INTRODUCTION TO TEXTILE

Textile is an art as we all know which is one of the main businesses practiced all over the
world.
From earliest times, people have used textiles of various types for covering, warming
personal adornment and even to display personal wealth. Even today textiles are used for these
purposes and each one of us is an ultimate consumer inclusive of merchandisers of many types,
right from manufacturer to the retailer of textiles. Also other industries like automobile
manufacturers use textiles in different forms. The main consumers are dressmakers, home
furnishers, interior decorators, and the students who are pursuing education in this and related
fields.
A thorough study or textiles will show why certain fabrics are more durable and therefore
serviceable for specific purpose.
Complete knowledge of textiles will facilitate an intelligent appraisal of standards and
brands of merchandise and will develop the ability to distinguish quality in fabrics and, in turn to
appreciate the proper uses for the different qualities.
Knowledge of textiles in fashion enables the designer to select the right cloth for the design
to suit to the occasion, and get the exact effect of what he imagines.
A fabric used correctly brings out the beauty of a garment and expresses the idea in an
appropriate manner.
The textile industry supplies a essential commodity for our life. The most important of them
are clothing and a great variety of finishing fabric and a household fabric, industrial fabrics.
The knowledge of textile fabric is essential for those who are concern either domestically or
industry with the making up of fabric in to garment. This course material which deal mainly with
clothing fabric has been prepared for fabric uses who need knowledge of fabric properties and
behaviors but who are not greatly concerned with technical details of manufacturing process
obviously some technical explanation has been confined to basic principles which ever when
fabrics and yarn are being detail with constantly keep fabrics in mind with the object of relating
technical process to fabrics appearance and behavior during the past yarns. The range of fabric
available for clothing has widened tremendously new fibres have been produced existing fibres
have been devised the fabrics use is canorously been fixed with new name and claim. There is
profusion and confusion the basic knowledge necessary to be able to select use and understand
present day textile fabric.

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 CLASSIFICATION OF FIBRES
The quality of the fabric predominantly depends upon the kind of raw materials used and
the kind of manufacturing processes it has been subjected to.
DEFINITION OF TEXTILE FIBRES
Fibres are the raw material used to manufacture yarns which is a term referring to all the
threads used in weaving. Fibres are that which is spun or twisted into yarn or compressed into
fabric. Once the fibre is spun into yarn it is used to weave, knit or otherwise made into fabric.
Textile fibres can be classified into two types, i.e. Natural and Man-made.
NATURAL FIBRES
These occur in nature in the fibre form. The term is applicable to all those yarns that are
manufactured without the aid of chemicals and are obtained from animal hair, parts of plants,
vegetables and from cocoons in case.
MAN-MADE FIBRES
These are produced by the chemicals treatment of certain raw materials. Chemical
processing of cellulose from cotton linters and wood pulp results into fibres of various lengths and
are classified as man-made celluloid fibres. Taking protein out of products such as corn and
processing it chemically results in man-made protein fibres.

Classification of Textile Fibres

Textile Fibres

Natural Mineral & Metallic Man-Made

Animal Plant Silver, Gold, Semi-Synthetic 100% Synthetic

Asbestos Glass
Fibre
Wool Cotton Viscose Nylon
Silk Linen Rayon Orlon
Hair Jute Terelene
(Mo-hair,
Camel Hair)

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WOOL : Fleece of sheep [Shearing is done once or twice o year.]

SILK : Silkworm makes a cocoon by squirting a fluid from two glands while
two other glands secrete gum. The fluid and gum coagulate on
contact with air and form a silk thread. A cocoon is equal to 4000
yard of continuous filament.

MO-HAIR : Is the fine lustrous hair of the Angaro Goat. The fibres are smooth
and wiry and in order to make durable yarn, they are combined with
cotton and wool.

CAMEL HAIR : Comes from the Bactrian or two-humped Camel. ( Central Asia)

LINEN : Is vegetable stem or “Bast” fibre and is found inside the woody
stock of the flax plant.

ASBESTOS : Is produced from a mineral fibre found is smooth and fine and can
be spun along with a percentage of cotton e.g. Firemen’s clothing.

GLASS FIBER : Is produced by combining silica sand, limestone and certain other
minerals.

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 LIST OF FIBRES

COTTON
1. Basket Cloth 2. Buckram 3. Calico
4. Cambric 5. Canvas 6. Canvas (Artist)
7. Canvas (Embroidery) 8. Casement 9. Cleaning cloth
10. Corduroy 11. Denim 12. Drill
13. Dungaree 14. Gauze 15. Khadi
16. Khaki 17. Lawn Cloth 18. Madras (Cheques)
19. Muslin 20. Organdie 21. Poplin
22. Satin 23. Sear-Sucker 24. Toweling (Turkish)
25. Two Two 26. Two*One 27. Voile

PLANT FIBERS
1. Cambric 2. Canvas 3. Coir
4. Jute 5. Rubber

MAN-MADE FIBRES
1. Acrylic 2. Nylon 3. Polyester
4. Viscose Rayon 5. Polyvinyl Chloride (PVC)

SILK
1. Brocade 2. Chiffon 3. Cora Silk
4. Crepe-de-chine 5. Damask 6. Georgette
7. Pongee 8. Satin 9. Taffeta
10. Tussar 11. Velvet

WOOL
1. Blanket 2. Blazer Cloth 3. Flannel
4. Gaberdine 5. Hair (Fur) 6. Jersey
7. Pongee 8. Satin 9. Tartan Tween (Scottish)

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 YARN
TWIST OF A WARN
Is the number of turns about its axis in a unit length, which is expressed in turns/inch or
turns/meter in a known diameter.
Twist is controlled mechanically and higher the twist, finer and harder the yarn. In order to
produce the yarn of good evenness throughout, it must be twisted evenly in the doubling frame.
Woolen yarns are twisted lightly while cotton yarns can have a very high twist.
DIRECTION OF TWIST
May be observed by holding a yarn in a vertical position. If the spirals confirm to the
direction of the slope of the central part of the letter “S” , a yarn has a S twist. If they confirm to
the slope of letter “Z” , then the yarn has a Z twist. Yarn with a S twist is twisted clockwise and that
with a Z twist anticlockwise.
TWIST ON A SINGLE YARN
Twist on a single yarn depends on the fibre used. Wool is given a slight twist because its
friction properties cannot withstand a high twist. Cotton on the other hand can be highly twisted.
AMOUNT OF TWIST
The amount of twist to the inch determines the appearance as well as durability and
serviceability of a fibre. Fine yarns require more twist than coarser yarn. Wrap yarns are given
more twist than weft yarns, to retain the twist in the yarns and to prevent any tendency to kink or
untwist, the yarns are given a “ twist setting finish” with heat or moisture depending upon the
fibre used.
The amount of twist depends upon the type of fabric to be woven.
Yarns intended for soft surfaced fabrics are given only a slack twist and are called soft
twisted yarns.
Yarns intended for smooth surfaced fabrics are given many twists to the inch, Such hard
twisted yarns contribute strength, smoothness, elasticity and some wrinkle resistance to fabrics.
Yarns intended for crepe fabrics ( with rough, pebbly or crinkled surfaces) are given the
maximum amount of twist, which also adds wrinkle resistance.

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STAPLE YARNS : Yarns can be made of staple or short fibres by anyone of the several spinning
techniques. Before spinning, the fibres are separated according to the length
of staple by carding. Uniformity of staple gives yarns a required evenness and
improves the quality of the yarn.

SPUN YARNS : Spun yarns are obtained when the staple fibres are subjected to any of the
spinning processes. Staple fibres are measured in inches and range from ¾ th
to 18 inches . The fibres to be spun can be either natural , man-made or a
blend of both. Spun yarns are characterized by protruding fibre ends. The fibre
ends hold the yarns away from close contact with the skin and thus are used to
construct fabrics where absorbency, bulk and warmth is desired.

FILAMENT YARNS : Filament yarns are the yarns that are drawn out from the fibres in the form
of long strands. The spinning of such fibres is essentially a matter of
producing individual filaments as a monofilament yarn or of twisting several of
these filaments together in a continuous rope like fashion producing
multifilament yarns of the desired length of thousands of feet.

SNARL YARNS : Is similar to curl yarn, but the slack thread is hard twisted , so that instead of
forming loops it twists up and produces snarls.

KNOP YARNS : It consists of a dark cotton thread twisted with a light worsted thread, which
at the regular intervals is delivered very rapidly, so that it is wound round and
round the 1st thread in the form of a hard knop or lump. They are also known
as Nub, Knock or Spot yarns.

SLUB YARNS : Slub yarns have soft untwisted areas at frequent intervals throughout their
length. They are coursed with slight twist having varying diameters that show
irregularities typical of an incomplete spinning process.

FLAKE YARNS : Are the variations in slub yarns. The flake of slub effect is made by inserting
soft thick tufts of roving between binder yarns at interval. The resuslt is a flake
yarn of varying thickness and softness caused by the soft effect ply held in
place by the uniform binder. This type of yarn is limited to the fancy effect use.

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 FABRIC STRUCTURE
A fabric can be divided into two basic structures namely Woven and Knitted.
Woven fabrics are made by interlacing two groups of yarns at right angles to each other. The yarns
parallel to lengthwise direction are known as wrap yarns while the yarns laid across the width of
fabric are known as weft yarns.
There are three basic weaves in woven. They are plain weave, twill weave and satin weave.

BASIC WEAVES
1. Plain Weave
In plain weave, the warp yarns pass alternatively over one and then under one weft yarn. The
adjacent warp yarns interlace exactly opposite to the previous one. Weft yarns interlace in the
same manner as warp yarns. It is the simplest type of construction and consequently
inexpensive to produce. If the yarns are close together, the plain weave has a high thread
count, and the fabric is therefore firm and will accordingly wear well.

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2. Twill Weave
The values of the twill weave include its strength and durability. The diagonally arranged
interlacing of warp and filling provide greater pliability and resilience than the plain weave.
Also, twill fabrics are frequently more tightly woven and will not get dirty as quickly as the
plain weave, though twills are more difficult to clean when they do get soiled. Twill weaves are
therefore commonly used in men’s suit and coat fabrics and for work clothes, where strong
construction is essential.
This is one of the basic weave; it is very common next to the plain weave. Twill weave
characteristic is diagonal lines of the square are seen on the cloth. Twill may either right to left
or left to right. There are two interlacement of warp and weft. The minimum repeats size ends
and 3 picks.

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3. Satin Weave
In basic construction, the satin weave is similar to the twill weave. It differs in appearance
from the twill weave because the diagonal of the satin weave is not visible, it is purposely
interrupted in order to contribute to the flat, smooth, lustrous surface desired.
Satin weave composes of long float yarns with minimum amount of interlacing. Satin weave
can be either warp of weft faced depending on the type of yarn, which is dominated on the
face of the cloth. This structure provides the cloth with good reflectance of light and thus the
cloth become lustrous. However, these long float yarns give the cloth an adverse effect of
poor wearing quality.
Satin weave fabrics drape well because the weave is heavier than the twill weave, which in
turn is heavier than the plain weave. This compactness gives the fabric more body he was well
as less porosity, which makes the fabric warmer.

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4. Sateen Weave 3
The filling-face satin weave is also called the Sateen Weave, however, this sometimes causes
confusion because some cotton and rayon fabrics are also identified as sateen. In this
construction, the filling yarn lies on the surface of the fabric as it passes regularly over and
under the warp yarns . For instance, a filling yarn may pass over four warp yarns and under
one. The floats are consequently made up of the filling yarns , and the luster appears in the
filling direction.
Filling – face satin fabrics are generally of medium-weight and made of staple fibre yarns,
They are usually made of cotton or rayon into damask, satin, and ticking. When linen is used,
the cloth is likely to be damask.

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5. Basket Weave
The variation of the plain weave known as the basket weave uses doubled yarns to produce
the design that resembles the familiar pattern of a basket. Two or more filling yarns with little
or no twist are interlaced with a corresponding number of warp yarns. They are woven in a
pattern or 2*2,3*3 or 4*4, instead of 1*1, which is a plain weave.
The basket weave produces attractive, loosely woven fabrics i.e. flexible, somewhat wrinkle
resistant, and hangs well. It is therefore, suitable for drapery and covering fabrics such as
Monk’s Cloth, Due to the characteristics looseness of construction and the low tensile strength
of yarns that have little or no twist, this weave is not considered desirable for clothing purpose
where the factor of durability is a primary consideration.
The cloth may be in the medium-to-bottom weight category and includes such materials as
Monk’s Cloth, Oxford and Shepherds Checks. Basket weave fabrics are used for shooting, outer
wear and such home furnishing as drapery.

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 Textile Printing
Textile decoration is an ancient art. It refers to the various processes by which fabrics are
printed in colored design print fabrics. Examples of Greek fabrics from the 4th century B.C. have
been found. India exported block prints to the Mediterranean region in the 5th century B.C.
The different ways of decorating a fabric includes dyeing, printing, embroidery etc.
The discovery of a dyed cotton fabric dating back to the Indus Valley civilization shows that the art
of dyeing with the use of mordents was well known to the Indian dyers 5,000 years ago. This form of
dyeing was responsible for making India famous all over the world for its dyed and printed fabrics.
The other forms of textile printing are stencil work, highly developed by Japanese artists, and
block printing. In the latter method a block of wood, copper, or other material bearing a design in
intaglio with the dye paste applied to the surface is pressed on the fabric and struck with a mallet. A
separate block is used for each color, and pitch pins at the corners guide the placing of the blocks to
assure accurate repeating of the pattern.
In cylinder or roller printing, developed in 1785, the fabric is carried on a rotating central
cylinder and pressed by a series of rollers each bearing one color. The design is engraved on the
copper rollers by hand or machine pressure or etched by pantograph or photoengraving methods;
the color paste is applied to the rollers through feed rollers rotating in a color box, the color being
scraped off the smooth portion of the rollers with knives.
More recent printing processes include screen-printing. This is a hand method especially
suitable for large patterns with soft outlines, in which screens, one for each color, are placed on the
fabric. Then, the color paste is pressed through a wooden squeegee.
Spray printing, in which a spray gun forces the color through a screen; and electro coating, used to
apply a patterned pile are the other latest printing processes.
In certain cases, the cloth is painted by using a pen with dyes and mordants. This method is known
as kalamkari, a pen work. Printing the outline of the design and filling in the details with a kalam, a
pen, combines the techniques of printing and kalamkari.
Direct printing is practised all over India where a bleached cotton or silk fabric is printed with the
help of carved wooden blocks.
Another technique employed was printing with the use of mordants. Mordants are chemicals
that absorb the dye. The cloth is first printed with mordants and then immersed in a dye bath. Only
the sections that have absorbed the mordant absorb the dye. The cloth is then washed in flowing
water and spread out to dry on the riverbank allowing the sun to develop the color. Then the
untreated sections were bleached with local ingredients like goat droppings, etc. Recently, discharge
printing with the use of chemicals has been developed. Here dyes when printed react on one
another, either bleaching the background material or producing a different shade.

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 Screen Printing
This is usually used for short length material. It is an important method of hand printing and
is also known as Silk Screen Printing. The screen printing is made with the help of good strong
thread. Different screen are used for different colours. The portion which is not to be clolured is
concerned with water proof varnish. The cloth is spread on the table. Rubber sheet is covered with a
white sheet. The screen along with the wooden frame is kept on the material. The clolur paste is
applied on the surface of the cloth with the help of brush and pressed lightly. The portion where
the pattern is not required is blocked with the help of screen. Then the clolur is allowed to dry for
some time. The frame with the pattern can be used in many ways. This process is repeated till the
completion of the design.

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 Block Printing
This is the most simple easy and inexpensive method of printing. This is the reason of its very
common use in India. Many woman makes potato block and use them for printing. These block may
be round, square, triangle etc. According to the design whatever pattern is required is carved on the
wooden block & keep paste of all the required colours are made in different mugs. Separate blocks
are required for different colours. The material is spread on a flat table covered with a mattress or
blanket so that the cloth is printed coloured properly. Rubber sheet is spread over it so that the
blanket or mattress dose not get stained while colouring. The rubber should be changed regularly to
merging of different colours. The material to be printed is spread on the mattress or the blanket.
The blocks with the pattern is immersed in colour paste and then placed on the surface of the cloth.
If we want to use two colours then let the first colour and cloth dry first and then use the second
colour.

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 Spray Printing
Spray painting refers to painting using a device that sprays the paint.
A basic spray painting system consists of a conventional spray painting gun, a
pressurized paint container, a compressed air system, and flexible tubes connecting them all
together. This type of system has transfer efficiency ranging between 20% and 50%. Improper
setup and painting techniques will increase the amount of paint used and cost involved.
Spray printing is one of the method of printing on the cloth. It gives the natural look to
the cloth. It is also very easy type printing.
Firstly trace out the design on a sheet then cut the design on a sheet then cut the
design with the help of a cutter, then place it on the cloth, now place to colour on the piece
from and take it on a toothbrush. Now spray the colour on the cloth.

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 Hand Printing
Hand printing is done by hand and can be known as fabric colours printing. It can be drawn
free handily or by tracing the design on the cloth. It is the most easiest type of printing but it
requires some artistic approach. Hand printing requires short time and it also looks beautiful. Hand
printing can be done on any type of cloth like cotton, poplin, silk, cambric etc.
The cololur which are used in hand printing is fabric colour. Firstly trace out the design on
the cloth then fix a wooden frame on it. After this take some colour on a brush and paint out the
design.

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 Batik
Material : 100 gms Bees Wax; 400 gms Paraffin Wax
For 100 gm cloth
1 st Dip
1 gm Nepthol + 1 gm TRO (Turkey Red Oil) + Water (according)
1 gm Caustic Soda (Sodium Hydroxide Flakes) + Water (according)
[ Add this second solution in Nepthol Solution]
Add this solution (which we made above) in normal water and boil it till it dissolve properly.
For 1 kg cloth we take 10 liters water, So for 100 gm cloth we can take 1 liter water (cold) and in this
we add the solution which we made above.
2 nd Dip
1 gm Base + Water (accordingly) + 1 gm HCl
1 gm Sodium Nitrate + Water
After preparing both the solution separately mix them.
1 gm Allum + Water
Now mix this Allum Solution in the 1 st solution (which we made above)
Note : In 2 nd dip we add the solution directly in cold water.
Now, firstly dip the fabric in 1 st dip by spreading the cloth properly for ten mins don’t squeeze it.
Now dip the fabric in 2 nd dip.

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 RESIST DYING
The resisting, screening or covering of pre-woven yarn or finished cloth with a removable yet
impermeable substance is a common method of textile decoration in the sub-content. The
placement of the dyestuffs in resist technique can be controlled in various ways, but there is the tie
and dye technique in which yarn or textiles are screened of partly screened by being tied with
impermeable threads. The second creates patterns either by paining or printing with a substance
that will react with the dye or fix the colour or by applying an impermeable and removable
substance such as mud, gum or wax that will successfully resist the colour when the cloth is dipped
into a dye bath, yet may be removed by dissolving, washing or heating.

TIE & DYE

Bandhani and bandha are Sanskrit word meaning to tie (and it is from this Indian word that the
English name for a spotted handkerchief bandanna derives) but this tie and techniques is
internationally known by its Malay Indonesian name “Plangi”. The term bandhani refers both to the
technique and to the finished cloth. By pinching areas of the fabric before dyeing, circular designs
may be produced. Rajasthan and Gujarat are famed for their production of fine and prolific
bandhanas. Coarser bandhani is worked in Sindh and Madhya Pradesh.
With the fabric lying loose on the lap the pattern is tied with plain cotton yarn. The material is
pushed up from underneath with the long, pointed nail of the little finger of the left hand (or if this
nail is broken, a spiced metal ring is used) the knob of protruding cloth is then very rapidly tied
around 6 to 8 tunes and the thread led on uncut to tie up the next knob. These ties will act as a
resist when the fabric is dyed and upon untying will leave a pattern of little white ring each with a
tiny center coloured by the last dye to be applied.
After initial tying the cloth is usually dyed yellow or any other light colour. Once it has been raised,
squeezed and dried the cloth is tied again tied again and then dyed again in darker colour.

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 SALT FABRIC EFFECT
One of the most popular tricks in fabric painting is the sprinking of salt into wet fabric. The result are
remarkable and always different. The action of salt causes the paint to move about and retract,
creating fascinationg and often dramatic patterns on previously painted fabrics. Sugar causes a
similar reaction, but salt is by far the most practical method of producing this effect.
The most eccetive result are achieved on silk fabric of fine to medium weight, lightweight and finally
textured cloths may also be used, but the effect won’t be as drastic on cotton or woolen fabric.

PROCESS OF DYING
Tie dying is really a simple process
• First, wash and spin out the white item to be dyed. Make sure it's a natural fiber product like
100% cotton, hemp or rayon. Not polyester.
• Next, soak it in a soda ash solution for 30 minutes or until fully saturated (1 cup to 1 gallon
water). Then, ring out excess chemical water or turn the water off on your washing machine and
spin out excess soda ash water.
• Tie it up any way you like using rubber bands, string, etc.
• Then dye it with dyes as per requirement ratio.
• Once item is saturated with dye wrap in plastic or set on table to cure for 24 hours (make sure it
stays wet so the dye can react to the fabric).
• Unwrap, rinse in cold water and wash in soap 3 times to remove excess dye. Dry in a dryer or
hang to dry.
• Tye Dye tip: Watch you color combining! Remember the color wheel?
• A good beginners rule to dying is to apply colors next to each other in the following list.
• red...orange...yellow...green...blue...purple...red...etc
• After you get some experience with color combining you may want to try putting opposite colors
together or side by side to create earthy shades to high light your design.

Colour Fixing
Press on the wrong side for 3-5 minutes, with a steam iron.

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Tie & Dye Samples

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Tie & Dye Samples

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Tie & Dye Samples

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Texture Samples

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Texture Samples

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Fabric ____________________ Fabric ____________________
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Fabric ____________________ Fabric ____________________

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Fabric ____________________ Fabric ____________________
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Fabric ____________________ Fabric ____________________

Fabric Base ________________ Fabric Base ________________
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Fabric ____________________ Fabric ____________________
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Fabric ____________________ Fabric ____________________

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Fabric ____________________ Fabric ____________________
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Fabric ____________________ Fabric ____________________

Fabric Base ________________ Fabric Base ________________
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