Textile printing is the process of applying color to the fabric in a particular pattern or design. On properly printed fabrics, the color is tied to the fibers, so that the wash-resistant and friction-resistant. Textile printing is concerned with immersion but in the correct dyeing all uniform fabrics are covered in one color, whereas in printing one or more colors are applied to certain parts only, and in a clear pattern.
In printing, wooden beams, stencils, carved plates, rollers, or silkscreens can be used to place color on the fabric. The dye used in the printing contains thickened dye to prevent the color spread by the capillary appeal beyond the boundaries of the pattern or design.
Video Textile printing
Histori
Woodblock printing is a technique for printing text, drawings or patterns that are widely used throughout East Asia and probably originated in ancient China as a method of printing on textiles and then paper. As a method of printing on cloth, the earliest surviving example of China dates before 220.
Textile printing is known in Europe, through the Islamic world, from around the 12th century, and is widely used. However, European dyes tend to dilute, which limits the use of printed patterns. Ample and ambitious designs are printed for decorative purposes such as wall hangings and pamphlet fabrics, where this is less of a problem as they do not need washing. When paper became common, the technology was quickly used on it for woodcut prints. Superior fabrics are also imported from Islamic countries, but this is much more expensive.
The Inca Peru, Chilean, and Aztec Mexicans also practiced textile printing before the Spanish Invasion in 1519; but due to the lack of records before that date, it is impossible to say whether they found art for themselves, or, in some way, learning its principles from Asia.
During the second half of the seventeenth century, the French carried directly through the sea, from their colonies on the east coast of India, samples of Indian blueprints and white, and along with them, the special things of the process they had produced, washable cloth.
In the early 1630s, East India Company brought cotton printed and plain for the UK market. In the 1660s, British printers and craftsmen made their own print cotton for sale at home, printing one color against a simple background; less colorful than imported prints, but more to the taste of England. The design was also sent to India for the craftsmen to copy for re-export to the UK. There were many mermaids in Britain in the second half of the 17th century, Lancaster being one area and on the Lea River near London the other. Plain fabrics are inserted through a prolonged bleaching process that prepares the material for receiving and retaining the colors used; this process greatly increases the color endurance of the English calicoes and requires a lot of water from nearby rivers. One dye was started by John Meakins, London Quaker who lives in Cripplegate. When he died, he passed his dye house to his son-in-law Benjamin Ollive, Citizen and Dyer, who transferred the dyeworks to Bromley Hall where he remained in the family until 1823, known as Benjamin Ollive and Company, Ollive & amp; Talwin, Joseph Talwin & amp; Company and then Talwin & amp; Help development. Their fabric samples and designs can be found at the Victoria and Albert Museum in London and the Smithsonian Copper-Hewett in New York.
On the continent of Europe, the commercial interests of calorie printing seem to have been recognized immediately, and therefore spread and expand there much faster than in Britain, where it was ignored for almost ninety years after it was introduced. During the last two decades of the 17th century and earlier than the new 18th dye work began in France, Germany, Switzerland, and Austria. It was only in 1738 that the first printing of kalico was practiced in Scotland, and less than twenty-six years later, Messrs Clayton of Bamber Bridge, near Preston, was founded in 1764 first printing in Lancashire, and thus laid the foundations of the industry.
From an artistic point of view, most of the pioneering work in Kalico printing is done by the French. From the early days of industry until the second half of the 20th century, the production of French printers in Jouy, Beauvais, Rouen, and Alsace-Lorraine, was seen as representing all the best in artistic kalico printing.
Maps Textile printing
Method
Traditional textile printing techniques can be broadly categorized into four styles:
- Direct printing, in which dye containing dye, thickener, and mordan or substance required to improve the color of the fabric is printed in the desired pattern.
- Printing mordan in desired pattern before coloring cloth; the colors just stick in place of mordan prints.
- Resistant dyeing, in which wax or other substance is printed on a cloth which is then dyed. The waxed area does not accept dye, leaving a colorless pattern to the colored soil.
- Release printing, where bleach is printed onto a pre-dyed fabric to remove some or all colors.
The technique of resistant and discharge was very popular in the 19th century, such as a combination technique in which indigo resist was used to create a blue background before printing another color block. Modern printing industry primarily uses direct printing techniques.
The printing process does involve several stages of preparing cloth and print paste, and to permanently improve the fabric:
- fabric pre-treatment,
- color preparation,
- print paste preparation,
- the impression of paste on the fabric using the printing method,
- dry cloth,
- fix printing with steam or hot air (for pigments),
- after process maintenance.
Preparation of fabric for printing
Fabrics are prepared by washing and whitening. For colored soil then dyed. The fabric is always brushed, to free it from a loose nap, a flock of sheep and dust taken when it is stored. Often too, it should be shaved by a fast rotating blade spiral arranged round spiral shaft, which quickly and effectively cuts off all filaments and knots, leaving the fabric very smooth and clean and in a condition suitable for receiving impressions from the finest carvings. Some fabrics require very careful stretching and straightening on the stenter before they are wrapped around a central wood or hollow iron into a convenient size roll to be installed on the printing press.
Color Preparation
The art of making colors for textile printing demands extensive chemical knowledge and technical experience, since their materials must not only have the right proportions of each other, but also be specifically selected and aggravated for a particular style of work at hand. Colors should be in accordance with conditions such as shade, quality, and speed; where more color is associated in the same design each must be able to withstand the various operations required for development and other fixation. All prints whether dye material or not known technically as color.
Colors vary in composition. Most of them contain all the elements needed for direct production and fixation. Some, however, contain only dye ingredients and require various treatments after; and the other is just a thickened mordan. A mordant is a metallic salt or other substance that combines with a dye to form an insoluble color, either directly by steaming, or indirectly by immersion. All print colors require thickening to allow them to be transferred from the color-box to the fabric without running or spreading beyond the boundaries of the pattern.
Thickening agent
The printing thickeners used depend on specific printing techniques, fabrics and dyes. Typical thickeners are starch, flour, gom arab, guar gum derivatives, acids, sodium alginate, sodium polyacrylate, Senegal gum and gum tragacanth, English sap or dextrin and albumen.
Thermal soluble thickening materials such as native starch are made into paste by boiling in a double pan or jacketed. Most thickening agents used today are soluble in cold and require only extensive stirring.
- Pasta starch
Pasta starch made of wheat flour, cold water, and olive oil, then thickened by boiling. The non-modified starch is applicable to all colors but very alkaline or strong acid. With the first it thickens up to a stiff jelly and can not work. In the latter case, while the mineral acid or acid salt turns it into dextrin, thereby reducing its viscosity or viscosity, the organic acid has no such effect. Currently, the soluble starch in the modified carboxymethylation is mainly used. It has a stable viscosity and is easy to rinse out of the fabric and provide a reproducible "short" rigid paste.
Pasta flour is made in a manner similar to starch paste; sometimes used to thicken aluminum and iron mordan. Rice resistant starch paste has been used for several centuries in Japan.
- Gums
Arabian gum and Senegal gum are traditionally thickened, but the cost of preventing it is used for pale and delicate colors. They are very useful for thickening light soils of soft muslins and sateens because their properties dissolve completely from fabric fibers in the post-molding process, and they have a long, viscous rheology, providing sharp prints and penetrations both in the fabric. Today guar gum and acid derivatives offer cheaper alternatives.
English sap or dextrin is prepared by heating the starch. It varies in composition, sometimes only slightly baked and consequently only partially converted into dextrin, and at other times becomes very burnt, and almost completely dissolves in cold water and very dark in color. Its thickening power decreases and its supple properties increase as its grilling temperature increases. It is useful for strong acid colors, and with the exception of the Senegal candy, it is the best choice for color and alkaline disposal. As with natural sap, it does not penetrate fiber fibers as deep as flour or pure flour and is not suitable for very dark and strong colors.
Gum tragacanth, or Dragon, which can be mixed in proportion with starch or flour, is equally useful for pigment and spicy colors. When added to the starch paste, it enhances its translucency and enhances its softness without reducing its thickness, making it easier to wash from the fabric. This produces more color even than the starch paste alone. Used by itself is perfect for printing all kinds of dark base on the items needed to maintain the feel of their soft clothes.
Starches always leave the cloth printed rather roughly in the feeling (except modified carboxymethylation starch is used), but very dark colors can be obtained. Senegal gum, modified gum arabic or thickened guar gui produces clearer and even more tints than starch, suitable for lighter colors but less suitable for very dark colors. (The gums seem to prevent the color from fully incorporating the fibers.) Printed stock solutions are largely a combination of modified starch and gum solutions.
- Albums
Album is a thickening and binder agent for insoluble pigments. Chrome yellow, ochres, vermilion, and ultramarine are such pigments. Albums always dissolve in the cold, a process that takes a few days when large quantities are required. Egg albumen is expensive and is only used for the lightest color. The albumen blood solution is used in cases where very dark colors are needed for really quick washing. Once printed, the thickened albumen color is exposed to hot steam, which coagulates the albumen and improves color effectively.
Preparing pasta printing
The combination of water-soluble carboxymethylation starch, guar gum and acid derivatives are most commonly used today in screening dispersers in polyesters. Alginate is used for cotton printing with reactive dyes, sodium polyacrylates for pigment printing, and in the case of vat dyes on cotton only carboxymethylated starch is used.
Previously, the color was always ready for printing by boiling thickening agents, dyes and solvents, together, then cooling and adding various binders. However, at the present time, concentrated solutions of dye and other additives are often only added to cold thickness, of which large quantities are stored in stock.
The color is dimmed by simply adding more paste (printing). For example, dark blue that contains 4 oz. methylene blue per gallon can easily be made into a pale shade by adding it 30 times from the starch paste or chewing gum, as is possible. The procedure is similar to other colors.
Before printing, it is important to filter or sift through all the colors to free them from clumps, fine sand, and other impurities, which will undoubtedly damage the very smooth surfaces of the carved rollers and produce poor prints. Each scratch on the surface of the roller prints fine lines on the fabric, and too much attention, therefore, can not be taken to remove, as far as possible, all coarse particles and other hard particles of any color.
Strain is usually done by squeezing the color through a filter cloth such as artisanal fine cotton, silk or industrial woven fabrics. Fine sieves can also be used for a color that is used hot or very strongly alkaline or acidic.
Print method
There are seven different methods currently used to impress the color pattern on the fabric:
- Print a hand block
- Perrotine printing
- Printing of engraved copper slabs
- Roller, cylinder, or printing machine
- Stencil printing
- Sablon
- Digital Textile Printing
- Debit Printing
Print a hand block
This process is the earliest, simplest and slowest of all printing methods. Design drawn, or moved to, prepared wooden beams. Separate blocks are required for each different color in the design. A blockcutter carves wood around a heavier mass first, leaving the work smoother and finer until the last so as to avoid the risk of injury when the rough parts are cut off. Once completed, the beam has a flat relief engraving appearance, with a prominent design. Fine details, hard to cut wood, built on strips of brass or copper, are bent to be shaped and pushed edgewise onto a flat surface block. This method is known as copper.
The printer applied color to the beam and pressed it firmly and firmly on the cloth, smacking it smartly on the back with a wooden hammer. The second impression is made in the same way, the printer is careful to see that it is exactly the same as the first. Pin in each corner of the block joins right, so the pattern can continue without pause. Each successful impression is made in exactly the same way until the length of the fabric is fully printed. The fabric is then wrapped around a drying roller. If the pattern contains several colors, the fabric is first printed entirely in one color, dried, and then printed with the next.
Printing by hand is a slow process. However, it is capable of producing highly artistic results, some of which can not be obtained by any other method. William Morris used this technique in some of his fabrics.
Perrotine printing
The perrotine is a block printing machine invented by Perrot of Rouen in 1834 and now only for historical purposes.
Roll, cylinder, or machine printing
This process was patented by Bell in 1785, fifteen years after he used an engraved plate to print textiles. Patent Bell is a machine to print six colors at once, but, perhaps because of its incomplete development, it did not work out immediately. One color can be printed satisfactorily; the difficulty is keeping six rollers in the register with each other. This defect was overcome by Adam Parkinson of Manchester in 1785. That year, Bells machines with Parkinson repairs were successfully used by Messrs Livesey, Hargreaves and Bamber Bridge Company, Preston, for calico printing in two to six colors in one operation.
Roller printing is very productive, 10,000 to 12,000 yards is usually printed in one day ten hours by a single color machine. It is capable of reproducing any design style, ranging from fine lines of fine copper engraving to small repetitions and limited color of perrotine to the most extensive effect of block printing with repetition from 1 to 80 inches. Precisely, so that every part of the intricate colorful pattern can be fitted into the right place without the wrong connection at repetition points.
Stencil printing
Art stencils on textile fabrics have been practiced since antiquity by Japan, and found increasing work in Europe for a certain class of decorative work on looms during the late 19th century.
A pattern is cut from a thick piece of paper or a thin metal with a sharp-pointed knife, the uncut part represents the part to be left colorless. The sheet is placed on the fabric and the color is brushed through the crack.
The oddity of the stencil pattern is that they must be held together by the bond. For example, a complete circle can not be cut without a breaking center, so the outline should be disturbed at convenient points with bonds or uncut portions. This limitation affects the design.
For a single-color stencil machine work was patented in 1894 by S. H. Sharp. It consists of a thin endless stencil steel sheet plate that passes continuously over the rolling cast iron cylinder. The fabric to be attached between the two and the color is forced onto it through a hole in the stencil by mechanical means.
Screen-printing
Screen printing is the most common technology today. There are two types: rotating screen printing and flat screen printing (bed). The knife (squeegee) squeezes the printing paste through aperture on the screen onto the fabric.
Digital textile printing
Digital textile printing is often referred to as direct printing into garments, DTG printing, or digital garment printing. This is the process of printing on textiles and garments using special or modified inkjet technology. Inkjet printing on the fabric is also possible with inkjet printers by using cloth sheets with removable paper base. Currently, major inkjet technology manufacturers can offer specialized products designed for direct printing on textiles, not only for sampling but also for mass production. Since the early 1990s, inkjet technology and specially developed water-based inks (known as dye-sublimation or disperse direct ink) have made it possible to print directly onto polyester fabrics. This is mainly related to visual communication in retail and brand promotions (flags, banners and other point of sale applications). Printing to nylon and silk can be done using acid ink. Reactive inks are used for cellulose based fibers such as cotton and linen. Inkjet technology in digital textile printing allows for single pieces, mid-run production and even long-term alternatives to filter printed fabrics.
Other printing methods
Although most jobs are run by one or more of the seven different processes mentioned above, combinations are often used. Sometimes the pattern is printed in part by machine and partly by block, and sometimes cylindrical blocks are used together with carved copper rollers in ordinary printing machines. The block in this latter case in all cases, except the shape, is identical with flat wood or copper blocks, but, instead of dipped in color, it receives its supply from an endless blanket, one part which functions in contact with color coating rollers and other parts with cylindrical blocks. These blocks are known as surface rollers or pegs. Much effort has been made to print the colorful patterns with surface rolls alone, but to date with little success, due to their irregularities in action and the difficulty of preventing them from warping. This defect does not exist in linoleum printing where the color of opaque oil is used, a color that does not sink into the hard linoleum body or tends to curve the roller.
Lithographic printing has been applied to textile fabrics with qualified success. The irregularities and difficulties of registering repetitions have limited their use for the production of decorative panels, equal or smaller in size to plates or stones.
Printing pad was recently introduced in textile printing for the specific purpose of printing garment labels and care labels.
Calico Printing
Goods intended for the printing of heated calories well; otherwise stains and other serious defects will appear during subsequent operations.
The chemical preparations used for special styles will be mentioned in the right place; but the general preparation, used for most of the colors developed and improved only by steaming, consists in passing bleached kalico through a weak solution of sulphated red oil or turkey containing 2.5 to 5 percent fatty acids. Some colors are printed on pure whitened fabrics, but all the patterns that contain red alizarine, roses and salmon colors are very bright by the presence of oil, and indeed very few, if any, colors are adversely affected by it.
Fabrics are always brushed to free him from a loose nap, a flock of sheep and dust taken while being stored. Often too, it should be shaved by a fast rotating blade spiral arranged round spiral shaft, which quickly and effectively cuts off all filaments and knots, leaving the fabric very smooth and clean. Then the stenter, rolling to the beam, and mounting on the printing press.
Wool Printing
Wool printing.
Silk printing
The colors and methods used are the same as the wool, except that in the case of silk there is no preparation of the necessary material before printing, and ordinary dry vapor is preferable to moisture.
Both acid and base dyes play an important role in silk printing, which is to a large extent limited to the production of articles for fashion goods, handkerchiefs, and scarves, all articles of bright colors of interest. Alizarine and other mordan colors are mainly used for items that must withstand repeated leaching or prolonged exposure to light. In this case the silk is often to be prepared in alizarin oil, after which it is treated in all things like cotton, that is steamed, washed and absorbed, the colors used become the same.
Silk is mainly tailored to the effects of discharge and backup. Most acid dyes can be removed in the same way as when dyed on wool. The ordered effect is produced by printing mechanical obstacles, such as wax and fat, on the fabric and then dipping it into a cold dye. The large affinity of silk fibers for basic and acid dyestuffs makes it possible to extract the dye from a cold solution and permanently join it to form an insoluble lake. After immersion, the spare mold is washed, first in cold water to remove the color that is not attached to the fiber, and then in hot water or benzene to dissolve the rejecting body.
Once steamed, the silk items are usually only washed in hot water, but the whole printed in a solid dye will stand to soap, and does require it to brighten the color and soften the material.
Some silk dyes do not require heat or steam regulation. They attack directly, allowing designers to colorize the colors on the colors. This dye is intended primarily for immersion of silk scarves. They also dye bamboo, rayon, linen, and some other natural fabrics such as hemp and wool at lower levels, but not set on cotton.
Artificial fiber printing
See also
- Digital textile printing
- Print-transfer
- Woodblock printing
References
This article combines text from publications now in the public domain: Ã, Cole, Alan Summerly (1911). "Textile-printing". At Chisholm, Hugh. EncyclopÃÆ'Â|dia Britannica . 26 (issue 11). Cambridge University Press. pp.Ã, 694-708.
- Notes
- References
Further reading
- Floud, Peter (1960) Textiles Printed English . London: H. M. S. O. for Victoria & amp; Albert Museum
- Montgomery, Florence (1970) Printed Textiles: Cotton and Linen English and American 1700-1800 . Winterthur, Del.Henry Francis DuPont Winterthur Museum
- Turnbull, John G., ed. (1951) The History of the Printing Industry of Calico, United Kingdom . Altrincham: John Sherratt
Source of the article : Wikipedia
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