__KSS. Rangasamy College of Technology - Autonomous R2018 50 TT L02 - Basics of Textile Technology ‘Common to all Branches (Open Elective Course) Hours | Week Crodit ‘Maxim Marks: Semester am Tot ore I L T val Hes c ES Total ~ 3 0 | 3 50 100 To impart knowledge on the basic textile terms and spinning systems objectvets) To impart basic knowledge in the concepts involved in various mechanisms used in weaving To impart knowledge on knitted and non woven fabrics To impart knowledge on chemical processing of goods To impar the functional requirements and basics of garment manufacturing ‘At the end of the course, the students willbe able to Glassify the textile fibres and explain the functioning of spinning machine Explain the functioning of weaving machine ‘Summarize the non woven and knitted fabric types and processes Discuss the wet process sequences for vanous fabrics and summarize the pre yeatment processes Elucidate the basics of garment preparatory and garment manufacturing process, Course outcomes Note: Hours notified against each unit in the syllabus are only indicative but are no! decisive. Faculty may decide the number of hours of each unit depending upon the concepts and depth. Questions need not be asked based on the number of hours notified against ‘each unit in the sytlabus. Basics of Fibre Science and Spinning Definition of fibre, classification of textie fibers; essential flbre properties; sequence of machineries in short staple yarn spinning from ginning to cone winding and their objectives; yam numbering systems; essential yarn properties. @ Basics of Woven Fabric Froduction Woven fabric — warp, wett, weaving, path of warp; looms — classification, handloom, power loom, automatic looms, ‘shultlletess Looms) special type of looms; preparatory machines for weaving process and their objectives; basic weaving mechanism ~ ‘amary, secondary and auxiliary mechanisms; essential fabric propertis. (4 13 Basics of Knitted and Non Woven Fabric Production Knitting — classification, principle, types of fabrics; nonwoven process —classification, principle, types of fabrics. End uses. (9) Basics of Chemical Processing Objectives of the processes - singeing, de-sizing, scouring, bleaching, mercerization; dyeing - classification of dyes, methods and types of dyeing; printing - types and styles of printing, 19) -Fadied of Ganpgnt Manufacturing) ) QR. @ __ Tis of Sarpy Manuacuing sing af ang Narr panini San, sors Loin eng ad = tol — — Total Hours 1, ‘Cook, J. Gordon, “Hand Book of Textile Fibres: Man-Made Fibres”, Vol. 1 and 2, Merrow Publishing Co. Ltd., England. oma “Moder Preparation and Weaving’, Wood head Publishers Ltd UK, reprint, 2004, 2, 4. Ruth.E. Glock / Grace I.Kunz, “Apparel manufacturing and sewn product analysis” fourth edition Prentice hall, 2005 Se SN Hapiiw tow 6) WON ind, ore k Piette seinen toga fy olk doom 1S Stained pray Wes, 2) Roi en = By Wabecjdk boom aed Kime 4 love | S Qe mary, twehtas, Sendo, yw Kons , dusihon ny taeCW € iB wk GUT at AG £UQ OR Unk 5: Racies o4- Get MoncaQlinsng "Soon sein > proddir4 yr Shak 4 pola” 2 Sourcing is the determination of the most cost-effi Yendor” ‘of materials shdlor production at a specified quality and service level. Sourcing processes are rapidly changing to take advantage af improvenents in communication technol ogy and business partnerships. International trade regulation is ever present in sourcing decisions. This chapter introduces basic concepts of sourcing and focuses on issues involved in selecting and sourcing materials, particularly fabries in the global textile complex. The global textile complex includes manufacturing, and distribution of materials and finished goods. Components of the textile complex in various countries around the world have differing levels of toghnica?! oP riqol ‘al Natural and on Mansected Fiber Production and waneing | Yorn etc eat wits Mis 7 Yarn Production 7 Boe LT ing, Procton ——)— Printing, | on — ~ Too. TT corner ST reas Imponersiexporters | Product . | Production Brokors*WholesalersiJobbers. | acer eS | Finishing - tL _ Apparel Home Furnishings Inustial a Production Production Production Importees/Expor ¥ ‘wwallactoes nat] | | aid | 7 ie sear i T {thos Manutactre’s gators nd Figure 9-1 Diagram of the Global Source: Developed by GratCximary and Secondary Sources of Fabric in testile trade jargon, there are primary and secondary sources of fabrics. Primary sources jnclude the mills and converters that are actually inyolved in ‘producing or Tmishing fabrie, while fecondacy sources 4re firtas involved in ve- Sale of the malerials, ACStcondiiry suures ig @ company that buys fabric and then ” 4 sells it. Secondary sources of materials include jobbers, brokers, wholesalers, re- tail stores, and apparel manufacturers. i buy fabric from mills, converters, and apparel manuf. ats in c mall quantities. Brokers differ from jobbers in that bro- ers do not take ownership of the goods but rather facilitate the transfer of _. ownership from the manufacturer of the materials to the manufacturer of the fin- (Alsat eeationy parel inanufacturers use brokers to search out sources of fabric to" meet specific nbeds. Wholesalers assemble broad assortments of fabrics and/or fing zs and sell to small apparel manufacturers and/or over-the-counter fabric retailers, on f aqoaoaoe _ Jobers buy mill overruns or tailings that are available because of extra fab- rié production as allowances far damaged goods. Cutting out mill defects also ere- ates short pieces. These short pieces are often unacceptable to the mill's regular ‘customars, sa thiey are sold to a jobber. Jobers also buy excess or uaused fabrics from apparel manufacturers, - Trt, Atti } Gindings Production ind Rlarketing © “07> vf i | G ) Hindi gs are ai the materials other than fibers, ] quired to make garments. Examples of findings include interlinings, trim, zippers, | fori we ans, thread, and labels. } ‘oMgnufacturers and whelesalors of findings use the fiber, ya cots 25 well aa markets outside the textile rade for materials, as indicated in Ngore inings and interlinings may be specialties of certain textile mills. Interlinings are specialties of firms such as Pelion Division of Freudenberg Ltd. Braids, tapes, i and other trims are made by mills that specialize in narrow goods. Snaps, hooks, and other metal and plastic findings require materials from outside the textile market. ‘@Many apparel manufacturers buy findings directly from the praducers:-Fis ings can be purchased irom open stock or made-to-order for special fabrications, earn on PP # n py Jogos, or eélor ratch. A few wholesalers specialize in providing assortments of i Findings, which makes it possible for apparel firms to purchase the necessary find- @ ings from fewer vendors i Findings firms not only market the products they make but also develop and i sell equipment for installing or attaching the products. For example, snap and 2ip- per manufacturers may sell or lease machines for installing their products. Many findings manufacturers assist in matching the appropriate product to available equipment and end use. Many offer services for testing prototypes. For example, one interlining vendor has offered over 80 style numbers of interlining vasying in p Nap color, fabrication, fiber content, and weight, and it has a complete product testing lab to evaluate the suitability of the interlining to the end product. Findings man- tufacturers may also provide product information, installation specifications, and hang tags to identify their products and verify their quality. Po 2 (&) ee ;a — I \[V- [Materials Sourcing Processes | { PS Materials sourcing seeks and negotiates the acquisition of fiber, yarns, fabric, duce a siyle. Strang, supporlive relationships endors are essen- tial to Succcsful execution of the merchandising procéss dota icy of fabrics and finclings for productio ‘The development, sclection, and sourcing of materials are often Materials supply when product de- « © « velopment is part of the line development strategy. Materials include fibers, yarns, fabries, and findings. Sometimes fibers and ¢ > yarns are sourced to be made into Jabries desired for the product five Fiber and. yarn orders must be placed well ahead of line development for a particular selling | < s, Period. Yarns need to be sourced for vaaking gt samples. Fabries are the materi- ~ als that ure cut and assembled into garméni® Fabric orders are often committed + very carly in Jine development, especially if the yardage is to he used for prototype garments. Not only does the fabric have to be appropriate and suited to the gar- ment desiga and end use, but it also must be available at the precise time that it . Pis needed Steers ofall materials quired for asile ms he couinaed traduction to begin on time, Orders for materials may be placed before styles have been tested, thus impos- ing considerable risk with each order. Merchandisers must consider the antici- pated sales volume for each style since repeat orders often are not possible. Lines are often planned with several styles or a group from the same fabric. Styles that] do not sell at wholesale in adequate numbers are canceled and do not go into pro- duction. The fabric is committed to other styles in the group that do sell in ade- quate volume (*hot numbers”). Ifthe entire group does not sel, he manufsctirer may take a loss on the fabric, but a loss on fabric is less than a loss on fabric plus garment production costs. Fabrics from canceled styles may be used for different styles or may be sold to jobbers, fabric wholesalers, or retailers. . raring a insneryenics the same careful planning as sourcing of fabric. @ Compab als for bot ion, 19 @-major con- nes thatre siete {ion-that-must-be examinedand resolved before purehasin quirt {SS SiS OF COATS es ean create cote insentaris gustaria ‘Trims are also more diffeyl than fabrics to sell at the end of a seasow Ordering "patoriale for delivery. a sls to production as possible refuses Saventony cox e . associated with early commitments. On the other hand, other types of costs are in- | “¢ | curred when deliveries are late or materials are not available when styles are scheduled to go into production. “€ 7, Provide an uninterrupted tiow of materials and services necessary {ormaximizing the efficiency of the manulacturing process. 2, Guy materia that e ta the purpose at the best possible prices. 3, Minimize inventory investment 4, Minimize inventory chrinkage and losses caused by theft and ‘unusable, damaged, or obsolete material, 5. Develop qood vendor relationships and sound, continuing supplier ‘elationstips. 6, Develop reliable alternative sources of supply. 7, gyolop perscnel and axeculo palisos and procedhses that Figure 8-3 Page Rosponsiities of materials buyers | ‘Source: Adapted from Doblet,D-W,, Lamar, LL Jt & Butt, DN. (1984). j Purchasing and materials management. Now Yark: MeGraw-Hil, |We TH 9 "A pattern can be defined as a model or a replica of the various components of agarment, | It can ba made Of paper or plastic., Normally papers are used to make the patterns whith are cheaper than plastic or other materials, »'In industries, they are using thi, er or card board,instead of tissue paper for frequent applications. i CG ee _ = / “SG Basically. patterns are acting as a time saving device. If we have cut a pattern then all garments of the same size can be cut with thé same pattern, By this, we will save our Brecious time, by avoiding the drafting process on each and every fabric. And also, it is not easy to draft straight away on the fabric. With the help of the paper pattern, marking process ¢an be done quickly. We can preserve the. vaper patterns and use them whenever we want. For that, in Industries, the patterns re made using thick paper or card board. —~ _ @® Laper patterns are vory useful f tern Grading” process. Using pattern grading process, we can enlarge or reduce the base pattern from one size to another size - | . aitern layout. The patterns can be arranged in { with ttern layout we can estimate the amount of fabric conomical paitern Lay-out, we can reduce the cloth consumption for a garment. © If the patter is not suitable for one’s fitting, we can alter the pattern for obtaining a good fit. With the help of the base pattern, New designs can be tried on it which can make | beatiful garments, The basic pattern may be modified for varied styles, and this techniaue Js called a8 ‘Flat pattern designing’ paye®I j AON Page A ; GD THe following terms and dtonare ec tthe Pattern apatting 4 sym tec a « [Pattern drafting] system a i pends on mes le ing] system of panearaking that depends on measurements taken from a form or model to create basic, foundation, or design patterns | (£tat_pattern ] \ lat _patternmaking3 A system of patternmaking that~is~dependent_on_previousl; developed patterns, In flat patternmiaking the patterns are manipulated by ising slash pivotal method to eréate design pares, — f fiverpiece “pace pate St, consisting of front and buck bade aid skit presents the dimensions of a specific form or- figure, developed without design fear eee ign features. The traced copy is referred to as a working pattern: Working pattern: Any patte a BP Any pattern used 28a base “for manipulation when generating design patterns. 4 bodice is an article of elothing for women, covering the body from the neck fo the waist we The term comes ftom pair of bedies (because originally made in two pieges that fasten ogether, frequently by lacing): Bodice continues in use to refer to the upper portion of a one- of two-piece dress’ distinguish it fom the skirt and sleeve jPrnorres ron parrenn oRAFTINGT}-{F Gal Paleo Waki fea Patios veka While -drafling patterns, the following principies have to be followed. Select a suitable paper for drafting patterns which should not be {00 thin. @use suitable instruments like, Long scale, ‘L' type scales, Set squares, French Curves, etc., for accurate drafting. @ Use a sharp pencil for fine and neat lines and accurate dratting @Betore drafting the patterns, check the measurements clearly and read the procedures and instructions carefully. Note the important points in a paper. © Make a rough diagram before drafting. This will give an idea for drafting patterns with perfection. 62 Before drafting, we have to decide the amount of ease allowances to be given at the required portions. The prepared patterns must be larger than body measurements to allow for freedom of movement., ease ‘of action and comfor wearing. For that ease allowance poge(5)ra] PeyeS : PRINCIPLES FOR PATTERN DRAFTING 1) Cutting Line - 2) Seam Line 3) Grain Line 4) Dart 5} Fofd Line 6) Hem Line 7)Centre Back Seam Line 8) Centre Back Line 9) Inward Notch 10) Outward Notch 41) Zipper Position FIG 21 are given along with the body measurements for free body movements. @ Seam allowance should be decided first before drafting the patterns. According to the seam and stitch types, we have to give seam allowance at the outlines of the patterns. @)it a pattern has symmetric design where tha right and left sides are alike, we may make only the half pert of the pattern. Ex. Shirt back, shirt yoke, etc, For asymmetric designed patterns, full pattern must be drafted. Ex. Sleeve. @ Check the draft before cutting the patterns. After drafting the patterns, the following details and informations should be recorded and marked clearly on the patterns. i) Name of the style (ex. Gent's Shirt, Skirt etc..) ii) Name of each piece of pattern (ex. Front, Sleeve etc.) iil) Size of the garment (ex. M, L, Chest measurement, Hip measurements etc.) iv) Number of pieces to be cut with each pattern piece, (for exampie, for shirt, we have to cut 2 fronts, 1 back, 2 yokes, 2 sleeves, 2 collars and 2 collar bands) The cutting line should be clearly marked. After that the seam line should be marked vy) using dotted lines. . vi) Grain tine should be drawn on all the pattern pieces. This line indicates that the pattern should 6@ kept on the cloth In such a way that the line /s paratiei to the length of the cloth or the selvedges ° vii) The places of Darts and Pleats should be clearly marked. viii) The positions of buttons and button holes should be marked. ix) Fold-line should be clearly shown, Bottom hem line should be marked to show where the material is to be folded. x) Centre Front and centre Back Jine should be marked. Inward and outward notches should be marked to identify the position of pleat, dark, hemline, centre of the piece ete., on the cut components while constructing the garments, page!SSPage:4 Us OC we pode & vonil\ Dradttin ge go Rags t. Rosen 3\{© e “a aprendix 79% (3215 2aRaVAD)NOBTIOITOT (aus xawvn0) INOS TANS @® oo ce CBSGCRBSC HCH Ly, Gaus saevno) OVE TISrm or re ut (Vek RADING AND ITS IMPORTANCE : Grading is a method of enlarging or reducing a pattern of a particular size proportionately to some other size. Grading of a paper pattern is a science and this subject can be undertaken after having learnt the drafting of patterns which inturn requires the knowledge of human body proportions. Accuracy of the diagrams is the most essential. This is required in the art of grading of paper pattern to obtain correct results. Grading is playing an important role in the art of cutting and tailoring and also in the mass production processes. Grading of paper patterns is adopted specially in the factories and ‘rade of the garment manufacturer to cover the various sizes. Grading of paper patterns means “Gbtaining different patterns for different sizes by some method to seve time without separately, working out actual calculations involved in establishing these patterns and mounting the shape, curve and design. Before going into drafting of grading, Medium size of the paper patterns should bi .¢ cut accurately after thorough checking of the dimensions and shape and curve aspects. Starting from tern drafted to a particular size, we can. make patterns of other sizes by grading-« ‘Suppose fe if we have to make patterns for four sizes N GRADING | (A) SHIRT FRONT GRADING B) SHIRT BACK GRADING pageio) s :(C) SHIRT SLEEVE GRADING FIG 22 the basic pattern "S" size, the other size can be made by enlarging or increasing the periphery surement, If the of a shirt, say $,M,L and XL, then we may make only one basic pattern size (i.¢.) "S".eFrom size "S" has the chest measurement 100 cms and M has 104 cms, the increase needed for grading in the chest measurement is 4 cms. So, according to the increments between each and every measurements of the two sizes, the pattern can be graded from one size to another size. Similarly we can reduce the pattern from one size to another size. The figures show the method of shirt patterns grading. Grading of patterns is generally applicable in regular figures, where measurements are proportionately increase or decrease according to the sizes, larger or smaller. The grading can also be extended to irregular figures such as corpulents and stouts etc. The only condition being that the set of measurements for a corpulent or stout figures for which the pattern is to be graded increase or decrease proportionately. / /\Fieore 290) {Marker Plawing Morfoc Mek (Marker planning daoyo : A marker is a schematic/of the graded pattern pieces, and serves as a cutting guide. to. optimize the usage of your fabric.Objectives of marker plannin: ino: Sip Optimizing fabric utlization through marker making planning ad marker making is the heart of garments manufacturing, 3)6 50% 80% of manufacturing cost is fabric cost. Any savings in fabric usage has a significant impact on product jing and ssganieation’s profitability. A)e Optimum use of textile material and cutting systems are important contiderations in planning cutting orders a¢-rere-frme-ineorperate-new-technelogy. 5) + The purpose of marker planning is to determine the most efficient combination of sizes and shades for each order and to produce the best fabric yield and equipment utilization 6) + One garments cutting order may require several markers to achieve optimum efficiency of marker. Aube “1) * Usually one of these is a remnant marker for the short pieces and ends of fos lef over, This helps toheduce fabric waste. &) » Each marker requires a lay of fabric. = sy A marker is exdiagram of a precise arrangement of patiers pieces for a specific style and the sizes to be cut from a single spread. we Marker making is the process of determining the most effcient layout of pattern pieces for a specified style, fabric, and distribution of sizes. 0) » Markers may be made by manually acing master gattemns onto fabri or paper or by __manipuiating and plotting computerized Pattern images. THERE ARE TWO TYPES OF MARKER MAKING: 1.Manual marker making 2.conas psdmakecmakte. {pets} . Manual marker making! {Mhanvaly produced markers may be created by arranging full | | pattern pieces on markerfaper or directly on the too ply of fabric in a spread. | (®+ Patter pieces are {feed using a pencil or tailor’s chalk. | | 3 Manual methods of marker planning and making are time-consuming and require a great deal of space. 4, Full-size pieces must be manipulated, adjusted, and readjusted on normal fabric widths. 5+ Manually made markers are also subject to errors and inconsistencies, thet-may-seeuria-grain 6 * Accuracy of @ manually made marker depends on the skill of the individual who laid out the marker and traced it. ern“According to the size quantities we can tay different Jength lays one by one for quick cuttin These types of lays ace called as lay’ because: manner. But, when using, st have to consider the We cutall the lays at ti ina stepped ped lays, we quantities. Because ™ - ~ cee ee mathe i constined by the wale width of the fab’ “The usable width is the widih of the re) narrowest place minus the width of any unusable selvedgess Fabric utilization is the amount of oo fabric actually utilized in the marker as a percentage ofthe total fabric area) se a Ast i > % Ge? ¢ ae lett ale be be cutting marker S., 5 3 . Lo nt L, —_ Endallowance = allowance at the beginning and end of a layer Sy ~ Ly Laylength = marker length + end allowance &. Ac Edge allowance = allowance at the fabric edges wu Vs. Cutting loss = Waste from within the lay plan ta By Usable width = Chott width edge allowance 2 L, Marker length i Types of Lay g. ESS SS 5 Sean ae ‘Sanpete g : Single Ply ‘Multiple Ply Stepped lay > A single layer of fabrice.g, A umber of fabric layers A imultiple-ply in which | forcutting a prototype stacked one onthe op of _groupsof layers have ea garment the other. different lengths. e.g. for | toe muli-size Jays, STEPPED Lay: STEPPED Lay |BH properly Teid on the fabric. Then the outlines of the patterns are marked for cutting the fabric. ECONOMY OF FABRICS IN PATTERN LAYOUT: | > For achieving economy of fabric, we have to place DOVETAILING o the pyttetms on the fabric in the most economical way. ‘And sme-hints for economical pattem layout are given betow. 5 1. We should not cut until a trial layout shows the “best locstion for all pieces within the minimum length of cloth, in 4. Place all pattern pieces close together so as not to waste any cloth, ere Q. Place lenge pleces at one end of the cloth or at both e1 "3. Fit small pieces between larger ones. A; Place the wider end of the large piece at the cut end: materi 6 Place the wider end of one pattern near the narrow end of another pattern #. Place as many pieces as possible near. the selvedges in order to leave the maximum space r the folded end for layi atterns that have to be kept on fold. e if necessary, fold the fabric for narrow pieces that are to be cut on fold &_F Fitpiece similar in shape next to each othe. This technique is refarred as "Dove | talling”. | $B. xe duplionte pattorns for pisces which have'to ba used ties, Steve ‘| @e¢egqueCg CR ECE ¥) OPEN Lay-ouT: / Here the fabric is not folded and the patterns aré laid oi the open width of the fabric. This type of layout is used for designe which require.right and left nalves have To be eut separately ‘And in mass production, Open layout method is followed, The open layaut for a's orts shirt is ' given in thefigure, es Soivedge 4. Front 2. Back é 3. Full sleeve 4. Yoke be 5. One Pince Collar 8. Packet : Pocket Flap Selvedge @ECGGCOGCECECOCPEECETTEM EZ& (Some sPeciat Layouts) © Yur Qalowonee 0 Se | We have to take extra care for the layouts for assymmotrical designs and for tabrics with boldldeslgns, striped and cheoked designs and one way dgulgns. AYBUT FOR ASYMMETRIC DESIGNS: (n asymmetric designs, the right and leit sides are differed from each other. So. for these designs. we hav tthe right and left sides seperately from a single layer of fabric. Figure (2) shows a blouse with asymmetric design and its layout Is shown in figure (b), LAYOUT FOR STRIPED DESIGNS: 7 = | | While using fabrics with bold lengthwise stripes, we have to place'the pattern in @ position © that one of the prominent tings falls along the centre of the garment. By this the stripes are ~ 'depticel ‘on the two sides of the fold fig. (b). And also the finished appearance of the garment shown in fig, (a}. We can cut the striped fabric on the biss direction (\.e.) the grain line of the pattern should be at an angle of 45 tothe warp direction. fig (c). By thls, we can create , diagonal effect fig. (d) or a Chevron effect fig (a) which is in the shape of *v * or’. ” at the |eentfe of the garment (a) LLDODM LHD VMG nnn ¢ pp popson ananannnanon(e) LAYOUTFOR PLAID DESIGNS: Whenwe are using bold designs such as plaids (checked designs) and crosswise stripes, we have 0 match the plaids and: stripes so that they form continuous lines acro%s seam openings fi (a). First we should fold the fabrics in such a way that the stripes are faatehing ~Sxectly onthe both layer of fabric. And then we have to place the front and back patterns as shown irvthe figure (b) (a) LAYOUT FOR ONEWAY DESIGNS: When using one way designed fabrics, we have to place all the pattern pieces in the ‘same correct direction. The layout and the finished eppearance of the germent are shown in figure (b) and (a) respectively. We have to follow the correct direction for pattern placement, otherwise, the print will look upside down on sections which have been placed wrongly, And algo for napped and pila fabrics, We have to follow the same way, vee ee PF TE we Ee SSS EES ew EY OOK \ | | | }& = 1 toa |e qve.b =| Catting eee ere Spreading{2)> cera! © The fabric is spread out on the laying-up table according to a predetermined plan, as single-ply or multiple-ply, ready. for cutting. Spreadia onthe Speabing © 1: Sequence of cutting operations ! — _ ln theffirst sectignlthe fabric is spread ito a lay. oA lay consists of multiple plies, Whe cig marker is applied, this isa euting lay. In the iécond section}the individual pieces are cut out roughly or accurately with an electrically die knit, S varo us important rst reference nts, such as pocket folds and notches are marked. - ©The final curate cutting of the pieces may be done with templates and a band knife. This EE cance _proedure allows a hgh preision o be achieved spreading Methods) fe: br" 3 Manual Spreading . The cloth is pulled carefully from the fabric roll by hand ‘and is cut to the appropriate length. Mechanical devices can be provided to facilitate the unrolling and cutting go . operations but the proper alignment of the fabric edges is a the responsibility of the human operator. ee angen be erm: . ‘This procedure is suitable for short lays and for frequent changes in fabrics and colors. It is often used in small businesses. ro PRODUCTION PLANNING é CONTROL fo(CUTTING: | After the patterns are laid on the fabric fay, the outlines of the patterns are marked «siarg masking chaik. Then the fabric lay is cut along the pattern mark using cutting mechines, Cutting machines are generally used for cutting various parts of garments, lining fabrics, fusing fabrics etc., Cutting Machines are available in different forms, shapes and sizes with varying capacity and purpose. (TYPES OF CUTTING MACHINES | @ Straight knife cutting Machine (2) Round knife omRetterknite cutting Machine. (3) Band knife cutting Machine 4._Die cutter. - 4. STRAIGHT KNIFE CUTTING MACHINE: ° ‘The straight knife cutting machine consists of a base plate, an up right stand to hold the vertical blade, notor, a handle for moving assembly, a sharpening device and a handle to transfer the whole assembly aaa from one place to another. Two kinds of power is required to operate a straight knife. Motor power drives the reciprocating blade and operator power drives the knife through the lay. Normally the available blade heights very from 10 cm to 33 cm and normally fj available strokes vary from 2.5 to 4.5 cm. The greater iy é the blade movement the faster the blade.cuts the CoE fabric and more easily the operator can move the machine. The most important consideration is selecting a straight knife is the power required from the operator to move the knife is the power required from the operator to move the knife through the lay. Operator effort is affected by the weight of the motor, the shape of the stand , handle height, stroke, sharpness of blade and the base plate movement. The normal blade tas a straight edge that varies from coarse to fine depending upon the type of the fabric being cut. Wavy eaged knifes are used to reduce the heat generation and hence can be used for cutting synthetic materials without fusing difficulties. The hb OC i 7 1. Knife speed of the blades can also be adjusted by having aS ipoerer variable speed mechanism. ‘The straight knife is a 3. Motor common means of cutting lays in conventional cutting aa osieeiemal rooms because it is versatile, portable, chapter than 6. Moving Ha Looms. om Hand ‘a band knife and easy to maintain. Even if a band Cera ere knife is used for main cutting operation, a straight FIG 44 knife will be used to separate the lay into sections for easier handling. pagel)© 2. BAND KNIFE CUTTING MACHINE: 4a band knife comprises a series of three or more pulleys powered by an electric motor, with a continuously rotating stee! blade mounted on therfj,one edge of the blade is sharpened. The principle of operation is different from a straight knife, in thatthe band knife passes through ¢ a slot in the cutting table, in a fixed position and the section of lay to be cut is moved past it.” The blade is usually narrower than on a straight knife. BandKnife . Pulley Motor Working Table Stand Sharpening Device Handle for sharpening Neg eens FIG 42 Band knives are used when a higher standard of cutting accuracy is required than can be-ebtained with a straight knife. Space must be left around garment parts when marking so that they can be cut from the lay using a straight knife and then cut exactly using the band knife. When small parts such as collars, cuffs and pockets are cut, a template of metal or fibre board in the shape of the pattern piece may be clamped to the section of lay on top of the marking which is then drawn past the band knife blade, cutting exactly along the hard edge. ‘Bard knife cutting machines are used mors in mens wear than in women's weat and | are often used to cut large garment parts such as the large panels of jackets and over coats. 3. ROUND KNIFE CUTTING MACHINE: The elements of a Round knife cutting machine are a base plate, above which is mounted an electric motor, a handle for the cutter to direct the blade, and a circular blade rotating so that the leading edge cuts downwards into the fabric. Blade diameters vary from 6 cm to 20 cms, Round knives are not suitable for cutting curved lines in high lays because the blade does not strike all the plies simultaneously at the same point as a vertical blade does. There fore a round knife is used only for straight lines or lower lays of relatively few plies. It is naturally much more difficult for a circular blad. payo(ao ‘ee— FIG 47 1. SPOOL PIN 2, THREAD GUIDE 7. PRESSER FOOT 3. TENSION DISC. 8. PRESSER FOOT LIFTER 4, TAK-UP LEVER 9, STITCH REGULATOR 5. NEBDLE BAR 40. BOBBIN WINDER 8. SPCOL BIN FOR BOBBIN 11. FLY WHEEL WNDING 12, THREAD GUIDE 67 wae @ "SEWING MACHINE | 45. 16. 7, 18 . SLIDE PLATE NEEDLE PLATE OR THROAT PLATE FEED DOG FACE PLATE TENSION DISC THREAD —PARTS OF A SEWING MACHINE & THEIR FUNCTIONS: page Sp 4. The SPOOL PIN with its spool of thread, and the BOBBIN filled with thread furnish the thread supply. Thread is ted from these two points to other mechanical parts as it is needed, There is an other spool pin is provided to use it while winding the bobbin: 2. The THREAD GUIDES hold the thread in position from the spool to the needle 3. The TENSIONERS upper and bobbin, hold the threads slightly taut. Without tension, threads would be fed so rapidly that loops would form along the surface of the cloth. The Tensioners have two concave discs with spring and nut. By adjusting the nut, we can increase or decrease the pressure of the disc. 4) The thread is passed through the hole of the TAKE-UP LEVER. The take-up lever moves down to loosen the top thread as the stitch is formed. Then it moves up-and pulls the loop of thread tight as the stitch is completed 5. The NEEDLE attached to the NEEDLE BAR, penetrates the fabric and carries the top thread below into the bobbin chamber for forming the stitch. The needle bar holds the needle at one end-with the help of a clamp. 6. The BOBBIN CASE moves into position to catch the top thread and form the stitch as the ,, needle is lowered into the bobbin chamber. : Jie The PRESSER FOOT holds the cloth firmly in position when lowered. It is attached to the PRESSER:BAR and can be raised and lowered by a lever called PRESSER FOOT LIFTER. 8. The FEED OR FEED DOG, directly beneath the presser foot, pushes the cloth forward the required amount as each stitch is made, (The presser foot must be lowered for this operation). This consists of a set of teeth fitted below the needle plate. 9. The STITCH REGULATOR controls the length of the stitch by regulating the: stroke of the feed. Some regulations can be set to stitch in reverse, 10. The BOBBIN WINDER facilitates winding the thread on the bobbin. Some are made to stop automatically when the bobbin is full. 11, When FLY WHEEL OR BALANCE WHEEL is revolved by mechanical or electrical power, the machine has been started to work. The CLUTCH OR THUMB SCREW in the centre of the balance wheel engages and disengages the stitching mechanism. 12. A semi circular plate called NEEDLE PLATE OR THROAT PLATE is used to allow the; needle to the bobbin chamber through it's hole. SLIDE PLATE which is in rectangular shape | near the needle plate used to see the bobbin chamber by opening it. And FACE PLATE is used to cover the needle bar, pressure foot and take up lever assembly at the side of the machine. wae)Se yorg. 1Fig. 3.21. Formation of two thread lockstitch, type 301. espe) 2. ph a fA ePnRnneennewrnrnraerne seWg Bw. spo NS 3) A TE OUEST OL Wp {pt2 oj wonsod owt ge) 3ip anou! 01 5 pay 9 yo asodmnd sofeur ay yaBuo] yorns pue poos s Phe OS pert A tt em any oe meste AL robe Oewrrppeeeeepeeee& ov ge| a vaouee a 1 . = PARTS OF THE GARMENT: | [Gone fruckior oA Mo's Shik] CT Qies TL Front -2 pleces, back - 1 pisce, yoke -2 pieces, full slseve -2 pieces, pieces for sleeve placket - 4 pieces, cuff -4 pieces, pocket -2 pisces, pocket flap -4 pieces, collar -2 pieces, | collar band -2 pieces, collar interfacing -1 piece and collar band Interfacing -1 piece. ‘After cutting the components, Notches can be made at the required places in the components for easy attaching, and it is necessary to check that the marking of position of pockets and boltom folding ere done perfectly. The construction of Men's shirts, full sleeve with cuff, stand up collar (shirt collar) with double pocket with flaps cea be done in the following genuinss of cosratios. ai VIDUAL O OPERATIONS: | a | 1 Bution and but-on hole Placket stitching ‘Wy Pocket construction Wi Flap construction WV Pockets attaching V Fiap ettaching 2 BACK Back with yokes attaching 3 SLEEVE: — Sleeve placket construction A. COLLAR CONSTRUCTION . t |5. CUFF CONSTRUCTION : i (SSENSLING OPERATIONS:) ‘ Fe in ack attaching at shoulder seam. 1h } Ja I i Sieves attaching | Under arm seam and side seam closing | Collar attaching med t Cuff attaching . : CJ FINISHING OPERATIONS:| . | 4. Cotlar finishing 2. Cuff finishing 4, Bottom hamming : 4. Button hole marking and stitching i Button marking and stitching, {ter compieting the sewing, trimming is done for cutting extré protruding threads and the shirt is pressad neatly. pogeCAaeG¢GdGHGCCECCGCUCETEGCEUE (Preset iG & FINISHING, “Tope: gl Garments need different amount of pressing depending on style and shape. The categories of pressings are * Means of pressing: Garments, which require no pressing. Garments requiring minimal pressing or finishing, Garments requiring Iron Press. Garments requiring extensive under pressing and final pressing ‘Garments requiring permanent press finishing, Pressing is generally carried out using heat, steam and pressure elther singly or in combination, The ‘equipments available for pressing ere listed here, * fron with variety of surface shapes * Steam presges. . ‘ © General purpose steam press « Jacket shoulder press « Carousal pies * Steam air finisher * Steam tunnel finishers * Pleating & permanent press. Figure 15-15 ‘Tunnel finisher that carries -chamer foc final finishing, Steam is Sed 0 remove wrinkles without the application of surface pressure. ‘Source: Couey of Sussman Automate Steam Produc poration pore(21 }= Ui te U Figure 15-10 Buck press used for pressing a wide variety of ‘garments, including skirts, slacks, and jackets, ‘Source: Courlesy of Sussman Automatic Slaam Products Corperatin, Figure 15-13 m om £ n « co(Tepe (wy, | PACKING SYSTEMS ) Packing is the process of covering manufactured goods so as to enhance its presentation and transportation in @ safe way. It facilitates ease of the handling: . Objactives of Packing vot Fulfil the buyer requirements. 2. Sefety to the finished product V3. Base of handling Packing refers to the orotectiye container used for the purpose ot transportation. itis different from packaging. Packaging rafers ta the covering in which the product reaches the ultimate customer. ! Paoking Helps the buyer to segregate the diffarant sizes and colours. Classification of Packing’ cae "T An order is baing execvied to accommodate different sizes, colours and fabrics. Tha garments have to be packed after segregating the products on the above basis, According 10. 1 the-falding and method of packing the getmants, it can be classified Into the following types. (et. Stand-up pack 2, Flat pack 3. Hanger pack , 4, Dead man pack @stanoue PACK? This type of packing is normally used for shirts. Therefore, itis also called a6 shirt packing. For this type of packing, the garment !s pressed well and Is packed with materials uch ag tiesue paper, back support, pins/ellps, Inner collar patty, PVC outer patty and butterfly \ ete, The garment is folded as shown in the figure and packed in s poly bag or gada bag. It has aM many sizes depending on the styles and sizes of the garments besidas the category of the z prospective customer. The northal sizes are 8" x 12" and 10° x 14" | gage)car Pac : In this type, the garment pressed and folded well as in @ standup pack, but withaless number of packing matarials. Hera, tissue paper, clips, back support and poly bag are used. It | is normally, used for ladies garments. It slightly differs trom the stand-up back by having a flat surface. The folding size depends on the size, style and buyers specification. The normal sizes are 28" x10" and 10" x 12". enjoys all the merits of a stand up. itis cheapar than standup pack as it requires less materials. demerits: Secs reese ent the 5 sara le | Soliar partion very wettThe disa » » 2 S i ANGER PACK | > » 2 » {kis 2 simple method of packing wherein the garment is inserteci In @ long poly bag with hanger after pressing. Here, polybag is the only packing materia used. This type of packing * ean be used for the all types of garments, eS ae) |1@-of Hs simplicity, Ht reduces the cost of packing end packing materi ling 1g not easy. /DEADMAN PACK | This type of packing is used for shirts. In this packing, the sleeves are ‘oided in front or back and pinned with each other. Then, the garment is folded in the centre. As it resembles the appeerence of mans dead body, it is called dead man pack. This is also a simple packing method using only pins or clips and polybags as packing materials. The folding size is determined by the size of the garment. So, the polypags are specially ordered according to the size of the garment. . - ‘Morlt : — — The costs of packing materials and packing are |ess when compared with other methods. Due to Its simpijcity, the packing and unpacking time is less when compared with others. The “garment can be examined in packed condition. This type of poking enables easy handling cf garments. : Dernorits : ‘This type of packing is not suitable for shirts because {i Ie-does not show the collar and the coller points as in the stand up pack and hence itis 2 less attractive packing materials is to im ‘and thelr usage and quality peraftreters are discuse®d In the following paragraphs. we ae : a 3B je : : ig determined by the type of padking, garments size and folding pes of polybags ere : 1) Plain Poly bag 2) Gazetted Polybag 3) Lip end rr®) cE EEESTAND-UP PACK collar tn standing position aay Side view of Stand -np pack . Back supponk Board + Padesiic’ Clips + Pins + PVG ovkey pay + Buttevdly itor taney bolty Timve paper 1 aw PGS?) alo puee 2AAA HAND D DD DDCCCCHCHEEECHHEECE EHSDEADMAN PACK Conta ot Line, aAnnND DNA DONA