Textile finishes basics is for a beginner to understand or get an idea what finishes are all about

1. PRESENTED BY:
RUCHI BHUTANI

2. What is a Fabric Finish?
 A fabric finish is applied to a fabric once it
has been made to improve its appearance,
feel or other properties.
 Finishing processes are carried out to
improve the natural properties or
attractiveness of the fabric and to increase
its serviceability.

3. Why are fabric finishes used?
 Fabric Finishes are used to improve the fabric in
some way. This could be:
improve the appearance - color, pattern or
sheen.
 change the texture of the fabric - embossing,
brushing or smoothing
 improve the feel - softer, crisper, firmer.
 improve the drape (how the fabric hangs) -
weighted
 improve wearing qualities - crease resistance,
stain resistance, flammability, waterproof etc.
 modify care requirements - easy wash, quicker
drying times, colourfast, less shrinkage.

4.  Provide aesthetic value
 Soften fabric or change the hand
 Adds to durability
 Adds to comfort
 Provide safety
 Improves performance

5. TECHNIQUES OF FINISHING DEPENDS ON:
 NATURE OF FABRIC i.e. chemical
composition, state, weave etc. this
determines the transparency, luster, fullness,
weight, whiteness etc. i.e. the appearance
 PHYSICAL PROPERTIES OF FABRIC – i.e.
softness, stiffness, tensile strength,
elongation, shrinkage property, insulation etc
 END USE OF MATERIAL- e.g. non shrinking,
non-creasing, crease retention, draping,
resistance to abrasion etc.

6.  RECEPTIVITY OF FABRIC TO VARIOUS
FINISHING OPERATIONS i.e. water, flame, rot
proofing etc
 SUSCEPTIBILITY TO CHEMICAL MODIFICATIONS
FINISHING OPERATIONS DIFFER ACCORDING TO
THE PROPERTIES IMPARTED TO THE MATERIAL

7.  Aesthetic finishes
 Functional finishes
According to quality:
 Temporary
 Semi permanent
 Permanent
According to the type of machinery
 Chemical finishes
 Mechanical finishes

8.  The appearance of fabrics is sometimes deceiving. In part, the
appearance depends on the type of fibers, the construction of
the yarns and fabrics, and the dyeing and printing involved.
However, finishes can be applied to fabrics that enhance the
basic aesthetic qualities. Aesthetic finishes influence the luster,
texture, drapability,hand and surface appearance of fabrics as
well as enhance a host of other qualities.
 Aesthetic finishes change the appearance and/or hand or drape
of the fabrics.

9.  Lustre finishes produces a change in fabrics light
reflectance by making them more shiny.
 Permanent or temporary changes in surface pattern and
luster of fabrics can be achieved through a variety of
finishing techniques.
 Techniques such as calendering, beetling, and burning-out
influence the resulting appearance of the fabric.
 Calendering is a mechanical process that finishes fabrics
by passing them between a series of rollers. By varying the
rollers, adding any additional chemical treatment and/or
temperature, a variety of calendered finishes result,
including: glazed, ciré, embossed, Schreiner and moiré
fabrics.

10. OBJECTIVE-
 To give soft and smooth surface to the fabric
 To give luster or glaze to the fabric
 To give silk like appearance
 To decrease the air permeability
 To flatten the slubs

11.  In general calender usually have 2 to 7 rollers
with more common being the 3 bowl
calender
 Textile calender are made with alternate
hard steel and elastic bowls
 The elastic bowls are made from either
compressed paper or compressed cotton,
however a lot of modern calender are made
with a covering which is usually NYLON 6

14.  1,3 & 6 are hard rollers
 2,4,5 & 7 are soft rollers
 This provision is given so that there must be
resiliency property in between two
consecutive rollers so that compression
remain uniform.
 Heating arrangement via steam circulation
chamber
 The process parameters that can be
controlled during the process of calendering
are : SPEED OF FABRIC; SPEED OF ROLLERS;
SURFACE OF ROLLERS

15.  For light weight fabrics/cloth, less no. of
bowls are used in calendering and for heavy
weight fabrics more no. of bowls are used
 Different types of calendered effects are:
SURFACE GLAZING
CIRE EFFECT
MOIRE EFFECT
SCHREINEER EFFECT
EMBOSSING EFFECT

16.  Glazed fabrics such as polished cottons or chintz fabrics
are created by saturating the fabric in a starch, wax or
resin solution and allowing it to dry before calendering it.
 If starch or waxes are used, the finish is temporary and
and if resins are used, the glaze is durable.
 The speed of the metal rollers is greater than the speed of
the f/c.
 A 10 bowl calender is used for swizzing, when the
production is very large and high glaze is required

17.  Ciré fabrics with their glossy or wet look are produced in a
manner similar to glazing. Ciré fabrics are coated with a
wax or resin before being calendered with heated rollers.
 When thermoplastic fibres are used, the fiber surface that
comes in contact with the metal roll melts and flattens
slightly and produce highly polished f/c.
 Cire is a taffeta, satin or tricot, silk or silk blends f/c

18.  Moiré fabrics have a distinctive water marked look created
in the calendering process.
 Moiré is developed using either a moiré embossing roller or
a high compression calendering of two layers of ribbed-
base fabric in a single pass.
 One popular method of preparing moiré fabric involves
using rollers that have been engraved with a design. The
material is run between the engraved rollers with some
sections of the fabric crushed to reveal the finished design
that has a fluid or watery look. This type of application is
often used to create material styles are ideal for evening
gowns, formal capes, clutch handbags, and other types of
formal apparel and accessories for women.

19. Another approach to achieving a moiré fabric style is by using several
different colors in printing fabrics, allowing the colors to overlap.
The design achieves a sense of depth that varies as the eye travels
across the pattern of the fabric. Because of the crushing of
the fabric during the process, the color variation as the nap is
brushed one way or the other will create a stunning effect.

20.  Schreiner finishes on fabrics produce soft luster and hand
by flattening the yarns and surface of a fabric through
calendering.
 The schreiner calender has a metal roller engraved with
200-300 fine diagonal lines per inch that are visible only
under a magnifying glass.
 A schreiner finish is used on cotton sateen and table
damask to make them more lustrous and on nylon tricot to
increase its cover

21.  Embossed fabrics have a pattern imprinted or embossed into the
fabric. The embossed pattern is created by passing the fabric
between a heated embossing roller and a shaped paper roll.
 Damask effect can be produced but the effect is temporary. It
lasts longer on mercerised fabric.
 The degree of lustre may be modified by :- heating the chilled
iron roll, pressure at the nip, speed of the m/c, moisture percent
present in f/c etc.
 2-bowl embossed roller or 3-bowl embossed roller arrangement
can be used.

22.  Beetled fabrics have a smooth, lusterous linen look. In the
beetling process, the yarns of the fabric are flattened as the
fabric revolves around a drum while the surface is pounded with
hammers.
 Burn-out finishes are created by applying chemicals that
dissolve, burn-out or shrink parts of a fabric creating distinctive
patterns. Acid designs are created by printing a chemical solution
in a particular pattern. The acid, or chemical solution, causes the
fabric to burn-out and become transparent rest portions remain
opaque. Plissé has distinctive puckered areas. Puckering is the
result of the application of chemicals on the base fabric, which
causes portions of the fabric to shrink.

23.  Finishes used to change the luster and texture of fabrics often
have affects on the drapability and hand of the fabric. Yet, other
finishes have been developed to directly affect the drapability
and hand. Depending on the desired use, some finishes are
intended to stiffen the fabric while others are intended to soften
it.
 Drape finishes changes the way or fabric falls or hangs over a 3D
shape.
 These finishes include:
1. Parchmentizing
2. Acid designs
3. Burned out
4. sizing

24.  Crispness or body is given to cottons in the process of
parchmentizing.
 Parchmentizing uses an acid wash (sulphuric acid) to make cotton
almost transparent, and yet permanently stiff such as in organdy.
 Split-second timing is necessary to prevent weakening or
tendering of the fabric.
 After the acid treatment, the cloth is neutralized in a weak
alkali, washed and calendered to improve surface gloss.
 Several effects are possible: an all over, a localised, or a plisse
effect.
 Because all over parchmentizing produces a transparent effect,
sheer combed lawn is used. The lawn is singed, desized, bleached
and mercerised. The fabric is then dyed, printed with colors that
resist acid damage. Fabric is now immersed in acid solution and
fiber surface is partially dissolved. This surface rehardens as a
cellulosic film and when dry, it is permanently crisp &
transparent. This all over treatment produces organdy fabric

25.  In localised parchmentizing, if the design is a
small figure with large transparent area, an
acid resistance substance is printed on the
figures and the fabric is run through the acid
bath. The acid resistant areas retain their
original opacity and contrast sharply with
transparent background.

26.  Burned out effects are produced by printing
a chemical solvent on a blend fabric made of
fibers from different groups such as rayon
and polyester.
 One fiber is, usually less expensive or more
easily dissolved fiber, is dissolved, leaving
sheer areas.in case of rayon and polyester,
rayon has been dissolved by acids.
 This finish is also known as ETCHED OR
DEVORE because part of the fiber are
removed by this subtractive finish.

27.  In sizing or starching, the fabric is immersed
in a mixture containing waxes, oils,
glycerines & softners to or control fabric
body.
 Gelatin is used on rayons because it is a clear
substance that enhances the natural luster of
fibers
 Sizing adds stiffness, weight and body to the
fabric.
 Its permanance is related to the type of
sizing,& method of application.

28.  If the sizing is resin based and heat set, it
will be permanent.
 If the sizing is water soluble, it will be
removed during washing or it may create
problems for consumers.
 Gelatin, e.g. may create a water spots on
rayon if consideration or other water drops
onto the fabric, these spots are difficult to
remove.

29.  Weighting is technique used to add weight &
body to the fabric.
 A metallic salt such as stannous chloride is
used,
 Salta that bond with the fiber are durable
whereas others produce temporary surface
coating.

30.  The feel, appearance or consistency of a
surface or a substance is known as texture.
 Texture finishes modify fabric texture or add
components that completely change the
fabrics original texture.
 Fabrics can be made smoother or rougher, or
given textured patterns through a variety of
means.

31.  The finishes for achieving different textures
are:
1. Shearing
2. Brushing
3. 3D or raised embossing
4. Pleating
5. Flocking
6. Embroidery
7. Expanded foam
8. Napping

32.  Shearing is a process that evens out the length of the
pile of fabric in a controlled manner i.e. Shearing is a
procedure to remove surface fibers, yarn ends, knots
and similar irregularities and surface flaws.
 During shearing the fabric passes through a series of
tension bars and over an angled shearing bed. The
prominent fibres are cut by blades, wound helically
around a rotating cylinder against a stationery blade.
Strong suction removes cut fibres.
 It may create a smooth surface or a patterned or
sculptured effect by flattening portions of the pile
with an engraved roller, shearing off the areas that
remain erect , and steaming the fabric to raise the
flattened and now taller portions.

33.  Together with shearing, singeing is often used to
control surface fibre, particularly for blends.
During singeing, surface fibres are removed by
an intensive flame or by reflected heat. Singeing
is more invasive then shearing and penetrates
deeper into the fabric than is possible by
shearing, which is limited by fabric surface
topography
 Shearing can be used to create raised patterns or
to smooth the overall nap of a fabric.

34. Below is example of terry towel with and without
shearing

35.  Some sheared fabrics are also brushed. Fabrics are brushed
to remove loose fibers, and in some cases, to direct the
nap of the surface in a single direction.
 Common examples of fabrics with brushed finishes are
brushed corduroy and brushed denim.
 Below is an example of denim twill (in red) with or without
brushing.
 Also in white plain woven flannel with brushed finish.

36.  The embossed design is permanent if the fabric has a
thermoplastic fiber content or if a resin is used and heat set.
 Often used in combination with foil stamping, embossing is a
process that alters the surface of paper stock or other substrates
by providing a three dimensional or raised effect on selected
areas. The procedure requires the use of two dies: one that is
raised and one that is recessed. The dies fit into each other so
that when the paper is pressed between them, the raised die
forces the stock into the recessed die and creates the embossed
impression. A specific level of pressure is applied to the dies in
order to squeeze the fibers of the paper, which results in a
permanently raised area in the paper.
 When the dies are produced, a die maker engraves the desired
image into several metal plates, which are the embossing dies for
use on an embossing press. A thorough understanding the process
will enable a more successful result. Generally, embossing is the
process most often employed to attract attention or convey a
high quality textural contrast in relation to the surrounding area
of the paper stock.

37.  Below are the examples of 3D or raised
embossing

38.  A pleated fabric is made using a variation of embossing.
 Pleating is a highly specialized operation done by either the
paper pattern technique or by the machine process.
 Puckered surface are created by partially dissolving the surface
of nylon or polyester with phenol.

39.  Plisse means to crease, to fold or to pleat. It refers to an
intentionally wrinkled, pleated, or puckered fabric. The
word can either be used to denote the finish of
the fabric or the fabric itself. Plisse finish on fabric can be
either temporary or permanent.

40.  Two common methods of creating this fabric are through
the use of a caustic soda, such as sodium hydroxide
solution, or through tension weaving. Both processes
tighten the fabric in the areas where the puckering or
creasing is desired. Though usually found on finer fabrics
such as cotton, nylon, rayon, or silk, other materials, such
as wool and leather, can also be given a plisse finish.
 The alkali shrinks the fabric in the treated areas. As this
shrinkage occurs, the untreated stripes pucker. shrinkage
causes a slight difference in count between the two
stripes.
 Plisse gives a similar effect of a seersucker fabric, but
seersucker is achieved by different work tensions during
weaving and is not a finish.

41.  Texture can also be developed by adding fibers ( 5
natural or synthetic surface fibers) in the finishing
processes on the base fabric.
 Flocked finishes add texture by adhering short fibers to
the surface of a fabric. Flocking can be used to create
the appearance of a pile design or allover piles.
 Flock fibers attached to a fabric surface are very short
and straight and are attached by an adhesive to create
an inexpensive pile.
 The two basic methods of applying the flock fibers are
mechanical and electrostatic.

42.  MECHANICAL FLOCKING
1. This process is called beater bar or gravity flocking system and
is a mechanical process. 6-20 beater bars are used which are
used to get fibres stand erect..
2. The flocking fibers are randomly adhered to the surface of the
substrate and all the fibres are adhered at different depths,
creating an irregular flocked surface.
3. Some fibers shedding occurs as the fibers are adhered and not
penetrate or imbed.
 ELECTROSTATIC FLOCKING
1. Flocking is the application of fine particles to adhesive
coated surfaces. Nowadays, this is usually done by the
application of a high-voltage electric field. In a Flocking
Machine the "flock" is given a negative charge whilst
the substrate is earthed. Flock material flies vertically onto
the substrate attaching to previously applied glue. A number of
different substrates can be Flocked including; textiles, fabric,
woven fabric, paper, PVC, sponge, toys, automotive plastic.
2. This process can also used to apply fibers on both sides.

44.  The majority of flocking done worldwide uses finely
cut natural or synthetic fibers. A flocked finish imparts a
decorative and/or functional characteristic to the surface.
The variety of materials that are applied to numerous
surfaces through different flocking methods create a wide
range of end products. The flocking process is used on
items ranging from retail consumer goods to products with
high technology military applications.
 As the fiber length increases, the denier also must increase
so that the fiber will remain erect in the fabric. Fibres that
are cut square at the ends anchor more firmly in the
adhesive.

45.  Embroidered finishes are machine or hand applied yarns
added using satin or fancy stitches to create textured
patterns.
 Machine embroidery uses compact zigzag stitches of
various lengths.
 Two machines are used for embroidery: 1) shuttle
embroidery machine 2) multihead embroidery machine

46.  A coloured compound printed on the fabric
expands during processing to give a 3D
texture to the fabric.
 These foams are durable but create problems
during pressing.
 It is commonly known as rubber print.
 Rubber like Neoprene, Nitrile, Viton, Natural,
SBR, EPDM, silicone, Hypalone, Polyurethane,
Teflon, coated fabric on fabric like Cotton,
Nylon, Polyester, Fiber Glass, etc.

47.  Nap is a layer of fiber ends raised from the ground
weave of the fabric.
 Velvets, flannel, corduroy and satin are all examples
of napped fabrics.
 The rich hand and surface texture of napped fabrics
make them ideal candidates for luxury garments and
design interest.
 There are ways to 'raise the nap', most of which
involve wire brushes such as raising cards Originally,
dried teasel pods were used and were still preferred
for use on woolen cloth for a long time.Woollen
fabrics, which must be damp when raising the nap,
are then dried and stretched before the nap is
trimmed or sheared. Cotton cloth goes straight to the
shearing process, where the nap gets trimmed to
ensure that all the raised fibres are the same length.

48.  Napping is now done by pile rollers covered by a
heavy fabric in which bent wires are embedded.
 Napping machines may be of single action or
double-action.
 Napping is done on fabrics with low twist staple
yarns.
 Gigging and raising may also describe the
napping process.
 Gigging & raising process is applied to wool
fabrics. The raised fibers of wet fabric are
brushed in one direction which gives a smooth
and lustrous appearance to the fabric.

49.  FULLING/ FELTING
1. Fulling is performed on wool fibres to improve
their appearance, hand, thickness, softness,
body and cover and the process is known as
felting.
2. Felt is made by a process called wet
felting where the natural wool fibers,
stimulated by friction and lubricated by
moisture (usually soapy water), move at a 90
degree angle towards the friction source and
then away again,
3. fulled fabrics are denser and more compact in
both warp and the filling directions.

50.  Tufted finishes or decorations are created by
sewing additional yarns to the surface of a
fabric, creating a multi-dimensional
appearance.
 Below is the example of tufted fabric with its
face and reverse side.

53.  Special finishes or functional finishes are
those finishes that are applied to the fabric
that makes it suited for specific uses.
 Various functional finishes are
 Waterproof finishes
 Water repellant finishes
 Flame retardant finish
 Moth proof finish
 Antistatic finish

54.  Water proof finishes are those finishes which
will not allow water to pass through
regardless of the time exposure.
 These finishes also adversely affect the
comfort property as they limit the passage of
air
 These finish is coated with a resin, wax and
oil etc.
ASSIGNMENT- SEARCH FOR WATERPROOF
FABRICS

55.  Water repellant finishes are which resist the
penetration of water into the fabric but
permits the passage of moisture or air. If the
fabric becomes very wet, water will
eventually pass through.
 The principle is that it is coated with the
repellant chemical which permits the
passage of air and vapour between the
interlacing in fabric.
 Water and the other liquid remain on the
surface in small bead rather than spreading
out and getting absorbed.

56.  The chemicals used are silicones,
fluorocarbons,paraffins etc
 Some chemicals used for water repellancy
are also stain repellant.
ASSIGNMENT- SEARCH FOR WATER REPELLANT
FABRICS AND COMPARE WITH WATER PROOF
FABRICS

57.  These finishes play an important role on
textiles by providing safety and giving escape
time from a potential hazard
 When a fire starts flame, retardants reduce
the flame spread and rate of fire
development.
 Chemicals such as THTC- tetakis
hydroxymethyl phosphonium chloride etc are
used

58.  These finishes re used to:
 Inhibit the growth of bacteria and other odor
causing germs.
 Prevent decay and damage from perspiration
 Control the spread of diseases
 Reduce the risk of infection
• These finishes are also called anti-
bacteriostatic, germicidal or antiseptic
finishes
• These finishes are used for skin contact
clothing, shoe lining, hospital items etc

59.  Common chemical used is ziconium peroxide
 Exposure to ethylene oxide gas is also used

60.  Moth silverfish etc attacks fiber like cotton
 Fluorine compounds, napthalene, DDT,
paradichloro benzene etc are used for
imparting moth proof finishes.
 They are available in crystal cake and spray
form.
 Cellulosic fibers are also treated with boric
acid to prevent the rapid growth of the
mildew fungus etc.

61.  Static electricity is produced or created when
two non conducting surface such as synthetic
textiles rub together.
 The two surfaces become oppositely charged and
as the rubbing continues an electrical charge will
build up.
 The wearer can experience the electric shocks
and the fabric tends to cling to the body of the
wearer.
 Anti static finishes are chemical substances
applied to reduce and eliminate static charge
 It absorbs moisture from the atmosphere and
thus reducing the dryness of the fabric that
causes the static charge build up