Textile Processing -II

Printing - Introduction
• It can be thought of as the coloring technique that
combines art, engineering, and dyeing technology
to produce textile product images that had
previously only existed in the imagination of the
textile designer.
• Textile printing can realistically be considered
localized dyeing.
• In ancient times, man sought these designs and
images mainly for clothing or apparel, but in
today’s marketplace, textile printing is important
for upholstery, domestics (sheets, towels,
draperies), floor coverings, and numerous other
uses.
 How it is different from Dyeing
• Requires a Design
 How it is different from Dyeing
• Utilizes More Than One Color
• Allows the Use of Many Colors
 How it is different from Dyeing
• Uses Thicker Print Paste
 How it is different from Dyeing
• Needs a Medium for Impression (Block, Screen, Roller)
 How it is different from Dyeing
• Requires Less Water
 How it is different from Dyeing
•Offers Infinite Possibilities for Different Impressions
Styles of Printing

Direct Style
Resist style
Discharge Style
Other Styles
Methods of Printing

• Stencil Printing
• Block Printing
• Screen Printing
• Roller Printing
• Inkjet Printing / Digital
Printing
• Heat Transfer Printing
 Process of Printing
 Preparation of print paste
 Preparation of Fabric
 Printing of fabric
 Drying
 Fixation of dyestuff
 Washing-off

Preparation of printing paste: Type of specific formulation used depends on the fibre, the colorant system used
and to some extent the type of printing machine.
Printing of fabric: Dye or pigment paste is applied to the substrate using different techniques.
Fixation (Drying): Immediate after printing, the fabric is dried and then the prints are fixed mainly with steam or hot
air.
After-treatment (Washing):- This final operation consists in washing and drying the fabric (it is not necessary when
printing with pigments or with other particular techniques such as transfer printing).
 Preparation of print paste
• Dyes or pigments
• Thickeners
• Sequestering agents
• Dispersing agent
• Water-retaining agents (humectants),
• Defoamers
• Catalysts
• Hand modifiers
• In addition to the ingredients, pigments require a binder or resin system to fix the pigment
• The Dyes used for printing mostly include vat, reactive, naphthol and disperse colours whichhave good
fastness properties.

• The pigments, which are not truly dyes, are also used extensively for printing. These colours are fixed to
the fiber through resins that are very resistant to laundering or drycleaning.

• Pigments are among the fastest known colours and are effective for light to medium shades. If used for
applying dark colours, they may crock or ruboff. Improved resins, better pigments or more effective anti-
crock agents must be used to solvethis problem.

• For cotton printing vat and reactive dyes are generally used. Silk is usually printed with acid colours.
Wool is printed with acid dyes. Manmade fibers are generally printed with disperse and cationic dyes.
 Printing

Wet Printing ( Dyes) Dry Printing ( Pigments )

• Paste Preparation • Paste Preparation
• Printing • Printing
• Drying • Drying
• Fixation through • Curing for Binder
steaming /curing
( dry baking )
• After Wash

https://cottonworks.com/en/topics/sourcing-manufacturing/printing/printing-process/
Heat Setting machine/Stenter
Used for dry heat application on textile ( for drying
and curing of prints)

https://www.youtube.com/watch?v=eSmgLRnfwA0
Steamer/Ageing Machine
 Thickener

• Thickener gives the print paste the

proper viscosity, so the color can be
applied uniformly and evenly.
• Second, it holds the color in place so
that one color paste can be applied
adjacent to another without the color
bleeding onto the other. which preserve
the sharpness of the printed design

• Thickeners used with dyes are then washed

off the fabric, However, the thickener
applied with a pigment system will remain
with the print, as no after washing is
required.
 Types of Thickener
Synthetic thickeners Synthetic thickeners are long-chain polymers with partly cross-linked carboxylic
group.
• polyvinyl alcohol
• polyvinyl pyrrolidine
• polyacrylic acid
• Polyacrylamide

Natural Thickener : Guar gum & Gum tragacanth are organic gum that is obtained from the Guar seeds &
Goond Katira
• Extracts of seaweeds such as Alginate
• Tamarind seed gum, also known as tamarind kernel powder (TKP)
• Rice Flour
• Starches https://ebooks.inflibnet.ac.in/hsp09/chapter/auxiliaries-for-printing/
Binders ( only used with pigment printing )
Prints of good fastness property on cellulosic fibres can be achieved using binders/fixers such as
• melamine formaldehyde
• vinyl resins
• urea formaldehyde precondensates,
• acrylic resins.

The latest chemicals used are Acramin and Lutexal HD. Acrylic binders can affect crocking fastness,
colour yield, handle and print appearance.

https://ebooks.inflibnet.ac.in/hsp09/chapter/auxiliaries-for-printing/
 Reducing agent ( used for discharge printing )

• In discharge printing reducing agents are used as discharging agents to chemically destruct
the dye and create a white pattern on a coloured background.
• The liberated hydrogen obtained by the decomposition of discharging agent during steaming
process causes the decomposition of dischargeable dye into colourless water soluble
products which are removed in subsequent washing off process after printing producing
white effect on dyed fabric.
• The reducing agent such as Rangolite C (sodium sulphoxylate formaldehyde ), thiourea
dioxide are helpful as reducing agents for discharge style printing.
• Sequestering agents are compounds which complex (bond) with metallic contaminants in water to
prevent interference with the print color or necessary auxiliary chemicals. Calgon is the most well known
of this type of additive.

• Surfactants are additives, which allow chemicals of dissimilar nature to mix. They are used in print paste
as dispersing agents, suspending agents, and/or wetting agents.

• Water-retaining agents or humectants are additives, which prevent premature water evaporation or
“skim-over” from print paste. Additionally, they often absorb moisture from the air to keep dried print
paste from cracking and shedding off the fabric before fixation. Urea is the most common hygroscopic
agent used in pigment printing.

• Defoamers are materials added to the print paste to eliminate unwanted bubble or foam formation during
the mechanical action of the printing process. Unwanted foaming leads to uneven or light print color.
Defoamers such as silicone defoamers , octyl alcohol, turpentine, emulsifiable hydrocarbons etc can be
used. Silicolapse and perminal KBI are commercial product

• Hand modifiers, most specifically softeners, are often incorporated with pigment print formulations,
because print binders tend to overly stiffen the fabric.
Preparation of fabric
The golden rule in the dyeing of textiles is that “a fabric well prepared is a fabric half dyed.” This
saying indicates the importance of good fabric preparation plays in producing high-quality final
products.

There are several basic factors that are important for all preparation:

• The fabric for printing must be absorbent

• The fabric must be clean
• The fabric should be flat, smooth, and uniform in width without distortions in the construction
Fabric Construction Parameter
• Fabric construction properties also impact the properties of the final printed fabric as well as
the printing process itself. For example, wovens are normally easier to print than knits.
• Any fabric with surface texture will present more printing issues than a comparable flat
surface fabric. Fabrics with a flat surface print more easily than fabrics with pile surface. A
good example of this difference is to compare the typical printing process for sheets with that
of bath towels. Sheets are normally printed on flat or rotary screen-printing machines and
typically require a single squeegee stroke for the printing process. In contrast, bath towels are
usually printed on flat screen-printing machines and may require as many as four squeegee
strokes to force the print color down into the fabric pile.
• Additionally, thin or sheer fabric constructions may present printing problems compared to
thicker fabric constructions of the same fiber content.
Drying & Fixation of printed fabric
• After printing the fabric, the paste is dried to prevent accidental smearing of the print design and
color migration.

• Fixation of the Printed Dye or Pigment is the next step. For dyes, fixation normally incorporates
an atmospheric steamer with specified moisture content and a nominal temperature of 100°C. With
certain dyes, an auxiliary chemical may be necessary as an extra additive to the print paste. For
example, for complete fixation, reactive dyes require additional alkali. In the case of vat dyes,
reducing agents are necessary.

• For pigments on all fibers and disperse dyes for polyester or nylon, only high temperatures are
necessary. The fixation equipment used can be a dry heat oven or super-heated steam. The key
issue is reaching temperatures of approximately 177°C to cure a synthetic pigment binder and as
high as 205°C for disperse dyes.
 Methods of Printing
Block printing

• Block printing is a traditional and artisanal textile printing

method that involves carving a wooden or metal block with
the desired design and stamping it onto the fabric.

Diamond Sutra

There are two types of blocks

a. Outlining block (rekh)
b. Filling block (gadh)

Outline block

Filling block
 • The Rekh is used to produce an outline print and is
derived from the word Rekha which means line in Hindi.

• The Gad provides the background print and is used to fill in

the third or fourth colour in a multi block design.
• The Datta provides a complimentary colour inside the
outline printed by the Rekh block.
 Metallic block
Metal sheets are beaten by hand and made thin and malleable.
Then, the thin sheets are cut into strips of even length. The
pattern or design of the block is drawn on the wooden block and
the thin metal strips are pressed onto the design and gently
hammered in. After the design is completed the design is
checked to see if all the brass strips are of the same height from
the wooden base as it ensures good quality of printing. Brass
blocks are used in case of very fine designs and for a high level
of clarity in print. They are more expensive and time consuming
to make and also last much longer.
Wooden Block
Blocks are hand carved of seasoned
wood by trained craftsmen. On the
bottom face the motif are engraved with
steel chisels of different widths and
cutting surface by the carver. Each block
has a wooden handle. To soften the
grains in the timber, the new blocks are
soaked in oil for 10-15 days.
BRASS Metal Block
http://www.handprintingguiderajasthan.in/hand-block-printing-the-block-and-the-printing-unit/the-basic-block-its-origin-and-
its-construction/
• Sagwaan is considered best for the purpose and
thus remains the most preferred wood. It is found
in abundance in Gujarat and Madhya Pradesh.
Perhaps the fact that this wood is easily available
locally makes it popular with local block makers.
• For the main block which fills the entire surface
of the fabric, the usual size is 6”x6”, one does find
blocks as big as 7”x12”also. The borders blocks
are usually 6” long, but the width can vary
considerably depending upon the design. It starts
from half an inch and one can find border blocks
as wide as 4 inches,
• In a buta or buti the sizes can vary considerably.
From 2” till 8” long are easily available and thus
Handles are affixed to the blocks to make them easier to
the width also changes according to the length and manage. Each weaving family has its own handle that can
the shape of the design. be used to identify who carved the block. Subsequently,
• Carving should be deep upto 2-3cm. air holes are drilled to allow trapped air to escape. If
otherwise, air bubbles will cause smudging and spreading
of the colour while stamping. The wood is seasoned and
soaked in til oil for 10-15 days. Finally, impressions of
the block are stamped on waste cloth or paper to ensure
that they are accurate and precise.
 Types of Block prints
Direct Block Printing:
The cotton or silk cloth is first bleached in this technique. Then the fabric is dyed, unless a light
background is desired. Thereafter, the fabric is printed using carved blocks; first the outline blocks are
used, then the ones to fill color. The popular prints of Bagh (from Madhya Pradesh) and Bagru (from
Rajasthan) are made using this technique. Either Cotton or silk fabric is used here. The cloth is first
bleached and then dyed with the desired color. After that block printing is done on borders with carved
wooden blocks then in the borders.
Resist Printing:
In the resist technique, areas that are to be protected from the dye are covered with a mixture of clay and
resin. Then, the dyed fabric is washed. Producing a rippled effect, the dye spreads into the protected
areas through cracks. Block prints are then used to create further designs. Ajrakh Printing of Kutch
(India) and Sindh (Pakistan) and Kalamkari from South India use this technique.
Discharge Printing:
The fabric is dyed in this technique. Then, a chemical is used to remove the dye from the portions that
are to have designs in different colour. These portions are then treated, so they may be re-colored
Rajasthan: A block printed (dabu) textile with different motifs
Steps of Block Printing

Block printing involves a series of steps that require skill and precision. Here’s an overview of the
typical block printing process:
• Design Creation: Artisans or designers create intricate designs inspired by tradition, nature, or
culture. These designs are then carved onto wooden blocks, one for each color in the pattern.
• Dye Preparation: Natural dyes are commonly used in block printing to create a wide range of
colors. These dyes are made from materials such as indigo, turmeric, and madder root. The colors
are mixed, and their consistency is adjusted to suit the specific design.
• Block Printing: The artisans apply the dye to the wooden blocks and carefully stamp them onto the
fabric. This process is repeated for each color in the design, with precision being crucial to creating
intricate patterns.
• Drying and Fixing: After the fabric is printed, it is left to dry naturally. To ensure the color remains
fast, it may undergo fixing processes, such as steaming or sun drying.
• Washing and Finishing: Once the fabric is dry, it undergoes a final wash to remove any excess dye
and improve the colorfastness. It is then finished and prepared for use in various textile products.
Advantages of block printing

1. Artisanal and authentic appeal: Block printing is a manual and labour-intensive

process, giving each piece of fabric a distinct and authentic look.
2. Environmentally friendly: Block printing typically uses natural and eco-friendly dyes,
which can be derived from plants or other sustainable sources.
3. Versatility on fabrics: Block printing can be used on various types of fabrics, including
cotton, silk, linen, and more. The technique adapts well to both natural and synthetic
fibers, providing versatility in fabric choices.
4. Ability to layer colors: With block printing, it is possible to layer multiple colors on
top of each other to create intricate designs and color combinations. This offers
flexibility and complexity in the final print.
5. Cost-effective for small runs: Block printing can be cost-effective for small production
runs, as it does not require expensive machinery or large-scale infrastructure.
 Disadvantages of block printing
1. Limited intricacy: Block printing is not well-suited for intricate and highly detailed
designs. The process of carving patterns onto wooden blocks may result in simplified
designs with less fine detailing compared to other printing methods.
2. Time-consuming process: Block printing is a labour-intensive process, requiring time and
effort to create and align the blocks correctly for each print. This can slow down production
and make it less suitable for large-scale or high-volume printing.
3. Color limitations: Each wooden block is dedicated to a specific color, meaning that
achieving multi-color prints requires using multiple blocks. This can add complexity to the
process and increase the time and cost of production.
4. Print inconsistency: Variations in pressure, ink application, and alignment during the
printing process can lead to inconsistent prints across a batch of fabric.
5. Difficulty with large prints: Block printing has limitations in terms of print size. The size
of the wooden block restricts the maximum print area, making it less suitable for oversized
https://www.houseofu.com/en/blog/types-of-fabric-printing/?srsltid=AfmBOorjsJnZeV8lPphaaxAqmxiMY-FGZhLH
or large-scale designs.
gBFJy3DeMtJco4597KYy
Various Block prints of India
BAGH Print of Madhya Pradesh
 Sanganer from Rajasthan

When printing, the ground color block, known as the 'gud,' is stamped first. This is followed by the
outline block or 'rekh,' which is the most intricate and is typically the outline for a floral or lattice-type
design. Next comes the fill block or 'datta.'

https://meherashaw.com/pages/hand-block-printing
 Bagru from Rajasthan

What makes the Bagru print so different and distinct from other prints is a resist-dyeing technique known
as Dabu. Dabu involves applying a mud paste made out of clay, gum, and lime to the fabric, preventing the
dyes from getting penetrated into the intricate designs of the fabric.
https://www.youtube.com/watch?v=wALoNrMKA_A
Ajrakh From Gujrat
 Kalamkari From Andhra Pradesh

Srikalahasti Kalamkari Machilipatnam Kalamkari

https://www.memeraki.com/blogs/posts/the-process-of-kalamkari-explained?srsltid=AfmBOopfusiE
M-Pz5EIlLoyftfiUi6S0pi94f3zLNW1se-thn7JlcX_2
https://www.youtube.com/watch?v=t2chIBpU2Ag&t=20s
 Assisgnment-I Part-I ( Block
printing )
Type of Assignment:- Individual
Total Number of Samples :- 2 ( Synthetic Colors & Natural Colors )

For Synthetic Colors

Select different types of blocks:- Outline, Fill, Background & Border and develop a sample. / one can
also explore the available wooden blocks in the lab and work on different compositions to develop
contemporary design.

For Natural Colors

Take a Bleached Cotton Fabric- Treat it with harda- do research and find a recipe of Alum Paste using
natural thickener- Dye the fabric with natural dye.
 Screen printing

Printing of textile materials using a screen is either done manually or with the help of machines.

Manual screen printing

In manual screen printing the fabric to be printed is laid on a long table. A screen with length
slightly greater than the fabric width is fitted in a wooden frame. The design to be printed is
transferred to the screen (for each colour, there is a separate screen) and the space in the screen
not covered by the design is covered with an impermeable membrane so that the colouring
material can only pass through that part of the design which is to be in one colour.
The printing paste is pressed through the screen with the help of a device having a rubber blade
called squeegee The screen is moved one repeat and the process repeated. The different colour
screens follow and thus the whole length of the fabric is printed.
 Preparation of Screen
Frame selection:- Wooden frame and Aluminum frames

Choosing the Right Frame Size:- As a general rule, the frame should be
at least 2-3 inches larger than your design on all sides.

Understanding Mesh Count :- The mesh count of a screen printing frame

refers to the number of threads per inch in the mesh.
When selecting a mesh count, consider the level of detail in your design
and the type of ink you'll be using.
Higher mesh counts are better suited for detailed designs and finer inks,
while lower mesh counts work well for simple designs and thicker inks

Image detail, Thickness and type of ink, Material

https://merchbooth.com/blogs/screen-printing-resources/everything-you-need-to-know-about-screen-printing-frames?sr
sltid=AfmBOoqDEbMua-oL4VOEaOjW2NeHbwDi7aXqTAMDnfrTG75oyEm8_9V2
https://www.printavo.com/blog/what-mesh-should-i-use-for-sc
reen-printing/
 Creation of Design on a transparent sheet
↓
Put the mesh fabric on the frame and tighten it well
↓
Thoroughly clean the mesh fabric and dry it well
↓
Apply UV Sensitive chemical emulsion( photo emulsion )coating and
dry it in dark
↓
Place design sheet under the mesh and also apply a little pressure
↓
Place the mesh under direct sunlight/ UV chamber for 1-2 minutes
↓
Remove the emusion from the design area by water spraying.
↓
Cleaning
↓
Drying
https://huntthemoon.co.uk/blogs/news/how-to-heat-cure-screen-printing-inks
LED lights can be used but must be of an equivalent 1000W Halogen
Creation of
Design on a
transparent
sheet
 Assignment I – Part II Screen
Printing
• In this assignment, you will explore and develop designs using typography, based on common phrases
frequently heard on campus. The goal is to creatively translate these phrases into typographic designs,
which will then be printed on a Tote Bag or T-shirt using screen printing techniques.
Assignment Instructions:
Phrases to Choose From( Examples):
1.Design Development: The print will be done on Paper issued by Sunil Ji
2.Group Work:
1.Plz submission extend krwado
1. You will be divided into groups based on the availability of screens.
2.LD banani zaruri hai kya?
Each group will work together on screen preparation and printing.
3.Es assignment k marks milenge?
2. The final print will be done on fabric (Tote bag or T-shirt).
4.Attendance start ho toh call krdiyo
3.Printing Process:
5.Aj ma'am kuch important pdhayengi?
1. This is a single-color printing assignment. However, you are free to
6.Tera kitne swatches complete hue?
explore using more than one color Submission:
7.Sunn... aj college aari hai?
2. Each group is required to submit their final printed Tote bag or T-
8.Plz koi break mang lo
shirt.
9.Chai peene chalein?
4.Screen Preparation:
10.Canteen mai kya bana hai?
1. Develop the screen based on your design.
11.Kissi ne Assignment kra kya?
Final Submission Requirements:
Printed Tote Bag or T-shirt (as per group choice)
Deadline: Please submit your final work by 7th october
Automatic flat bed screen printing

1. it consists of a strong steel frame with a

printing table.
2. At entrance of m/c there is a glueing unit. An
endless printing blanket runs over and under
the table, the fabric to be printed is glued to
this belt.
3. Each screen is placed in a holding device
having its own squeezee mechanism (with its
independent motor). The number of strokes
by squeezee and pressure applied by squeegee
may vary.
4. Squeezeeing is done in weft direction of
fabric . Lifting
5. Under the table are washing facilities for
endless printing belt.
https://www.youtube.com/watch?v=J1bwMYNfPkY
Flat Bed Screen Printing Method #flatbedscreenprinting #rotar
yscreenprinting #digitaltextileprinting (youtube.com)
• No. of screens that can be used depends on size of m/c and dimension of screen.
• Example15 colours, of repeat size 700mm.
• 11 colours of repeat size 850mm
• 9 colours of repeat size 1100mm.
• Cloth width can be 1120-2490mm.
• The squeegee mechanism consists of a double squeegee. White printing, front squeegee is lifted and rear one pushes
colours paste over screen. When other end, the squeegees change their position
Advantages of flat bed Machine:-

1. Heavy blotches, big motifs and intricate designs are possible in this m/c.
2. Large no. of colours (10-12) can be used
3.Less dye consumption than in roller printing m/c.
4. Flat screens are economical for printing short run design as compared to roller and rotary machine.
5.Big repeats are possible (50-450 mm).

Limitations of screen printing:-

1. Joint marks are visible (but may be avoided artistry design to coverup that joint by flowers, motifs etc.
2. Since operation is intemittent (unlike the continuous process of roller and rotary) the production is less
Roller Printing
Roller Printing also called engrave roller printing. In this method, a heavy copper cylinder (roller) is engraved with the
print design by carving the design into the copper. Designs with up to 16 colors present no problem in Roller Printing.

Main parts of Roller Printing:

• Color doctor
• Lint doctor
• Blankets
• Back grey
• Furnishers
• Color box / tray
• Color unit

The size of the print repeat is governed by the printing

machine and the size of the roller. Most machines
accommodate rollers with a maximum 16-inch
circumference which means the size of the print repeat
cannot be larger than 16 inches.

https://www.youtube.com/watch?v=kpDSqgPJ9go
Working Process of
Roller Printing:

This machine has a main cylinder that is fitted with a

large gear. In this printing, the print paste is supplied
from reservoirs to rotating copper rollers, which are
engraved with the desired design. These rollers
contact a main cylinder roller that transports the
fabric. By contacting the rollers and the fabric the
design is transferred to the fabric. As many as 16
rollers can be available per print machine, each roller
imprints one repeat of the design. As the roller spins,
a doctor blade in continuous mode scrapes the excess
of paste back to the colour trough. At the end of each
batch the paste reservoirs are manually emptied into
appropriate printing paste batch containers and
squeezed out. The belt and the printing gear (roller
brushes or doctor blades, squeegees and ladles) are
cleaned up with water.
Advantages &Disadvantages
• Fine sharp outlines and good prints can be obtained which is difficult to get in block printing.
• Large quantities of fabric can be printed
• Repeat of design limited to the size of the rollers
• Setup cost of roller printing m/c is high
• Not economical for short runs
 Initial Developments in Rotary screen printing
Using engraved rolls took too long when changing patterns and the open-mesh silk gauze was much
cheaper to produce. Roller printing was justified for long production runs and screen printing was used
for short runs

https://aatcc.org/wp-content/uploads/2020/11/20_1999-Mock-Rotary-Screen-Printing-ADR-TCC.pdf
Rotary screen printing

Unlike flat bed machines, in which the printing action is intermittent, continuous movement of the
fabric has been achieved in rotary screen printing machines This is by moving the screens along
with the fabric while printing. The screens are cylindrical and the fabric also moves on a cylinder.
However, these machines are quite expensive.

https://www.youtube.com/watch?v=F9DSD96_9-4
• Rotary screen printing is a technique derived from flatbed screen printing. It offers the advantage of
printing at higher speed (up to 120 m/min, depending on the substrate) and much lower
manufacturing costs than flatbed screen printing.
• Flatbed screen printing is limited in length up to 30 m, while rotary construction can print up to
3000 m long continuous web.
• Rotary screen can have up to 100 cm circumference and width up to 4 m, thus making large patterns
possible.

https://www.youtube.com/watch?v=syKawX631wY
Although the size of the design repeat is dependent upon the
circumference of the screens, the standard circumference of
production screens measures 25.75”, 32”, or 36” and there are
also many custom screens available. On average, rotary
screen printing machines operate between 12 and 24 screens,
which allow for between 13 and 25 colors respectively (+1
color for the fabric color). Rotary screen printing can
accommodate both reactive dyes and pigments.
Heat Transfer Printing

Transfer printing techniques involve the transfer of a design from one medium to another. The most common form used
is heat transfer printing in which the design is printed initially on to a special paper, using conventional printing
machinery. The paper is then placed in close contact with the fabric and heated, when the dyes sublime and transfer to the
fabric through the vapor phase.

Designs may be printed and stored on a relatively cheap and non-bulky substrate such as paper, and printed on to the
more expensive textile with rapid response to sales demand.

1.The production of short-run repeat orders is much easier by transfer processes than it is by direct printing.

2.The design may be applied to the textile with relatively low skill input and low reject rates.

3.Stock volume and storage costs are lower when designs are held on paper rather than on printed textiles.

4. Many complex designs can be produced more easily and accurately on paper than on textiles.

https://textilelearner.net/transfer-printing-process-types-and-advantages/
https://www.amazon.in/transfer-paper/s?k=transfer+paper
 In Sublimation transfer
process, a roll of polyester
fabric and a roll of paper
printed with selected
disperse dyes are held
together for about 30s at
190-210°C as they pass
around a heated roller.

http://182.160.97.198:8080/xmlui/bitstream/handle/123456789/1169/Chapter%203%20-%20Transfer%20printing.pdf?sequence=4
https://csiropedia.csiro.au/wp-content/uploads/2014/07/65536073.pdf
https://www.scribd.com/document/427251085/Heat-Transfer-Printing#
Ink Jet Printing/ Digital Printing

The most commonly used digital printing

technology for textile printing is ink jet. The ink
jet process is a computer to print technology in
which ink is sprayed from nozzles, which means
that no printing master is needed and the
imaging is done directly onto the substrate.

Ink jet technologies could be divided in two

main groups: Continuous Ink Jet (CIJ) and
Drop-on-Demand Ink Jet (DOD).

https://www.youtube.com/watch?v=iX83kQ4
AkeA
https://www.academia.edu/44196932/Digita
l_printing_of_textiles
Continuous inkjet:-

The main principle behind the continuous inkjet, is that the ink will turn into a stream of small droplets when
the ink is continuously emerged from a nozzle. The droplets move and are steered to the substrate because of
an electric field that is applied upon the droplets.

The Drop-on-Demand

The majority of the print heads used for Drop-on-Demand are so called piezoelectric print heads The
technology requires a material of a piezo character, that will deform its shape when applying an electrical
field. The chamber where the ink is stored is constructed of this material and when applying an electric field,
the chamber volume will be reduced. This result in that dye is forced and pressed through the nozzle. When
the force is released, the chamber will return to its original shape
.
Other types of Drop-on-Demand techniques consists of thermal print heads. In the thermal heads, a volume of
ink is heated to the point where a bubble is formed and then explode. The expansion of the bubble creates a
wave of pressure in the ink fluid, which will result in a drop of ink that will be emerged from the nozzle and
deposited on the fabric.
Flock Printing
• Flocking is a process where color, adhesive and many small fiber particles are deposited deposit
(called flock) onto a t-shirt or apparel surface.
• Flock is made from natural or synthetic materials like cotton, rayon, nylon or polyester. It adds a
velour, fluffy, velvety like texture and is a great way to enhance the feel, color and overall
appearance of a garment.

https://thrivescreenprinting.com/flock-printing/
Warp printing

• Ikat is the primary example of warp printing.

• It is achieved through a combination of weaving and textile printing to create geometric motifs in
a hazy and softly blurred pattern.
Blotch Printing
• Blotch Prints are prints in which both the
background and the motif have been
printed onto the white fabric.
• Any one of the several methods of
application such as block, roller (or)
Screen may be used.

https://slideplayer.com/slide/5900277/
 Burn out printing
A cotton / polyester blended fabric can be printed with a print paste containing the
burn out chemicals, and after fixation, the cotton portion is destroyed and only the
polyester remains.

Textiles with a higher

cotton or cellulosic
composition provide a
more transparent and sheer
effect, while higher
polyester content will leave
more structure to the
fabric.

https://www.magnacolours.com/burn-out-printing/
A cotton / polyester blended fabric can be printed with a print paste containing the burn out chemicals, and after
fixation, the cotton portion is destroyed and only the polyester remains. This allows a patterned lacey design to be
imparted to the fabric. It also is possible to incorporate a disperse dye in the burn out paste and dye the polyester
during the burn out phase. This process is very corrosive and requires special screens and special care in handling.

best composition- 60% polyester and 40% cotton fabric or vice versa

https://textilernd.com/what-burn-out-aop-burn-out-all-over-print-techniques-aop/
https://www.slideshare.net/88azmir/a-burnout-printing
Plastisol print

• This is a plastic-based ink made for

apparel. It is a cheaper ink that has long
been the industry standard for screen
printing.

• Plastisol ink lays directly on top of the t-

shirt fabric, covering the top with a layer
of ink.

• Plastisol is the standard, less-expensive

ink for screen printing. It is made with
plastic (polyvinyl chloride, better known
as PVC.)

https://www.rushordertees.com/blog/screen-printing-ink-water-based-vs-plastisol-ink/
Discharge Prints