Preamble
This is the eighty-eighth 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
Some fibers are naturally moth proof, as moths are not attracted to them. Wool and fabrics containing wool can now be made moth repellant through the use of fabric finishes.
"Wait - leave it on!"
Certain chemical substances added during laundering or dry-cleaning will protect the fabric for several months. By the addition of chemical substances during cloth manufacture wool fabrics can be made immune to moth damage for life. The finish adds only a little to the cost but is a valuable asset for sweaters or other articles that may be stored for a long period of time.
Other external means of controlling moth damage to clothes is to use odors that repel, such as paradichlorobenzene and naphthalene (moth balls), in the vicinity where clothes are stored.
Today's post centres on finishes to prevent attack by insects and micro-organisms.
Micro-organisms.
Finishes to Prevent Attack by Insects and Micro-Organisms
Natural and viscose fibers, unlike acetate and synthetic fibers, are prone to be eaten or otherwise detrimentally affected by various insects and micro-organisms.
Moth damage to clothes.
Wool is the main dietary constituent of sundry species of clothes moth larvae and carpet beetles. Chlorinated hydrocarbon compounds, such as Mitin FF, Eulan U33, and Dieldrin are easily applied to make wool fibers unpalatable and poisonous to these insects.
The amount of chlorinated hydrocarbon applied varies from 0.05% for Dieldrin to 1.5% for Eulan U33. The percentages are based upon the mass of wool textile material treated, to provide effective protection for wool, but to be harmless to the wearer. The chemical stability of these agents is responsible for the durability and effectiveness of their moth proofing finishes; but it is also their chemical stability which tends to make them non-biodegradable. This explains their decreasing usage and increasing replacement by such biodegradable, synthetic pyrethroids as permethrin. This is the common or generic name for biodegradable, synthetic chlorinated hydrocarbon compounds similar to pyrethrin.
Pyrethrin is the common, natural, biodegradable, insecticidal component of most fly-sprays; but because pyrethrin is unstable or readily breaks down in the presence of sunlight, it can only be used as a temporary mothproofing agent. Permethrin, however, is stable in sunlight and thus provides a durable, effective mothproofing finish. it is applied in amounts varying from 0.1 to 0.2 per cent according to the mass of wool textile to be treated.
Industrial cotton textile materials may have to be mildew-proofed and/or rot proofed.
Rot-proofed and Water-proofed Cotton Canvas.
Mildew-proofing is to protect the cotton textile against fungi or vegetable micro-organismic growth on fibers.
This outdoor Greystone Coral solarium fabric is mildew and stain/water resistant.
Rot-proofing protects cotton against the much more destructive micro-organisms found in soil and decaying matter. Micro-organisms also create very acidic conditions which are most detrimental to cotton. Cotton textiles can be protected against the detrimental effects of micro-organisms by the following means:
(i) Applying antiseptic agents, such as salicylanilide, cupric sulfate or bluestone, or cationic agents such as Cetyl trim ethyl ammonium chloride; these agents give not only temporary protection against rot and mildew but need to be regularly re-applied to maintain adequate protection.
(ii) Chemically modifying the cellulose polymer in cotton fibers. This can be done by treating them with acrylonitrile, which is a vinyl cyanide and which makes the cellulose polymer poisonous to any micro-organism.
(iii) As rot- and mildew-proof finishes are not normally applied to cotton textiles intended for apparel use, it is important to keep these textiles clean and dry. Soiled clothes should be kept dry and washed as soon as possible. Sunning and airing should be done frequently during periods of high humidity. An electric light can be used in dark humid storage places. Dehumidifiers in homes are very helpful. If mildew occurs, wash the article immediately. Mild stains can be removed by bleaching.
White mold on clothing stored in a closet.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
[2] E.P.G. Gohl and L.D. Vilensky, Textile Science, Longman Cheshire, Melbourne (1989).
This is the eighty-eighth 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
Some fibers are naturally moth proof, as moths are not attracted to them. Wool and fabrics containing wool can now be made moth repellant through the use of fabric finishes.
Certain chemical substances added during laundering or dry-cleaning will protect the fabric for several months. By the addition of chemical substances during cloth manufacture wool fabrics can be made immune to moth damage for life. The finish adds only a little to the cost but is a valuable asset for sweaters or other articles that may be stored for a long period of time.
Today's post centres on finishes to prevent attack by insects and micro-organisms.
Finishes to Prevent Attack by Insects and Micro-Organisms
Natural and viscose fibers, unlike acetate and synthetic fibers, are prone to be eaten or otherwise detrimentally affected by various insects and micro-organisms.
Wool is the main dietary constituent of sundry species of clothes moth larvae and carpet beetles. Chlorinated hydrocarbon compounds, such as Mitin FF, Eulan U33, and Dieldrin are easily applied to make wool fibers unpalatable and poisonous to these insects.
The amount of chlorinated hydrocarbon applied varies from 0.05% for Dieldrin to 1.5% for Eulan U33. The percentages are based upon the mass of wool textile material treated, to provide effective protection for wool, but to be harmless to the wearer. The chemical stability of these agents is responsible for the durability and effectiveness of their moth proofing finishes; but it is also their chemical stability which tends to make them non-biodegradable. This explains their decreasing usage and increasing replacement by such biodegradable, synthetic pyrethroids as permethrin. This is the common or generic name for biodegradable, synthetic chlorinated hydrocarbon compounds similar to pyrethrin.
Pyrethrin is the common, natural, biodegradable, insecticidal component of most fly-sprays; but because pyrethrin is unstable or readily breaks down in the presence of sunlight, it can only be used as a temporary mothproofing agent. Permethrin, however, is stable in sunlight and thus provides a durable, effective mothproofing finish. it is applied in amounts varying from 0.1 to 0.2 per cent according to the mass of wool textile to be treated.
Industrial cotton textile materials may have to be mildew-proofed and/or rot proofed.
Mildew-proofing is to protect the cotton textile against fungi or vegetable micro-organismic growth on fibers.
Rot-proofing protects cotton against the much more destructive micro-organisms found in soil and decaying matter. Micro-organisms also create very acidic conditions which are most detrimental to cotton. Cotton textiles can be protected against the detrimental effects of micro-organisms by the following means:
(i) Applying antiseptic agents, such as salicylanilide, cupric sulfate or bluestone, or cationic agents such as Cetyl trim ethyl ammonium chloride; these agents give not only temporary protection against rot and mildew but need to be regularly re-applied to maintain adequate protection.
(ii) Chemically modifying the cellulose polymer in cotton fibers. This can be done by treating them with acrylonitrile, which is a vinyl cyanide and which makes the cellulose polymer poisonous to any micro-organism.
(iii) As rot- and mildew-proof finishes are not normally applied to cotton textiles intended for apparel use, it is important to keep these textiles clean and dry. Soiled clothes should be kept dry and washed as soon as possible. Sunning and airing should be done frequently during periods of high humidity. An electric light can be used in dark humid storage places. Dehumidifiers in homes are very helpful. If mildew occurs, wash the article immediately. Mild stains can be removed by bleaching.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
[2] E.P.G. Gohl and L.D. Vilensky, Textile Science, Longman Cheshire, Melbourne (1989).
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