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HID1 > FMR 2 > Flashcards

FMR 2 Flashcards

1
Q

they come from the weaving looms or knitting, machines are not ready for consumer use. They are still rough, full of blemishes and impurities.

A

FABRICS

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2
Q

is defined as a process done to fabrics, sometimes to fibers and yarns, causing them to change in appearance, texture and performance.

A

FINISHES

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3
Q

the kind of finish that lasts until the fabric is washed or dry-cleaned.

A

TEMPORARY FINISH

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4
Q

this lasts longer than temporary but it may become unsatisfactory with the passing of time.

A

DURABLE FINISH

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5
Q

lasts until the garment is of service.

A

PERMANENT FINISH

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6
Q

those finishes that affect the texture and appearance of the cloth. They are common finishes applied to the majority of the fabrics produced.

A

GENERAL FINISH

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7
Q

which affect the performance of the cloth. They are also called functional finishes because they give the fabric special service feature which improves its properties and functions.

A

SPECIAL FINISHES

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8
Q

a common finishing process for linen. The fabric is hammered and the yarns are flattened.

A

BEETLING (PINUKPOK)

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9
Q

makes the fabric white and impurities are removed.

A

BLEACHING

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10
Q

a wool finishing process to prevent creases of other forms of uneven shrinkage in latter stages of finishing. It is essentially a stretching process wherein the cloth passes over rollers in hot water or steam.

A

CRABBING

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11
Q

a finishing process which makes the fabrics smooth and glossy. This is done by passing the fabric between heavily heated steel rollers at a pressure of up to 2000 pounds per sq in.

A

CALENDERING

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12
Q

this finishing process improves the appearance, enhances luster and hand of the material.

A

DECATING

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13
Q

an important finish applied to wool fabrics. It is a pre-shrinking process which involves the application of moisture, heat friction and pressure.

A

FULLING

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14
Q

discovered by JOHN MERCER, It is a very common finishing process for cotton. Fabrics are treated with a strong caustic soda under tension to increase its strength, reduce shrinkage and give it greater absorbency for dyes.

A

MERCERIZING

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15
Q

the finishing process is applied to fabrics for the purpose of removing the fuzz of protruding fibers.

A

SINGEING

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16
Q

these are other terms for starching. The cloth is filled with starch to increase strength, smoothness, stiffness, or weight of the fabric.

A

SIZING/DRESSING

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17
Q

This process straightens and restores the cloth to its proper dimensions, and equipped with tenter clips.

A

TENTERING STENTERING OR HEAT-SETTING

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18
Q

this is a chemical treatment designed to make a fabric bacteria-resistant.

A

ANTISEPTIC FINISH

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19
Q

this is a chemical treatment applied to synthetic fabrics to prevent the accumulation of static electricity.

A

ANTI-STATIC FINISH

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20
Q

are applied mostly on fabrics from such fibers as cotton, linen, ramie and rayon. They do not have the natural quality of elasticity found.

A

CREASE-RESISTANT FINISH

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21
Q

textile fabrics cannot be made absolutely fireproof, but they can be chemically treated to retard inflammability.

A

FLAME RETARDANT FINISH

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22
Q

glazed surface may be obtained through chemical and mechanical means. Resin-treated fabrics have greater durability than mechanically achieved glazed surfaces.

A

GLAZED FINISH

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23
Q

this is also called insulated finish. Suitable for reversible vests and blazers.

A

HEAT-REFLECTANT FINISH

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24
Q

a chemical finish given mostly to rayon, cotton, and linen fabrics which are mostly susceptible to attack by mildew in moist and humid conditions or climates.

A

MILDEW-RESISTANT FINISH

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25
Q

sometimes referred to as moth-proofing finish. chemical finish resistant to attack by moths and carpet beetles.

A

MOTH-RESISTANT FINISH

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26
Q

to raise the fiber ends thus creating a surface fuzziness.

A

NAPPING

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27
Q

overfeeding a fabric onto a dyeing frame and applying stretch in the crosswise direction.

A

SHRINK-RESISTANT FINISH

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28
Q

given to rug and upholstery fabrics to repel soil and stain. Silicone is the compound used for this type of finish.

A

SOIL AND STAIN-RESISTANT FINISH

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28
Q

given to loosely constructed fabrics or fabrics with low thread count. It prevents the warp yarns from slipping along the filling yarns.

A

SLIP-RESISTANT FINISH

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29
Q

finish is also referred to as the drip-dry finish. same type as the crease-resistant finish.

A

WASH AND WEAR FINISH

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30
Q

a chemical finish which makes a fabric resistant to wetting but not waterproof.

A

WATER-REP
PELLANT FINISH

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31
Q

waterproofing totally coats the fabric thus closing the pores and enabling it to shed water under all pressures.

A

WATERPROOF FINISH

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32
Q

soluble substances which penetrate into the fabric and are fixed by a chemical action, heat or other treatment.

A

DYES

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33
Q

insoluble color particles which are held on the surface of a fabric by a binding agent.

A

PIGMENT

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34
Q

Colored water-soluble organic compounds, mainly salts of sulphuric acid.

A

ACID DYES

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35
Q

Are the oldest among the artificial dyes. These are colored salts of organic bases which are soluble in water.

A

BASIC DYES

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36
Q

Formerly called acetate dyes, they are originally developed for acetate fibers.

A

DISPERSE DYES

37
Q

These dyes form a very important group of coloring matters since they will color both protein and cellulosic fibers.

A

DIRECT OR SALT DYES

38
Q

Used for cotton, linen and viscose rayon. The color is developed by additional treatment which also makes the dye fast to washing.

A

DEVELOPED DYES

39
Q

These are water-soluble organic dyes which have affinity for cellulose in an alkaline bath.

A

REACTIVE DYES

40
Q

Are used for cotton and viscose rayon. These dyes differ from all the other dyes in terms of chemical composition and in method of application. They are made by reaction of sulphur with organic compounds.

A

SULPHUR DYES

41
Q

Are the fastest dyes for cotton, linen, and viscose and cuprammonium rayon.

A

VAT DYES

42
Q

some of the man-made fibers may be dyed in solution before filament is formed.

A

SOLUTION DYE

43
Q

the fibers are dyed before yarns are spun and woven into a fabric. Also called stock dye

A

FIBER DYE

44
Q

the yarns are dyed before they are woven into checks, plaids, striped or herringbone designs.

A

YARN DYE

45
Q

cloth is dyed after fabrication. Also known as dip-dyeing

A

PIECE DYE

46
Q

Fabric of two or more fibers is placed in a dye bath containing two or more different dyes.

A

CROSS DYE

47
Q

Fabric from one fiber is dyed one color

A

SOLID DYE

48
Q

This technique mixes dyes for fabrics made from two or more fibers so that the fibers will dye the same color.

A

UNION DYE

49
Q

Are those which result or are produced in the process of making the fabric. Made possible through yarn type, and arrangement.

A

STRUCTURAL DESIGN

50
Q

Are those which are placed on the fabrics after they have been made can be classified into printing and applied designs other than printing.

A

APPLIED DESIGN

51
Q

Is done to add colors and designs to the fabric surface. It can be achieved through different processes.

A

PRINTING

52
Q

This is the oldest method of printing design on fabrics. It consists of first carving the design on a wooden, rubber, or metal block.

A

BLOCK PRINTING

52
Q

In this method of fabric printing, the design is cut on a cardboard, wood, or metal. Color is then applied, penetrating only the cut portions.

A

STENCIL PRINTING

53
Q

Acids are used in this type of printing. One of the fibers used in the fabric is burned, leaving a lacy or shear-and-heavy design.

A

BURN-OUT PRINTING

54
Q

As the term implies, the color is discharged or removed from the fabric, thus, creating a design.

A

DISCHARGE OR EXTRACT PRINTING

55
Q

This type of printing can be considered the machine counterpart of hand block printing. Designs are engraved on rollers as the fabric passes between them.

A

ROLLER PRINTING

56
Q

This printing creates a design, which appears on the face and back of the fabric, simulating a woven pattern.

A

DUPLEX PRINTING

57
Q

In this method, a resist paste(a resinous substance cannot be penetrated when the fabric is immersed in a dye bath) is stamped on the fabric creating a design.

A

RESIST PRINTING

58
Q

This method is almost the same as developing a photograph.

A

PHOTO PRINTING

59
Q

For ______ and seersuker, chemicals are used to produce the puckered design. The fabric passes between rollers which permit a caustic solution to contract certain area of the fabric.

A

PLISSE PRINTING

60
Q

The warp yarns are printed, usually with the use of rollers, before they are woven into a fabric.

A

WARP PRINTING

61
Q

This is another widely used method of fabric printing because it can create large designs with elaborate effects and variety in color. The design is first drawn on silk, nylon or metal screen.

A

SCREEN PRINTING

62
Q

Is the process of transferring prints from pre-printed release papers to fabrics.

A

TRANSFER PRINTING

63
Q

Is the simplest method of fabric designing. The designs are put in the fabric by painting the color directly to the cloth with the use of a brush.

A

FREE-HAND PAINTING

64
Q

This is applying one piece of fabric to another larger piece.

A

APPLIQUE

65
Q

are raised designs found on the surface of the fabric.

A

EMBOSSED DESIGNS

66
Q

tiny pieces of fiber called flocks are made to stick to the fabric.

A

FLOCKED DESIGNS

67
Q

are cut out designs held to the fabric surface.

A

GLUED OR PASTED DESIGNS

68
Q

often referred to as having a ‘‘watered appearance’’

A

MOIRE DESIGN

69
Q

is a processed animal skin, it is expensive for several reasons such as, labor-intensive, aniline dyes are costly and there is high rejection rate of the finished hides.

A

LEATHER

70
Q

the skin of a fully grown cow

A

CATTLEHIDE

71
Q

it is the hide of a young animal and is considerably smaller, characterized by its softness, suppleness and fine grain.

A

CALFSKIN

72
Q

sometimes called full-top-grain leather. It possesses the genuine original grain of the hide.

A

FULL-GRAIN LEATHER

73
Q

is the second highest quality where the ‘split’ layer is separated away, making it thinner and more pliable than full-grain.

A

TOP-GRAIN LEATHER

74
Q

any leather that has had an artificial grain applied to its surface.

A

CORRECTED-GRAIN LEATHER

75
Q

it is created from the fibrous part of the hide that is left, once the top-grain has been separated.

A

SPLIT LEATHER

76
Q

leather that has undergone a type of tanning process that uses animal brains.

A

BUCKSKIN OR BRAINED LEATHER

77
Q

a type of leather that has been given a high gloss finish. It is usually black.

A

PATENT LEATHER

78
Q

also known as stingray skin/leather. Used in furniture production since the art deco period.

A

SHAGREEN

79
Q

leather from the skin of unborn calves .

A

SLINK

80
Q

the following are not ‘true leathers’, but they contain leather material.

A

BONDED LEATHER AND BYCAST LEATHER

81
Q

also known as ‘‘reconstituted leather’’, is compose of 90-100 percent leather fibers, bonded together with latex binders to create a look and feel similar to that of leather.

A

BONDED LEATHER

82
Q

a split leather with a layer f polyurethane applied to the surface and then embossed.

A

BYCAST LEATHER

83
Q

used to preserve the hide, it makes the leather strong, supple and enduring.

A

TANNING

84
Q

this tanning solution is based on chromium salts, about 90 percent of leather today is tanned by this method.

A

MINERAL TANNING

85
Q

a tanning method that produces a hide that is quite supple, with a limited acceptance of dyes.

A

COMBINATION TANNING

86
Q

tree bark, typically oak and water form the basis of this tanning solution.

A

VEGETABLE TANNING

87
Q

can color the leather and help to protect it from hard wear, dyeing, embossing, and water or stain proofing.

A

FINISHING

88
Q

translucent, comparable to woodstains for protection.

A

ANALINE DYES

89
Q

has colors.

A

SEMI-ANALINE DYES

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