Textile

Chemical Processing-II

Prof. V. Sivalingam
National Institute of Fashion Technology,
Bangalore
 GENERAL TRENDS IN PROPERTIES OF ACID DYES

Properties Acid Leveling Acid Milling Neutral Dyeing

Types of Acid Strong Weak Ammonium salt
(2-4% H2SO4) (2-4% CH3COOH) (NH4)2 SO4
(pH <3.5) (pH 3.5-5.5) (pH 5.5-7)
Solubility high------------------------------------------ low

Substantively low-------------------------------------------- High

Level Dyeing very good----------------------------------- fair

Rate of Exhaustion Slow------------------------------------------ fast

Dyeing Time relatively short------------------------------ longer time

Wet – Fastness fair-------------------------------------------- very good

Color – range wide range bright colors----------------- moderate

brightness
WOOL DYEING
 APPLICATION OF ACID DYES TO WOOL

DYEING PROCEDURE FOR ACID LEVELING DYES

Exhaust dyeing is the method of choice for dyeing wool and it

is carried out at different stages of production: raw stock

(loose fibers), slubbing, yarn, or finished garments.

DYEING PROCEDURE FOR ACID LEVELING DYES

The following is a general Acid leveling dyeing

procedure for wool:

• The dye – bath is prepared at 49ºC, in addition to the

acid dyes, an acid (e.g. or other
acidic chemicals are added as required, to obtain the
proper pH of the bath.

) or
other dyeing assistants are added as leveling
agents.
DYEING PROCEDURE FOR ACID LEVELING DYES
Continued……..

• The dyeing machine is run for 5-10 min., after which

the wetted material (raw stock, yarn, or fabric) is
inserted.

• The dye bath temperature is gradually raised (1º per

min) to the boil while agitating the material and/or
circulating the dye solution through the material.

• Dyeing is carried out for 40-60 min., after which the

dyed material is rinsed with cold water and dried.
DYEING PROCEDURE FOR ACID MILLING DYES

• The dye – bath is prepared at 49ºC, in addition to the acid dyes,

an acid (e.g. 1-3% acetic acid o.w.f) or other acidic chemicals
are added as required, to obtain the proper pH of the bath.

• Sodium sulfate (glauber salt: Na2SO4, 0-10% o.w.f) or other

dyeing assistants are added as leveling agent

• The dyeing machine is run for 5-10 min., after which the wetted
material (raw stock, yarn, or fabric) is inserted.

• The dye bath temperature is gradually raised (1º per min) to the
boil while agitating the material and/or circulating the dye
solution through the material.

• Dyeing is carried out for 40-60 min., after which the dyed
material is rinsed with cold water and dried.
 DYEING PROCEDURE FOR
NEUTRAL DYEING ACID DYES

• The material is entered at 60 C in a dye bath

containing 2-5% ammonium acetate (or sulphate),

• The temperature is raised at the boil and dyeing

continued at the boil for 45 minutes.

• No gloubers salt is used in this method.

• Neural dyeing acid dyes possess good fastness to

washing.
 PREMETALLIZED ACID DYES
(METAL COMPLEX DYES)

• The next step in the development of acid dyes with

superior wash fastness has been the incorporation of
a transition metal ion in the dye molecule by the dye
manufacturers.
• These dyes usually contain a Cr³+ ion (some contain
a cobalt ion) bonded to one (1:1 complex) or two (2:1
complex) dye molecules by ionic and coordinate
bonds. Example of thee dyes are C.I. Acid Blue 158
(1:1 complex), and C.I Acid black 60 (2:1 complex).
• The 1:1 metallized dyes are available in a wide range
of colors of moderate brightness. The 1:1 metallized
dyes are easy to dissolve, and have good leveling
properties.
 PREMETALLIZED ACID DYES
(METAL COMPLEX DYES)
Continued……..

• Their main disadvantage, however, is that they

require a large amount of acid (approximately 8%
H2SO4, pH 2) for exhaustion. This strong acidity may
cause damage to the wool.

• The 2:1 metallized dyes, because of their large

molecular size, behave similarly to the netural
dyeing acid dyes.

• The 2:1 metallized dyes are noticed for their very

good wash-fastness and light fastness.
 PREMETALLIZED ACID DYES
(METAL COMPLEX DYES)
Continued……..

• Another advantage of these dyes is that when using

several different colors in the same bath they tend to
exhaust at the same rate, and to the same extent.

• The main disadvantages of the 2:1 metal dyes are the

lack of bright shades, high cost, and poor migration.
 APPLICATION OF 2:1 METAL- COMPLEX
DYES FOR WOOL FIBRES

• The material is pretreated for 10 minutes at 40C in a

bath containing 2-4% ammonium acetate or
ammonium sulphate to obtain the pH range of 6-7
during dyeing.

• The pre dissolved dye solution is then added and the

temperature raised to boil in 45 minutes.

• After dyeing for 30-60 minutes at boil the material is

rinsed with cold water and then dried.
 APPLICATION OF CHROME DYES
FOR WOOL FIBRES

• also called mordant dyes; used on protein fibers

where maximum wet fastness is required.

• Chrome dyes can be applied separately with the

chrome compound, and the end result of the dyeing
process is the formation of a DYE – CHROME – FIBER
complex.

• Chromium attached to the dye and the fiber

simultaneously by ionic and/or coordinate bonds.
• The chrome compounds used are usually sodium
dichromate (Na2Cr2O7) or potassium dichromate
 CHROME DYES CAN BE APPLIED BY THE
FALLOWING METHODS:

1. Bottom Chrome (Chrome Mordant Method):

• The chrome compound (potassium dichromate)
applied first which, in a separate bath and dyeing
with the chrome takes place.

2. Top Chrome or after chrome:

• The dyes (chrome dyes) are applied first by one of
the method used for regular acid dyes. Then the
chrome compound is applied as an after treatment.
The chrome compound can be applied from the
same dye bath or from a new bath.
 CHROME DYES CAN BE APPLIED BY THE
FALLOWING METHODS:
Continued……..

3. Meta Chrome:
Both the chrome compound and the chrome dyes
are applied from the same bath.

Of these three methods the first two are now of historical

value. The Top chrome method is being used, however,
to a large extent, when dull colors with excellent wash
fastness are desired.
 The following is a typical application of
chrome dye - the Top chrome method:
• The dye bath is prepared with the proper amounts of an acid
(Sulphuric acid or acetic acid) and sodium sulfate, and the
chrome dyes.

• The fibers are introduced and the dye bath temperature is raised
to the boil in 30-45 min. Dyeing continues at the boil for additional
30-45 min. During this time a small amount of acid is added if
needed to complete the exhaustion.

• Then the dye-bath temperature is dropped to 71ºC by removing

the part of the dye solution and replacing it by the same amount
cold water.

• Then the proper amount of a solution of the chrome compound is

added (e.g. for 1% Dyeing, 0.5% Sodium dichromate is used).
The temperature of the bath is raised again and kept at the boil for
30-60 min. the treatment is completed by rinsing and drying.
 ADVANTAGES AND DISADVANTAGES OF
CHROME DYES

• In addition to there excellent wash and crock fastness, chrome

dyes have very good light fastness, and very good migration
properties.

• The main disadvantage of the chrome dyes is that during

complexing with the chrome a change in hue takes place. Since
the color change takes place when the dye becomes firmly
attached to the fiber, color matching in this method is difficult.

• Other disadvantages associated with the Top chrome method are

the dulling effect of the chrome on the original color, the length
time of the dyeing procedure, and the toxicity of the chrome
compounds
 APPLICATION OF REACTIVE DYES TO
WOOL FIBERS
In recent development, the reactive dyes offer very high degree of
wet fastness. It is mainly due to covalent bonding with wool keratin.
A reactive dye also produces wide range of bright shades.

• The dye bath is set with 3% ammonium acetate at 40°C to

maintain a pH 7.

• The material is entered and worked in the bath for 15 minutes and
the pH is adjusted with dilute ammonia or acetic acid.

• After 15 minutes 1 % dispersal (non-ionic dispersing agent) and

1% lissolamine (cationic agent) added and the material runs for 5
minutes.

• The dye solution is then added and the temperature raised to boil
in 30 minutes and dyeing is continued at boil for 60 minutes.

• The material is then rinsed and dried.

SILK DYEING
 APPLICATION OF ACID DYES TO SILK FIBERS
Many acid dyes have excellent affinity for silk under neutral conditions and
exhaust well at temperature below the boil.
They are the most widely used class of dyes on silk combining brilliancy of
shades and good color fastness performance with simplicity of application.

• Boiled – off liquor is often used for dyeing. It acts as leveling agent and keeps the silk soft
and lustrous.
• The dye bath is set with 100 - 500 ml per liter boiled-off liquor and made slightly acidic with
acetic or formic acid.
• The material is entered at 50°C and run for 15 minutes before adding the previously
dissolved dyestuff.
• The dyestuff is added in portion wise and the temperature of the dye bath is raised
gradually to 90°C and the bath is maintained this temperature for 30 -60 minutes until the
dyeing is completed.
• After dyeing, the silk is rinsed and brightened by working in a dilute solution of acetic acid,
squeezed well and dried.
• In piece dyeing, 10 - 20 % glauber salt and 1- 3 % sulphuric acid are added to the dye bath.
APPLICATION OF METAL-COMPLEX DYES TO SILK FIBERS

1:2 metal complex dyes are mainly used for silk dyeing.

• The dyestuff is pasted with cold water, then sufficient hot water is added
and the solution is boiled to dissolve the dye completely.

• The material is entered into a cold bath containing 1-2 % leveling agent,2 -
4 % ammonium acetate or ammonium sulphate or 1-2 % acetic acid ( 40 % )
at pH 4 -5.

• The dissolved dyestuff is then added and the temperature of the bath
raised to 90 - 95°C within 30 - 45 minutes and dyeing is continued at this
temperature for 30 minutes.

• The material is taken out, washed, squeezed and dried.

• These dyes gives overall good color fastness and also exhibit very good
fastness to light in pastel shades compared with chrome dyes.
• This method of dyeing is widely used to silk in all forms.
 APPLICATION OF CHROME / MODRANT
DYES TO SILK FIBERS

• Mordant dyes are rarely used on silk except logwood black

• The silk is first steeped in a solution of cutch or myrabolan extract at

50–60°C and then steeped in a solution of pyrolignite of iron at 60 –
70°C

• It is then squeezed and exposed to air for 1-2 hours and washed.
 APPLICATION OF REACTIVE DYES TO SILK FIBERS

The reactive dyes produce bright shades and offer good colorfastness
properties and in this respect are much superior to acid dyes.

They are readily soluble in water and possess good stability in hard
water. They can be applied to both degummed and raw silk.

• The required quantity of dye solution is taken and 20 gms per liter gloubers salt is
added to the dye bath at room temperature (m: l ratio of 1:30)

• The material is entered to the dye bath and worked for few minutes. A further
addition of 30 gms per liter glaubers salt is made in to two portions in the next 20
minutes and the temperature gradually raised to 50C.Dyeing is continued at this
temperature for30 minutes

• Further, 2 gms soda ash or 2.5 gm sodium bicarbonate is added in two portions and
dyeing continued for further period of 30 minutes

• The material is then removed, rinsed thoroughly in cold water, squeezed and
soaped for 15 minutes at 95C in a bath containing 2 gms lisapol per liter

• It is then rinsed well, squeezed and dried.

NYLON DYEING
APPLICATION OF DISPERSE DYES TO NYLON FIBERS

Disperse dyes are the most suitable for nylon on account of their ease
application and uniform levelness. They are primarily used for producing
pastel to medium shades.

One of the main problems associated with dyeing nylon with disperse
dyes is unlevel dyeing which results from irregularities in fibre, and is
referred to as ‘barre’. This type of unlevelness shows up as lighter or
darker streaks or stripes on woven or knitted fabrics extending crosswise.
Barre results from physical and chemical variation in nylon fibres.

• In typical dyeing procedure, the bath is prepared with the disperse dyes
and a dispersing agent, and the pH is adjusted to 5-6 with acetic acid.

• The nylon material is inserted and the dye-bath temperature is gradually

raised to 88-93°C.

• Dyeing continues at maximum temperature for about 60 minutes, after

which the material is rinsed and dried.
APPLICATION OF ACID DYES TO NYLON FIBERS

• The dyes widely used on nylon fibres are acid and premetalized acid
dyes.

• Both anionic and cationic leveling agents are used to slowdown dye
exhaustion. Dyeing is carried out at temperature close to the boil for 1-
2 hours.
• In general acid leveling dyes are easy to level, and can cover
irregularities in yarn and fabrics.
• A wide range of colors with many bright shades are available.
• Selected acid leveling dyes can provide good wash-fastness and light
fastness with bright colors.
APPLICATION OF METAL COMPLEX DYES TO NYLON FIBERS

2:1 metal complex dyes have very good wash and light fastness,
but their shades are not bright as acid leveling dyes.

Therefore, they are used extensively on nylon carpets where

bright colors are usually not desired.

The 2:1 metal complex dyes also suitable for deep shades.

• In a typical dyeing procedure, the dye bath is set at 30°C with

anionic leveling agent equal to the weight of the dye. 1gm per
liter trisodium phosphate and dye solution are then added.

• The temperature is raised to boil at slow rate ( 1°C per min ) to

slow down the rate of dye up-take. The boiling is continued for
30-60 minutes.

• The dyed material is soaped with 1 gm per liter at 50°C for 15

minutes.
 APPLICATION OF REACTIVE DYES TO
NYLON FIBERS

• Reactive dyes are used in special cases where

brilliant colors with very good wash-fastness are
desired.

• In typical dyeing procedure, the bath is prepared with

3% ammonium sulphate, the material is entered at
40°C and after 10 minutes the dye solution is added.

• The dyeing temperature raised to boil within 45

minutes and dyeing continued at the boil for 60
minutes.
ACRYLIC DYEING
 APPLICATION OF BASIC DYES TO ACRYLIC FIBERS

Acrylic fibres are almost always dyed with basic dyes that yield with
wash and light fastness.

The following is a typical procedure for dyeing a medium shade on a

100% acrylic knit with basic dyes.

• The dye bath is prepared with dyeing assistants at 50°C.

• Acidic acid is added to obtain a pH of 4.5-5 and sodium sulfate (5-10% o.w.f) and
a cationic retarder (1-2% o.w.f) are added as leveling agents.
• The fabric is entered and the bath is run for 5 minutes. Then the dissolved
cationic dyes are added slowly over a period of 10 minutes.
• After which the temperature is raised at 1°C per min. to just below the glass
transition temperature (anywhere between 68-85°C) of the fibre.
• Dyeing temperature is kept at this point for 15 minutes, after which it is raised to
the boil. Then the dyeing continues at the boil for about 1 hour.
• When proper shade is obtained, the dye bath is cooled very slowly to about
10°C below the glass transition temperature (to avoid the formation of creases),
and then dropped. The dyeing is completed by rinsing.
POLYESTER DYEING
 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS

Dyeing of polyester with disperse dyes at the boil for a reasonable

length of time will produce only very pale shades.
The compact structure of polyester does not open up well when
immersed in boiling water, and more vigorous conditions are required
for proper dyeing to takes place.

Good results with disperse dyes are obtained when dyeing by one of the
following methods:

1. By using selected disperse dyes having very small molecular size

which can readily diffuse in to the fibres.

2. Atmospheric dyeing with dye-carriers

3. High temperature & High pressure dyeing

4. Continuous dyeing by the thermosol process

 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS
Atmospheric Pressure dyeing with Dye-Carriers:

• Certain chemical called carriers are added to the dye bath; they
swell the fibres at boil to relax the spaces between inner
molecular structures of the fibre to accommodate the dye
particles.
• The swollen fibre structure is helps large dye molecules to
diffuse more rapidly in the fibre. Some of chemicals are used as
carriers are o-phenol; p-o-phenol di-chloro benzene, tri-chloro
benzene.
• The carrier is usually added slowly during the dyeing process
because if it is added at once, the dyestuff may rush on to the
material.

Only a small percentage of the polyester fibres in the use is currently dyed
by this method, since it requires the use of large amounts of the
undesirable dye-carriers.
 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS

HIGH TEMPERATURE-PRESSURE DYEING :

Dyeing at temperature as high as 135°C(275°F) is possible

with new dyeing equipment that can withstand high pressures.

Under these conditions better diffusion and dye-fastness are

obtained without using dye-carriers.
 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS
HIGH TEMPERATURE -PRESSURE DYEING :
Continued……..
Best results with exhaust dyeing are obtained when carried out at
temperatures in the range of 130oC. Dyeing under these conditions
gives:
1. Good overall fastness (wash fastness,crocking,etc.)
2. Particularly good leveling results,
3. The opportunity to eliminate completely the use of dye-carriers
with their associated unpleasant properties,and
4. The possibility of using a wider range of disperse dyes, and a
better coverage of barre.

Dyeing under pressure at lower temperatures (e.g. 115°C) is not recommended.

However for pastel shades lower temperatures(115°C or even atmospheric
dyeing) may be considered.
A small amount of a dye-carrier is some times used for leveling purposes.
APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS
RAPID DYEING UNDER PRESURE:

Rapid dyeing is only possible with machines that can operate

under the following condition:

1. Low liquor ratios ( approx. 1:7 to 1: 10 )

2. Uniform bath temperature thought
3. High dye-bath circulation and/or fast movement of fabric
 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS

RAPID DYEING UNDER HTHP: Continued……..

The following is a typical example of rapid dyeing of 100 % polyester knit

that has been heat set and that has been going to be scoured before
dyeing:

1. Scour with a non ionic surfactant ( 1-2 g/l ) and sodium carbonate
( 1-1.5 g/l ) at 65-70 C for 15-20 minutes, then rinse with a small
amount of acetic acid

2. Set the bath temperature at 50C and add

i. 0.5 – 1 % anionic dispersing agent

ii. 0.25 % sequestering agent ( EDTA )
iii. 0 – 2 % dye carrier
iv. acetic acid to pH 4.5 – 5
 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS
RAPID DYEING UNDER PRESURE: Continued……..

3. Run the bath for 5 – 10 minutes and check Ph

4. Add required % of pre-dispersed dyes slowly

5. Run the bath for 5 – 10 minutes and check Ph

6. Heat as rapidly as possible to 70C

7. Heat 70 -82C at the rate of 2C per minute

8. Heat from 82C to 130C at the rate of 1.5C per minute

9. Dye at 130C for 20 minutes

APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS
RAPID DYEING UNDER PRESURE: Continued……..

10. Cool down the bath to 82C and rinse

11. After-scour ( not needed for light to medium shades )
12. -Reduction Clearing-

Set bath at 50C

Add 2% sodium carbonate
Raise the temperature to 77C
Add 2-3% sodium hydrosulfide
Run at 77-82C for 15-20 minutes

13. Rinse with hot water

14. Neutralize with acetic acid at 50C
 APPLICATION OF DISPERSE DYES TO POLYESTER FIBERS

Continuous dyeing by the Thermosol Process:

• The application is carried out continuously and consists of padding the polyester fabric
with dispese dyes, drying, and then placing the fabric in a curing oven at 200-210C for
less than one minute.

• During which time the dyes diffuse and dissolve in the polyester.

• The padding bath contains in addition to the dyes, acetic acid (pH 4.5-5.5 ) and a wetting
agent(1-3 g/l ).

• A dispersing agent is added only if necessary.

• During the thermosol stage disperse dyes move into the polyester fibres through
sublimation.
defined as “a method of coloring
manufactured fibers by incorporation of
the colorant in the spinning composition
before extrusion into filaments”.
• One of the primary considerations in any
mass coloration process is to ensure
chemical and physical stability of the polymer
colorant mixture.
 ADVANTAGES
Solution dyed features superior colorfastness
“fade proof”
achieve color consistency lot-to-lot
Resistant to fading from abrasion, light and
laundering, and impervious to most chemicals
Wrinkle resistant; maintains shape
Excellent cleanability – washable and stain
resistant
To produce darker shades in blue, black, brown
and green, in economically.
 ADVANTAGES
Available in bright, semi-dull and dull
lusters
Withstands UV degradation –
Heat stability up to 300 degrees centigrade
Light fastness of 1,000 hours
Fiber use established in automotive textiles
Can be woven into fabrics for hospitality
upholstery, draperies, decorator pillows,
tops of bed fashions, outdoor furniture
upholstery, umbrellas and awnings
DYEING OF BLENDS
Union Dyeing

• Components of a blend are dyed the same

shade to obtain a solid color
• Applied to polyester cotton blends
• Applied from a single dye bath or by dyeing
components of the blend one at a time
Cross Dyeing

• Method of obtaining a multi colored effect on

a blend.
• Applicable when two or more contrasting
colors are desired
• Fibers in the blend must have different
affinities to dyes
– Main problem in this method is Staining of one of
the fiber types with the dyes used for the other fiber
type in the blend
– Poor wash fastness
Exhaust dyeing of Polyester/Cotton Blends

The Two-Bath Method:

• Polyester is dyed first using disperse dyes
• A reduction clearing can be applied to remove unfixed
disperse dyes
• Cotton is dyed with suitable dyes for dyeing cellulose

– Best method for union dyeing of cotton/polyester blends

– Chances of stain are minimized
– Can also be used for cross dyeing
– Expensive method
One-Bath Two Step Method (with disperse & reactive
dyes)

• Dye bath is prepared with disperse dyes

• Temperature is raised to the dyeing temperature of
polyester
• After dyeing the polyester temperature is dropped to
the dyeing temperature of cotton
• Reactive dyes are added and dyeing of cotton is
carried out
– Reduction clearing cannot be used
– Saves time and energy
– Both the fibers can be dyed simultaneously in a single dye
bath using proper dyes and maintaining proper temperature
Continuous dyeing of polyester/cotton blends

• Polyester is dyed with disperse dyes

• Afterwards cotton in the blend is dyed with suitable
dyes
• Fabric is treated at very high speed (100 yards per
minute)
• Same pressure is applied along full width of the fabric
• Dye bath content should be constantly monitered
• For dyeing cotton with sulphur dyes, soluble sulphur
dyes should be used
Dyeing Polyester Wool Blends

• Polyester is dyed with disperse dyes & wool

with acid dyes
• Dyeing is carried out at few degrees above the
boil
• Dye carriers have to be used to facilitate the
dyeing of the polyester
• Below the boil wool is heavily stained
• At the boil temperature disperse dyes moves
slowly to the polyester and stains on wool are
reduced
Dyeing with Two-Bath Method

• Polyester is dyed with disperse dyes and

dye carriers
• pH 5-6 and temperature 105 C
• Time 45-60 min
• Reduction clearing is applied to remove
unfixed disperse dyes
• Then wool is dyed in regular manner with
acid dyes
Single Bath Method

• Recommended for light to medium shades

• Dye bath contains both disperse and acid dyes
• Dispersing agent ammonium acetate and acetic acid
• pH 5-6
• Temperature is slowly raised to boil over 45 min
• Dyeing is continued at 100-105 C
• Time not to exceed 60 min
• Fabric is then washed with non ionic detergent at 60
C
Dyeing Acrylic Wool Blends(Single Bath Method)

• Both cationic and acid dyes can be applied

together
• Colored ions may form insoluble complex salts
• To prevent formation of insoluble salts, non
ionis compounds are used as stabilizers
• Set the bath at 120 F
• Acid dyes
• Add Acetic acid pH 4-5
• contd…..
…..contd.

• Retarding agent for the cationic dyes

• Non ionic compounds
• Cationic dyes
• The attraction of colored ions to each other has
a retarding effect on the rate of exhaustion
• Sodium sulphate can be used as a retarder for
both the dyes
TEXTILE PRINTING
 TEXTILE PRINTING

Color designs are developed on fabrics by printing

with dyes and pigments in paste form with
specially designed machines. Printing is used to
apply coloring localized areas only. Printed fabrics
usually have clear-cut edges in the printed portions
on the face of the fabric. Printing allows for great
design flexibility and relatively inexpensive
patterned fabric
DIFFERENCE BETWEEN
DYEING AND PRINTING
 Dyeing Printing
• Mono or multi color application
• Mono color application
• Dyes are applied in paste form
• Dyes are applied in liquid form • Salt is not needed
• Salt is needed
• Temperature is not used during
printing.
• Temperature is used for better
penetration during dyeing • Thickening agent plays an important
role

• Water plays an important role in • Percentage shade is calculated on the

dyeing weight of paste

• Percentage shade is calculated on

the weight of material
• Time is allowed for better • Time is not required since
penetration color is applied on the
surface of the fabric only

• Half bleached fabric is used • Full-bleached fabric is used

for dyeing for printing

• The fabric is handled either • The fabric is handled only in

in open width or in rope open width form
form
• The fabric is to be in dry
• The fabric may be in wet/dry condition only during
condition during dyeing printing

• Uniform color application on • Due to single face printing,

both the faces of fabrics printed face will be darker
 • Machine requirement is
• Machinery requirement is complex by way of design,
comparatively simple screen preparation, printing
(tanks, winches, jiggers, soft machines and after process
flow, padding mangle etc) machineries

• Cost of printing/meter is
• Cost of dyeing/meter is higher
lower
• The process of printing
• The process of dyeing consumes short time
consumes more time
• Printing consumes less
• Dyeing consumes more water
water
 used as a coloring matter
depending on the nature of the fiber.
Lumps are broken by using a wetting agent and a smooth
paste is obtained.
Selected on the basis of cost, fastness & shade requirement

Prevents the spreading of the color on the cloth by

capillary action.
Choice of a thickener depends upon the class of dye to be printed and
the style of printing.
Eg. CMC, British gum, Sodium Alginate, Emulsion thickener etc.
 is used to obtain a smooth paste of the dyestuff
without formation of any lumps
Lumps if allowed to remain get deposited on the cloth during printing
produce dark spots.
For insoluble dyestuffs like vats & Napthols, wetting agents are used to
facilitate -wetting of the dyestuff
For direct, acid, basic & reactive dyes, which are water soluble , a
wetting agent is not normally required

are used to prevent precipitation of dye particles

as the concentration of the dyestuff in the printing paste is high.

.
 are used to reduce frothing in the printing paste

Dyestuffs have a tendency to froth during color preparation and printing

because of
-the presence of wetting agents
-continuous agitation by the printing roller and brush finisher.
Due to frothing
- the paste overflows on the floor or into other color box.
-the print also becomes specky and lighter in shade.
 are Used to improve dyestuff fixation in
printing as well as to shorten fixation time.( swelling compounds)
• Also effective in preventing fixation unevenness that may be caused by
fluctuation of conditions for dyestuff fixation such as time, temp, humidity
etc.
• P- phenyl phenol is applied for polyester,
Thio urea is applied for polyamide,
Resorcinal is applied for polyamide , cotton, acrylic fibers.
 used to take up sufficient amounts
of water during steaming to give mobility to the dye molecules to
enable them to transfer to the fiber.
eg. Urea, Glycerine, Diethylene glycol

are required for printing certain classes of

dyes & also in discharge & resist printing.
Most commonly used oxidizing agents:
-chlorates
-chromates and dichromates
-nitrates and nitrites of sodium
-potassium ferro cyanide
 They are required for
discharge and resist printing as a discharge
chemicals
• Sodium sulphoxilate formaldehyde
• Zinc sulphoxilate formaldehyde
• Potassium sulphite
• Ferrous sulphate, stannous chliride, thio urea.,etc
 HAND SCREEN PRINTING
╠The screen is placed above the cloth and print the cloth
with rubber sqeezes manually
╠After printing each color, the print is dried by bottom
steam pipes or hot air blower
╠After printing, the fabric is dried well and rolled on
cylindrical shaft.
 ╚Advantages
╚Best suited for economical printing of small lots
╚Simple equipment, easy to install & less maintenance as
well as low cost`
╚Damages can be easily controlled
╚Unlimited colors can be printed
╚Maximum possible repeat size is possible
╚Cut- garment prints can be possible
╚Adaptable for both woven and knitted fabrics
HAND BLOCK
PRINTING
HAND BLOCK PRINTED PRODUCTS
HAND SCREEN-PRINTING
 HAND SCREEN-PRINTIN Limitations; -
Half tone designs not possible;
Fine-line paisley prints not possible;
Lengthwise stripe designs not possible,
Slow production, time consumption and low
productivity;
Scope to lot to lot variation;
uneconomical for large production yardage.
AUTOMATIC FLAT BED SCREEN-
PRINTING

• The fully automatic flat printing

machine consists of three units

»Fabric feeding unit

»Printing unit
»Drying unit with plaiter
 The cloth from the batch roll is
taken through guide rolls, tension bars, and fabric guider
and is pressed to the blanket by means of feed roll.
This unit consists of an endless
synthetic rubber blanket, which supports the fabric during
printing & returns to feed position after washing
According to the capacity of the
machine, 8-16 printing stations are available
• Before the start of printing, the screens are positioned
according to the repeat and order of printing.
• The cloth is fed and printing stations are switched on. It
gets printed sequently at various printing units &and leaves
to the drier unit, gets dried & plaited on trolleys.
AUTOMATIC FLAT BED SCREEN-PRINTING

Important Features: -
Large repeat size (up to 60”)  possible;;  
over all & cross border designs are printed
Better color definition than roller prints and Equal to hand

screen;

Adaptable to all woven and knits;

Rapid changeover of designs possible;
Best machine registration.
AUTOMATIC FLAT BED SCREEN-PRINTING
AUTOMATIC FLAT BED SCREEN-PRINTING
 AUTOMATIC FLAT BED PRINTING

Limitations: -

╚ Cost of screen preparation and special

mountings more costly than hand screen;

╚ Not adaptable to low yardage;

╚ Half-tone designs not possible;

╚ Fine-line paisley prints not possible;

╚ Lengthwise stripes not possible.

 ROTARY SCREEN PRINTING
The respective screens are mounted on the rotary heads

Selected squeegees are inserted and connected to the

respective color pumps

The fabric to be printed is fed to the blanket and gets

printed by the respective screens by continuous manner

The printed fabric is conveyed through dryer and plaited

The speed of the printing is possible up to 80

meters/minute
 ROTARY SCREEN PRINTING
Important Features: -
• Printing is continuous;Up to 40-inch repeat size are possible and larger
than roller printing, but smaller than flat bed screen;
• Lengthwise stripe effect possible;
• Fall-on designs possible;
• Adaptable to all woven & knits;
• Cleaner and brighter colors than roller print;
• Excellent color definitions, but less than flat bed screen prints;
• Rapid change over of designs possible;
• Efficient for long runs and moderately small (1000 yards) runs.
ROTARY SCREEN PRINTING
ROTARY SCREEN PRINTING
 ROTARY SCREEN PRINTING

Limitations: -

Cross border designs and Fine-line paisley prints are not

possible

Half tone designs not as effective as in roller printing.

Un economical for short runs

Color penetration is difficult for thicker fabrics

Color consumption and wastage is higher
Design repeat size is smaller than flat bed printing
 SCREEN
PRINTED
PRODUCTS
 Heat Transfer Printing
※In this method, the vapor phase transfer takes place by heating
under pressure at 180-200c for 20 seconds. The dye sublimes
under heat from the paper and is absorbed by thermoplastic
substrates.

※The coloring matter & the thermoplastic binder are transferred to

the fabric under heat & pressure.

※After the release of the film, paper is removed when the design is
completely transferred to the fabric.
 Heat Transfer Printing

important features: -
※ Produces bright, sharp, clear fine-line designs;

※ Ability to print cut garment parts and small items;

※ Adaptable to long and short yardage runs;

※ Rapid pattern changeover possible;

※
※ Simple, low-investment installation steamers, washers, dryers, dryers etc not
required;
※
※ Fewest seconds of all printing processes;
※ Heat setting also accomplished.
Heat Transfer Printing
Heat Transfer Printing
 Heat Transfer Printing

Limitation: -
※Lead-time for paper preparation can cause problems in high
fashion markets;

※Fiber content in fabric should be minimum 50% synthetic

Fiber.

※Cellulose’s  &  protein  fibers  cannot  be  printed;;  

※Over print only on pastels or else will not completely cover
the original color.
Styles of prints
 DIRECT PRINTS

• Also called an application print; most popular print types;

• Design is printed directly onto a white cloth or over a

previously dyed fabric;

In direct style of printing, the required class of dye along

with suitable thickener and other fixation additives are

directly applied to the fabric by suitable means.

⇛This style is direct, simple and reproducible.

⇛ Examples of direct styles are pigment printing, Azoic

printing, Disperse printing, Reactive printing, Vat printing
etc.

⇛The printed cloth is dried, colors are fixed by steaming

(or) dry heat and washed if necessary.
 DIRECT PRINTS

Identification of Direct prints

The background is white, or has large portions of white background.
• the printed design is considerably darker than the dyed backgrounds
• The printed design is lighter in shade on back of the fabric than on
the face. This may not be evident on lightweight fabrics because of
the strike-through of the print paste.
If the fabric is over print…..
• If the background color is the same shade on the face and back
(piece dyed), and the print design are substantially darker than the
background.
 Discharge prints

►Fabrics that are dyed a solid color prior to printing;

The design is applied by screen or roller with a chemical

(sodium sulphoxylate formaldehyde) a reducing agent

“White  discharge  print”
White polka dot on a blue back ground can be made by first dyeing the
fabric blue, then printing appropriate dots with the chemical which
removes the blue color.
 Discharge prints

“Color discharge Print” The color-destroying chemical does not

affect Vat dyes; (the color removing chemical, and vat dye) may be
mixed together in the same print paste.

When printing with this mixture, the color-removing chemical

removes the previously dyed background color while the vat dye
color is simultaneously printed.

A yellow polka dot on a blue background can be made by first

dyeing the fabric “Blue” then printing with a yellow vat dye mixed
with the removing-removing chemical

Discharge print can be made roller & screen methods, but not by
heat transfer printing.
 Discharge prints

• Discharge Prints are not widely used:

Production is more costly than direct print because fabric is to be dyed
prior to printing.

Very careful and precise process control is required.

Developments of automatic rotary screen-printing, high quality blotch
prints, which can produce the same effect at lower lost.
 Discharge prints

-
Print design area is white or a different color or shade than background.

The background color is the same shade on the face and back of the
fabric (piece dyed).

Boundary of the print design shows white traces due to background

color removal.
 Resist prints

Involve  2  steps………
◤ Printing a pattern design on a white fabric with a chemical (wax-like
resinous substance) that will prevent or resist the penetration of dyes.

◤ Piece – dyeing the fabric.

※Not popular type fabric;

※Used where background removal in a fabric can not be discharged;
※Performed as craft or hand printing rather than on production basis; Batik prints, tie-dye prints
and ikat prints.
 Pigment printing
⇌Pigment printing is one of the simplest direct styles, which is
applicable to all class fibres

⇌ Since the pigments are insoluble coloring matters, they are physically
applied by means of binders.

⇌Pigments are classified into organic and inorganic pigments

⇌ Inorganic pigments are carbon black, titanium di oxide are widely used.
⇌ Organic pigments which are of azo,diazo,pathalocyanine,thioindigo are usually
preferred for printing
 Pigment Prints

Identification: -

Comparing the differences in fabric stiffness between a

designs printed portion and a non-printed portion of the
same fabric.

The pigment print area will be slightly stiffer and a bit

thicker than the non-print area. Deep shades are stiffer
than light shades.
 Pigment Prints

Advantages of Pigment Printing: -

Pigment prints are least costly. Because, Simple to apply; Lease amount
of processing; No after treatments (steaming & Washing).
Pigments produces bright, rich colors; Applied to all fibers;
Good to excellent fastness to light and dry cleaning;
Widely used for drapery and curtain fabrics;
Excellent lot-to-lot shades matching attainable;

Disadvantages
╠ Loose depth of shade gradually and become more faded look with each
laundering;
╠ Poor fastness to crocking especially in dark colors.
 Blotch Prints

• It is a special variety of direct print.

• The background "color has been created by printing rather than piece
dyeing;
• The print pattern design and background color are printed on to a
white fabric in one printing operation;

• Imitates discharge or resist print effects.

• One of the problem is that sometimes the large background areas of
the print are not covered with full depth of color
 Blotch Prints

Identification: -

• The blotch print, the design pattern & background color is lighter
on backside of the fabric.
• Possibilities of large background color areas of the print are not
covered with full depth of colors;

• Precious control is necessary;

• If pigment prints, fabrics very often result in objectionable stiff
hand.
 Flock Printing

-
Tiny  particles  of  fibers  (1/10”  – 1/4”)  are  made  to  adhere  to  a  fabric  surface  
in according to a particular pattern design;

Rayon’s  and  nylon  fibers  most  popular  

Fibers are dyed prior to flocking;

⇛ Printing the design with adhesive

⇛exposing the fibre flock to the fabric.

The flock will be held to the fabric only in those portions where the adhesive
was first applied.
Flock Printing
Flock Printing
 Flock Printing

Mechanical flocking:-

》The fibre flock is shifted on to the fabric while the fabric is passing in
open width through flocking chamber;

》Mechanical beaters cause fabrics to vibrate become the fibres to sticks

on fabric.

》The fibres alignment in the print pattern will not be uniform

 Flock Printing

Electrostatic flocking:-
≧Flock particles are given electrostatic charge, which helps rests all fibers
being oriented in an upright position when they adhere to fabric;

≧Slower and more costly, but results in a more uniform and denser flock.

≧The ability of flocked fabric to with stand dry cleaning and washing
depends quality & characteristics of adhesive.
 Burn-out Prints

ↂ Printing with chemical substance (sulfuric acid) that will destroy the fibre
in the pattern design print area.

ↂ The printed pattern would become transparent and stiffer. Generally

used for cotton and rayon fabrics

ↂ Fabrics are used in low-cost summer blouses and cotton lingerie.

ↂ Interesting designs can be created with blends.

 Duplex Prints

• Fabrics in which both sides of the fabric have been printed;

• Most often they are made to imitate woven yarn dyed design
effects such as stripes,checks and plaids

• Imitate Jacquard & Dobby woven design fabric;

• Very expensive printing.

 Engineered Prints

• Prints that have two or more distinct designs, each located in

separate areas of the fabric, and each designed to become a
specific part of the garment;

• The placement within the print and yardage of each of the

design elements must be carefully worked out so that optimum
fabric utilization can be achieved with minimum wastage

• Printed by hand screen or heat transfer methods.

 Warp Prints

• Warp Prints involve printing the warp yarns of a

fabric before it is placed on the loom for
weaving, then, the fabric is woven with a solid
color weft usually white or contrast color
• The result is a soft, shadowy design on the
fabric

• Producing warp prints require careful and

skilled labor
• These prints are found almost exclusively on
high quantity and expensive fabrics.
 Discharge Printing on Polyester
►Padding
►Drying at a temperature of 100 o C
►The original depth of color is realized during steaming after printing

Padding Recipe

• Resist salt can also be padded prior to printing

Selection of Discharge Agents
 White Discharge Recipe
Zinc Sulphoxylate formaldehyde - 10 – 15%
(discharging agent)
Citric acid (acid buffer) - 1.0%
Anti foaming agent - 0.5%
Optical brightener (White - R) - 0.5 – 1.0%
Fixation accelerator - 1.0%
(for fibre swelling)
Thickener paste - balance

Total - 100 parts

 Color Discharge Recipe

• Non dischargeable disperse dyes -X%

• SnCl2 -4–8%
(Discharging agent)
• Citric acid - 1%
• Sodium Acetate - 1.0 – 2.0%
(mild alkali for HCl neutralizing)
• Anti foaming agent - 0.5%
• DEG/PEG (penetrant) - 1%
• Fixation Accelerator - 1%
• Thickening paste - balance

Total - 100 parts

-
Precautions
Typical padding recipe is as followed :
Printing Recipe
White Discharge
Rangalite - c - 12 - 18% (Discharging agent)
Potassium Carbonate - 8 - 10% (Alkali)
Glycerine - 2- 5% (Hygroscopic Agent)
Sodium hydroxide - 0.5 - 1 % (Strong Alkali)
Ti02 (1:1 paste) - 1-2% (whitening agent)
Optical brightener - 0.5% (To improve whiteness)
(Ranipal 2B)
Thickening Paste - balance

Total - 100 parts

Colour Discharge
Vat dye -x%
(non dischargeable illumination colour)
(Paste I Fine powder Forms dispersed)
Rangolite - c - 8 - 15% (discharging agent)
Potassium carbonate - 8 - 10% (Alkali)
Glycerine - 2-5%(penetrant)
Thickening Paste - Balance

Total -100 parts

 are crushed and powdered, mixed with glycerine &
water (not more than 60 C) and then added to the thickening.

Process
Print (Rotary (or) flat screen printing)
Dry (Temp not exceeding 60 - 80 C)
Cool up to 25 C (for better colour yield)
Immediately steam for 8 -12 minutes at 102 C - 103 C
Saturated steam) (Remove air from steamer before steaming)

►
►
►
►
►
► Dry
Process sequence:
 Resist Printing
►

If the ground colour is resisted from fixation

by the printed resist, the out come being white printed pattern on a
colour ground.
By incorporating a dye, which is not affected by
the resisting agent, after printing, drying and ground colour application the
ground colour is resisted at the printed portions during fixation.
The outcome being coloured motifs, which are clearly seen on a coloured
ground.
Resisting agents can be basically classified into
(1)Chemical resist
(2)Mechanical resist.

I.Chemical Resist

For example the printed resist with acid can prevent the fixation of alkali
reactive ground by neutralizing effect. They prevent fixation or development of the
ground colour by chemically reactive with the dye or with the reagents necessary
for its fixation.

II. Mechanical Resist

Mechanical resisting agents can be of hydrophobic substances like
wax, physical resisting agents like printed thickener paste, water proof
finishing agents, resins, polymers etc.,
 Pigment Resist on Reactive with Acid

Principle Most of the reactive colours on cellulose fabrics'are fixed

by alkali medium.

►When non - volatile organic acids like citric or tartaric acids or acid salts like mono sodium
phosphate are preprinted along with acid resistant thickener gum and dried followed by ground
colour application by padding or over print.

During actual steaming, the acid present in the printed areas neutralizes
the over printed alkaline ground colour, thus preventing the development
of ground reactive colour at the printed areas.

Acid Stable Thickeners

White Resist Recipe

 Method I

Print white or colour resist

Dry at moderate temperature

Nip pad alkaline reactive colour liquor

Recipe Of padding:
Reactive dye -Xgpl
Urea -xl5 gpl
Soda ash (or) sodium bicarbonate - 10-20 gpl
Resist Salt -10-20 gpl
Sodium Alginate (3% paste) -50 g
(Anti migrating agent)

Total 1.00 litre

Dry in float dryer) at 100 C

Neutral steaming for 8 - 10 at 102 C

Washing Sequence
Cool wash Hot wash Hot soap 1- Hot wash Cold wash Dye fixing
60-80oC 2 gpl (optional)
Non ionic
soap 70-80
oC

Dry

Method II
Instead of nip padding the ground colour can be over printed with
alkaline reactive paste during printing itself by wet on wet over print. This
system saves additional process.
Method III
Since, alkaline reactive colour pad liquor is unstable (hydrolysis), this system
involves two-phase fixation by neutral reactive colour padding followed by alkali
application and steaming after resist printing.
method:

Print resist

Dry

Pad with neutral reactive colour

Dry
Alkali Pad Recipe
Nip pad with alkali NaOH -20ml (38oTw)
Na2S04 - 200g (Salt used)
Steaming for 20 sec 102o C followed by Washing Nacl - 100g
To prevent bleeding

Total - 1.00 liter

Discharge printing Resist printing
KHADI PRINTING
Khadi printing is usually carried out on a dyed fabric with a paste containing a white opaque
pigment like Ti02, thus producing a white effect on a coloured ground.

By adding a colour pigment, a coloured khadi effect can be obtained.

When a white pigment like Ti02 is printed on a lustrous rayon fabric, a matt pattern on a
lustrous ground is obtained. This process is known as 'DAMASK PRINTING'.
WHITE KHADI: Recipe
Ti02 - 30 % (white pigment)
Binder - 30% (Film Forming polymer)
(Resin) Fixer CCL - 1-2 % (Cross linking resin)
Glycerine - 2-3 %( Anti -choking agent)
Urea - 2-5%( hygroscopic agent)
Flourescent brightener - 0.5%
Acid liberating catalyst
DAP Or I Catalyst LCP } - 0.5 - 1 % ,
Kerosene emulsion paste - balance

Total 100.00 parts

PROCESS:-
Print

Dry(120oC)

Cure - 150 C for 4-5 min (for DAP catalyst)

(Or)
110oC for 4-5 min (LCP catalyst)
 These prints are usually produced on dark grounds.
Metallic powders are used to obtain gold and silver effect printing.
The metallic powder should be of lower particle size (0.5 - 5 Il), so that it could easily pass
through the screen.
Bronze I Brass powder is used for gold printing effects.
Aluminium powder is used for silver effects.
Copper powder is used for copper effects.

The binder, which is used for this printing, should be of good film strength, good adhesive tack &
chemically inert.
Readymade metal binders are available in the market. The recipe used for the metallic prints is
Recipe: .

Metal powder -15-20%

(Gold /silver/copper )
Metal binder - 80-85%
Fixer -1-2%
Glycerine - 2-5%

PROCESS

Print

Dry (moderate up to 80 C)

Cure (150 C for 5 minutes)

 PROBLEMS
It gives harsh feel.

Frequent choking problems (To avoid this lower mesh should be taken)

Print should not get tarnished on longer usage.

Normally acid catalyst is avoided to prevent tarnishing (or) metal dulling

 TEMPERATURE SENSITIVE DYES
• In this type of printing, finely grounded liquid crystals are
incorporated in the print paste.

• The property of these liquid crystals is that they change colour with temperature.
Thus the printed design would show variation of colours depending on the
surrounding temperature.

• This type printing is also sometimes called as "Magic print".

• Because, in the normal sunlight where temperature is higher, no design is visibie.

• However in shade or at cooler place the design becomes visible.
• The depth of the colour increases with the decrease in temperature. The colours
are sensitive even to body temperature.
 PLASTIC PRINTING:

►Plastisols are thermoplastic inks.

►The inks are produced by blending vinyl chloride dispersion resins with high boiling point organic
solvents, plasticizers, pigments etc.
►The dry ingredients are in suspension and when the ink is subjected heat, the resin particles soften,
swell and absorb the liquid part, melting together forming a film on the fabric.
►To make them more permanent, plastisol inks are dried and are polymerized by the application of heat.
Here two types of printing are employed.

•Using inks, which is directly applied on to the fabric.

•Using plastisols in transfer paper.

Here white PVC is used for white prints. Pigment inks are used for colour prints

PROCESS:-

Print
Cure
 ADVANTAGES:

• High opaque build up & flexibility

• They give bright colours directly on dark grounds.
• Better fastness of prints.
• It is used for all kind of fabrics and surfaces.
• Plastisol inks are easy to use.
• T-shirt garments with fancy prints occupy a major role because of permanency,
brightness and attraction.

DISADVANTAGES:

• They do not withstand dry-cleaning.

• High temperature ironing re-melts the design.

 RUBBER PRINTS:

PVC polymer based plastiols even though offer bright, attractive, opaque prints are prone
to cracking effect due to rigidity of polymer layer.

This problem is evident in printed T-shirts or children wear that any flexing in usage cracks
the prints, apart from harsh feel of printed portion.
In order to overcome this defect, modern plastisol formulations are made with co-polymers
of PVC and Butadiene or polyurethane.

This system renders flexibility of printed film during usage without cracking and gives elasticity
to the prints.
 FOAM OR PUFF PRINTS

⇛Foam binder consists of an opaque polymer emulsion of printable

viscosity containing a blowing agent.

⇛This agent decomposes on application of heat liberating nitrogen gas.

PROCESS:
Print

Dry at 90 -100 c

Cure at 150 -160 c for 15-30 sec

During the stage of curing, the blowing agent present in the paste decomposes
and the liberated gas raises the polymeric film at the printed portion, which
gives an embroidery look.

The volume is increased to 50 times on blowing up.

1. Coloured effect can be obtained by using pigments.

2. The flourescent pigments are available in powder form.
3. Direct mixing of fluorescent pigments in the foam binder results in nonuniform
prints.
4. It is recommended to make first a smooth paste of the flourescent
colours with pigment printing binder and then mix them with foam binder.
5. The over all effect resembles raised embroidery pattem.
 PEARL PRINTING:
⋗Metallic prints even though offer shine and luster, are marked by harsh feel on the
printed portions.

⋗This can be overcome by pearl prints. This system involves binder, fixer, and
catalyst components along with titanium dioxide. The extra shine is enhanced by
incorporation of pearlascent salts like lead carbonate, Bismuth oxide chloride (Biocl)
or Bismuth trichloride.

⋗This combination is called pearl print. This can be used in self as white pearl or in
combination with pigments to get multi colour or metallic effects with soft feel.
PROCESS:

Print

dry at 120 C

⋗ cure at 150 C for 4 to 5 min

 GLITTER PRINTS:
ƏӘ These printing differ from metallic (gold, silver, and copper) or pearl prints in
the sense that the particle size of the glitter powder is much bigger (250 - 500
!l) compared to metallic or pearl powders.

ƏӘ The effect of glitter prints is therefore more prominent compared to metallic or

pearl prints.

Two types glitter powders are available in the market.

(a) Metallized polyester film glitter. The colour of this glitter powder
is not resistant to solvents.
(b) Anodized aluminium glitter. The glitter powders have the hiding
power. Therefore it can be used on white and dark grounds. The
effect is much better on dark grounds.
☶ There are three possibilities of obtaining glitter prints-

☶ Direct printing using suitable binders system. The mesh of the screen
should be large enough to allow the passage of glitter particles in the form of design.

☶ Printing the blank transparent binder paste while it is still in wet

condition, sprinkling the glitter powder through screen or directly
on to the wet print. The powder would adhere to the wet print paste
in the form of design. The subsequent drying and curing would fix
the glitter print.

☶ The third possibility is through film release transfer technique.

☶ In this technique the glitter is embedded in the form of design on a

release paper between two transparent layers of thermoplastic
polymer film.

☶ The design is then transferred on to the fabric under the action of

heat and pressure.
 LEATHERY PRINTS:
The leathery effects on garments can be introduced using binders based on
polyurethane.

This will give shiny and leathery effect with some

stretch ability.

When printed with a metal gauge screen with deeper engraving they
give 3-dimensional raised effect on garments. Letterings and
prominent motifs are printed in this style.
 LASER PRINTS:

laser
binder tonal
variations
PRINTED FABRIC DEFECTS
 PRINTED FABRIC DEFECTS

The imperfections or defects may results from

• Improper printing procedure

• Improper preparation of fabric prior to
printing
• Imperfections in the material
 PRINTED FABRIC DEFECTS

Color drag
• Color of the print smudges from rubbing against an object before
it becomes dry

Color splatter
• The print paste instead of being placed on the fabric is thrown or
splatters on tot he fabric surface.

Fuzzy pattern
• The edges of the pattern are not sharp or clear lines; caused by
improper singeing or inadequate viscosity of print paste.
 PRINTED FABRIC DEFECTS

Off-register/out-of-fit/out-of-register
• Printing rolls, or screens improperly aligned so, patterns do not aligned
properly.

Stop mark
• Color streak across the fabric due to stopping and restarting of the machine.

Tender spots
• Weakened areas in the print design, due to excessive chemicals