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ID REVIEW for Boards > MAT - Textiles > Flashcards

MAT - Textiles Flashcards

1
Q

any material made of interlacing fibers

A

Textile

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2
Q

any material made through the various processes such as weaving, knitting, crocheting, or bonding

A

Fabric

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3
Q

a finished piece of fabric that can be used for varying purposes such as a bedcover

A

Cloth

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4
Q

fabric is evaluated according to how it is able to withstand wear pressure and/or damage due to friction; related to flexibility

A

Durability

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5
Q

pertains to how well the fabric can carry its own weight without breaking; tensile strength

A

Tenacity

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6
Q

fabric’s stretching ability; the fabric is tested as to what degree it can stretch without breaking

A

Elongation

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7
Q

measured how well will the fabric absorb and/or retain moisture

A

Absorbency

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8
Q

refers to fabric’s elasticity; fabric’s ability to return to its original shape after wear and tear

A

Resiliency

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9
Q

a fine, hair-like strand that forms the basis of a yarn

A

Fiber

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10
Q

short fibers, somewhat randomly arranged and loosely twisted; measure in cm or in

A

Staple Fibers

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11
Q

long and continuous fibers; laid parallel to one another and tightly twisted to produce smooth, strong yarns; measured in m or yd

A

Filament Fibers

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12
Q

formed by twisting fibers together to create a continuous strand

A

Yarn

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13
Q

these are staple fibers twisted together

A

Spun Yarns

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14
Q

bulked continuous filament (BCF); continuous strands made from either a spinneret-generated synthetic fiber or from silk

A

Filament Yarns

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15
Q

kind of fibers that are from animals, plants, or mineral sources

A

Natural Fibers

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16
Q

man-made and thoroughly modern, most having developed in the 20th century

A

Synthetic Fibers

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17
Q

most widely used plant fiber; a vegetable or cellulosic fiber which comes from the balls of a plant that grown prolifically in warm climates

A

Cotton

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18
Q

a processed version of cotton; made into cloth that resembles satin

A

Shiny Cotton

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19
Q

a type of cotton wherein it is grown with no presence of synthetic fiber or chemical pesticides and fertilizers to meet certain standards

A

Organic Cotton

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20
Q

a type of cotton where it is only washed with mild soap, and must not be bleached

A

Green Cotton

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21
Q

cotton that has undergone carding; disentangles, cleans, and intermixes fibers to produce a sliver for processing

A

Carded Cotton

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22
Q

cotton that has undergone a process for further refinement; separates the longer and desirable fibers from shorter ones, and straightens curls in the fibers, thus removing the finer impurities in the fiber

A

Combed Cotton

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23
Q

aka “Mexican Cotton;” most widely planted species of cotton in the world; grown in the USA; 3rd best quality cotton in the market

A

Upland Cotton

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24
Q

known to be superior to other cotton products; has fine and long fibers that are spun to create softer, silkier, and more durable cotton; examples are Supima and Egyptian Cotton

A

Long Staple Cotton

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25
Q

cotton originated in Peru; 2nd best quality of cotton in the world; it’s often compared to Egyptian cotton

A

Pima Cotton

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26
Q

trademarked brand of Pima Cotton

A

Supima

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27
Q

the best cotton in the world; its better characteristic is its ability to absorb liquids, giving fabrics deeper, brighter, and more resistant colors

A

Egyptian Cotton

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28
Q

derived from a seed; taken from a seed pod of the Java kapok tree; used extensively for stuffing pillows and seat cushions; lightweight and non-absorbent; “poor man’s cotton”

A

Kapok

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29
Q

the oldest fiber woven into fabric; grayish in color with a silky luster; reflects heat better than cotton and holds its color longer under strong light conditions

A

Flax

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30
Q

made from Flax, less soft and absorbent than cotton; does not lint; it wrinkles and creases easily; “gusot mayaman”

A

Linen

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31
Q

resembles flax, harsh, brittle, lints badly, and wrinkles easily; primarily used in carpets and linoleum backing

A

Jute

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32
Q

made from jute; excellent resistance to microorganisms and insects; the material used for coffee bags, and sacks of potatoes

A

Burlap

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33
Q

taken from the stems of a Cannabis Sativa plant; a popular fiber since it had many uses, it’s strong, and it grows quickly

A

Hemp

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34
Q

aka “Abaca;” mainly grown in the Philippines; derived from the Musa textilis plant obtained from the outer layer of the leaf; used for weaving cloth and it is very resistant to damage from saltwater

A

Manila Hemp

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35
Q

sometimes called “China Grass;” an inexpensive fiber from an East Asian plant often used as a substitute for flax; extremely absorbent and dries quickly, 3-5 times stronger than cotton and twice as strong as flax

A

Ramie

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36
Q

discovered that latex could be extruded into fiber; highly elastic, flexible, and impermeable to water and air

A

Natural Rubber

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37
Q

made from abaca; stronger than Pina, and is generally used for formal setting or occasions

A

Jusi

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38
Q

made from the leaves of the Pineapple plant; lightweight, easy to care for, and has an elegant appearance similar to linen; used to make Barong Tagalog

A

Pina

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39
Q

sheared from domesticated animals, primarily sheep; exceptional resiliency and elasticity; excellent fiber for use in carpets; slowly burns down and is self-extinguishing

A

Wool

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40
Q

comes from Merino sheep; finer, or thinner than the average wool; softer, less itchy, and more flexible

A

Merino Wool

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41
Q

comes from Shetland sheep; have the gloss and softness of silk; strength of cotton, the whiteness of linen, and warmth of wool; thicker than merino

A

Shetland Wool

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42
Q

finest and softest fleece and it comes from a lamb’s first shearing; smooth, strong, and flexible, and doesn’t require much processing

A

Lambswool

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43
Q

grade of wool that has not yet been processed

A

Virgin Wool

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44
Q

a regular grade of wool, which may include reclaimed scraps from knits, broken threads, and other sources

A

Ordinary Wool

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45
Q

grade of wool that are felted scraps and then reused

A

Recycled Wool

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46
Q

a high-quality grade of wool yarn, named after the small English village of Worsted; stronger, finer, and smoother grade of wool; very resilient and easily returns to its original shape

A

Worsted Wool

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47
Q

came from camel, goat, mohair, alpaca, llama, vicuna (rarest), and horsehair

A

Hair

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48
Q

obtained from the soft undercoats of the lowly Kashmiri goat; initially defined as wool but its finer, stronger, lighter, and softer, approximately 3x more insulating than sheep’s wool

A

Cashmere

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49
Q

a fine type of Cashmere; from the undercoat of Himalayan Mountain Goats; finer, thinner, therefore ideal for making lightweight apparel such as scarves

A

Pashmina

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50
Q

aka “king of wools;” “ring scarf;” came from the hair of a Tibetan antelope known as “chiru;” finer than human hair, warm enough even to hatch a pigeon’s egg

A

Shahtoosh

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51
Q

aka “diamond fiber;” sild-like fabric or yarn made from the hair of the Angora Goat; durable, resilient, and notable for its high luster and sheen, naturally elastic, flame resistant, and crease resistant

A

Mohair

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52
Q

most beautiful of all fibers due to its marvelous, natural luster; comes from the cocoons of silkworms; wrinkle resistant than the natural cellulosic fibers

A

Silk

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53
Q

finest cultured grade of silk; made from the longest filaments

A

Organzine or Thrown Silk

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54
Q

a grade of silk that uses shorter strands and has less luster and sheen

A

Tram, Spunsilk, or Bourette

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55
Q

a grade of silk that is made by wild, uncultured silkworms; naturally tan in color, cannot be bleached, and has a rougher texture

A

Tussah

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56
Q

a grade of silk that came from 2 silkworms; uneven like linen, irregular, and larger than regular filaments

A

Duppion/Dupioni

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57
Q

a grade of silk that is produced from cocoons of Thai silkworms; the finest fabric in the world

A

Thai Silk

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58
Q

mineral with fluffy strands which are generally combined with cotton to produce a textile; no longer legal due to it being associated with lung cancer and other diseases

A

Asbestos

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59
Q

threads of gold, silver, or copper often woven into filmy casements or wall hangings

A

Metal Fibers

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60
Q

aka “poor man’s silk;” first synthetic fiber; derived from the pithy sections of plant stalks; frequently blended with cotton or wool

A

Rayon

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61
Q

developed by Celenese Corp.; compound cellulose acetate (a derivative of cellulose); flexible, resulting in a fabric with excellent draping qualities; a thermoplastic fiber easily damaged by heat and easily wrinkled

A

Acetate

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62
Q

developed by Celenese Corp.; pure cellulose acetate; a fiber of greater stability and abrasion resistance; shrink resistant, maintains a crisp finish thus permanent pleats can be set in ____________

A

Triacetate

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63
Q

developed by E.I. Dupont de Nemours and Co.; elements of petroleum, natural gas, air, and water; strongest of all fibers, highly elastic with good elongation and recovery properties; great strength, high resiliency, and good abrasion resistance

A

Nylon

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64
Q

developed by DuPont Co.; under the trade name “Orion;” derived from elements of cola, air, water, petroleum, and limestone; resistant to sunlight, and oil-borne and air-borne dirt

A

Acrylic

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65
Q

developed by Union Carbide; derived from elements of natural gas, coal, air, salt, and water; easily dyed: washable; resistant to acids and alkalis

A

Modacrylic

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66
Q

developed by Hercules Inc.; a by-product of petroleum; relatively expensive and popular for use as a carpet fiber

A

Olefins

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67
Q

first olefin fiber to reach commercial importance; used as upholstery for airplane seats; does not absorb moisture or air-borne dirt

A

Polyethylene

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68
Q

the most widely used olefin fiber is ___________

A

Polypropylene

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69
Q

research by DuPont; derivative of coal, air, water, and petroleum; resistance to air-borne and oil-borne dirt, low moisture absorbency; usually made into fine voile-like casement fabrics knitted into upholstery-weight

A

Polyester

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70
Q

inherently resistant to flame, strong, and does not absorb moisture; best used as drapery or casement cloth

A

Glass Fiber

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71
Q

Owens-Coming’s tradename for it glass fiber product is called ____________

A

Fiberglas

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72
Q

make-up similar to Nylon; does not shrink; resembles silk in luster, weight, color, feel, and drapability

A

Polynude Nylon

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73
Q

outdoor furniture upholstery and screening; unaffected by sunlight, easy-to-care, wrinkle resistant, and abrasion resistant

A

Saran

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74
Q

introduced by DuPont; elastomeric fiber that can be repeatedly stretched over 500% without breaking; bounces back without sag, whether on a warp, fill, or bias direction

A

Spandex

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75
Q

marketed under the trade names “Nomex,” and “Kevlar;” alkalis, acids, and solvents have virtually no effect on them

A

Aramids

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76
Q

a high-temperature resistant fiber used mostly in apparel such as firefighters’ clothing and space suits

A

Nomex

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77
Q

a high-temperature resistant fiber that is strong, stronger than comparably sized steel; used in bullet-resistant vests

A

Kevlar

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78
Q

a synthetic fiber that is very fine, smaller than the diameter of a strand of silk, about 1/5 diameter of a human hair; used to make mats, knits, and weaves for apparel

A

Microfibers

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79
Q

a method by matting together of fibers to form a web by moisture, pressure, and heat

A

Felting

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80
Q

a method which produced originally in sheet forms through a wide die, forming in molds, or rolling between rollers; finished product in varied forms: thick and opaque, leather-like, suede-like softness

A

Films

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81
Q

a method that utilizes machinery wherein blunt rods or needles are used to form a single continuous yarn into a series of interlocking loops

A

Knitting

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82
Q

old english word for knitting

A

Cnytton

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83
Q

first knitting machine was constructed by an Englishman named ____________

A

Reverend William Lee

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84
Q

horizontal rows of stitches in a knit are called ___________

A

Courses

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85
Q

vertical rows of stitches in a knit are called ___________

A

Wales

86
Q

produces a smooth-face material; used in making fine, thin. or sheer fabrics

A

Plain Stitches

87
Q

produces lines of wales on both sides causing the fabric to be very elastic

A

Rib Stitches

88
Q

formed by holding on loop on a needle while taking on one or more additional loops

A

Tuck Stitches

89
Q

have successive courses of stitches drawn to opposite sides of the fabric making it very elastic in the lengthwise direction and quite elastic in the crosswise direction

A

Purl Stitches

90
Q

made on a circular machine and produces a tubular fabric without seams

A

Circular Knit

91
Q

made with two sets of needles to give a ribbed or corrugated surface to the fabric

A

Ribbed Fabric

92
Q

fabric made by having the needles arranged in a straight line

A

Flat Outerware

93
Q

fabric made on a machine with only one set of needles

A

Flat Underware

94
Q

a fabric is knitted with a double stitch on a double needle frame to provide double thickness that is the same on both sides

A

Double Knit

95
Q

special type of eight-lock knit cloth that has a smooth surface on both sides

A

Interlock Knit

96
Q

plain stitch knitted fabric

A

Jersey

97
Q

fabric produced by silver knitting; knitting both yarn and fibers into a fabric to provide an exceptionally deep pile effect

A

Knit Pile

98
Q

known for its high gauge, lightweight, fine texture, and appeal in hand

A

Milanese Knitted

99
Q

a knit fabric that has one kind of yarn on the face while another type is found on the back of the goods

A

Plated

100
Q

a versatile fabric that can be made from every type of yarn of any type of fiber in any form

A

Rachel Knit

101
Q

knitting on a single-needle machine; less body, substance, and stability than double knit

A

Single Knit

102
Q

type of warp-knitted fabric that has a thin texture since it is made from fine yarn; taken from a Frech verb “tricoler” which means “to knit”

A

Tricot

103
Q

a popular knit fabric with properties that are similar to woven velour

A

Velour

104
Q

aka “plaiting;” interweaving or intertwining of three or more strands of yarn

A

Braiding

105
Q

fabrics made by braiding natural plant fibers

A

Straws

106
Q

fine, lightweight, expensive straw with a dull finish

A

Baku

107
Q

fine, lightweight, glossy straws obtained from unopened palm leaf stems

A

Balibuntal

108
Q

fine, braided straw, made from special wheat grown in Tuscany; has been cut, bleached, and worked by hand

A

Leghorn

109
Q

a fine, closely braided straw

A

Milan

110
Q

fine, hand-braided, creamy-colored Toquilla straw made primarily in Ecuador

A

Panama

111
Q

a fine, yellow straw woven from the tops of bleached wheat stalks grown in Tuscany

A

Tuscan

112
Q

intertwining and sometimes knotting of yarns that run in two or more directions; used to make nets, macrame (knotted) and laces

A

Twisting

113
Q

interfacing of warp or float (lengthwise) and filling or weft (crosswise) yarns; usually at right angles on the loom, then turning them into cloth; an ancient textile art

A

Weaving

114
Q

a device used to weave cloth; basic purpose is to hold the warp threads under tension to facilitate the interweaving of the weft threads

A

Loom

115
Q

a type of floor loom that controls the warp threads using a device called “dobby”

A

Dobby Loom

116
Q

mechanical loom invented by Joseph Marie Jacquard that simplifies the process of manufacturing textiles with complex patterns

A

Jacquard Loom

117
Q

made by the simple interweaving of warp and weft threads, when each warp yarn passes over and then under the weft yarn

A

Plain Weave

118
Q

one weft thread passes over each warp thread

A

Plain Single Weave

119
Q

the weave is balanced in sequence or over and under so that warp and weft yarn has the same count per square inch

A

Regular Weave

120
Q

warp and weft differ because of the different weights and textures of the yarn due to the fact that novelty yarns vary in appearance; aka “unbalanced weave”

A

Irregular Weave

121
Q

two or more weft threads are interfaced into the same number of warp threads; when the weave is regular, it’s called a “backed cloth”

A

Plain Double/Basket Weave

122
Q

the weft yarn is heavier than the warp yarn with the result of a diagonal texture becoming more apparent

A

Rib Weave

123
Q

each warp yarn passes over and then under the weft yarns as the plain weave, but the sequence is started slightly higher or lower on each successive yarn

A

Twill Weave

124
Q

it emphasizes the continuous weft yarn; with as few interruptions of warp as possible; warp yarns skip 4-7 weft yarns

A

Satin Weave

125
Q

refers to fabrics that are woven in such a way as to create loops or piles that stand out from the surface of the fabric

A

Pile Weaves

126
Q

weaving one of the two sets of warp yarns into a plain weave to create a solid back while lifting the second set of warp yarns

A

Velvet Pile

127
Q

same process as velvet pile; except that the lifted yarns remain uncut

A

Frise

128
Q

a decorative fabric made by weaving colored weft threads alternatively over and under the warp threads to form a pictorial or ornamental design

A

Tapestry

129
Q

pattern weave is in which extra warp and weft yarns are added to the fabric during the weaving

A

Extra Warp and Weft Pattern

130
Q

a pattern weave that accounts for many of the durable and beautiful fabrics used today were known to the Peruvians

A

Double-Cloth Weaves

131
Q

loose weave in which the warp threads are wound in half twists around each other and around a filler yarn

A

Leno

132
Q

warp threads maintain the same position in relation to the weft

A

Gauze

133
Q

are weaves in which uneven tension in either weft or warp yarns produces an uneven surface effect

A

Tension and Texture-Related Weaves

134
Q

fabrics that have not undergone finishes and are not ready for consumer use

A

Grey of Greige Goods

135
Q

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

A

Fabric Finishes

136
Q

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

A

Temporary Finish

137
Q

a kind of finish that lasts longer than temporary but it may become unsatisfactory with the passing of time

A

Durable Finish

138
Q

a kind of finish that lasts until the garment is of service

A

Permanent Finish

139
Q

common finishes applied to the majority of the fabrics produced

A

General Finish

140
Q

a kind of finish that include those which affect the performance of the cloth; aka “functional finishes” because they give fabric special service feature which improves its properties and functions

A

Special Finishes

141
Q

the common finishing process for linen; the fabric is hammered, and the yarns are flattened by the impact of wooden mallets

A

Beetling (Pinukpok)

142
Q

makes the fabric white and impurities are removed through the use of chemicals such as peroxide or chlorine-bleaching compounds

A

Bleaching

143
Q

done by passing the fabric between heavily heated steel rollers at a pressure of up to 2000 pounds per square inch

A

Calendering

144
Q

a wool finishing process to prevent creases or other forms of uneven shrinkage in the latter stages of finishing

A

Crabbing

145
Q

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

A

Decating/Decatizing

146
Q

the finish is usually done on cotton, rayon, or silk, wound on a perforated drum, between layers of a blanket, then steam passes through from the inside to the outside layers

A

Dry Decating Process

147
Q

the finish wherein the cloth is wound on a roller and treated in a hot water or steam boiler which also has a vacuum system

A

Wet Decating Process

148
Q

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

A

Fulling

149
Q

discovered by John Mercer; a very common finishing process for cotton, it is treated with a strong caustic soda under tension to increase its strength, reduce shrinkage and give it greater absorbency for dyes

A

Mercerizing

150
Q

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

A

Singering or Gassing

151
Q

another term for starching; filled with starch to increase strength, smoothness, stiffness, or weight of the fabric

A

Sizing or Dressing

152
Q

fabrics as they go through the other processes, tend to pull out of shape and become irregular in width; it strengthens and restores the cloth to its proper dimensions

A

Tentering, Strentering, or Heat-Setting

153
Q

a chemical treatment designed to make a fabric bacteria-resistant; “Sanitized” of Sanitized Inc. is a familiar tradename in the market today

A

Antiseptic Finish

154
Q

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

A

Anti-Static Finish

155
Q

is a finish applied mostly on fabrics from such fibers as cotton, linen, ramie, and rayon; gives the fabrics quick recovery from creases and wrinkles

A

Crease-Resistant Finish

156
Q

textile fabrics are made to be fire resistant, not fireproof; treated fabric for it does not catch flam or burn actively

A

Flame Retardant

157
Q

aka “Insulated Finish;” makes a fabric suitable for either hot or cold weather

A

Heat-Reflectant Finish

158
Q

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

A

Mildew-Resistant Finish

159
Q

referred to as “moth-proofing finish;” a chemical finish especially for wool fabrics to make them resistant to attack by moths and carpet beetles

A

Moth-Resistant Finish

160
Q

a mechanical finish of subjecting the surface of a fabric to a brushing process to raise the fiber ends thru creating a surface fuzziness

A

Napping

161
Q

relaxation shrinkage is eliminated by overfeeding a fabric onto a dyeing frame and applying stretch in the crosswise direction

A

Shrink-Resistant Finish (Mechanical Method)

162
Q

label or mark applied to cotton or linen fabrics indicates a mechanical shrink-resistant finish that has met standards of less than 1% shrinkage

A

Sanforized

163
Q

this finish is given to loosely constructed fabrics or fabrics with low thread count; prevents the warp yarns from slipping along the filling yarns

A

Slip-Resistant Finish

164
Q

these are chemical finishes usually given to rugs and upholstery fabrics to repel soil and stain; a compound called Silicone is used for this type of finish; fabric become water-repellent such that water-borne stains cannot penetrate

A

Soil and Stain-Resistant Finish

165
Q

aka “drip-dry finish;” the same type as crease-resistant finish; fabrics will dry smoothly and need little or no ironing after washing

A

Wash and Wear of Minicare Finish

166
Q

a chemical finish that makes a fabric resistant to wetting but not waterproof; this finish permits a fabric to breathe, allowing the passage of air, water vapor, and perspiration through it

A

Water-Repellant Finish

167
Q

unlike repellency, this finish totally coats the fabric thus closing the pores and enabling it to shed water under all pressures; fabrics do not breathe

A

Waterproof Finish

168
Q

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

A

Dyes

169
Q

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

A

Pigment

170
Q

colored water-soluble organic compounds, mainly salts of sulphuric acid; possesses great affinity for wool, silk/nylon and casein

A

Acid Dyes

171
Q

the oldest among the artificial dyes; direct affinity for silk, wool, nylon, casein fiber, jute, and related fibers

A

Basic Dyes

172
Q

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

A

Direct of Salt Dyes

173
Q

formerly called “acetate dyes;” originally developed for acetate fibers; these dyes are now used for coloring acetate, polyester, and acrylic and nylon fibers

A

Disperse Dyes

174
Q

these dyes are used for cotton, linen, and viscose rayon; color is developed by additional treatment, which also makes the dye fast to washing

A

Developed Dyes

175
Q

these are water-soluble organic dyes which have affinity for cellulose in a alkaline bath; can be done in 2 ways: by padding, and by thermosol

A

Reactive Dyes

176
Q

dyes that are used for cotton and viscose rayon; made by the reaction of sulfur with organic compounds; produce a wide range of rather dull colors and include a few blues, greens, maroons, oranges, and yellow

A

Sulphur Dyes

177
Q

the fastest dye for cotton, linen, viscose and cuprammonium rayon; used for some man-made fibers with the use of a mordant

A

Vat Dyes

178
Q

a method in dyeing fabrics where some of the man-made fibers may be dyed in a solution before filament is formed; excellent colorfastness

A

Solution Dye

179
Q

a method in dyeing where the fibers are dyed before the yarns are spun and woven into the fabric

A

Fiber Dye (or Stock Dye)

180
Q

a method in dyeing where yarns are dyed before they are woven into checks, plaids, stripes, or herringbone designs; use of yarn in the crosswise direction produces a changeable or iridescent effect

A

Yarn Dye

181
Q

a method in dyeing where the cloth is dyed after fabrication; aka “dip-dyeing”

A

Piece Dye

182
Q

a method in dyeing where the open fabric passes back and forth through a stationary dye bath

A

Jig Dyeing

183
Q

a method in dyeing when a fabric is continuosly immersed without strain to the fabric

A

Winch, Reel, or Beck Dyeing

184
Q

a method in dyeing when the fabric is run through the dye bath and then between rollers which squeeze the dye deeper into the yarns

A

Pad Dyeing

185
Q

a method in dyeing when a fabric if two or more fibers is place in a dye bath contained two or more different dyes

A

Cross Dye

186
Q

a method in dyeing when a fabric from one fiber is dyed in one color

A

Solid Dye

187
Q

a method/technique in dyeing that mixes dyes for fabrics made from two or more fibers so that the fibers will dye the same color

A

Union Dye

188
Q

these are made possible through 1. yarn type and arrangement, 2. weaves, knits, and variations; kind of yarns used in weaving or knitting the fabric may create design

A

Structural Designs

189
Q

designs that are placed on the fabrics after they have been made can be classified into two 1. printing, 2. applied designs other than printing

A

Applied Designs

190
Q

this is done to add colors and designs to the fabric surface, making the fabric more appealing to the consumers

A

Printing

191
Q

the oldest method of printing design on fabrics; consists of carving the design on a wooden/rubber/or metal block, then color is applied on the block, then pressed down firmly by hand on the fabric

A

Block Printing

192
Q

method of printing; the design is cut on cardboard, wood, or metal; Color is then applied, penetrating only the cut portions

A

Stencil Printing

193
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

194
Q

color is discharged or removed from the fabric, thus creating a design; chemicals are used to remove the colors; usually employed where a light design is required against a dark background

A

Discharge or Extract Printing

195
Q

aka “cylinder printing;” can be considered the machine counterpart of hand-block printing

A

Roller Printing

196
Q

creates a design, which appears on the face and back of the fabric, simulating a woven pattern; can be done through the use of a duplex machine or the roller printing machine

A

Duplex Printing

197
Q

a resist paste is stamped on the fabric creating a design; then immersed in a dye bath leaving the design unaffected

A

Resist Printing

198
Q

was first used in Indonesia, where the fabric is pile-spread with Paraffin or wax; the waxed areas remain in the original color, while the rest of the fabric adopts the color of the dye

A

Batik Printing

199
Q

almost the same as developing a photograph; the fabric to be printed is covered with chemicals that are sensitive to light

A

Photo Printing

200
Q

chemicals are used to produce the puckered design; fabric passes between roller which permit a caustic solution to contract certain areas of the fabric

A

Plisse Printing

201
Q

these are printed, usually with the use of a roller, before they are woven into a fabric; fine white or neutral-colored filling yarns are used so that the design printed previously on the warp yarns; has a soft and somewhat vague effect

A

Warp Printing

202
Q

another widely used method of fabric printing; is first drawn on silk, nylon, or metal screen, then a lacquer coating is applied to all parts of the screen on which the design does not appear; aka “silkscreen”

A

Screen Printing

203
Q

it uses a cylindrical screen that rotates in a fixed position, as compared to screen printing which uses flat screens that are raised and lowered; a squeegee is placed within the cylindrical screen and is designed for roll-to-roll printing on fabric

A

Rotary Printing

204
Q

process of transferring prints from pre-printed release papers to fabrics; the process is fast and is applicable to piece goods or volume yardages

A

Transfer Printing

205
Q

the simplest method of fabric designing; put in fabric by painting the color directly on the cloth with the use of a brush

A

Free-Hand Painting

206
Q

it is applying one piece of fabric to a larger piece of material; done in order to add depth, design or contrasting colors to the bigger material

A

Applique

207
Q

raised design found on the surface of the fabric; with the use of special machines which presses the designs in the fabric while it is under conditions of heat, moisture, and steam

A

Embossed Designs

208
Q

tiny pieces of fabric called “flocks” are made to stick to the fabric; the fabric is first printed with an adhesive after the flocks are dusted to it, making them adhere to the adhesive to form the design

A

Flocked Designs

209
Q

cut out designs held to the fabric surface by the use of glue or an adhesive

A

Glued or Pasted Designs

210
Q

often referred to as having a “watered appearance;” made possible through the use of a special machine that produces this effect; designed under conditions of heat, pressure, and moisture

A

Moire Design

ID REVIEW for Boards (64 decks)

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