FABRIC SCIENCE

FOR APPAREL
Y.NAVINA
ROLL NO-33
BFT -2
 ACKNOWLEDGEMENT

■ I would like to express my special thanks of gratitude to my teacher Mr.Shakeel Iqbal sir
gave me the golden opportunity to do this wonderful project on the topic knitting mainly
focused on knit structures, which also helped me in doing a lot of Research and I came
to know about so many new things I am really thankful to them.
Secondly I would also like to thank my parents and friends who helped me a lot in
finalizing this project within the limited time frame
 KNITTING

■ Knitting is a method by which yarn is manipulated to create

a textile or fabric; it is used in many types of garments. Knitting may
be done by hand or by machine.

■ Knitting creates stitches: loops of yarn in a row, either flat or in the

round (tubular). There are usually many active stitches on
the knitting needle at one time. Knitted fabric consists of a number
of consecutive rows of connected loops that intermesh with the next
and previous rows. As each row is formed, each newly created loop
is pulled through one or more loops from the prior row and placed on
the gaining needle so that the loops from the prior row can be pulled
off the other needle without unraveling.
KNITTING STRUCTURES

■ Knitted constructions are made by interlooping yarns in horizontal rows (wales) and
vertical columns (courses) of stitches. They are softer, more flexible and easily
conformable, and have better handling characteristics than woven structures. As is the case
with woven structures, there are several variations in knits; the most common are the weft
knit and warp knit constructions
Some of the knitted structures are:
■ Half cardigan
■ Full cardigan
■ Milano
■ Velour
■ Pique
FULL CARDIGAN
■  A tucked rib knit stitch, which creates the same series of wales (lengthwise
ridges/ribs) on both the face and the back of the fabric.
■ The Full Cardigan is made of a repeat of one course of all knit on front needles
and all tuck on back needles, the second course of all tuck on front needles and
all knit on back needles. 
■ Full Cardigan looks identical on both sides.
■ Excessive tuck loops make the fabric bulky and thick.
■ It is usually knitted in coarser gauge and widely used in making sweaters and
fashion garments.
■ Cardigans are usually made of Wool or Acrylic.
■  Used for sports- and winter wear.
• To knit full-cardigan, diagonally opposite pairs of cardigan cams
are taken out of action so that in one direction of traverse the front
needle bed will tuck and in the return traverse the back needle bed
will tuck.
•  Full-cardigan version is termed the sweater stitch.
• No rolling tendency;
• Both sides of the fabric have the same stitch appearance;
• Good elasticity, very good stretchability especially in horizontal
direction;
• Thicker than Single Jersey;
• Also called Full Tuck.

FULL CARDIGAN
HALF CARDIGAN
•  A tucked rib knit stitch, which is a variation of the full cardigan stitch.
• The spaces between the wales (lengthwise ridges/ribs) on the face of the
fabric are closer together than those of the Full Cardigan.
• The back of the Half Cardigan knitted fabric has the same series of wales
as the Full Cardigan.
• The Half Cardigan is made of one course of all knit on both needle beds
and second course of all knit on front needles and all tuck on back
needles.
• The tuck loops present in the fabric reduce the stretch in width direction.
• It is not reversible fabric.
• They are generally coarsely knitted and used for making pullovers and
sweaters.
HALF CARDIGAN
• No rolling tendency;
• The two sides of the fabric have different stitch
appearance – one side is very even and flat, the
other side appears to be coarser and has an
uneven grained surface;
• Good elasticity, good stretchability especially
in horizontal direction;
• Thicker than Single Jersey.
MILANO KNIT
Milano Ribs are a variant of Rib Knit with half Milano and full Milano variations. The fabric has
specific patterns of knitting and misses.
Half Milano
• Half Milano is made of a repeat of one course of all knit on both needle beds and second
course of all knit on front needles only. 
• It has an unbalanced structure. It is usually knitted coarse gauge and widely used for
making sweaters.
Full Milano
• Full Milano is made of a repeat of one course of all knit on both needle beds, the second
course of all knit on front needles only and the third course of all knit on back needles only.
•  Full Milano is finely knitted fabric and has better coverage. It has greater dimensional
stability than half Milano rib. It is widely used as suiting fabrics.
HALF MILANO
• No rolling tendency;
• The two sides of the fabric have different stitch
appearance – one side has smaller, more compact
stitches and the other side has longer, stretched
stitches;
• Low elasticity;
• Good dimensional stability;
• Base of multi coloured Jacquards;
• Thicker than Single Jersey;
• Also called Half Tubular.
• Half Milano is made up of 1 rib course and 1 plain
course; with plain course always on the face side of
the fabric
• The resultant fabric is an unbalanced structure with
different appearance on both sides
FULL MILANO
• No rolling tendency;
• Both sides of the fabric have the same stitch appearance;
• Very firm with characteristics closest to woven fabric;
• Uneven, structured surface;
• Low elasticity;
• Good dimensional stability;
• Used for collars;
• Thicker than Single Jersey.
• Full Milano is knitted in higher density to give a firm fabric
• The two plain courses of full Milano reduces most of the width
way elasticity
• Full Milano is produced mainly on medium gauge machines
VELOUR KNIT

• Knitted Velour are Pile jersey fabrics having soft protruding fibers on

the fabric surface. 
• Like knit terry, they are also made of an additional set of yarns making
pile loops on the fabric surface.
•  However, in Velour, these pile loops are sheared evenly and brushed. 
• It may be dyed and generally available with solid colors. 
• They are used in luxurious apparels like jackets, blouses, dresses etc.
• Velour can be a woven or a knitted fabric, allowing it to stretch.
• It combines the stretchy properties of knits with the rich appearance and feel of
velvet.
• Velour is used in dance wear for the ease of movement it affords, and is also
popular for warm, colorful, casual clothing.
• When used as upholstery, velour often is substituted for velvet.
• The velour widely used in the manufacture of theater drapes and stage curtains
is manufactured using the same weaving process as velvet: two sets of warps
and wefts woven at the same time, with additional threads that will become the
nap in between, then cut apart to produce the two separate tufted fabrics.
• Cotton velours used for this range from 16oz per linear yard to 32oz per linear
yard, synthetic versions typically run 13oz to 32oz per linear yard
PIQUE KNIT
• Pique Knit fabric is in which interlock is knitted in the first and fourth courses,
while the second and fifth courses are half-gauge jersey courses knitted on one
side of the fabric, and the third and sixth courses are half gauge jersey courses
knitted on the other side.
• Pique refers to the knitting style characterized by the raised parallel cords.
• Mainly knitted of cotton, pique knit fabric has accepted to be breathable,
durable and easily cared for, as its dobby textured does not show sweat stains.
• Geometrical modelling of the single pique (Lacoste) knitted fabrics is studied.
• Elliptical shapes for the head of loops (tuck and plain) and general helices for
the rest of the parts including the arms of the loops are used.
• The coordinates of the points on the fitting curves are found and these points
are used in the simulation of the front and back views of the single pique
knitted
Usage:
• Pique Knit fabric has raised fibers that form a ribbed-like texture that
can form various diamond-like shapes.
• This characteristic feature gives the fabric more body, making it
perfect for polo shirts, shirt dresses, knit skirts and more structured
knit fashion apparel.
• Pique Knit Fabric is a staple fabric in the sportswear industry, which
has long been regarded as the go-to fabric for polo shirts and dresses,
tennis skirts and a variety of golfwear.
BIBLIOGRAPHY

https://www.textileschool.com/251/knitted-fabrics-and-types/#:~:text=Knitted%20Velour%20are%20Pile
%20jersey,are%20sheared%20evenly%20and%20brushed
.
https://knitbeat.wordpress.com/2016/09/30/basic-knitting-stitches-and-their-characteristics-part-2/
https://
www.researchgate.net/figure/Structural-configuration-of-knitted-structure-of-single-pique_fig4_3049939
98
https://www.textileschool.com/251/knitted-fabrics-and-types/
https://www.sciencedirect.com/topics/engineering/knitted-structure#:~:text=Knitted%20structures%20are
%20composed%20of,the%20yarn%20direction%20changes%20continuously
.
http://bosforustextile.com/cardigan_knit_fabric.html
https://slideplayer.com/slide/4143624/

THANK YOU
 TESTING COLOUR
FASTNESS OF DYED AND
PRINTED FABRICS
PART -B
ACKNOWLEDGEMENT

■ I would like to express my special thanks of gratitude to my teacher Ms.Srivani mam

gave me the golden opportunity to do this wonderful project on the topic testing
colourfastness mainly focused on colourfastness on printed and dyed fabrics, which
also helped me in doing a lot of Research and I came to know about so many new
things I am really thankful to them.
Secondly I would also like to thank my parents and friends who helped me a lot in
finalizing this project within the limited time frame
WHAT IS COLOURFASTNESS ?
• We can define colorfastness as, having color that will not run or fade
with washing or wear.
• That means characterizes a material's color's resistance to fading or
running.
• Clothing is colorfast if its colors and dyes do not bleed or run from the
clothing.
• Clothing should be tested for colorfastness before using any type of
bleach or bleaching solution, or strong cleaning product.
• Colorfastness is very important factor for buyer.
• Colourfastness of textiles are an important measure of quality of a
product.

On the upper and lower part of the

panel the former colour is visible at
the top. This panel's dye is
not colour fast.
VARIOUS AGENTS WHICH AFFECT FASTNESS OF DYED
OR PRINTED FABRICS
• Selection of dyes
The selection of dyes plays a vital role in determining the fastness to light. The Natural dyes are
least resistant to light; reactive dyes show moderate resistance, whereas the Vat dyes show good
resistance to light. Dye with larger particle size shows good resistance to fading eg: Indigo dyes.
Dyes with good aggregation property show good resistance to UV light. eg: Vat Dyes.

• Depth of Shade
Darker shades of dye show good resistance to light, whereas the lighter shades show poor
resistance to light. Due to the presence of large number of dye molecules in dark shades, only
very few dye molecules involve in fading and rest of the dye helps in maintaining the depth of
shade. But due to the presence of less dye molecules in lighter shades, the dye molecules affected
by light is more so the shade becomes duller.
• Amount of unfixed dyes
In cotton materials the reactive dye form covalent bond with the cellulose of the fiber. The dye
particles which are properly fixed to the fiber show good resistance to UV light whereas the dyes
which are unfixed to the fiber show poor resistance. In the synthetic fibers like polyester and
polyamide the unfixed dyes are more susceptive to UV light

• Material
It is necessary to know the importance of fiber characteristics. Disperse dyed polyester fiber shows
better resistance than disperse dyed polyamide fibers. Each fiber reacts differently under the action
of UV light. Polyester and Polyamide shows good resistance to UV light. But cotton and silk shows
poor resistance to UV light as it pass through the fiber and undergoes photo degradation process
like photo tendering, photo oxidation etc.

• Environmental conditions
Moisture content and heat are the two main environmental factors that affect the light fastness. 
• Fastness to Washing:
In the test, change in color of the textile and also staining of color on the adjacent fabric are
assessed.
• A 10 x 4 cm swatch of the coloured fabric is taken and is sandwiched between two adjacent
fabric and stitched,
• The sample and the adjacent fabric are washed together.
• Five different types of washing are specified as different washing methods.
Fastness to Wash
Soap+So Time
Stee
Sr.N Washing da in in Temperatu
Method l
o severity grams/lite minute re
r s
balls • The solution for washing should be prepared to
1
IS:687:7 Very mild like
5 30 40+/- 2 Nil
the required temperature of washing.
9 hand wash • The liquor material ratio is 50:1 .
IS:3361:
5 times • After soaping treatment, remove the specimen,
2 severe than 5 45 50+/- 2 Nil
79
method 1 rinse twice in cold water and then in running cold
3
IS:764:7
Mild washing 5 + 2 30 60+/-2 Nil water under a tap.
9
IS:765:7 Severe • Squeeze it and air dry at a temperature not
4 5+2 30 95+/-2 10
9 washing exceeding 60°C.
IS:3417: Severe
5
79 washing
5+2 4 hrs 95+/-2 10 • The change in color and staining is evaluated with
the help of grey scales.
• Principle of Color Fastness to Light:
This test measures the resistance to fading of dyed textile when exposed to day light.
Grade Degree of Fading Light Fastness Type
8 No fading Outstanding
7 Very slight fading Excellent
6 Slight fading Very good
5 Moderate fading Good
Color Fastness to Light with the Microsol light
4 Appreciable fading Moderate Fastness Tester:
3 Significant fading Fair • The testing is done step by step. Following
2 Extensive fading Poor step is maintained during measure the color
1 Very extensive fading Very poor fatness to light.
• Cut the four pieces of test specimens
according to the length & width wise and
• Purposes:
attached with the specimen holder.
The purpose of colour fastness to light test, is to • Then the holder set in to the Microsol light
determine how much colour will fade when exposed
fastness tester.
to artificial light (xenon arc) which is representative • Then the experiment continued at 72 hours
of natural daylight.
according to the buyer’s requirement.
• This test measures the resistance to fading of dyed
• After 72 hours later the specimen taken from
textile when exposed to day light. Here it is common
the light fastness tester
to carry out physical tests before and after exposure • Then the test specimen compare with the Blue
to determine the degree of degradation.
scale or computer color matching system
 (CCMS).
TESTING COLOUR FASTNESS TO CROCKING :
• Colorfastness to rubbing or crocking is a basic testing procedure of a garments or fabric.
• After producing fabric it is badly need to take a test of crocking.
• Crocking is like rubbing a period of time with a minimum cycle.
• So here we are showing you how to do colorfastness to crocking.
• Colorfastness to rubbing or crocking is nothing but a combination of dry and wet rubbing test .

Colorfastness to rubbing or crocking in dry / Dry rubbing test

• Colorfastness to rubbing or crocking in dry fabric is the first steps of rubbing test.
• In textile manufacturing process it is called dry rubbing test.
• First one object (fabric or garments) should have to select which needs to test with crocking
meter.
• Crock meter is a testing machine by which colorfastness to crocking is done. First a dry garment
have to place according to the position.
• Then one pure cotton fabric swatch is place on the teeth of the crock machine. Then run machine
about ten cycle and put out the white watch from the teeth of machine.
• See the dry rubbing effect of the swatch. It comes with some shade of fabric or garments that was
placing for test.
• Now compare the shade with the grey scale and numbering the test comparing with grey scale.
This is the procedure of colorfastness to crocking.
Colorfastness to rubbing or crocking in wet / Wet rubbing test
• Colorfastness to crocking in wet fabric is the second steps of rubbing test.
• We call it as wet rubbing test also. First object has to place on the crocking machine.
• Crock meter is a machine.
• Then we wet the pure white watch and set it on the same position of teeth as we did for the dry
rubbing test.
• Follow same procedure and finally will get the shade in wet form.
• Compare it with the grey scale and grade it according to the grey scale.

Crock Meter. Colorfastness to rubbing or crocking

TESTING COLOURFASTNESS TO PERSPIRATION

• The colour fastness  to perspiration (acid and alkaline) shall be at least level 3-4 (color change and
staining).
• This criterion does not apply to white products, to products that are neither dyed nor printed, to
furniture fabrics, curtains or similar textiles intended for interior decoration.
• A level of 3 is nevertheless allowed when fabrics are both light colored (standard depth < 1/12)
and made of silk or of blends with more than 20% silk.
• This kind of test is specially applied for the sports wear and heavy dresses which is used specially.
• Normal cloths is also tested by perspiration test.

Color Fastness to Perspiration

The garments which come into contact with the body where perspiration is heavy may suffer serious
local discoloration. This test is intended to determine the resistance of color of dyed textile to the
action of acidic and alkaline perspiration. Before knowing about the Color Fastness to perspiration
you must have to know about Color Fastness to Wash and Color Fastness to Rubbing.
TESTING COLOURFASTNESS TO IRONING :
• For testing the colourfastness to ironing, iron the samples with a very hot iron.
• Let the samples be cooled. After the sample has cooled, compare both the original fabric and
ironed fabric.
• If the ironed fabric changes colour it is said to be not colourfast.
• If the colour is unchanged, the fabric is fast to ironing.

• Wet Pressing
• Soak the specimen and cotton cloth in distilled water and squeeze or extract them to contain
their own weight of water.
• Place the wet specimen on a piece of the dry cotton cloth and place the wet cotton cloth on the
specimen, press by moving the iron to and fro over the wet cloth (without additional pressure)
for 15 sec.
1. Colour Change Grey Scales

• These scales consist of five pairs of grey coloured material numbered from 1 to 5.
• Number 5 has two identical greys, number 1 grey scale shows the greatest contrast, and numbers 2, 3 and 4
have intermediate contrasts.
• After appropriate treatment the specimen is compared with the original untreated material and any loss in
colour is graded with reference to the grey scale.
• When there is no change in the colour of a test specimen it would be classified as '5'; if there is a change it is
then classified with the number of the scale that shows the same contrast as that between the treated and
untreated specimens. 
• grade 1 depicts severe change in some standards.

 
2 .Degree of Staining Grey Scales

• A different set of grey scales is used for measuring staining.

• Fastness rating 5 is shown by two identical white samples (that is no staining) and rating 1 shows a
white and a grey sample.
• The other numbers show geometrical steps of contrast between white and a series of greys.
• A piece of untreated, unstained, undyed cloth is compared with the treated sample that has been in
contact with the test specimen during the staining test and a numerical assessment of staining is
given.
• A rating of 5 means that there is no difference between the treated and untreated material.
• If the result is in between any two of the contrasts on the scale, a rating of, for example, 3-4 is
given. 
 Fastness to Washing:

• CHANGE IN COLOUR :
• Grey scale is used for checking the change in colour of the specimen
• This scale consists of nine parts
• The differences in colour between the chips of each pair
• STAINING
• This scale consists of pair normally while and grey colour chips each representing different chips

In the test, change in color of the textile and also staining

of color on the adjacent fabric are assessed. A 10 x 4 cm
swatch of the coloured fabric is taken and is sandwiched
between two adjacent fabric and stitched, The sample and
the adjacent fabric are washed together. Five different
types of washing are specified as different washing
methods.

GYROWASH IS USED IN TESTING

 COLOURFASTNESS TO LIGHT
Purposes:
• The purpose of colour fastness to light test, is to determine how much colour will fade when exposed to
artificial light (xenon arc) which is representative of natural daylight.
• This test measures the resistance to fading of dyed textile when exposed to day light. Here it is common to carry
out physical tests before and after exposure to determine the degree of degradation.
Apparatus:
• Machine used: ATLAS ci3000+ Xenon fade-Ometer

Preparation of specimen:
• Artificial light is generated by Xenon Arc Lamp, which has a
life span of 2000 hours.
• Inner layer is made up of Borosilicate (for American buyer)
and Quartz (for European buyer.
• Outer layer is made up of sodalime which is known as fload
glass.
• There are 6 fload glasses arranged in a circular position.
• Life span of each fload glass is 666 hours.
• The top most layer is made by the sample holder. There are 29
sample holders, each having a holding capacity of 4 samples.
Procedure:
• First the samples are conditioned to 65±2 RH humidity and 20±2°c temperature.
• Then it is put inside the sample holder for certain time, humidity and temperature according to the
customer demand.
• The humidity is usually kept at 40±5 RH and 30°c temperature.
• After the process assessment to color fastness is done.
Assessment of color fastness to light:
• The assessment is carried out by assigning rating to standard blue wool fabric.
• It has a range of (8-1), 8 means good and 1 means worst.
• Usually fabric below is rejected.

COLOURFASTNESS TO CROCKING :

• This test is designed to determine the degree of colour that may transfer from the coloured textiles to other
surfaces by rubbing.
• Crocking means the transfer of color from one fabric onto another by rubbing.
• A fabric with poor color fastness would transfer its color easily onto other fabrics, especially to white color
fabrics.
Purpose:
To determine a coloured material’s
resistance to rubbing

• Apparatus used:
1. Crockmeter:
• It consists of the following features:
• A flat base to which the test specimen
is fixed so as to be free from slack
that may cause folds and wrinkles
Sample preparation:
during rubbing. • A 5x5cm sample is taken and stiched to a monofibre having
• A rubbing finger comprising a
40sx40s, 80x70 of cotton fiber.
cylinder of 16mm diameter, which is • The GSM of monofibre used is 115-120g, and whiteness index is
moved along a distance of 104±3mm
80-85.
having a weight of 9N.
Procedure for dry method:
2. Cotton rubbing cloth • For dry method both ISO and AATCC method are same.
3. Light box with light source • The fabric is to the flat bed.
4. Grey scale for assessing staining • Swatch is attached to the rubbing finger and within 10 seconds, 10
5. Distilled water
times stroke is given.
6. Pipette
•Procedure for wet method:
In wet method swatch is dipped in distilled water having 0 hardness and TDS with pH=5.5-7.5.
•For ISO method pick up% should be 95-100% and for AATCC method pick up% should be 65%.

•Assessment of rubbing fastness:

Ratings are assigned for the staining of the cotton cloths with the grey scale.
•In each warp-way and weft-way directions the fabric is tested for dry test and wet test.
•This scale consists of nine parts (from 5-1).
•The differences in colour between the chips of each pair are given a rating.

Color Fastness to Perspiration

1.Equipment For Fastness Measurement

Perspiration tester
2.Oven, Maintained at 37+-2 Degree centigrade
3.Multifiber test fabric
4.Grey scale
5.Color matching chamber
6.Acidic and Alkaline solution
7.Glass or Acrylic plat perspirometer
8.Weight.
Reagent for Perspiration Test
• Solution freshly prepared, containing 0.5g 1-histidine mono-hydrochloride mono-hydrate, 5g sodium chloride,
and 2.5g disodium hydrogen ortho phosphate per litre brought to PH 8.0 with 0.1N sodium hydroxide.
• Solution freshly prepared, containing 0.5g 1-histidine mono-hydrochloride mono-hydrate, 5g sodium chloride,
and 2.2g sodium dihydrogen ortho phosphate per litre brought to PH 5.5 with 0.1N sodium hydroxide.
• Two undyed cloths for each specimen each 6×6cm of the same kind of fibre as the sample. Place the specimen
between the two pieces of white cloth and sew along one side to form a composite sample.

Working Procedure :
• Thoroughly wet one composite sample in a solution of PH8.0 at the liquor ratio of 20:1 and allow it to remain
in this solution at room temperature for 30min. pour off the solution and place the composite sample between
two glasses plates measuring about 7.5×6.5cm under a force of about 4.5kg.
• Treat the other sample in the same way but with the solution at PH 5.5.
• Place the apparatus containing the samples in the oven for 4 hour at 37±2C˚
• Separate the sample from the white cloth and dry them apart in air at the temperature not exceeding 60C˚
• Assess the change in colour of the specimen and the staining of the white cloth with the greyscale. 
COLOUR FASTNESS TO
IRONING : • Working Procedure
Apparatus and Reagent   Specimen preparation
• Hand iron of proper weight to give a • Specimen of materials, which has been subjected to any heat
pressure of approximately 30g/sq.cm at or drying treatment, must be allowed to condition at 65% RH,
the temperature indicated in the temp. 20±2C˚, before they tested.
following • Dry Pressing
• Cotton & Linen 190-200C˚ • Place the specimen on the piece of dry cotton cloth on a
• Wool, Silk & Viscose 140-160C˚ smooth horizontal surface. Place the iron on the specimen and
• Cellulose acetate & Polyamide 115- leave it for 15 Sec.
120C˚
• White bleached cotton cloth weighting Damp Pressing: 
approximately 125g/sq.meter. • The adjacent fabric in dimensions of 100 mm x 40 mm is
• Five pieces not less than 14×4 cm are immersed into the water and, squeezed as 100% pick up
required.  • Dry specimen is placed onto the undyed cotton fabric on the
• Gray scale by assessing change in colour filler and, the wet adjacent fabric is placed onto them.
and staining.(ISO scale)   • The top layer of the device is pulled down and, dry specimen
is pressed for 15 seconds at the determined temperature.
• The change in color of the specimen is evaluated in two
The size of the specimen is 10×4cm different ways according to grey scale.
a) Soon after the end of the test
b) After conditioning for 4 hours under standard atmospheric
circumstances.
The staining to undyed fabrics is evaluated by grey scale.

• Wet Pressing
• Soak the specimen and cotton cloth in distilled water and squeeze or extract them to contain their own
weight of water.
• Place the wet specimen on a piece of the dry cotton cloth and place the wet cotton cloth on the
specimen, press by moving the iron to and fro over the wet cloth (without additional pressure) for 15
sec.

• Assessment
Assess the change in colour of the specimen with appropriate grey scale.

• Standard
Dry Pressing 4
Wet Pressing 3-4 
SPECTROPHOTOMETER

• Spectrophotometer is a photometric device that measures spectral transmittance, spectral reflectance relative
spectral emitance.
• It compares light leaving from the object with that incident on it at each wavelength.
• According to Beer's law, the amount of light absorbed by a medium is proportional to the concentration of the
absorbing material or solute present.
• Thus the concentration of a colored solute in a solution may be determined in the lab by measuring the
absorbency of light at a given wavelength.
• Wavelength (often abbreviated as lambda) is measured in nm.
The  Instrument of Spectrophotometer:

• All spectrophotometer instruments designed to measure the absorption of radiant energy have the basic
components as follows :
• A stable source of radiant energy (Light);
• A wavelength selector to isolate a desired wavelength from the source (filter or monochromator);
• Transparent container (cuvette) for the sample and the blank;
• A radiation detector (phototube) to convert the radiant energy received to a measurable signal; and a readout
device that displays the signal from the detector.

The general measurement procedure consists of 5 steps:

• Prepare samples to make colored compound
• Make series of standard solutions of known concentrations and treat them in the same manner as the
sample for making colored compounds
• Set spectrophotometer to l of maximum light absorption
• Measure light absorbance of standards
• Plot standard curve: Absorbance vs. Concentration, 
Spectrophotometry Saves Precious Time and Resources

• When you use a spectrophotometer to test the colorfastness in your silk products, you will make the most out
of your resources.
• Silk is one of the most expensive and time-consuming textiles to make because you have to wait for silkworms
to create their cocoons and then carefully unravel every silk cocoon by hand. 4 
• Every strand of silk is valuable due to the effort required to obtain it. If you dye your silk improperly or fail to
test small samples of your products for colorfastness, you may waste yards of expensive raw material.
• A spectrophotometer only requires a small sample of silk to test for fastness and color consistency, making it a
cost-effective solution for manufacturers.
• By identifying the most durable dyes and mordants using a spectrophotometer, you’ll dramatically improve the
quality of your silk products and maximize your limited time and resources.
 BIBLIOGRAPHY

https://textilelearner.blogspot.com/2012/05/spectrophotometer-instrument-of.html
https://textilecourse.blogspot.com/2018/04/colour-fastness-properties-textiles.html#:~:text=This%20test%20is%20used%20t
o,and%20compared%20with%20standard%20samples
.
https://www.pce-instruments.com/english/measuring-instruments/test-meters/spectrophotometer-kat_159592.htm
https://blog.hunterlab.com/blog/color-in-textiles/improving-colorfastness-in-silk-products-via-spectrophotometric-color-mea
surement/#:~:text=When%20you%20use%20a%20spectrophotometer,most%20out%20of%20your%20resources.&text=A%
20spectrophotometer%20only%20requires%20a,cost%2Deffective%20solution%20for%20manufacturers
.
https://textilecourse.blogspot.com/2018/07/color-fastness-light-test-method.html
https://textilecourse.blogspot.com/2018/07/color-fastness-washing.html
http://
textilesupdate.com/gyrowash-washing-and-dry-cleaning-colour-fastness-tester-by-james-heal-offers-complete-flexibility-of-t
est-methods
https://www.brentanofabrics.com/faqs/wet-and-dry-crocking/#:~:text=What%20Tests%20are%20used%20to,fabric%20whe
n%20subjected%20to%20abrasion
.
https://textilelearner.blogspot.com/2013/12/factors-affecting-rubbing-fastness-of.html
http://textilelearner.blogspot.com/2012/11/different-color-fastness-tests.html

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