Preamble
This is the eighty-second post in the "Art Resource" series, specifically aimed to construct an appropriate knowledge base in order to develop an artistic voice in ArtCloth.
Other posts in this series are:
Glossary of Cultural and Architectural Terms
Units Used in Dyeing and Printing of Fabrics
Occupational, Health & Safety
A Brief History of Color
The Nature of Color
Psychology of Color
Color Schemes
The Naming of Colors
The Munsell Color Classification System
Methuen Color Index and Classification System
The CIE System
Pantone - A Modern Color Classification System
Optical Properties of Fiber Materials
General Properties of Fiber Polymers and Fibers - Part I
General Properties of Fiber Polymers and Fibers - Part II
General Properties of Fiber Polymers and Fibers - Part III
General Properties of Fiber Polymers and Fibers - Part IV
General Properties of Fiber Polymers and Fibers - Part V
Protein Fibers - Wool
Protein Fibers - Speciality Hair Fibers
Protein Fibers - Silk
Protein Fibers - Wool versus Silk
Timelines of Fabrics, Dyes and Other Stuff
Cellulosic Fibers (Natural) - Cotton
Cellulosic Fibers (Natural) - Linen
Other Natural Cellulosic Fibers
General Overview of Man-Made Fibers
Man-Made Cellulosic Fibers - Viscose
Man-Made Cellulosic Fibers - Esters
Man-Made Synthetic Fibers - Nylon
Man-Made Synthetic Fibers - Polyester
Man-Made Synthetic Fibers - Acrylic and Modacrylic
Man-Made Synthetic Fibers - Olefins
Man-Made Synthetic Fibers - Elastomers
Man-Made Synthetic Fibers - Mineral Fibers
Man Made Fibers - Other Textile Fibers
Fiber Blends
From Fiber to Yarn: Overview - Part I
From Fiber to Yarn: Overview - Part II
Melt-Spun Fibers
Characteristics of Filament Yarn
Yarn Classification
Direct Spun Yarns
Textured Filament Yarns
Fabric Construction - Felt
Fabric Construction - Nonwoven fabrics
A Fashion Data Base
Fabric Construction - Leather
Fabric Construction - Films
Glossary of Colors, Dyes, Inks, Pigments and Resins
Fabric Construction – Foams and Poromeric Material
Knitting
Hosiery
Glossary of Fabrics, Fibers, Finishes, Garments and Yarns
Weaving and the Loom
Similarities and Differences in Woven Fabrics
The Three Basic Weaves - Plain Weave (Part I)
The Three Basic Weaves - Plain Weave (Part II)
The Three Basic Weaves - Twill Weave
The Three Basic Weaves - Satin Weave
Figured Weaves - Leno Weave
Figured Weaves – Piqué Weave
Figured Fabrics
Glossary of Art, Artists, Art Motifs and Art Movements
Crêpe Fabrics
Crêpe Effect Fabrics
Pile Fabrics - General
Woven Pile Fabrics
Chenille Yarn and Tufted Pile Fabrics
Knit-Pile Fabrics
Flocked Pile Fabrics and Other Pile Construction Processes
Glossary of Paper, Photography, Printing, Prints and Publication Terms
Napped Fabrics – Part I
Napped Fabrics – Part II
Double Cloth
Multicomponent Fabrics
Knit-Sew or Stitch Through Fabrics
Finishes - Overview
Finishes - Initial Fabric Cleaning
Mechanical Finishes - Part I
Mechanical Finishes - Part II
Additive Finishes
Chemical Finishes - Bleaching
Glossary of Scientific Terms
Chemical Finishes - Acid Finishes
Finishes: Mercerization
Finishes: Waterproof and Water-Repellent Fabrics
Finishes: Flame-Proofed Fabrics
Finishes to Prevent Attack by Insects and Micro-Organisms
Other Finishes
Shrinkage - Part I
Shrinkage - Part II
Progressive Shrinkage and Methods of Control
Durable Press and Wash-and-Wear Finishes - Part I
Durable Press and Wash-and-Wear Finishes - Part II
Durable Press and Wash-and-Wear Finishes - Part III
Durable Press and Wash-and-Wear Finishes - Part IV
Durable Press and Wash-and-Wear Finishes - Part V
The General Theory of Dyeing – Part I
The General Theory Of Dyeing - Part II
Natural Dyes
Natural Dyes - Indigo
Mordant Dyes
Premetallized Dyes
Azoic Dyes
Basic Dyes
Acid Dyes
Disperse Dyes
Direct Dyes
Reactive Dyes
Sulfur Dyes
Blends – Fibers and Direct Dyeing
The General Theory of Printing
There are currently eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms, which has been updated to Version 3.5. All data bases will be updated from time-to-time in the future.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document etc. for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip over those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will hopefully be useful in parts to most, but unfortunately may not be satisfying to all!
Introduction
The pad machine is often called the work horse of the textile industry, since it is used to apply dyes, chemicals and additive finishes. It will apply them in either liquid or paste form, on one or both sides, by immersion or by transfer from a roller which revolves in the finishing solution. A simple schematic of the machine is shown below.
Padding Machine.
Padding is done by passing the fabric through the finishing solution, under a guide roll and between two padding rollers. The rollers are metal or rubber, depending on the type of finish that is to be applied. The rollers exert tons of pressure on the fabric in order to squeeze the finish into the fabric or fiber and so ensure a good penetration. Excess liquid is squeezed off. The fabric then travels into the steaming or washing and drying machine.
The backfilling machine is a variation of the pad machine. It applies the finish to one side only, usually to the wrong side of the fabric. The fabric is held tightly against a large roller which revolves in the finishing paste and a blade scraps off the excess.
Backfilling machine.
Today's post will center on "Additive Finishes".
Additive Finishes
Additive finishes are applied to give texture (body, stiffness, softness), luster, embossed designs, and abrasion resistance to the fabric. They are held on the surface mechanically and their permanence depends on the efficiency of the finish and the type of finish itself.
Sizings
Also called dressings, sizings are used to give body, stiffness, strength, weight and/or smoothness to the fabric. The following table list the commonly used sizings.
Sizings.
Starching at the mill is similar to starching at home except that the starch mixture contains waxes, oils, glycerine and similar compounds, which act as softeners. For added weight, talc, clay and chalk are used. Starches come from wheat, corn, potatoes, sago and other plants. Each starch has individual properties that determine its use.
Torques stretch starch skirt.
Gelatin is used on rayons, because it is a clear substance that does not distract from the natural luster of the fibers, but rather enhances it. Many rayon fabrics are sold in the loom state and the gelatin is lost in the washing. It can be restored by the following "home" process.
Dissolve two tablespoons of gelatin in one gallon of water. Rinse the garment in the solution and remove excess liquid to prevent its draining to the lower edge and stiffening it.
Cellulose solutions are dissolved cellulose similar to the solution from which rayon fibers are spun; carboxylate methyl cellulose is commonly used.
Surface Coatings
These are made of rubber latex, thermoplastics and resins to increase abrasion resistance, serve as a binder, give muster, or give proofing.
Applications of Surface Coatings.
Glazed Effects
The thermosetting resins, urea and melamine formaldehyde, were first used in 1940, when a process was developed for polymerising them on the surface of a fabric. The fabric is kept under tension and the tension remains on the surface where it is dried, polished and embossed, and cured. These resins are held to the surface by a chemical-mechanical action.
Cotton-Lycra Skirt wih Resin coating by LURDES BERGADA.
Glazed effects produced by this means are of two kinds. Glazed chintz is often a plain color but may be printed. It has a heavy, rubbery layer of resin on the surface. Polished cotton is similar but has a much thinner layer of resin on the surface and is much more apt to wrinkle during washing.
Petticoat of glazed chintz with a deep decorative border at the bottom.
Embossed designs are similar to the glazed fabrics except that an engraved roller presses a raised pattern into the cloth.
Snake Embossed Mini Skirt - Black – Maniere De Voir.
If these fabrics have a resin applied as a continuous coating, they are uncomfortable for summer wear, because they prevent the passage of moisture vapour (see figure below). If they are applied as a discontinuous coating, the fabric can "breathe" and is more comfortable.
Glazed Fabrics. Left: continuous resin coating. Right: discontinuous resin coating.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
This is the eighty-second post in the "Art Resource" series, specifically aimed to construct an appropriate knowledge base in order to develop an artistic voice in ArtCloth.
Other posts in this series are:
Glossary of Cultural and Architectural Terms
Units Used in Dyeing and Printing of Fabrics
Occupational, Health & Safety
A Brief History of Color
The Nature of Color
Psychology of Color
Color Schemes
The Naming of Colors
The Munsell Color Classification System
Methuen Color Index and Classification System
The CIE System
Pantone - A Modern Color Classification System
Optical Properties of Fiber Materials
General Properties of Fiber Polymers and Fibers - Part I
General Properties of Fiber Polymers and Fibers - Part II
General Properties of Fiber Polymers and Fibers - Part III
General Properties of Fiber Polymers and Fibers - Part IV
General Properties of Fiber Polymers and Fibers - Part V
Protein Fibers - Wool
Protein Fibers - Speciality Hair Fibers
Protein Fibers - Silk
Protein Fibers - Wool versus Silk
Timelines of Fabrics, Dyes and Other Stuff
Cellulosic Fibers (Natural) - Cotton
Cellulosic Fibers (Natural) - Linen
Other Natural Cellulosic Fibers
General Overview of Man-Made Fibers
Man-Made Cellulosic Fibers - Viscose
Man-Made Cellulosic Fibers - Esters
Man-Made Synthetic Fibers - Nylon
Man-Made Synthetic Fibers - Polyester
Man-Made Synthetic Fibers - Acrylic and Modacrylic
Man-Made Synthetic Fibers - Olefins
Man-Made Synthetic Fibers - Elastomers
Man-Made Synthetic Fibers - Mineral Fibers
Man Made Fibers - Other Textile Fibers
Fiber Blends
From Fiber to Yarn: Overview - Part I
From Fiber to Yarn: Overview - Part II
Melt-Spun Fibers
Characteristics of Filament Yarn
Yarn Classification
Direct Spun Yarns
Textured Filament Yarns
Fabric Construction - Felt
Fabric Construction - Nonwoven fabrics
A Fashion Data Base
Fabric Construction - Leather
Fabric Construction - Films
Glossary of Colors, Dyes, Inks, Pigments and Resins
Fabric Construction – Foams and Poromeric Material
Knitting
Hosiery
Glossary of Fabrics, Fibers, Finishes, Garments and Yarns
Weaving and the Loom
Similarities and Differences in Woven Fabrics
The Three Basic Weaves - Plain Weave (Part I)
The Three Basic Weaves - Plain Weave (Part II)
The Three Basic Weaves - Twill Weave
The Three Basic Weaves - Satin Weave
Figured Weaves - Leno Weave
Figured Weaves – Piqué Weave
Figured Fabrics
Glossary of Art, Artists, Art Motifs and Art Movements
Crêpe Fabrics
Crêpe Effect Fabrics
Pile Fabrics - General
Woven Pile Fabrics
Chenille Yarn and Tufted Pile Fabrics
Knit-Pile Fabrics
Flocked Pile Fabrics and Other Pile Construction Processes
Glossary of Paper, Photography, Printing, Prints and Publication Terms
Napped Fabrics – Part I
Napped Fabrics – Part II
Double Cloth
Multicomponent Fabrics
Knit-Sew or Stitch Through Fabrics
Finishes - Overview
Finishes - Initial Fabric Cleaning
Mechanical Finishes - Part I
Mechanical Finishes - Part II
Additive Finishes
Chemical Finishes - Bleaching
Glossary of Scientific Terms
Chemical Finishes - Acid Finishes
Finishes: Mercerization
Finishes: Waterproof and Water-Repellent Fabrics
Finishes: Flame-Proofed Fabrics
Finishes to Prevent Attack by Insects and Micro-Organisms
Other Finishes
Shrinkage - Part I
Shrinkage - Part II
Progressive Shrinkage and Methods of Control
Durable Press and Wash-and-Wear Finishes - Part I
Durable Press and Wash-and-Wear Finishes - Part II
Durable Press and Wash-and-Wear Finishes - Part III
Durable Press and Wash-and-Wear Finishes - Part IV
Durable Press and Wash-and-Wear Finishes - Part V
The General Theory of Dyeing – Part I
The General Theory Of Dyeing - Part II
Natural Dyes
Natural Dyes - Indigo
Mordant Dyes
Premetallized Dyes
Azoic Dyes
Basic Dyes
Acid Dyes
Disperse Dyes
Direct Dyes
Reactive Dyes
Sulfur Dyes
Blends – Fibers and Direct Dyeing
The General Theory of Printing
There are currently eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms, which has been updated to Version 3.5. All data bases will be updated from time-to-time in the future.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document etc. for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip over those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will hopefully be useful in parts to most, but unfortunately may not be satisfying to all!
Introduction
The pad machine is often called the work horse of the textile industry, since it is used to apply dyes, chemicals and additive finishes. It will apply them in either liquid or paste form, on one or both sides, by immersion or by transfer from a roller which revolves in the finishing solution. A simple schematic of the machine is shown below.
Padding is done by passing the fabric through the finishing solution, under a guide roll and between two padding rollers. The rollers are metal or rubber, depending on the type of finish that is to be applied. The rollers exert tons of pressure on the fabric in order to squeeze the finish into the fabric or fiber and so ensure a good penetration. Excess liquid is squeezed off. The fabric then travels into the steaming or washing and drying machine.
The backfilling machine is a variation of the pad machine. It applies the finish to one side only, usually to the wrong side of the fabric. The fabric is held tightly against a large roller which revolves in the finishing paste and a blade scraps off the excess.
Today's post will center on "Additive Finishes".
Additive Finishes
Additive finishes are applied to give texture (body, stiffness, softness), luster, embossed designs, and abrasion resistance to the fabric. They are held on the surface mechanically and their permanence depends on the efficiency of the finish and the type of finish itself.
Sizings
Also called dressings, sizings are used to give body, stiffness, strength, weight and/or smoothness to the fabric. The following table list the commonly used sizings.
Starching at the mill is similar to starching at home except that the starch mixture contains waxes, oils, glycerine and similar compounds, which act as softeners. For added weight, talc, clay and chalk are used. Starches come from wheat, corn, potatoes, sago and other plants. Each starch has individual properties that determine its use.
Gelatin is used on rayons, because it is a clear substance that does not distract from the natural luster of the fibers, but rather enhances it. Many rayon fabrics are sold in the loom state and the gelatin is lost in the washing. It can be restored by the following "home" process.
Dissolve two tablespoons of gelatin in one gallon of water. Rinse the garment in the solution and remove excess liquid to prevent its draining to the lower edge and stiffening it.
Cellulose solutions are dissolved cellulose similar to the solution from which rayon fibers are spun; carboxylate methyl cellulose is commonly used.
Surface Coatings
These are made of rubber latex, thermoplastics and resins to increase abrasion resistance, serve as a binder, give muster, or give proofing.
Glazed Effects
The thermosetting resins, urea and melamine formaldehyde, were first used in 1940, when a process was developed for polymerising them on the surface of a fabric. The fabric is kept under tension and the tension remains on the surface where it is dried, polished and embossed, and cured. These resins are held to the surface by a chemical-mechanical action.
Glazed effects produced by this means are of two kinds. Glazed chintz is often a plain color but may be printed. It has a heavy, rubbery layer of resin on the surface. Polished cotton is similar but has a much thinner layer of resin on the surface and is much more apt to wrinkle during washing.
Embossed designs are similar to the glazed fabrics except that an engraved roller presses a raised pattern into the cloth.
If these fabrics have a resin applied as a continuous coating, they are uncomfortable for summer wear, because they prevent the passage of moisture vapour (see figure below). If they are applied as a discontinuous coating, the fabric can "breathe" and is more comfortable.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
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