TEXTILES AND DESIGN

MODULE 1- DESIGN
ELEMENTS OF DESIGN
Line: A distinct elongated mark as if drawn by a pencil. eyes follow, lines up and
down, side to side or around.

Direction: Leading the eye through the design.

There are 2 types of shapes: Organic (Fluid free forming, natural, unique) and
Geometric (rigid, Mathematical, defined, confined) when Lines connect to form a
shape with no depth, the shape is two-dimensional or flat. When depth is applied to a
shape it becomes three-dimensional.

Colour: is when light waves are reflected and absorbed by objects. the terms hue,
value and intensity are used to describe the level of colours.
• Hue: refers to the name of the colour for example primary hues are red, blue
and yellow and they are used to create the secondary colours, purple green
and orange. When you mix both the secondary and primary colours you form
tertiary colours.
The Colour wheel: warm colours are red, oranges and yellows whereas cool
colours are blues, greens and purples.
• Value/Tone refers to the range of light and dark within neutral colours (Black—-
> White)

Texture: refers to the surface characteristics of a design. Texture has two mains
recognisable types : visual and tactile.
• Visual texture is where the design has the illusion of texture, such as printed
snakeskin pattern.
• Tactile texture is where the surface characteristics can physically be felt, such
as the feel of a neutral snakeskin handbag or shoes. Tactile texture is often
referred to as the ‘hand’ of the fabric.

Texture adds interest, dimension and variety to a design. Types of textures include
rough, smooth, shiny, bumpy, fuzzy, prickly, suede and matt.
Texture can be used in apparel to create optical illusion in just the same way as line
and shape. Bulky textures make the figure appear larger but can also disguise body
shape. Smooth, shiny textures like satin make the body appear larger. Dull, matte
textures tend to be slimming.
PRINCIPLES OF DESIGN

Balance: Refers to the vital weight of a shape, texture, colour, line and space.
Balance gives a design stability and strength. There are 3 types of balance
Symmetrical Balance, Asymmetrical balance and radial Balance.
• Symmetrical Balance is when the elements are used in the same or similar
way on either side of the axis. Weight is distributed evenly.
• Asymmetrical balance is where the elements used on either side of an
axis are not distributed evenly.
• Radial Balance is where a design originated from a central point and all
elements radiate out evenly from that point i.e. a flower.

The 3 types of balance can be categorised through being formal or informal.

• Formal Balance (symmetrical dignified can look boring)
• Informal Balance (creates balance asymmetrically, elements place unequally
in a way that achieves balance)

Proportion: refers to the relative size and scale of the various elements in a design.
Proportion can be a comparison of sizes, shapes or amounts of specified design
elements. Good proportion adds harmony and symmetry, or balance, among the
parts of a design as a whole.

Emphasis: is the focal point. Emphasis is the part of the design that captures the
venires attention. It will be an area on the design or within the design structure that
stands out from the rest of the design.
The sense of oneness, of things belonging together and making up a coherent whole.

Unity: is the composition that has a completeness of a design. All the visual elements
of the design unify the overall work. Harmony is created when the design looks like it
belongs together
and is unified.

Rhythm: Creates easy movement of the observers eye through repetition (repeats
lines, shapes colours or textures) Gradation (increase and decrease in design
elements) and radiation (Created by lines or colours emerging from the centre i.e.
petals on a flower).
Balance gives design stability and strength. It refers to the visual weight of a shape,
texture, colour,line and space . there are three types of balance: symmetrical,
asymmetrical and radial.
Contrast: is an unexpected change in the visual elements of a design. it can be
created through colour, shape, line or texture. colour can be alternated through hue,
value and saturation. Light and dark contrast creates depth of a design. shapes can
change from smooth to jagged or sharp. texture can change from rough to smooth.

Harmony: is the selection of compatible elements that create a pleasing whole.

Harmony:
~Pleasing visual unity of all aspects of design.
~All parts f the design look as if they belong
~Doesn't have excess variation that could displease or detract

Harmony combines colour, shape, line and texture. the similarities of the design or
repeated design features are consistent and blend together to create an aesthetic
design.

TYPES OF DESIGN

Functional
Functional design is how a design performs a function. the primary function of design
is that it suits purpose (it has to work). For functional design to be successful it should
be… simple should have good promotion and not be over- complicated and
cluttered. Suitable-for the purpose or where it will be worn and need to be made of
suitable materials and have the correct construction methods.

Aesthetic
Aesthetic Design refers to the appearance of an object. Aesthetic design may also
refer to the enrichment of the design Eg adding surface decoration lace buttons, etc
or the fabric may have a pattern or texture on it which enhances the appearance of
the garment. good aesthetic design should- use decoration in moderation and not
be over- use or it will appear cluttered. to achieve design which is pleasing which is
pleasing to the eye line, direction, shape, colour, etc. All this should be considered.

Good Design
Good design is a combination of function (how it works), and aesthetic (how it looks).
A good design has and orderly arrangement of parts that all works well for a given
purpose and have an attractive appearance. it is constructed well of materials which
are suitable for the correct manufacturing methods.

COMMUNICATION TECHNIQUES
• Graphical
 o object drawing: views of items from different perspectives, including
orthogonal (2D) and pictorial (3D) representations
o fashion drawing: figure sketching, rendering using a range of appropriate
media
o industry production drawing specifications: correct dimensions and
proportions, accurate details on drawings and pattern pieces
o communication-based technologies

• Verbal Communication – Verbal communication is that which is spoken. With

verbal communication methods and environments including: Conferences,
Phone calls, Web conferencing.
• Written Communication – Non-Verbal is that which is unspoken. Examples
include: Samples/Prototypes, Graphics, Magazines/Newsletters, Websites/Blogs,
Photos, Sketches, Portfolios, and Emails etc.

MANUFACTURING METHODS
Manufacturing methods in creating shape in a garment:
• Darts – Darts are used to shape the fabric to fit the body formed by triangular
shaped thread inserts.
• Tucks – Tucks are stitched folds of varying size used to create fullness in a
garment as well as being used for aesthetic techniques.
• Pleats – Pleats are repetitive folds in the fabric that are stitched or held in place
by a waistband.
• Gathering – Gathering is the process of drawing up a fabric by using rows of
stitches.
• Shirring – Shirring is similar to gathering except an elastic bobbin thread is used.
The fabric will gather up as it is stitched and will have stretch due to the elastic.

Manufacturing methods for openings and closures:

• Zippers – a device consisting of two flexible strips of metal or plastic with
interlocking projections closed or opened by pulling a slide along them, used to
fasten garments, bags, and other items.
• Buttons and Button Holes – A small disc or knob sewn on to a garment, either to
fasten it by being pushed through a slit made for the purpose or for decoration.
• Snap fasters - A small fastener on clothing, engaged by pressing its two halves
together.
• Hook and eye – A small metal hook and loop used together as a fastener on a
garment.
• Velcro – A fastener for clothes or other items, consisting of two strips of thin
plastic sheet, one covered with tiny loops and the other with tiny flexible hooks,
 which adhere when pressed together and can be separated when pulled
apart.
• Hems – The edge of a piece of cloth or clothing which has been turned under
and sewn.

Pattern Making Symbols –

• Grain Line
• Fold Line
• Bust and Hip Indicators
• Seam Lines
• Notches
• Miscellaneous Markings
 AUSTRALIAN TEXTILE, CLOTHING, FOOTWEAR AND ALLIED
INDUSTRIES- MODLUE 2
INDUSTRY OVERVIEW
 An overview of the development of the textiles industry with particular reference to:

The role of textiles in everyday lives

Textiles are an essential part of everyday life. Due to its diversity, textiles perform many functions and
roles in our lives. Textile comes in many different forms from natural to synthetic, and then they can be
woven or knitted, dyed or printed. Textiles have different meanings in different cultures. Textiles can be
used for protection, modesty, adornment and decoration.
Sectors of the Australian Textile, Clothing, Footwear and Allied Industries
Textiles: covers the processing of raw materials into yarns and fabrics
Spinning Wool scouring/top making
Weaving Knitting
Dyeing Finishing
Non-weave Man-made fibre manufacture
Cotton ginning Finished roll
Printing
Clothes: manufacture involves the conversion of fabrics into apparel products
Designing
Pattern making
Fabric cutting
Assembly sewing
Footwear: manufacture involves
Design
Cutting
Assembly
Product
Allied Industries: the allied industries represent a diverse range of manufacturing
entities
Automotive industry
Dry cleaning
Tailor
Canvas and sail
Laundry
Fashion And Textile Designer Careers
Accessory Designer Patternmaker
Costume Designer Seamstress
Fashion Designer Sewer
Fashion and Wardrobe Consultant Tailor
Furniture Designer Textile Designer
Issues Affecting The Industry
Environmental Sustainability is the ability to maintain the qualities that are valued in
the physical environment
 Pollution, waste production and consumption of resources are the greatest
environmental impacts
Occupational Health and Safety
 Refers to the OHS Act
 Major issue is manual handling
 Many workers suffer from unnecessary injuries e.g. strains, sprains
 Aims to reduce injuries, improve productivity, deuce costs of work
compensation claims and lost working time
 Risk Management is a simple way to ensure a safe and healthy workplace:
Identify, Assess, Control, Monitor
 Principles of Hazard Control: Eliminate the hazard, change equipments or
materials, change work methods, use personal protective equipment.
Technological Changes
 Changes in employment
 Unskilled labourers decreased
 Technical staff increased
 Requires special skills in employment
Trends and Opportunities in the Industry
 Difficult to compete overseas because of cheaper labour overseas and
shipping prices

History Of Textile Industry

 An overview of the development of the textile industry through the 19th, 20th and 21st
centuries with reference to social and economic impact, employment and workforce
issues and technological developments

Main focus of the 19th century:

• Textile equipment
e.g.
o Weft knitting machine (1864)
o Jacquard loom (1806)
o Singer sewing machine [needle that moved up and down instead of side to
side] (1851)
Main focus of the 20th century: Main focus of the 21st century:
• New textile material and processes • More environmentally safe
e.g. products
o Acetate (1904) • To speed up the manufacturing
o Resin fabric finish (1928) process
o Sanforising fabric finish (1930)
o Nylon (1938)
o Helanca (1947)
o Acrylic (1950)
o Polyester (1953)
o Elastomeric fibre (1956)
o Microfibers (1986)
o Tencel (1993)
QUALITY OF TEXTILES
Influences on the quality of textiles and clothing:
Design
Design is the process that uses a combination of aesthetic and functional
components to create solutions for identified needs. Design is an integral
part of quality.
o A good design will be aesthetically pleasing and factually appropriate
to the specific end use
Trademarks
A trademark is a mark that is used for the identification of goods and services.
It is required by legislation that a business register the mark with a local
trademark office before can gain protection under trademark law.
o A trademark can be a word, phrase, letter, number, sound, scent,
shape, logo, picture or aspects of packaging, or a combination of
these.
o The suffix TM is used to identify trademark
Fabric quality
Fabric quality is of high importance in determining the overall quality of a
textile item.
• Important to textile manufacturers, designers, retailers and consumers
• Free from defects and uniform in appearance and structure.
• Determines the price point and can influence the total production
cost, consumer satisfaction and aesthetic properties of a textiles
component, item or product

Legislation
From January 2011, there is one national law for fair trading and consumer
protection Australian consumer law (ACL).
• This means all consumers and businesses in Australia will have the same
rights and obligations
The Australian consumer law includes:
o A new national law guaranteeing consumer rights when buying
goods and services
o A new national product safety law and enforcement system
o Simple national rules for layby agreements
• Mandatory safety standards are another form of legislation to ensure
you receive quality textile goods.
Care labels
Care labels are used by businesses to convey important information about
most goods such as food, clothing and packaged items.
o Allows consumers to make informed choices
o Appliance with the product information standard is mandatory
o All products should include a label that provides instructions on how to
care that product generally, the requirements allow consumers to:
 Be aware of the method and cost of caring for goods when they
purchased Best method of cleaning the product  For Example:
Dry Cleaning
 Prevent damage from improper
 Increase the useful life of the product
Quality assurance checks
Quality assurance checks are important aspect within the total quality
management of components.
Maintains the standard from the beginning of the production process and
insures the product will be suitable for and use appliance
• Quality assurance insures that a textile item is produced to specific
level of predetermined quality in a manner that it is safe, cost-effective
and efficient.
Quality control measures
Quality control is the expectation and checking of
products and processes.
• Used to assess the quality of the product at
various stages of the manufacturing process
Measures installed at each stage of development, manufacture,
sales, marketing, processing or service has been evaluated to
ensure it meets predetermined specifications before it passes to
the next stage

Role of the manufacturer and consumer in determining quality

The ATCFAI relies on the recommendations of standards Australia to ensure
the quality of a textile component, item or product.
• It is the role of the manufacturing company to uphold the standard of
good practice, referring to the predetermined quality assurance and
quality control measures and standards
• As a consumer you have the responsibility when purchasing textiles goods
and services. These include:
o Acquiring the knowledge and skills to make informed confident
choices about textiles goods and services
o Shopping around to ensure you are receiving value for your
money
VALUE OF TEXTILES
Determining value in an item, is subject to personal interpretation or
perceived value, it can also be measured objectivity and expressed as a
momentary or significant resource value. To understand the value of a
certain item, you must consider, the end-use requirements, historical cultural,
contemporary and technological perspectives.

Perceived Value
The value that the buyer subjectivity attaches to a textile item. In
contemporary society, an items value depends on how the consumer or
owner of the textile product feels about the item or how the item is portrayed
in advertising.
• Heirloom Value
An object that was passed down generally, within a family from
generation to generation and is often only worth only due to
sentimental value
• Vintage Value
referring to the items that were in fashion several decades earlier than
the present day. There is interest in vintage clothing on authentic
vintage items and newly designed items that are made to look vintage.
• Handcrafted Value
handcrafted items are usually considered of great value because they
are usually not mass produced, which makes these items traditionally
more unique and therefore special to the owner.
• Unique Value
Items that are distinctive, quirky or unusual are usually high valued
especially by collectors.
• Designer labels
Designers have a long association with consumers and the perceived
value of textile items.

• Technologically advanced Value

Innovation is the key to successful marketing practices. Innovation can
apply to all aspects of textiles including fibre, yarn, fabric,
manufacture, production and end-use.

Cultural Value
Referring to a system of shared beliefs, values, customs, Behaviours and
artefacts that are unique and transmitted from generation to generation. The
cultural value of a textile items determined by how it relates to the historical,
social and contemporary perspectives of a particular group of people.
 • Religious Value
The terms Region faith, spiritually and belief system are commonly
defined as ideas relating to the supernatural, sacred or divine. Textile
media is often used to create symbols, clothes, costumes, accessories
or dress that reflect the moral codes, practices and institutions
associated with such belief system.
• Social Significance
Referring to how we view textiles and textile products in relation to the
changing values and attitudes in society. it also reflects the changing
values and attitudes of different groups within a society at any given
time. Social significance can be related to religious, cultural, political,
economic, historical, and technological perspectives and the context
the item will be worn.

Economic Value
The economic value of textiles is determined by the market and how people
are willing to pay for goods and services.
• Value is added each stage of textile production and the product
becomes more desirable to the consumer
• The ATCFAI also adds value outside their own industry contributing
various fibres yarns and fabrics that successfully integrated into a wide
variety of products in other sectors of the Australian industry;
o Agriculture – membranes and Geotextiles
o Industrial – filters
o Military – ballistic vests
o Marine industries – sails
 PROPERTICE AND PERFORMACNE OF TEXTILES- MODULE 3

FIBRE STRUCTURE

WOVEN KNITTED

Woven
Woven fabric is any textile formed by weaving. Woven fabrics are often created on a
loom, and made of many threads woven on a warp and a weft. Technically, a woven
fabric is any fabric made by interlacing two or more threads at right angles to one
another.
Plain-weave fabric
In plain-weave fabric the warp and weft are aligned so that they
form a simple criss-cross pattern. Plain-weave is strong and
hardwearing, so it's used for fashion and furnishing fabrics.

Twill-weave fabric
In twill-weave fabric the crossings of weft and warp are offset to
give a diagonal pattern on the fabric surface. It's strong, drapes
well and is used for jeans, jackets and curtains.

Satin-weave fabric
In satin-weave fabric there is a complex arrangement of warp and
weft threads, which allows longer float threads either across the
warp or the weft. The long floats mean the light falling on the yarn
doesn't scatter and break up, like on a plain-weave.
The reflected light creates a smooth, lustrous (shiny) surface
commonly called satin. The reverse side is invariably dull and non-
shiny. Weave variations include jacquard and damask.
Jacquard Weave
• Woven structure
• Intricate weave
• Individual warp yarn can be raised or lowered in the loom
• Combinations can be twill, plain and satin weave
Expensive due to their intricate designs
Crepe Weave
• Created by random arrangement of floats that achieve an all
over pebble effect
• Crepe weave can be constructed using high- twist yarns
• Woven under tension on the loom
• Fabric when released forms an uneven pebbly texture
Pile Weave
• Woven Structure
• Decorative weave
• Includes plain and or twill weave
• Extra warp and weft yarns over the base weave
• Can be cut or left as loops

Knitted
Knitted Fabrics are made up of interlocking loops of yarns. A course in a horizontal row of
loops and a wale is a vertical row of loops.
Weft-knitted fabrics
Weft-knitted fabric is made by looping together long lengths of yarn. It can be made by
hand or machine. The yarn runs in rows across the fabric. If a stitch is dropped it will
ladder down the length of the fabric. The fabric is stretchy and comfortable and is used
for socks, T-shirts and jumpers.
Warp-knitted fabric
In warp-knitted fabric the loops interlock vertically along the length of the fabric. Warp
knits are slightly stretchy and do not ladder. Warp-knitted fabric is made by machine. It is
used for swimwear, underwear and geotextiles.
Single Knit
• Fabrics are constructed by weft knitting
• The fabric has a definite right and wrong side
• Right side: smooth
• Left side: Loopy
Double Knit
• Double knit fabrics are constructed by weft knitting
• Made on knitting machines with two sets of needles
• The fabric is the same on both sides
• Resembling the right side Of a single knit
• Double knit do not curl at the edges or ladder
• As the surface of the fabric is smooth, it can be printed
Double knits are less elastic than single knits
Tricot Knit
• Constructed by warp knitting
• They are knitted on a flatbed knitting machine using two sets of warp threads that
move from left to right with each new row
Tricot fabrics are usually made from filament yarns such as nylon or polyester

Pile Knit
• Constructed by weft knitting
• Two yarns are fed into the knitting machine
 • One yarn forms the base fabric and the other forms the pile.
Fleecy is constructed like a terry knit fabric but one side of the fabric is brushed or
napped to form the fleece or pile.
Lace Knit
• Constructed by warp knitting
• They are knitted on a Raschel flatbed knitting machine using one bar of needles to
create vertical rows of loops, with each row connected by a horizontal inlay thread.
Elaborate patterns can be created on a Raschel knitting machine.
Net knit
Constructed on a Rashchel knitting machine using spun or textured yarns
Non-Woven
Non-woven fabrics are long fibres that have been bonded together using some sort of
heat, chemical, or mechanical treatment.
True Felt
• Crimp and scaly surface of wool fibres means they will felt together when agitated in
the presence of heat and moisture.
• Felt process of commercial felt making is similar to the method of hand felting.
• Fibres are laid out to form a web of even thickness.
Needle Felt
• The web of fibres is laid out on paper or hessian
• The bulky fibre web is repeatedly punched with hot barbed needles
• These needles drag the fibres to the lower side of the web and through the backing of
paper or hessian, which holds the fibres in place and creates a fabric
Webs
Chemically-bonded Web
• Chemically bonded non-woven fabrics lay out in a parallel, crossways or random
formation to form a web.
• The web is held together with an adhesive or bonding agent by spraying or printing,
then the fabric is dried
• This method of fabric production is relatively simple and cheap.
Thermo-bonded Web
Thermo-bonded non-woven fabrics have synthetic fibres laid out in a parallel, crossways
or random formation to form a web
The web is passed through heated rollers that cause the synthetic fibres to soften, melt
and stick to one another.
Mechanically-bonded Web
• Mechanically bonded non-woven fabric consists of a synthetic web that is passed
through a needle loom to entangle the fibres
• The web is then put into hot water, which causes the fibres to shrink and tangle
This forms the fabric
Films
• In constructing a film, synthetic fibre chemicals are extruded as a sheet instead of
filaments.
These films are often laminated onto a fabric base, which is knitted or woven.
COMPARISON OF THE PROPERTIES OF KNITTED AND WOVEN FABRICS
KNITTED FABRICS WOVEN FABRICS

•More elastic •Less elastic

•More resilient •Crushes easier
•easily distorted •resists stretching and distorting
•more absorbent •less absorbent
•slower drying •quicker drying
•may snag •tends not to snag
•weaker •stronger
•less durable •more durable

FABRIC/ FIBRE PROPERTIES

Property Description
Aesthetic Pleasing to the eye.
Lustre Gloss, sheen, shine or sparkle of a fabric caused by the light
reflecting from the surface.
Drape The way the fabric hangs or fall.
Durability The ability to withstand wear, pressure or damage.
Abrasion Resistance Ability to withstand rubbing or wear and tear.
Strength Ability to resist breaking.
Comfort Feeling of ease, cosiness and relief.
Absorbency Ability to absorb and hold moisture.
Elasticity Ability to return to original shape after stretching or compressed.
Thermal Properties Ability to withstand and transfer heat.
Dimensional Inability to shrink and stretch.
Stability
Care Ability to withstand any changes.
Sun Resistance Ability to withstand deterioration when exposed to sunlight.
Effects of Chemicals Ability to withstand acids, alkalis and solvents.
Colour fastness Ability to withstand colour change after exposed to water or
sunlight.
Shrink Resistance Inability to contract.

YARN PROPERTIES
Properties Carded Cotton Yarn
Aesthetic Low – medium twist, uneven
thickness, uneven surface,
thicker yarn, poor resiliency.
Durability/Strength Strong, more durable.
Comfort Soft.
Care Absorbent, slow drying.
End-use Drill, jeans, denim,
gabardine, sheeting,
towelling, cotton poplin.
FIBRE AND YARN STRUCTURE
Combed Cotton Yarn
Medium – high twist, even
thickness, smooth surface, finer
yarn, poor resiliency.
Improved strength, durable.
Soft.
Absorbent, quick drying.
Cotton, thread, knitted
underwear, batiste, voile, cotton,
lawn, shirring, percale.
 Structure Description
Amorphous Amorphous regions occur when the polymers are in random
arrangement and there are large distances between them.
Crystalline Crystalline regions occur when the polymers are packed closely
together and in a parallel arrangement.
Monomer A monomer is a molecule that forms the basic unit for polymers.
Polymer Polymer morphology is the overall form of polymer structure,
Morphological including crystallinity, branching, molecular weight, cross-linking etc.
Chemical Chemical Composition refers to what the fibre is made of e.g. wool is
Composition made from protein.
External External Structure refers to the fibre morphology i.e. length, diameter,
Structure cross section shape, surface characteristic.
Staple Spun Staple refers to fibre made from staple fibres such as wool or cotton
Fibre which are cut into short lengths when manufactured.
Monofilament Monofilament yarns are made from one filament of a manufactured
Yarn fibre e.g. rayon, polyester or nylon.
Multifilament Multifilament yarns are made from two or more filaments of a
Yarn manufactured fibre e.g. rayon, polyester or nylon.
Filament A filament fibre is a relatively long continuous fibre.
Twist Level The purpose of twisting or spinning yarn is to hold fibres together to
form a yarn. Twist can be clock wise or anti clock wise direction and
when combined create lustre.
Novelty Yarn Novelty yarns are used for decoration to increase the aesthetic
properties of the fabric and can be made from both staple and
filament fibres.
Boucle Yarns Created by combining different coloured yarns together to create a
colour effect.
Slub Yarns Slub yarns made from single or ply yarns. The Slub effect is created
by twisting along the length of the yarn.
Chenille Yarns Chenille yarns are a pile yarn, as it has short fibres coming out from a
central core yarn.
Core-Spun Core-Spun yarns are a yarn that has a centre of one fibre
Yarns composition, around which another is spun or wrapped.

FIBRE TYPES AND CLASSIFICATIONS

Fibre Type Name of Classification
Fibre
Natural Cellulosic: Natural staple fibre, thin, irregular ribbon like twists, burns
Fibres Cotton quickly, not lustrous, poor drape, moderate abrasion
resistance, stronger when wet, highly absorbent, relatively
elastic, smooth, broken down by acids, good sun resistance,
easily dyed, pre-shrinkage.
Natural Protein: Natural staple fibre, multi-cellular protein, matte,
Fibres Wool overlapping fibres, self-extinguishing, matte, exceptional
drape, moderate abrasion resistance, excellent elasticity,
weak, extremely absorbent, warm, sunlight weakens, dyes
readily, weaker when wet.
Regenerat Viscose Made from regenerated cellulose, burns quickly, lustrous,
ed Fibre Rayon good drape, fair abrasion resistance, stretches out of shape,
poor elasticity, highly flammable, damaged by acids, sun
resistant, dyes fast, easily shrinks.
Synthetic Polyester Man-made fibre from a chemical reaction, smooth rod like
Fibres fibre, crystalline, good drape, varied lustre, excellent
abrasion resistance, strong, relatively absorbent, poor
conductor of heat, dyed best a fibre stage, sun resistant,
law shrinkage.
Synthetic Nylon Tough, lightweight, synthetic polymer, crystalline in structure,
Fibres varied lustre, good drape, excellent abrasion, relatively
strong, low absorbency, relatively elastic, moderate thermal
properties, excellent dimensional stability, not resistant to
acids, fairly resistant to sunlight, dyed best a fibre stage, low
shrinkage.
Synthetic Elastomeric Can be natural or synthetic, extruded into fibre as a
Fibres monofilament, high lustre, varied drape, excellent abrasion
resistance, very strong, poor absorbency, poor conductor of
heat, can stretch to 500% without breaking, excellent
dimensional stability, cannot be bleached, can be
damaged by sun.
Blended Cotton Varied lustre and drape, increased absorbency depending
Fibres Polyester on cotton content, excellent strength, absorbency is
increased by polyester content, substantial elasticity
increase with polyester content, heat resistance is increased
by cotton content, chemical effects vary, sun resistance
increased, colour fastness varies, shrink resistance is
improved.
Blended Nylon High lustre, good drape, excellent strength, low absorbency,
Fibres Elastomeric good abrasion due to nylon content, excellent elasticity,
moderate thermal properties, excellent dimensional stability,
good resistance to acids/alkalis, effected by bleach, good
resistance to sunlight, colour fastness varies, shrink resistance
varies.