps the fresh learner for their Design Course. The word fresh learner will be repeated quote often because the course abstract content are very much different to each other along with its utility.
The above understanding of GIFT teaching textile certainly helps learners for their designing course appropriately as follows:
Airplane Fabric
It is a closely woven plain weave with comb and is mercerized yarn to cover the inner part of the wings of the airplane. Nowadays it is also made of nylon, polyester, cotton blends which are resistant to mist and frost.
Alpaca Crepe
A plain weave fabric of two ply yarn generally made from rayon to act as a stimulator to coarse wool fabric.
Amara
Made of 60% nylon and 40% polyurethane foam and the market name of the product is “suede”
Backed Cloth
This fabric is designed with an extra warp filling (weft) usually from cotton or wool to add weight to the fabric. The users mostly prefer twill or a satin weave used for vests, suitings etc.
Bagheera velvet
It is a fine woven uncut pile velvet for a rough smoothened surface which is crushed and still has resistence. it is mostly used for ladies in evening gowns.
Baloon cloth
Is made by using a yarn count of 60’s to 100’s, combed mercerized, having a lustrous surface. It is especially used for dress materials, shirting, and earlier used as a typewriter ribbon.
Barathea
It is an extremely distinct type of fabric made from silk or a man made fiber. It has a broken ribb weave construction with a pebble surface mostly used for making ties.
Bark Crepe
Originally developed with wool with a crepe construction and is a tree bark style. Presently made with rayon and other manmade fiber for coat material for women’s wear.
Batiste
Initially made in 3 styles with a blend in cotton, polyester, pure cotton and wool. The construction of this textile is plain and extremely soft in nature named after the “Lawn Family”. Nowadays lightweight lawn fabric is also available in the market with various blends whereas the actual lawn was made from cotton itself.
Cut Velvet
It has a similar construction like that of Velvet with a cut pile, earlier cut using scissors and lately highly automatic cutting machines are used for the same cutting process. It is made in various figurative styles on jacquard machine and is a plain weave though dobby weave used especially for women’s evening wear.
Bedford Cord
Earlier was used to be made from wool in a 2 ply yarn for warp and backing was single for the coat material but nowadays it is available in all textile blends for multipurpose in different look..
Bisso Linen
Its other name is “Altar Linen” made from assorted flax wiry yarn which gives a crisp feeling. It is a very fine sheer linen good for top clothing.
Brocade
Historically, in the golden era, it was mostly woven in a sateen weave. An elaborate lustrous design woven in the style of a raised surface in appearance with a fabric construction of twill weave using decorative colored yarn in weft along with metallic threads. It used to be woven in pit looms called “jaala weaving” in India
Calico
It is made from very fine count cotton or cotton with a man made fiber also used in printing purposes and the product of its uses are aprons, dresses, curtains and quilts.
Cambric
A very light weight fabric, closely woven with plain weave of very fine count, usually woven with cotton or linen. Its end product is used as handkerchiefs, children’s dresses, night gowns, lungis and dhotis.
Cotton crepe
Normally woven by silk or rayon yarn with crepe construction where warp is finer and the weft filling is coarser making the fabric heavier and durable which drapes well mostly used for women’s dresses.
Cotton flannel
The warp face is cotton or blended cotton with other fiber. The construction of fabric is of twill and the filling (weft) if heavier than the warp with long nap is later processed in the mill .the final product is used for hand gloves, infant wear or lining.
Canvas
Basically a heavy fabric made form cotton or linen in two styles. Firstly it was with an open mesh canvas made for embroidery purposes earlier through hand spinning technique nowadays used for making shoes, purses, bags etc. Secondly it is closely woven with a coarse count of highly twisted yarn in two or more ply’s in plain weave for various product developments of such a textile.this is further used in the luggage industry as well as for the artists.
Real Cashmere fabric is woven only from Cashmere goat’s hair which is fine and closely woven in twill weave, naturally napped. It is extremely soft and full of warmth with the end product mostly turned into a shawl.
Chambray
It is usually woven by a colored yarn warp with natural or white filling(weft) giving tiny checks of mottled effect. This has endless variations in the same contrast of weaving nowadays also available in stripes, checks etc and the market is full of such products in variety.
Charvet Silk
It is woven in stripes of rib weaves, straight or diagonal, mostly with silk and manmade fiber. Due to its softness it is used only for neck-ties.
Chiffon
Made with a light weight highly twisted yarn with a plain weave construction of silk and man made fiber. It has a character of transparency with a soft finish mostly used for sarees , dresses, scarves, lingerie etc.
Mostly woven by silk with natural uneven thickness and thinness at irregular intervals in the yarn. This normally twisted structure helps to give more sheen than chiffon .the fabric weight is light and its end product is used in lingerie and scarves.
Chintz
Woven with low count cotton in plain weave especially made for printing purposes in chintz style. Its finishing similar to other printed fabric with added calendar effect for its glaze and smoothness used in drapes and dresses.
Crepe
This fabric is known for its wrinkled effect on its surface mostly woven in plain weave with highly twisted warp and a normal twist filling(weft) . It can also be woven with stylized constructions of textile with a normal twist yarn or different components of yarn through chemical treatment available in silk, cotton, manmade or with their blends appropriately. It is used in scarves, dresses, lingerie, sarees etc and a heavier crepe is used for men’s wear. Nowadays designers are manipulating through its derivative style of construction geometrically, figuratively while blending various fabric construction with crepe style of construction. It has no limit to its explorations for creating meaningful and endless textile for various purposes.
Corduroy
It is a ribbed pile type fabric with extra style of filling threads which forms horizontal or vertical loops in small floating controlled style with proper tension that is unstretchable.
The loops and floats get entangled strongly and when the fabric is taken off the loom the pile and floats are cut from the centre vertical position. After cutting the pile fabric gets crushed and a pile formation takes place which can be designed by mixing versatile colors and filling to have endless results. It is used in coats, trousers, skirt and now days in home décor etc.
Damask
Similar to brocade woven on a jacquard loom. A comparatively flatter embossed effect with a compact weave smoother than brocade and the construction of the weave also has larger floats and loops on the surface of the fabric. It is woven with a highly twisted yarn due to which the durability is high. Damask can be identified because of its design seen from both sides in the shape of a square. Nowadays the designer’s exploration for making damask is endless and is used mostly for formal wear and elite use it as home décor.
Denim
Mostly woven in a 2 up 2 down twill weave from the left to right direction with colored warp and an undyed yarn filling (weft). The warp is of a coarser count more twisted in nature as compared to the weft. More or less denim is made from 6-8 nos of cotton count through open spinning system. In order to make a softer denim the same style needs to be used instead a twill weave of 3 up 3 down or 4 up 4 down etc should be used and the the reed of the weave should be adjusted appropriately. This in turn is good for making softer fabric and products like shirts, jackets, jeans etc.
Drill
This is a tough fabric woven with 3 shafts with a construction of 2 up 1 down twill weave, which has more weight holding capacity. This can be made for designers for versatile usage while using very fine to coarse count with permutation and combinations of high and low twist for extra crinkled effect. It is used in heavy shirting, uniforms, coats, trousers etc.
Flannel
Cloth mostly full of nap (raised fibers like slub yarn) with wool and fabric construction normally a balanced twill with an open mesh giving an extremely soft surface .Its end use is in men’s suit, shirt, trouser and in some cases blended to make specialized garments using cotton.
Gabardine
In today’s textile industry it is referred as 2 up 2 down twill weave in a left to right direction as said in the textile construction language. In earlier times it was made with carded and combed cotton yarn, rayon, worsted from medium count where warp was with ply yarn and weft was single. It is mostly used like a coarser and tough fabric for a skirt, jacket, trouser, coat and a heavy shirting.
Georgette
Basically a sheer , light weight textile in a construction style of a crepe textile where the warp ends are alternatively blended with high twist and normal twist yarn whereas the weft (filing) remains the same like that of the warp . Singles count, highly twisted yarn which creates concepts like Textile Surfaces or crinkled texture is also used which is harsher than chiffon. This type of textile is more or less used for printing with an end use like dress materials, saris, blouse, lingerie etc. originally was made only with silk yarn but gradually it has also started being made in man-made yarns.
Huck (Huckaback)
Derived its existence when Swedish people wore this textile, made by lifting (picking) warp threads, by filling floats and vice-versa in order to create a pattern. Originally made in linen, now is made in various types textile like honeycomb construction along with dobby effect. Its end use is mostly home décor and ladies garments.
Irish poplin
Originally made with silk warp and wool weft through construction of plain weave. Due to the wool a fine rib takes shape in the fabric and similarly is possible with cotton and linen, with a loose weave specially used for neckwear and also in women’s wear in Italy
Jeans Textile
Originally constructed with 3 harnesses, a warp face, light in weight which later got converted into a coarser count denim, where warp count is higher than weft. Historically also made through a herringbone style of construction.
Long cloth
Extremely fine plain cotton fabric woven with a high count yarn where weight of fabric is little higher than lawn textile. Generally it is combed and its construction has more of a squarish look. This fabric can also be used for the printing as well as dyeing material etc.
This is woven in the style of fine and bold stripes or checks through coarse cotton yarn usually combed. Its color bleeds while washing, everytime creating new look. Mostly used for shirting and madras checks, known globally.
Muslin
Basically a coarser type of plain weave where fabric is made only from carded cotton, heavier than long cloth, known for its character of unbleached sheeting. Its end use is for covering purposes and now for draping patterns by Fashion Designers.
Organdy
It is a sheer, stiff cloth woven in plain construction with combed cotton yarn with a very fine warp count of 100-150 ne with a weft of 100 ne. this weave is closely woven with a filling of stiffness. This is obtained by giving a temporary or permanent sizing treatment, followed by a weave stretching for easy laundry and crushing of the cloth at a later stage. It can be used as a stiff curtain and also in evening dresses for ladies mostly in pastel shades. Previously available in both cotton and silk, and now only in cotton.
Organza
It is a sheer, thin, stiff and a plain weave fabric, made of a high twisted silk or a manmade filament. Fibers which crush easily which can be pressed and moved appropriately in a garment. It is mostly used in woven evening gowns.
The basic meaning of this textile seems to be missing and this name has been given to the weft. It is said to be a semi- basket weave for a heavy weight fabric made of cotton and rayon yarn which is carded and combed and on the other hand it is the same except that the weft in mercerized yarn. Used mainly for shirting, dress materials and its use.
Sateen
Originally woven as the upper surface with a smooth and lustrous finish. It is a warp- face construction. Comparatively the warp ends are higher than that of the weft. Nowadays sateen is available in cotton, wool, silk, and man-made fabric such as rayon, polyester etc, for multiple purposes, with varying grades. When woven with a finest count then it is used as textiles for making ties.
Satin
Originally woven with silk filament and now versatility with various manmade filaments has taken place. This is a warp-face, highly lustrous fabric, good for lingerie and dresses used as a high quality fabric. It is mostly used for labeling.
Sheeting
Originally made from cotton of 10s and 30s count but is now mostly made with Carded yarn. Its construction of sheeting is more or less same in warp and weft but to increase the strength occasionally the number of count is increased by 2-4 %. Nowadays it is also available in various blends for various purposes. Used sometimes for cheaper bed sheets and curtains during winters.
Shepherd’s checks
Originally a group of 4 ends colored warp and 4 picks with no color in weft with a fabric construction of twill where float of warp and weft is number 4 and more. Nowadays designers are using such concepts in multiple colors available in wool and silk for various purposes like ladies garment, shirting and special shepherd checks in Bhagalpur
Tapestry
An originally crafted textile which has a figurative meaning while blending more weaving construction in 1 form surface .Usually woven on the jacquard loom. It has 2-3 layers of fabric woven conjestedly available in both fine and coarse texture. It is mostly used as upholstery.
Taffeta
Generally it was a smooth closely woven fabric in plain weave construction by silk which is crisp in nature. it is used in dresses, suits and lingerie.
Terry Cloth
This is a warp fabric having uncut loops on both sides of the textile which is woven on a terry loom (tobbaya), mostly used in towels.
It is mostly woven in wool with micron gradation and is segregated which can be piece dyed or a yarn dyed fabric and its construction not very specific. It can be plain , basket or twill weave and sometimes herringbone. It is woven by a coarse yarn and its milling in olden days was like Scottish tweed, which once is off loom is used to be spread on the wooden flooring where couples danced with wooden flat sole shoes for its milling. It is used for coat blazer.
Velvet
Originally it is made with compact, short warp pile of silk and later with man made fiber. It is similar to flush fabric which has a softer feel. It can be printed and its end use is in ladies garments.
Voile
Normally this is woven with fine single yarns, highly twisted with plain fabric construction. Generally is made out of a highly combed cotton yarn. Especially for children and ladies garments.
There are still many more textile terms which have their own identity and definitions.
Therefore we have selectively chosen the above for GIFT learners to understand what a vast field textile is which without dedication is not possible to learn.
GIFT TEXTILE DESIGN EDUCATION PROGRAMME
FOR PRINT & WOVEN DESIGN
- NATURE AND GEOMETRICAL DRAWING:
LEARN HOW TO DRAW DIFFERENT CHARACTERS OF NATURE AND GEOMETRICAL PATTERN / OBJECTS AS FOLLOWS:
FLORAL, FLOWERY, FRUITS, NUTS, LEAVES, GRASS, THORNS, TRUNK, IMAGINATIVE NAUTRE AND GEOMETRICAL FORMS AND THEIR ABSTRACTS.
They learn how to convert the above learning into design elements in flow like Textile surface.
- EMBROIDERY DESIGN
Learn how to draw bail booties, how to draw motif, how to draw border and panel, how to draw overall Jaal with nature ornaments, how to draw Yokes, how to draw sari Pallu, how to draw abstract embroidery concept and how to draw geometrical pattern etc.
- ILUSTRATION
Learn how to Draw & Create, finished Landscapes, Floral, Fruits, Animals and Nature, Terracotta, Mermaids with water life, and their abstract forms in style of wall hanging, otherwise the same work enlargement for Textile Concept Printing-BLANKET, BEDSPREADS AND CUSTAIN.
- LEARN ORNAMENTATION DRAWING, NATURE TESSELLATION, ANIMAL TESSELLATION, ABSTRACT TESSELLATION, DESIGN DRAWING, TEXTILE DRAWING COMBINATION OF FLORAL & ABSTRACT AND TEXTILE DRAWING & COMPOSITION
- TEXTILE WORK SHOPS
Learn Block Printing, Khadi Printing, Batic Resist Printing, Shibori Dyeing, Tie and Dye, Lahariaya Dyeing, Clamp Dyeing, Vegetable Dyeing, Mineral Dyeing, Hand Embroidery, Screen Printing, Emboss Printing and Stencil Painting with Air Brush
- INTRODUCTION TO WEAVING
- WOVEN STRUCTURE OF FABRIC WITH GRAPH
- INTRO\DUCTION TO NON WOVEN TEXTILE
- INTRODUCTION TO TEXTILE AND SCREEN PRINTS:
15.1 Textile print Development
15.2 Textile repeat fixation, in all style
15.3 Textile Print colour separation tracing
15.4 Textile different repeat and super imposing printing etc.
- LEARN TO DEVELOP ART-WORK OF FLORAL TEXTILE PRINT, TO DEVELOP ART-WORK OF FLOWERY TEXTILE PRINT, TO DEVELOP ART-WORK OF JUNGLE TEXTILE PRINT, TO DEVELOP ART-WROK ANIMAL AND BIRDS TEXTILE PRINT, TO DEVELOP ART-WORK OF SEA LIFE TEXTILE PRINT, TO DEVELOP ART-WORK OF GEOMETRICAL TEXTILE PRINT, TO DEVELOP ART-WORK OF ABSTRACT TEXTILE PRINT, FROM ABOVE LEARNING MIX & MATCH TEXTILE PRINT, ALL OVER JAL WITH NATURE ORNAMENTAL TEXTILE PRINT ART-WORK, TESSELLATION DESIGN FORMS TEXTILE PRINT, TRADITIONAL AND CLASSIC TEXTILE PRINT AND PRINT DESIGN FOR BLOCK PRINTING IN STYLE OF:
Jal, Bail – Boutas, Geometrical, Floral, Animals, Graphics, Terracotta sea-life, Birds and Butterfly etc.
- THEORIES
11.1 Textile Preparatory
11.2 Textile Processing
11.3 Textile dyeing & printing
11.4 Textile vegetable dyeing
11.5 Textile Costing
11.6 Woven Textile
11.7 Non Woven Textile
11.8 Textile Types
11.9 Textile Fibres
11.10 Textile blends
11.11 Textile Hair
11.12 Textile marketing and trading
11.13 Textile business style
- MARKET SURVEY & VISIT TO KNOWN BOUTIQUE
- DIFFERENT TEXTILE SAMPLE COLLECTION WITH DETAILS
- TEXTILE FORECASTING (Discussion)
- TEXTILE MANUFACTURING UNITS ON REPUTE (Discussion)
- TEXTILE MACHINES (Discussion)
- TEXTILE FOR FASHION (Discussion)
- SELF LEARNING FROM GIFT LIBRARY BOOKS
18.1 History of Textile
18.2 Textile world trends
18.3 Textile Forecasting system
18.4 Textile for fashion industry
18.5 Textile Importance
HERE GIFT FRESH LEARNER COMPLETES THE TEXTILE DESIGN EDUCATION PROGRAMME.
Note: If any leaner wishes to learn sample weaving on sample handloom practically that can be arranged specially for that learner only and sample weaving should not cross 43 hours which is sufficient for any learner to weave what they have learnt in textile weaving theories all fabric constructional along with designing. In that case, learning duration will increase for textile designing specialization.
Learning time 3.5 Months to 4 Months 3 hours and 5 days / week
Basic Knowledge for Versatile Textile Properties and its processing
History reflects the mirror of versatile textile which travels from one corner to another around the globe through versatile human habitats, tradings or conquering each other. Due to that the acceptance power of each others’ different qualities took shape and it was later developed into very fine quality textile. For example, muslin (muz’lin or mousselin) was first woven in Mesopotamia as very fine cotton cloth and later developed different kinds of blending with wool and hair. It was used for women’s dress as “muslinet” which was processed like a simple wash. That means, in that era, to make the fabric soft people used to wash the garment frequently by using natural alkalies and methods simple beating. With that the idea of processing of fabric was conceived and today, it has become an endless process in textile industries. That is why every fibre and its blend handling in the process are different for appropriate finished fabric as needed which is difficult even for the processor to remember at times. That is why every record of each step should be recorded of whatsoever they discover for finishing fabric in order to maintain the quality and standard for repeatition as needed by the users.
That is why, it is very important to understand the physical properties of fabric and its constructions along with definite meaning of processing which has become an essence in this competitive market of textile.
Some of the brief details are given as follows:
Effect of woven fabric construction on fabric properties:
The design of fabric construction which is supposed to meet basic requirement of its end use is little complicated. Because there are many factors involved in the fabric design construction as well as structure as to fibre type, yarn geometry, over all structure of fabric and method of finishing which is initially for processing to predict what kind of treatment is required. Therefore, it is a difficult task for any processor to have a better tactile of fabric through processing.
Even though they have in-depth knowledge of fabric processing they repeatingneed to understand the fabric, how to treat through its empirical relationship of versatile fabric properties (fibre, yarn, its blends, types of fabric construction, etc.) and concentrated parameters in finishing the fabric.
How to make the above subject simpler which is professionally applied in small and large scale industries are as follows in brief:
Tensile Strength: This reflects the fabric strength due to its fabric construction in relation to fibre and yarn twist. It shows that the tensile strength will not increase through processing. For example: it has whenever the fabric has more crimp that means less strength, then accordingly one can handle the fabric in construction and should take care of fabric shrinkage settings. The highest crimp is in plain fabric and the fabric construction which has low crimp will have more strength.
Fabric extensibility: Simply this is to understand the major role of behaviour of fabric for its utility that should be considered from fibre to end product that is, fibre blending, yarn making, fabric structure designing and it’s finishing. This means that this phase of textile processing of decrimping or the crimp removal is in the warp direction of fabric load taking capacity. Hence, stiff fabric (due to yarn quality and fabric construction) is not always stable.
To understand the above one should be careful while making fabric which should incorporate the yarn quality with higher side twist crimp and should be woven with longer floats. This will certainly give better extensibility and should always be considered vice versa in terms of the needed fabric.
Fabric Surface Friction: Again this is due to the yarn quality and fabric construction but it mostly occurs in plain fabric due to the yarn. In other construction fabric with higher number of interaction of warp and weft (blending of fabric structure) produce high crimp which is rough on that surface of the fabric. This means the synchronization of yarn quality and fabric construction should be matched for a smooth fabric which should be taken into consideration while designing.
Fabric tearing strength: This subject is highly important in relation to fabric utility that is more closely related to the fabric serviceability than tensile strength which is in contrast to woven fabric behaviour under fabric tearing loads is quite different. To have a better resistance of fabric towards tearing, fabric construction direction should be appropriate where fabric yarn can take the load or divert the load. This means comparatively the rib and basket fabric construction have more ease compared to plain fabric construction to withstand the pressure of tearing. Otherwise, while increasing the tearing strength in fabric one should consider the fibre and yarn twist in fabric geometry. Then certainly one will find more tearing strength appropriately in all fabric construction.
Fabric abrasion resistance: It is highly related to woven fabric construction and its yarn properties geometrically. Due to that if it is not appropriate from the above mentioned physical properties of fabric, it will certainly form crimp or crowns along the fabric surface. That means fabric surface becomes rougher. To avoid such abrasions one should consider the yarn quality and accordingly the fabric construction then certainly the outcome of the fabric surface will have less abrasion.
Fabric drape: This is the most important subject for a designer because the cloth falls towards gravity according to the above mentioned physical properties of fabric. Certainly they will develop from the fabric made ups such as garments and drape accordingly. For above such mentioned physical properties of fabric knowledge one should avoid making heavy fabric which is woven by coarse counts with dense fabric construction where flexibility of movement according to the fabric structure is less. That is why one should develop such knowledge while designing woven fabric.
Fabric crease resistance: This is a very important character of fabric, mostly gets affected in its utility specially with the quality of drape as well as above mentioned physical properties of fabric. To understand the above, a plain woven fabric with high fabric count puts a heavy strength on the fibres which limits the recovery of the fabric. That means in the fabric construction, recovery of fabric is more crease resistant.
The above understanding will certainly help while developing fabric in relation to fibre length and appropriate yarn counts and twists, then certainly every fabric construction will have crease resistance which is most important in garment and should be considered through empirical methods while designing.
Fabric pilling resistance: Basically, during weaving fabric tends to collect on the surface like little ball (pills) formations due to the surface yarn fibre and if it is strong; it has not taken care during yarn spinning then certainly it will spoil the fabric appearance. That is why always avoid very low twist yarn in the warp of fabric construction. Basically, pilling is like a minute fibre of yarn standing up on fabric surface like hair which distorts the look of fabric sheen. Keeping in mind the physical properties of fabric, plain fabric has more problem than other fabric construction. Due to that there is a higher possibility of appearance of crimp and pilling on the fabric surface. And utility of such fabric for other end product shortens the grace and is to be considered very essentialwhile designing.
No doubt in processing through singeing and shearing, one can remove such unwanted properties on fabric surface but that can be avoided on the initial stages of fabric construction.
Fabric finishing: It is important for all designers to know versatile fabric from varying textile systems and its finishing methods so that they can appropriately design the fabric.
Sequence of processes for worsted top dyed wool suitings and shirting fabric qualities are as follows:
Wet finishing, preparation, brushing, shearing, grey’s covering, flannel finishing (15%-40%), heavy brushing/meeling as per the market fabric design needs, drying, heat setting, rope scouring, drying, inspection, dry finishing, damping, continuous decadising, pressing (paper continuous pressing through heat), kire decadising, London shrinkage and shocking treatment (where fabric passes with very high RPM speed of above 40 degree temperature and reach to blow minus 10 degree which helps in fabric to avoid burning in normal ironing)
Worsted fabric piece dyeing for suitings and shirtings: The fabric is almost same as mentioned above except in the case of dyeing. Special care is taken in weaving because fabric construction opening is minimal than top dyed fabric and later after dyeing its heat is set through shrinkage, like top dyeing.
Synthetic top dyed suiting and shirting: Fabric blend style should be as follows:
Polyester: Viscose = 80 : 20 / 70 : 30 / 65 : 35
Polyester: viscose: Silk = 70 : 15 : 15 / 60 : 20 : 20
Polyester: viscose: silk: linen = 60 : 10 : 20 : 20 / 60 : 20 : 10 : 10 / 65 : 10 : 15 : 10
Poly: viscose: linen: silk: hair: chicken feather = 60:10:10:10:5:5
Its processing sequence are as follows: Lot preparation and brushing, light singeing, brushing, shearing, grey scouring, drying, inspection, dry finishing, damping, continuous paper pressing and care decadising.
Cotton fabric finishing for top dyed and piece dyed: lot preparation, mending and checking, grey scouring, drying, rope bleaching, drying, mercersing, scouring, drying, heat setting for width finishing, singeing, dyeing (if needed), rope scouring, drying, inspection, dry finishing, damping, pressing (calandering), continuous decadising and care decadising.
The processing of textile is a very meaningful subject which should be considered before designing of any fabric. It is given as follows: fibre and its blends, yarn and its twists, fabric construction design wise along with blending versatile yarn in it by various meaning and looks, fabric setting, etc.
That means a designer’s mind should be like a composite textile unit otherwise designer’s would be dependent for all the above mentioned subjects.
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By Khalid Ameer Rafique
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