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DYE
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DYLON
MENTOR-
Mr. GOUTAM BAR SIR

BY- MANSI GAUTAM

TD 3rd Year, 5th Semester
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DYEING OF NYLON Pg: 1-10

*Introduction Pg: 1-3

*Different dyeing method Pg: 4-7

with mechanism

*Advancement or latest Pg: 8-9

trend and technology

*Comparative study of Pg: 9

different dye

*Conclusion Pg: 10

PRINTING Pg: 11-20

*Conventional Printing
Method

References Pg: 21-22

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INTRODUCTION-
Nylon is a synthetic polymer, invented on February 28, 1935, by Wallace Carothers at the
E.I. du Pont de Nemours and Company of Wilmington, Delaware, USA. The material was
announced in 1938 and the first nylon products; a nylon bristle toothbrush made with
nylon yarn (went on sale on February 24, 1938) and more famously, women’s stockings
(went on sale on May 15, 1940). Nylon fibres are now used to make many synthetic fab-
rics, and solid nylon is used as an engineering material.
Nylon is the generic name for polyamide polymers which are linear polymers with struc-
tural units linked by amide functional group NHCO. Depending on the chemical compo-
sition of the elementary units nylon fibres are denoted as Nylon X or Nylon Y, Z, where X
is the number of carbon atoms in the amino acid, and Y and Z are the numbers of carbon
atoms in the diamine and dicarboxyl acids, respectively.
The most commercially important types are Nylon 6 and Nylon 6,6. Properties of Nylon 6
and Nylon 6,6 may vary depending on the exact conditions of manufacture such as draw
ratio, rate of drawing and temperature applied. Nylon fibres can be set by steaming or by
dry heat; this treatment improves dimensional stability, wear and resistance to repeated
washing. Nylon 6 can be easily dyed by acidic, dispersed, chrome and vat dyes due to the
hydrophilic groups present in the molecule chains. Nylon 6,6 can be dyed by dispersion
as well as acid dyes. [4]

Production of nylon-
There are two common methods of making nylon for fibre applications. In one approach,
molecules with an acid (COOH) group on each end are reacted with molecules contain-
ing amine (NH2) groups on each end. The resulting nylon is named on the basis of the
number of carbon atoms separating the two acid groups and the two amines. Thus nylon
6,6 which is widely used for fibres is made from adipic acid and hexamethylene diamine.
The two compounds form a salt, known as nylon salt, an exact 1:1 ratio of acid to base.
This salt is then dried and heated under vacuum to eliminate water and form the polymer.

{NH2(CH2)5COOH}m+{NH2(CH2)5COOH}n
={NH2(CH2)5COOH}m+n+H2O

In another approach, a compound containing an amine at one end and an acid at the
other is polymerized to form a chain with repeating units of (-NH-[CH2]n-CO-)x. If n=5,
the nylon is referred to as nylon 6, another common form of this polymer. The commer-
cial production of nylon 6 begins with caprolactam uses a ring-opening polymerization.

nNH2(CH2)6NH2+ nHOOC(CH2)4COOH
={NH(CH2)6NHCO(CH2)4CO}n+nH2O

In both cases, the polyamide is melt-spun and drawn after cooling to give the desired
properties for each intended use. Production of nylon industrial and carpet fibres begins
with an aqueous solution of monomers and proceeds continuously through polymeriza-
tion, spinning, drawing, or draw-texturing. [4]

01
STRUCTURE-
Similar to many synthetic polymers nylon is partly crystalline and partly amorphous. Neigh-
bouring macro-molecular chains of nylon are linked both by van der Waals forces and hy-
drogen bonds between NH and CO groups. This facilitates the formation of multi-folded
molecular chains arranged in crystalline sheet-like accumulates, which are some 6–10 nm
in thickness, and fibrillar aggregates. Nylon is a thermoplastic fibre and therefore it is pro-
duced by a melt-spinning process as a continuous filament followed by fibre drawing aimed
at the improvement of mechanical properties.

Characteristics of Nylon Fiber

Excellent tensile strength
Excellent abrasion-resistant
Lustrous
Fair absorbency
Static resistance can lie in between from fair to poor
Heat Resistance is fair
Resistance to sunlight is poor
Wrinkle Resistance is excellent
Elasticity is excellent
Flame Resistance. It does not burn
Easy to wash
Resistant to damage from oil and many chemicals
Resilient
Low in moisture absorbency
Filament yarns provide smooth, soft, long-lasting fabrics
Spun yarns lend fabrics lightweight and warmth

Nylon is a tough material that is difficult to tear and exhibits excellent abrasion resistance.
It can bend and will bounce back. It is not damaged by oils, solvents or alcohols. However,
when exposed to acids such as dilute sulfuric acid it will begin to break down. The material
will also be damaged if it comes into contact with phenols, alkalis, and iodine. It is a hy-
groscopic (tending to absorb moisture from the air) material and on the molecular level
tends to absorb moisture from the surrounding environment. Water molecules bond with
the amide groups in the nylon molecules and cause the material to swell. At the same time,
nylon tends not to absorb water droplets from minor splashing, making it dry to the touch.
Nylon will decompose under sunlight so often UV resistance additives are used. Nylon is not
affected by fungi, moulds and mildew and is not eaten by insects.

02
USES-

Apparel-
hosiery, lingerie, dresses, raincoats, ski apparel, windbreakers, swimwear, and workout
clothes.

Home Furnishings- Bedspreads, carpets, curtains, upholstery.

Industrial and Other Uses-

Tire cord, hoses, conveyer and seat belts, parachutes, racket strings, ropes and nets,
sleeping bags, tarpaulins, tents, thread, monofilament fishing line, dental floss.

03
 Dyeing method
Nylon has amino group which is similar to wool and silk’s amino group. That’s why the
same dyes can be used like Acid Dye, Disperse Dye, Metal Complex Dye, Reactive Dye.

NOTE- Amino group is a functional group that consists of a nitrogen atom attached by
single bonds to hydrogen atoms, alkyl groups, aryl groups, or a combination of these
three.

DYEING OF NYLON WITH ACID DYE

Acid dye class is a water-soluble class of dyes with anionic properties. The textile acid dyes
are effective for protein fibres such as silk, wool, nylon and modified acrylics. Acid dyes fix
to the fibres by hydrogen bonding, Vander Waals forces and ionic linkages.

PROCESS-

The liquor is made up with a quantity of CH3COOH equivalent to 4-5% weight of the
fabric and 10-15% of NaCl according to the weight of the fabric. The temperature is raised
to 40 degrees Celcius then we add fabric into the solution and wait for 10-20 mins so that
ph can equalize. Then dye is added into liquor according to the shade depth and raised to
boil over a period of 45 mins and temperature is raised up to 80-85 degrees Celcius. The
M:L ratio is 1:30 over here. After the treatment first fabric is rinsed with cold water and
then with hot water and at last soaping is done.

Mechanism-

Dyeing of acid dyes on nylon involves the formation of positive sites at the end amino
groups of the fibre macro-molecules by the hydrogen ions supplied by the acid used
in the dyebath, and adsorption and binding of the dye anions at these positive sites.
The electrostatic bond formed between the dye anion and fibre positive site being fairly
strong, the initial unevenness, if caused, is difficult to correct subsequently. [1]
Firstly, they have an anionic group and when they are dissolved in water, they ionise into
long anions and small cations. These anions compete with the dye anions for the positive
fibre sites. As a result, the effective dye ion concentration in the dyebath decreases and
the dying proceeds slowly; in other words, we can say that they act as a retarding agent
and hence produce even dying. The structural feature like the linearity of the molecule,
absence of hydrogen bond-forming groups etc. make them diffuse faster in the fibre than
the dye anions, which are bound to the fibre by electrostatic force and hydrogen bonds.
As a result of the different strengths of the bonds formed between the levelling agent and
the fibre on that side and between the dye and fibre on the other. The desorption of the
bound levelling agent takes place faster than that of the bound dye and the dye gradually
build up in the fibre. This prevents uneven dyeing and proper exhaustion of dyebath and
minimize the wastage of the dye in the dyebath.

04
 DYEING OF NYLON WITH DISPERSE DYE
These are nonionic in nature. Disperse dyes are characterized by the absence of solubi-
lizing groups and low molecular weight. From a chemical point of view, more than 50 %
of disperse dyes are simple azo compounds, about 25 % are anthraquinones and the rest
are methine, nitro and naphthoquinone dyes.

PROCESS-

Take dye as per the shade depth, add around 0.5-1 GPL of levelling agent to it make li-
quor solution and add required water to it. Then put the solution with fabric in the dye
bath of HTHP Dyeing Machine. The temperature is raised up to 130 degrees Celcius and
time take around 1 hour in the whole process. After 1 hour take the fabric out from the
dispersing agent and dip in the solution of the dispersing agent. And then wash in cold
water. The temperature is up to 85-90 degrees Celcius and the time taken by the whole
process is 1-1.5 hours. The M:L ratio is 1:20. After treatment firstly the fabric washed with
cold and then with hot water and then again with cold water. After this fabric is washed
with 10 GPL soap solution.

MECHANISM-

Disperse dyes are added to water with dispersing and levelling agent. The levelling agents
hold the rate of the dyeing and help to get uniform dyeing. The insolubility of disperse
dyes enables them to leave the dye liquor as they are more substantive to the fibre than
to the dye liquor. The application of heat to the dye liquor increases the energy of dye
molecules and accelerates the dyeing of textile fibres. Heating of dye liquor swells the
fibre to some extent and assists the dye to penetrate the fibre polymer system. Thus the
dye molecule takes its place in the amorphous regions of the fibre means there is no lon-
ger the order of chain molecules. Once taking place within the fibre polymer system, the
dye molecules are held by hydrogen bonds and Van Der Waals’ force and thus the dye
disperses with the fibre and the fabric is dyed. [2]

Note-
Dispersing Agent-The dispersing agent performs many actions. It reduces the particle size
of the dye. When the dye is added in dyebath it facilitates the conversion of dye powder
into a dispersion, which is very important for the dyeing process to take place. The dis-
persing agent also maintains the dispersion in the dyeing bath throughout the dyeing
process. It increases the solubility of the disperse dye in the water.

05
 DYEING OF NYLON WITH REACTIVE DYE
In the simplest terms, all reactive dyes are made up of three basic units, a chromophore,
a bridge and a reactive group/ groups (either a haloheteocycle or an activated double
bond). These dyes are used for dyeing of cellulosic fibres and when these are applied
to a cellulosic fibre in an alkaline dye bath, they form a covalent bond with the hydroxyl
group of the fibre by chemically reacting with fiber. The covalent bond formed between
the dye molecule and fiber make dye molecule a part of the fibre molecule.[2]

PROCESS-

The liquor is made up with a quantity of Na2CO3 equivalent to 5-10% weight of the fab-
ric and 15-20% of NaCl according to the weight of the fabric. Put the required amount of
water in the dye bath after 15 mins add 50% of dye into it. Then after 30 mins from the
initial time put the fabric in the dye bath and after 45 mins add 50% solution of Na2CO3
and NaCl. Wait for the next 15 mins and then add remaining 50% of dye to it and then
after 15 mins to this which means after 75 mins from the initial time put remaining 50%
solution of Na2CO3 and NaCl.
The M:L ratio is 1:30 over here. After the treatment first fabric is rinsed with cold water
and then with hot water and at last soaping is done.

MECHANISM-

When the fabric is submerged in dye liquor, an electrolyte is added to assist the exhaus-
tion of dye. Here NaCl is used as the electrolyte. This electrolyte neutralize the negative
charge formed in the fibre surface and puts additional energy to increase dye absorp-
tion. So when the fabric is put into dye liquor the dye is exhausted on to the fibre. When
the reactive group of dye react with the terminal group (the one that only occurs at the
end of a carbon chain, example: -COOH) group of the fibre and in this way a covalent
bond is formed with the fibre. Na2CO3 is added to maintain the ph in the dye bath.

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 DYEING NYLON WITH METAL COMPLEX DYE
Metal complex dyes are pre metalised dyes, in which one or two dye molecules are co-or-
dinated with a metal ion. The dye molecule is typically a monoazo structure containing
additional groups such as hydroxyl, carboxyl or amino, which are capable of forming a
strong co-ordination complex with transition metal ions such as chromium, cobalt, nickel
and copper.

PROCESS-

At 30 degree Celcius, the dye bath is set and an anionic levelling agent and 1 gpl trisodi-
um phosphate are added. Then the dye solution is also added. To slow down the rate of
dye pick up, the temperature is raised to boil at 1 degree Celcius/minute. The boiling is
continued for 30-60 minutes. Then soaping is done at 50 degrees Celcius for 15 minutes.

MECHANISM-

The metal is chelated in the dye structure by the manufacturer before application, which
is called pre metallised dye. The overall increase in the size of the acid dye molecules after
coordination with metal is at the root of improved wash fastness. The extent of exhaustion,
diffusion and levelling through migration, is utilised to promote the build-up of shade.
Glauber salt is used as an exhausting agent and organic levelling agents are used to assist
the level dyeing.

Here A= Leveling agent + pH adjustment

B= pre-dissolved dye

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 ADVANCEMENT IN THE DYEING TECHNOLOGY
Water scarcity and increased environmental awareness are world-wide concerns which
are causing a sharp rise in prices for intake and disposal of water. The textiles industry
is also one of the biggest consumers of water with conventional textile dyeing using
large amounts of fresh water which is disposed of as wastewater containing dyestuff
chemicals. There is going to very huge water scarcity as compared to population growth.
To overcome this problem many research is going on and many new technologies are
coming up to cure this problem. Few are mention below-

USE OF SUPERCRITICAL FLUID CO2-

Elimination of the water process and chemicals is a real and significant breakthrough for
the textile dyeing industry. This new process utilizes supercritical fluid carbon dioxide
(CO,) for dyeing textile-materials. It is a completely waterless dyeing process using only
nominal amounts of CO, nearly all of which is recycled. DryDye fabrics dyed with this
unique waterless process will have the same dye qualities and durability as current, con-
ventionally-dyed fabrics.
“Using supercritical fluid CO” nylon and other synthetics can be dyed with modified
disperse dyes. The supercritical fluid CO, causes the polymer fibre to swell allowing the
disperse dye to easily diffuse within the polymer, penetrating the pore and capillary struc-
ture of the fibres. The viscosity of the dye solution is lower, making the circulation of the
dye solutions easier and less energy-intensive. This deep penetration provides effective
colouration of polymers which are characteristically hydrophobic. Dyeing and removing
excess dye are processes that are done in the same vessel. Residue dye is minimal and
may be extracted and recycled.
Supercritical C02 dyeing gives excellent results as far as dye levelness and shade develop-
ment are concerned. The physical properties of dyed yarns are also said to be equivalent
to conventional methods. Conventional textile dyeing is very water and energy-inten-
sive in pre-treatment, dyeing, and post-treatment (drying). The supercritical C02 process,
however, is said to use less energy than conventional processes, resulting in a potential
reduction in operating costs of up to 50%. [6]

AIR DYE TECHNOLOGY-

The textile industry is the third-largest consumer and polluter of the world’s water. Tra-
ditional dyeing uses an astonishing amount of water. AirDye technology prints and dyes
without consuming water or emitting pollutants. It gives brilliant shades, beautiful prints.
No harm is done to the environment through this process. AirDye technology manages
the application of colour to textiles without the use of water. It is today’s sustainable al-
ternative to traditional dyeing and printing processes. By using air instead of water to in-
fuse colour into the fabric, the technology reduces water consumption and pollution. The
innovative new process also creates additional opportunities to apply design and colour
in ways not previously possible. AirDye technology creates new design capabilities while
reducing cost. Conventional dyeing, such as vat dying or cationic dying, can produce
good looking results. On the downside, they use polluting heavy metals, a huge

08
amount of precious water and do not provide permanent colouration. Sublimation
printing has been used to decorate textiles but is limited in application. AirDye advances
both. Airdye’s process begins with using synthetic fibres like Nylon for its material. Air
Dye gives complete penetration. AirDye is so advanced that it not only colours the yarn
but also thousands of filaments in each piece of yarn, yielding rich, brilliant with
maximum colour durability.

DISCUSSION

After studying about nylon dyeing using different dyes like acid, disperse, reactive and
metal complex dyes it is found that very dye has different positive and negative sites.
They are discussed as below--

The wet and light fastness properties of the acid dyes varies from poor to excellent, de-
pending upon the molecular structure of the dyes. Neutral acid dyes:-since these dyes
have very good leveling and migration properties and have a low affinity for the fiber,
therefore the wet fastness properties of this class are generally poor.

Disperse dyes are insoluble in water or slightly soluble in water. It makes fine dispersion
with water with a dispersing agent. The fabric dyes with disperse dyes show moderate
to good washing fastness. Due to stable electronic arrangement disperse dyes have the
good sublime ability. Many of the dyes are not fast to heat. When ironing or when block-
ing hats, some of the dyes vaporise, staining adjacent materials and reducing the depth
of colour on the fibre. However, this is important only when hot processes are used after
dyeing.

The reactive dyes have wide chromatogram, bright colour, excellent performance and
strong applicability, and their properties can satisfy the requirements of the market for
fibres and fabrics. It is having excellent properties, particularly good wet fastness, can be
obtained by dyeing with reactive dyes through an economical and simple dyeing process.
But some reactive dyes cannot meet the requirements of the market, such as their light-
fastness to wetness, wet rubbing fastness, and the light fastness of azo red dyes and azo
blue dyes in light colours.

Metal Complex Dyes has many excellent features including light-fastness, shows excel-
lent level dyeing and penetration characteristics and medium washing quickness. it also
has the capability to diminish fleece. These are specialized features that make it an ideal
for universal and highly stability application. The overall increase in the size of the acid
dye molecules after coordination with metal is at the root of improved wash fastness. The
extent of exhaustion, diffusion and levelling through migration, is utilised to promote the
build-up of shade. However, the 1:1 metal-complex dyes are applied under strongly acid-
ic conditions for satisfactory migration to take place. These conditions can cause severe
degradation of nylon fibres and this limits the use of these dyes for dyeing nylon.

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 CONCLUSION

The present study aims to get the proper know-how of the nylon dyeing util-
ising acid, reactive, disperse and metal complex dyes. In the document first
the physical and chemical characteristics of the nylon are studied then types
of dyes used for nylon dyeing along with their mechanism is covered. While
documenting this I learnt about the whole mechanism of dyes and all the
positive and negative aspects of the dye individually. All the dyes used here
are good and bad at their certain areas so it up to us what kind of finishes we
need, according to that dyes amongst these are used. So after studying this,
a proper judgment can be made while deciding the type of dye for dyeing
nylon.

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P
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 PRINTING
Printing is a discontinuous method of dyeing. Textile printing is related to dyeing but,
whereas in dyeing proper the whole fabric is uniformly covered with one colour, in print-
ing one or more colours are applied to it in certain parts only, and in sharply defined
patterns. In printing, wooden blocks, stencils, engraved plates, rollers, or silk-screens are
used to place colours on the fabric.

For printing colour on fabric, mostly three techniques are applied:

DIRECT PRINTING- Direct printing, in which colorants containing dyes, thickeners,

and the mordants or substances necessary for fixing the colour on the cloth are printed
in the desired pattern. The direct style of printing includes pigment print, rubber print,
glitter print, puff print etc.

RESIST PRINTING- Resist dyeing, in which a wax or other substance is printed onto
fabric which is subsequently dyed. The waxed areas do not accept the dye, leaving unc-
oloured patterns against a coloured ground.

DISCHARGE PRINTING- Discharge printing, in which a bleaching agent is printed

onto previously dyed fabrics to remove some other entire colour. In transfer style, no
flat-screen machine is required as the design is transferred from paper to fabric by heat
transfer printing machine.

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 CONVENTIONAL PRINTING METHOD

BLOCK PRINTING-

The blocks are usually made of wood and the design is hand-carved so that it stands out
in relief against the background surface. The print paste is applied to the design surface
on the block and the block then pressed against the fabric. The process is repeated with
different designs and colours until the pattern is complete. Block printing is a slow, la-
borious process and is not suitable for high volume commercial use. It is a method still
practised in the oriental countries where markets exist for the types of printed fabrics
produced.

ROLLER PRINTING-

Roller printing has traditionally been preferred for long production runs because of the
very high speeds possible. It is also a versatile technique since up to a dozen different
colours can be printed simultaneously. The basic roller printing equipment, shown in the
below figure, consists of a number of copper faced rollers in which the design is etched.
There is a separate printing roller for each colour being printed. Each of the rollers rotates
over the fabric under pressure against an iron pressure roller. A blanket and backing cloth
rotate over the pressure roller under the fabric and provide flexible support for the fabric
being printed. A colour doctor blade removes paste or fibres adhering to the roller after
contact with the fabric. After the impression stage, the fabric passes to the drying and
steaming stages.

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SCREEN PRINTING-

This type of printing has increased enormously in its use in recent years because of its
versatility and the development of rotary screen printing machines which are capable of
very high rates of production. An additional significant advantage is that heavy depths of
shade can be produced by screen printing, a feature which has always been a limitation of
roller printing because of the restriction to the amount of print paste which can be held in
the shallow depth of the engraving on the print roller. Worldwide, some 61% of all printed
textile fabric is produced by the rotary screen method and 23% by flat screen printing.

There are two basic types of the screen printing process, the flat screen printing and the
rotary screen printing methods.

FLAT SCREEN PRINTING-

Flat-screen printing machines can be manual, semi-automatic or completely automatic.

AUTOMATIC FLAT SCREEN PRINTING-

One type of machine, which is still commonly found in printing houses, can be described
as follows. The fabric is first glued to a moving endless belt. A stationary screen at the
front of the machine is lowered onto the area that has to be printed and the printing paste
is wiped with a squeegee. Afterwards, the belt, with the fabric glued on it, is advanced to
the pattern-repeat point and the screen is lowered again. The printed fabric moves for-
ward step by step and passes through a dryer. The machine prints only one colour at a
time. When the first colour is printed on the whole length of the fabric, the dried fabric is
ready for the second cycle and so on until the pattern is completed.

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HAND SCREEN PRINTING-

Hand Screen Printing is a technique that allows to print, with greater accuracy, large and
bright images on any type of fabric. It is an ancient technique, that has evolved over time
and is still one of the most common for textile printing. Hand Screen printing is made
with just a frame, ink and a stencil. The stencil is the negative of the image you want to
print and is in waterproofing material. After mounting the fabric on the table and placing
the stencil, the ink is spread. The operation has to be repeated several times if working
with multiple colours. In this case, the fabric must dry completely between one colour
and the next.

15
ROTARY SCREEN PRINTING-

In Rotary Screen Printing, the size of the design repeat is dependent upon the circum-
ference of the screens. This was initially seen as a disadvantage because the first rotary
screens were small in diameter. However, with today’s equipment, screens are available
in a range of sizes and are no longer considered design limited. The fact is that today’s
rotary screen machines are highly productive, allow for the quick changeover of patterns,
have few design limitations, and can be used for both continuous and discontinuous
patterns. Estimates indicate that this technique controls approximately 65% of the print-
ed fabric market worldwide. The principle disadvantage of rotary screen printing is the
high fixed cost of the equipment. The machines are generally not profitable for short
yardages of widely varying patterns, because of the clean-up and machine downtime
when changing patterns. It is used for carpet and other types of pile fabrics.

HEAT TRANSFER PRINTING OR SUBLIMATION PRINTING-

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

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DIGITAL PRINTING-

The textile industry has taken a big leap in the digital printing sector. One of the most
promising developments in the textile industry is digital fabric printing. It has opened
the doors for numerous prospects to enhance the quality and maintain the growing
demands of textile printing. Anything can be printed with ease and perfection on fabric
using digital printing technology. To print the designs on the fabric digitally, a dye-subli-
mation printer is used, which carries out the printing process by using heat to transfer the
design onto the fabric. In digital printing, it is necessary to pre-treat the fabric. This will
ensure that the fabric holds the ink well, and a variety of colours can be attained through
the pre-treatment process.

INK-JET PRINTING-

There has been considerable interest in the technology surrounding non-impact print-
ing, mainly for the graphics market, but the potential benefits of reductions in the time
scale from original design to final production have led to much activity in developing this
technology for textile and carpet printing processes. The types of machines developed
fall into two classes, drop-on-demand (DOD) and continuous stream (CS).

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PIGMENT PRINTING-

Pigments are colours which do not dissolve and penetrate into the fibres. They have not
to be applied together with a film-forming binder. More than 50% of all printing colours
are pigment types. It represents an alternative to direct printing. In this system, there
is no need to carry out a steaming process, as steaming is replaced by polymerization
(generally carried out simultaneously with drying). This type of printing process is very
simple, low-cost and can be carried out easily on all types of fabrics, particularly on
blends, since pigments can adhere to all fibres. Uses of Pigment printing is a wide range.
The garments of the women which are made by cotton, polyester or viscose blends are
printed by pigments if the medium colour depths are needed. Decorative curtain, towels
are printed by pigments. Pigment printing also used in bed linen, aprons, children’s gar-
ments, nightwear dresses, various kinds of cotton and cellulose materials.

BLOTCH PRINTING-

A process wherein the background colour of a design is printed rather than dyed. Blotch
Prints are prints in which both the background and the motif have been printed onto
the white fabric. Anyone of the several methods of application such as block, roller (or)
Screen may be used. It is a special variety of direct Print. The background may be light
(or) a dark shade, usually, there is an obvious difference in the intensity of the back-
ground colour between the face and the back of the fabric. Sometimes blotch prints are
designed to imitate more costly discharge (or) resist Print effects. One of the problems
with blotch prints is that sometimes the large background colour areas of the print are
not covered with the full depth of colour. [5]

18
BURN-OUT PRINTING-

A method of printing to obtain a raised design on a sheer ground. The design is applied
with a special chemical onto a fabric woven of pairs of threads of different fibres. One of
the fibres is then destroyed locally by chemical action. Burn-out printing is often used on
velvet. The product of this operation is known as a burnt-out print.

FLOCK PRINTING-

Flock printing or flocking is a printing process in which short fibres of rayon, cotton, wool
or other natural or synthetic material are applied to an adhesive-coated surface. This
adds a velvet or suede-like texture to the surface. Since the fibres can be dyed, flocking
can also add colour to a printed area.
The fibres used in the process are known as flock. They can be applied to paper, plastic,
metal, textiles and even glass. [5]

19
DUPLEX PRINTING-

Duplex printing simulates a woven pattern by printing the fabric on both sides. Most du-
plex prints are produced on direct roller print equipment, some are produced on rotary
screen printers. Most often they are made to imitate more costly woven yarn dyed design
effects such as stripes, checks, and plaids. A vertical arrangement of the rolls is required
and the fabric feeds between two parallel sets of rollers. Design is printed, simultaneously
on both sides of the fabrics. Duplex printing produces an equally clear outline on both
sides of the fabric. The design is applied so skilfully by careful registration of the printing
cylinders. Duplex prints are rarely used nowadays, because of the high cost of producing
these prints nearly equals the cost of the superior woven jacquard and dobby designs.

20
REFERENCE

21
[1] Handbook of textile and industrial dyeing: Woodhead Publishing Series in
Textiles: Number 116

[2] Dr. V.A.: Shenai: Chemistry of Dyes and Principles of Dyeing, Volume 2

[3] E. R.: Trotman: Dyeing and Chemical Technology of Textile Fibres

[4] https://textilelearner.com/2011/08/nylon-fiber-nylon-fiber-production_
6866. html

[5] https://polymerdatabase.com/Fibers/Nylon.html

[6] M.L.: Clark: Handbook_of_Textile_and_Industrial_Dyeing, Vol_1

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