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Textile printing is the process of applying color to fabric in definite patterns or designs. In properly printed fabrics the color is bonded with the fiber, so as to resist washing and friction. Textile printing is related to dyeing, whereas in dyeing proper the whole fabric is uniformly covered with one color, in printing one or more colors are applied to it in certain parts only, […]
Cleaning ensures sanitization and thus the safety of the artefact itself and others stored/displayed in its vicinity. At the same time, the process invariably alters the character of textile to a certain extent. Cleaning ensures removal/deactivation of soil and harmful organic matter from the artefact. However, a small number of surface molecules from the textile might be eroded in the process as well. This leads to weakening of the textile and might cause alteration in colour spectrum/ depth etc. Controlled cleaning techniques in conservation laboratories focus on minimizing this damage. However, not much scientific data is available on the efficacy of present cleaning techniques employed in conservation laboratories. Presently aqueous cleaning and solvent cleaning are primary modes utilised as next step to dry tools. Additionally, novel cleaning technologies like enzyme wash and ultrasonic wash provide soil specific methodology that would reduce the threat to the base fabric.
The present paper is a systematic analysis of these cleaning techniques and their impact on aged museum fabrics, i.e., cotton, wool and silk. Change in tensile strength parameters, whiteness index and yellowness index have been used as indicators to test the efficacy of different cleaning techniques on aged museum textiles. Numerical data generated by laboratory experiments clearly indicate that there is no standard cleaning treatment available for the three natural fibres. Each fibre has exhibited suitability to different cleaning treatment while balancing between restored whiteness and minimizing strength loss.
Effluents Treatment Plants or ET Plants (ETP) are the most widely accepted approaches towards achieving environmental safety. But, no single treatment methodology is suitable or universally adaptable for any kind of effluent treatment.
By removing the requirement of water at the point of colour application, Air-Dye technology creates a significant opportunity to localize production for regions of the globe that lack the water resources traditional methods require.
The market for reactive dyes will continue to increase. This will arise partly from a marginal increase in the production of cellulosic fibres, essentially cotton, and more importantly from the replacement of other classes of cellulose dye, such as azoic and sulphur dyes, by reactive dyes.
Majority of the textiles printed in the global market are printed with the screen printing technique due to its simplicity. The demand for screen printing in the packaging industry is significantly high with around 9% of the labels printed globally being screen printed.
Future Market Insights suggests that the growth of digital textile printing market can mainly be attributed to the contributions from emerging economies, such as countries in the APEJ region – India & China.
Batik is a textile art used to print or decorate the fabric and also called as “wax writing”. It is a technique of covering parts of fabric which will not receive color. The creation of batik involves three major processes – waxing, dying and de-waxing.
When ‘colour’ is applied to a fabric it is termed as dyeing. Dyeing and printing of fabrics are usually done after routine or basic finishes but prior to the application of other finishes. It is mainly done to give color to the fabric and thus improve the appearance of the fabric.
Special finishes are done on textile materials to enable it to use for special purposes such as the finishing of fabrics with flame retardants can reduce the tendency to burn or reduce the tendency to propagate the flame. Laminating is the permanent joining of two or more prefabricated fabrics.