assignment on cutting room
DESCRIPTION
Functions and features of cutting roomTRANSCRIPT
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Prepared For:
Kazi Shamsur Rahman
Assistant Professor
Proctor, AMT
BIFT.
Prepared By:
Name ID
A S M Towheed 072-001-045
Faysal Ebne Wadud
072-015-045
Sawiket Rusdi 072-016-045
Md. Rizwan Razu 072-039-045
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March03,10
Kazi Shamsur Rahman
Course teacher,
Cutting Room Technology
BIFT.
Dear Sir,
This is the assignment we made based on the factory visit at ABONI Textile, ABONI Knitwear, BABYLON washing and JUNIPER embroidery Ltd. On May04, 2010.
This assignment has five (5) main parts, information about Babylon group, importance of Cutting Room Technology, Cut plan, marker and marker efficiency, and detail about Fusing, Embroidery and printing.
We appreciate your choosing us for the assignment. We are honored to be one of your luckiest AMT students. We hope long live among us and good wish for your coming days.
Yours Sincerely,
A S M Towheed
(Representing the group)
BIFT.
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Contains
Topic Page No.
Information of Babylon Group 1
Garments Division (Woven) 2
Floor area 3
Capacity 3
Production line 4
Textile Composite Division (Knit) 4
Supporting Division 5
Their Mission 7
Their Strength 7
Woven Customers 10
Knit Customers 11
Management of Babylon Group 11
Growth History (Statistics) 12
Product Category 13
Certification of international
organizations
14
Why cutting room is important in
the factory
14
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Factors in the cutting room: 15
Activities in cutting room in
clothing industry
15
Organogram of cutting room 16
Cutting room Machines and tools 18
Cutting machine 22
Production flow chart in the cutting
room:
26
Potential savings in cutting room 27
Cut plan 29
Patten making 31
Marker generation 32
Types of marker 33
Calculating Length of marker 36
Calculating Marker Efficiency 37
Marker analysis 38
Spreading 40
Techniques of spreading 42
Bundling 47
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Numbering 48
Cut panel checking 48
Cut ship ratio 49
Fusing machine 49
Embroidery 52
Printing 57
Babylon Printing – Samples 68
Information of Babylon Group
Babylon Group of concerns saw her emergence in the horizon of
Readymade Garments Manufacturers in Bangladesh in the year 1986
through creation of a small sewing unit called Babylon Garments Ltd.
Through hard toil and perseverance Babylon managed to survive the
difficult times in the early years. Amidst the constant battle for
existence Babylon
nonetheless stuck with her
originally adopted principles
of honesty, integrity, moral
scruples and business ethics.
And that probably had
helped Babylon ease gently
through the perilous path
toward success and stability
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in the subsequent years.
Never missing to realize the future challenges that lay ahead, Babylon
always had put all her efforts and means to master the best practices
in all her manufacturing units in order to achieve professional
competence and reliability.
It has been the policy since inception that Babylon would always offer
more to her customers than could be expected of her. To fulfill this
commitment Babylon has been acting not only as a trusted supplier of
readymade garments but also as a benevolent partner toward all her
buyers and customers.
As a result- meeting the extraordinary requirements of her customers
has become a custom in this business house and a matter of pride for
the Group.
Quick adoption of some of the other very important policies like
getting accreditation of ISO Quality Standard practices, ensuring total
compliance of various Code of Conduct requirements of prestigious
buyers across the world, prioritizing the need for creation of ideal
work conditions for the workers and ensuring proper health care &
safety for them etc. has awarded Babylon a respectable position in the
top echelons of the RMG manufacturers in Bangladesh.
Garments Division (Woven):-
Babylon Garments Limited
Established - Year 1986
Suravee Garments Ltd. Established - Year 1987
Babylon Dresses Ltd. Established - Year 1995
Aboni Fashions Ltd. Established - Year 2000
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Babylon Casual wear Ltd. Established - Year 2006
LOCATION:
Babylon Garments Limited
Babylon Dresses Ltd.
2-B/1, Darussalam Road,
Mirpur, Dhaka -1216.
Bangladesh
Suravee Garments Ltd.
2/C, Darussalam Road,
Mirpur, Dhaka -1216.
Bangladesh
Aboni Fashions Ltd.
Plot – 242-243,
Union – Tetulzora,
Hemayetpur,
Savar, Dhaka.
Babylon Casual wear Ltd.
Plot – 23-24,
Union – Tetulzora,
Hemayetpur,
Savar, Dhaka.
Floor area:
Babylon Garments Limited 90,000 Sq Ft
Suravee Garments Ltd. 60,000 Sq. Ft
Babylon Dresses Ltd. 45,000 Sq Ft
Aboni Fashions Ltd. 25,000 Sq Ft.
Babylon Casualwear Ltd. 40,000 Sq Ft.
Capacity:
Babylon Garments Limited
200,000 ~ 240,000 Pcs of Men's / Children's Formal Shirts per Month
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Suravee Garments Ltd.
60,000 ~ 80,000 Pcs of Ladies / Girls formal, Casual Blouses and Dresses per Month
Babylon Dresses Ltd.
90,000 ~ 100,000 Pcs of Men's/ Children's Casual Shirts per Month and 20,000 Pcs Ladies Dress per Month.
Aboni Fashions Ltd. 50,000 ~ 60,000 Pcs of Men's/ Children's Formal & Casual Shirts per Month.
Babylon Casualwear Ltd.
40,000 ~ 50,000 pcs (per month) of mens and ladies casual wear including Tops and Bottoms in Denim and other medium to heavy materials.
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Production line:
Babylon Garments Limited 10 Line
Suravee Garments Ltd. 05 Line
Babylon Dresses Ltd. 05 Line
Aboni Fashions Ltd. 05 Line
Babylon Casualwear Ltd. 04 Line
Textile Composite Division (Knit):-
Aboni textiles ltd. (established - year 2001)
Aboni is a joint venture composite textile project
with Mens Fashion A/S, Denmark for the production
of knitted fabrics and garments.
Located at Savar near Dhaka.
Total constructed area 67,000 sft started with
composite knit project
The knit textile project has been designed with all
European best Machinery and Technical know-how.
The current capacity of the project is 4.5 tons per
day for Knitting, 8.5 tons per day for Dyeing & 10
tons per day for Finishing.
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Aboni knitwear ltd. (established - year 2002)
Floor area :70,000 sq ft
Capacity :The garments unit
produces about 450,000 pcs of T-
shirts/Tank Tops and 300,000 pcs
of Polo shirts per month
depending on the styles.
SUPPORTING DIVISION:-
JUNIPER EMBROIDERIES LTD. (Established - Year 1989)
Has 10 (Ten) sets of computerized
7/9 color embroidery machines of
Barudan (Japan) brand and one set
of Tajima (Japan) brand. Each
machine consists of 20 heads.
Capacity : 90 million stitches per /
day.
Babylon Washing Ltd.(Established - Year 2003)
Location - Hemayetpur, Savar, Dhaka
Floor - 25,000 sq.ft.
Capacity - 15, 60,000 pieces garments wash per month.
150 ton dying washing per month.
Babylon Washing can do all major & pupular wash types and garment
dyeing including Tie & Dye, Pigment Dye.
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Babylon Trims Ltd. (Established - Year 2003)
Location - Hemayetpur, Savar, Area- 12,000 sq-ft.
Manufacturing of packaging materials including carton boxes,
card board
cutting, tissue paper cutting etc.
Capacity - 5,000 pcs Carton /Day
30,000 pcs Back board & Neckpieces / Day
2,50,000 - 3,00,000 pcs Tissue paper / Day
Babylon Prints (Established - Year 2004)
Location - Hemayetpur, Savar, Dhaka
Floor - 25,000 sq.ft.
Printing facility for prints on knitted garments (Rubber, Plastisol,
Flock etc.)
6 Tables of 100 feet each
Equipped with infra-red dryer & imported Curing Machine Capacity
– 13,000 pcs / day @ standard design.
Babylon Logistics (Established - Year 2006)
DHAKA OFFICE - 2-B/1, Darussalam Road, Mirpur, Dhaka,
Bangladesh. Tel : 0088-02-8023495-6. Fax # 0088-02-8015128
CHITTAGONG OFFICE - House # 12, Road # 02, Lane # 01, Block
#L, Halishahar H/E, Chittagong, Bangladesh. Tel : 0088-031-
2511538. Fax : 0088-031-2515113
We are equipped with a good number of own covered vans to
transport import-export goods from/to port/factory, self customs
brokers unit and freight forwarding activities (air & sea) of
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Bangladesh. BL is promoted by professional air & shipping
personnel's with decades of experience.
Following are the principal nature of services offered by BL.
International freight forwarding (Air & Sea)
Cargo Consolidation & Distribution
Project cargo handling
Custom broking
Their Mission
To maximize profit while creating an environment in which we can
provide the best value and the best services to our customers, while
developing ourselves to our maximum potential in a pleasant, clean
and professional atmosphere.
Quality Policy of Babylon Group
Babylon group is committed to meet and exceed customer
requirements in making garments and obviously meet its own
employee satisfaction.
Babylon will gradually reduce rejection and re-work rate in in- process
and final garments in order to ensure product quality and delivery
time as per buyer's requirements and increase profitability.
Babylon will ensure adequate training and suitable work environment
to enhance productivity and skills of the employee.
Babylon will review its performance in all areas from time to time and
take measures to continually improve quality, work environment and
employee satisfaction.
Their Strength
All the units are being controlled from corporate office located at group's own building in the capital city Dhaka.
Each unit has its own factory management setup to perform from sampling to finishing of the products.
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The issues like Environment, Occupational Health & Safety have been duly taken care of while designing the building. Creche and Medical centre are available in the production facilities. The two units of Babylon Group are accredited on ISO 9001:2000. These are Babylon Garments Ltd. and Aboni Textiles Ltd. Babylon Garments Ltd. is also WRAPPING certified. Aboni Textiles Ltd. of Babylon Group is accredited on Environmental Management System ISO 14001:1996.
Ethical principles apply to all facilities of Babylon Group that produce readymade garments for exporting to foreign countries.
Babylon Group recognizes that there are legal and cultural environments in which factories operate. These ethical principles setforth the basic requirements of Babylon factories in order to do business with its customers abroad.
Babylon makes ceaseless efforts to promote best practices and continuous improvement of ethical issues in all its manufacturing units. For easy access to the issues, the Babylon Management has posted contents in the notice boards of factories in both Bangla (local language) and English.
By now Woven units have become compliant of code of conducts of Capital Mercury Apparel Ltd., Mothers Work, Wal Mart, Kohl's of USA, Arcadia Group Plc, Dimension of UK, H & M of Sweden & the Knit unit by Reebok of Spain & BHS of UK.
In addition to all normal machines and equipment, woven division uses the following machines and equipment to cater various special requirements of customers:-
Arm Hole & Side Seam Fusing Machine Eyelet Sewing Machine Pin tack Machine Blind Stitch Machine Saddle Stitching Machine CAD (Investronica) Cintex Needle Search Machine
The woven division has the capacity of producing about 350,000 pcs of shirts / dresses (Men’s and Ladies) per month.
The knit division in its composite structure has Knitting, Dyeing, Finishing and Sewing facility located near Dhaka City.
The division is still in its first phase, running with a capacity of :
4 tons per day for Knitting, 7 tons per day for Dyeing & 10 tons per day for Finishing
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About 300,000 pcs of 'T' shirts / Tank tops per month About 200,000 pcs of Polo shrits per month
Knitting, Dyeing, Finishing units are equipped with European best brand machines like Sclavos for Dyeing, Mayer & CIE for Knitting and Santex for Finishing.
Knit division knits dyes and finishes 100% Cotton, CVC, T/C, 100% Polyester, lycra fabrics. Knitting unit knits all the basic structures including the following:-
Feeder Stripes Lycra Single Jersy Lycra Rib Waffel Herring Bone etc.
The group enjoys an advantage of handling orders having embroidery requirement from customers using group's own embroidery unit.
The Group in its continuous Endeavour to be more competitive, has included the Printing and Packaging unit in the year 2003. This establishment contributes directly in cost reduction and smooth execution of the orders.
Babylon Washing Ltd. is the latest inclusion in the Group's strength. It was established in September 2003 and has started showing its positive impact on Group's overall business. RMG units of the Group are no more dependent on out sourcing of washing of Garments. Babylon Washing Plant can do the following washings -
Stone Wash Stone Enzyme Wash Enzyme Wash Bleach Wash Garment Wash Silicon Softener Wash Pigment Wash Enzyme Silicon Wash Enzyme Bleach Wash Sand Silicon Wash Over Dye Dip Dye Tie Dye Pigment Dye Wash
Our Customers (Country wise)
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Woven Customers
Country Buyer
USA MOTHERS WORK, MAY DEPT., SAKS, NYNE, MEIJER, BOSCOV, JC PENNEY, LEE, WALMART, SEARS,
CARHARTT, CATO, K-MART, AMERICAN EAGLE etc. GERMANY BROADWAY
SPAIN CORTEFIL (SPRINGFIELD)
HOLLAND DOMO
DENMARK BEST SELLER
SWEDEN KAPPAHL
FRANCE CELIO, VETIR, FABRISTYL, CAMAIEU (JULES), RIPCURL, GO SPORTS
UK TESCO, DIMENSIONS, SAVILE ROW, BHS, ROCHES, GRAHAM HUNTER, PRIMARK, NEXT
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Knit Customers
Country Company
USA WALMART, TARGET, SARA LEE
UK TESCO, BHS, GREENWOODS, NEW LOOK, ARCADIA, Jerzees
SWEDEN H & M
GERMANY TOM TAILOR, KARSTADT, QUELLE, NECKERMAAN, WESTERN STORE
SPAIN REEBOK, NIKE
DENMARK EKSPERTO, MARCUS GRUPPEN, FOTEX, BILKA
HOLLAND Vroom & Dreesmann (V&D), O’NIEL
FRANCE RIPCURL, JULES, MONOPRIX
FINLAND INTRADE
ITALY UPIM, TRR, METRO
BELGIUM E5-Mode
Management of Babylon Group
Mr. Neesar Ahmed
- In Charge Of Import & Administration.
Mr. Emdadul Islam
- In Charge Of Marketing & Quality Control
Mr. Moinul Ahsan
- In Charge Of Finance
Mr. Abidur Rahman
- In Charge Of Export & Embroidery Division
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Mr. Abdus Salam
- In Charge Of Production Planning And Control
Growth History (Statistics)
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Product Category
WOVEN
KNIT
EMBROIDERIES
Gents Ladies Children
Gents Ladies Children
Gents Ladies
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Certification of international organizations
Certificate from ISO
Certificate from ANSI
Why cutting room is important in the factory:
Fabric is the major material of garment, having 55-60% of the total
production cast.
There are three factors to be a major material of any product. Those
are followings,
All the other materials are placed on it.
It is the most costly part of the product.
It covers the most parts of the product.
Fabric has to be cut before it can be made into a garment. Making
garments can be swift and fast as mentioned in the previous section.
But, even if the systems are working at the optimum at all times, the
output of the line i.e., the number of garments that are produced by
the line in a given day, is more or less fixed. One day, the lines might
make a few pieces more. On other days, they might fall short by a few
pieces. The deviations would be narrow and on an average, the output
for the day would be the same. Thus, to be able to produce
consistently, the lines would need to have a constant and timely
supply of cut garments from the cutting room. Thus, the efficiency of
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the cutting room becomes even the more important. The cutting room
would have to remain on top always. If the cutting room is efficient,
the lines can easily meet their daily targets. It is the cutting room that
keeps everything ready before a garment is made by the line. In other
words, all the preparatory work is done by the cutting room. It checks
the fabric, does the lay lot planning, lays the fabric, makes the marker,
cuts the cloth, does the ticketing, sends the cut pieces for embroidery
or printing, sends other cut pieces for fusing and finally, does the
bundling of the cut pieces before introducing it to the line. Thus,
without the efficiency of the cutting room, the efficiency of the whole
plant would suffer.
Factors in the cutting room:
Since recent past, the clothiers have begun to pay attention to
fabric cost.
Fabric cost of a garment is about 55-60% of the total cost of the
garment.
If the industry is competing basically on price, it becomes of
paramount importance, that fabric savings are introduced.
Experience has revealed that 2% to5% savings on fabric can be
very significant saving in the garment cost.
Activities in cutting room in clothing industry:
Fabric inspection
Planning (cut plan) according to shipment schedule
Fabric, interlining, lining receive from store as per the plan
Approved pattern receive from pattern section/PDS
Manual marker generation or marker receive from store as per
the plan
Approved pattern receive from pattern section/PDS
Manual marker generation or marker receive from CAD
Spreading as per cut plan
Cutting
Bundling
Numbering
Cut plan checking
Racking (cut fabric sorting)
Fusing, embroidery, printing
Cut fabric issue/ Supply in sewing floor
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Maintain receiving and issue resister
Reporting
Keep all record perfectly
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Organogram of cutting room:
Cutting Room
Manager/In charge
Asst. manager Cutting
Room
Cutting Room Executive
CAD Room In Charge Supervisor Pattern In Charge
CAD Room In Charge Pattern Master
Assistant Pattern Maker
Marker man
assistant
Spreader
Assistant
Cutter Assistant Issue Record
keeper
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Cutting room Machines and tools:
Fabric inspection machine
Pattern
Marker
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Tracing paper
CAD system
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Cutting table
Measuring tape
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Pencil
Gum tape/ scotch tape
Weight machine
Spreading stand
Auto spreader
Clamp
Spike
Ruler
Scissors
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Cutting machine:
Straight knife
Band knife
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Round knife
Die press cutter
Hot notcher
Computer controlled cutting machine
Drill machine
Metal glove
Bundle card
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Numbering machine
Number sticker
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Rack
Resister book
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Production flow chart in the cutting room:
Fabric inspection
Planning
Cut Ratio
Markers
Spreaders
Production
Spreading Manual
Machine
Cutting
Machine
Die Press Cutter
Computer
Preparation of sewing
Shade marking
Cut Inspection
Tickets
Bundles
Numbering
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Their cutting room has block fusing capabilities and experience with a
wide variety of fabrics and patterns including:
Knits
Polyester
Wool
Rayon
Cotton
Lycra
Spandex
Blends
Plaids
Stripes
checks
Working closely with our apparel pattern makers, our garment cutting
room strives to produce the highest yield per yard of fabric so you
incur as little textile waste as possible.
Potential savings in cutting room:
There are some areas in which there are normally potentially savings.
They are as followings:
Cutting order planning
How much the fabric will be cut pieces required to run sewing,
matching dead line.
Fabric faults
Marker efficiency
Pattern engineering
Match the color shade of garment.
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Remnent waste
Fabric spread out of marker length.
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Fabric width waste
Variation of fabric width.
Spreading waste
Cut plan:
Cut plan is very important. For cut order planning in the apparel
industry, the problem begins with a given set of garments, in varying
sizes, to be manufactured. A plan is needed for spreading the fabric
and dividing the garments into various sections of the spread so as to
minimize fabric waste and the cost of cutting, but still satis the
customer’s order. The cut is performed by spreading fabric onto a
table, often spreading several layers of fabric for cutting efficiency
(See Figure at right). The actual lay out of the pattern pieces are called
a marker.
The key inputs for the cut order planning problem are the sizes to be
cut in each section, ply height in each section and the number of
sections required to fill the order. The size combinations per section
are passed to the marker making function for actual determination of
the marker itself Additional output is the estimated efficiency of the
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marker (in percentage of fabric utilization), the cutting cost per unit,
the total perimeter to be cut and the total area to be cut. In our
previous research, we showed that cutting costs do not have a
significant impact on the total cost of cut order planning, so our
methods are now based solely on the cost of the fabric. Three heuristic
algorithms were developed for solving the cut order planning problem.
The Savings heuristic assigns size combinations to a section based on
the fabric savings achieved by combining them into one section. The
Cherry Picking algorithm builds sections by combining certain sizes
based on the best utilization of fabric. The Improvement algorithm
takes an existing solution and tries to improve it by exchanging sizes
in different sections or by combining existing sections into one
section. These algorithms are embedded in a user interface which we
have developed in the Windows ™ environment on a DOS-based PC.
Where graphics and statistics are displayed for quick understanding of
the results. Both the cut order planning and marker making problems
are combinatorial in nature, and require heuristic methods for
obtaining solutions efficiently.
An example is following:
Total quality = 1200
Maximum ply = 100
Garment per marker = 6
Marker length = 36 ft.
S M L XL
Red 50 100 100 50
Blue 100 200 200 100
Yellow 50 100 100 50
Number of cut =
= 2
Cut 1
Size
Color
S M L XL Total ply=100
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Red 1 2 2 1 Ply=50 Garment=
6×100= 600 Yellow 1 2 2 1 Ply=50
Cut 2
Size
Color
S M L XL Total ply=100
Blue 1 2 2 1 Ply=100 Garment=
6×100= 600
Marker length = 36 ft
= 36/3 yds
= 12 yds
So,
Red fabric required = 50 × 12 yds
= 600 yds
Blue fabric required = 100 × 12 yds
= 1200 yds
Yellow fabric required = 50 × 12 yds
= 600 yds
Total fabric required = (600+1200+600) yds
= 2400 yds.
Patten making:
Patterns are the building blocks of a garment. Without them,
constructing garments would be impossible. Patterns help convert a
flat, two-dimensional cloth into a shapely, three-dimensional garment.
Thus, making patterns would require skill and a sound knowledge of
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different shapes and sizes. However, pattern makers have an empirical
approach to making patterns. I realized this when I interacted with
pattern makers during the course of my diploma project and later,
during the course of my job. All of them exhibited similar traits. They
were very secretive of their craft and did not part with their knowledge
easily. Some of them, I found, were in the habit of looking at patterns
to see if they were correct. They seldom used the measuring tape then.
They all felt the need to have real size patterns in front of them. Their
knowledge was absolutely hand-me-down; from one pattern maker to
the other. They had all learned their skill working as a drudge under
some senior pattern maker who in turn had worked similarly under
someone. Thus, I sincerely feel we should abide by what. I quote from
his book Apparel Manufacturing Handbook:
“Knowledge of the geometric principles of drafting is necessary for
good draping as well as good pattern drafting. Good draping and good
pattern drafting are draping and pattern drafting that can accomplish
the desired end without time-consuming empirical methods or little or
no “cut and try.” The draper or pattern maker should visualize the
approximation of the pattern before steps are taken to develop or
draft the actual pattern. This visualization should be the result of
applying geometric theorems. Many drapers and patternmakers would
save a great deal of time, fabric, and effort, if they mastered the
principles of developing and interpreting geometric theorems.
Empirical drafting and draping systems can be very disastrous when
one attempts to make patterns for radical style trends and designs
without being able to calculate the limitations of the empirical
method. These limitations cannot be fathomed properly unless one
comprehends the principles that govern the development of a sound
drafting or draping method. The geometric principles that govern
apparel pattern drafting and draping are basically the same as those
that govern sheet metal pattern making. Drafting an apparel pattern is
the process of applying geometric principles to calculate the two
dimensional perimeter that can yield a required three dimensional
perimeter. In mechanical or engineering drafting this is termed as
“surface developments.” For drafting apparel patterns, one must
integrate this surface development with the principles that control
fabric drape and apparel fit and drape.”
Marker generation:
Marker is a set of pattern laid on a sheet of paper in an organized
manner and marked according to the pattern shape and size to cu a
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fabric lay of the fabric, so the fabric fallout (fabric wastage) could be
minimized.
Types of marker:
I. Single garment marker
II. Single size two or more garment marker
III. Ratio marker
Here are shown some markers.
Marker: Open, Nap One Way (N/O/W); Spread: Face One Way, Nap One Way (F/O/W N/O/W for
Highest Quality, Low Efficiency, Slow Spreading
Marker: Open, Nap Either Way (N/E/W); Spread: Face One Way, Nap Up and Down (F/O/W N/U/D)
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Medium Quality, Medium Efficiency, Faster Spreading
Marker: Open, Nap Either Way (N/E/W); Spread: Face to Face, Nap Up and Down (F/F N/U/D)
Low Quality, Medium Efficiency Faster Spreading
Marker: Closed, Nap One Way (N/O/W); Spread: Folded and Rolled, Face to Face, Nap One Way (F/F N/O/W)
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Medium Quality, Low Efficiency, Slower Spreading
Marker: Closed, Nap Up and Down (N/U/D); Spread: Folded and Rolled, Face to Face, Nap One Way (F/F N/O/W)
Medium-Low Quality, Medium-Low Efficiency, Slower Spreading
Marker: Closed, Nap Either Way (N/E/W); Spread: Folded and Rolled, Face to Face, Nap Up and Down (F/F
N/U/D)
Low Quality, High Efficiency, Faster Spreading
Face, Nap Up and Down (F/F N/U/D)
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Lowest Quality, Highest Efficiency, Fastest Spreading
We have to remember that the length of the marker is not fixed, but
the width of the marker is equal to the width of the marker.
Calculating Length of marker:
We can calculate the length of a marker. The system is shown as
followings:
Assuming,
1 sq m pattern board weights = 250 gm
Fabric width = 150 gm
Pattern set weight = 900 gm
Desired efficiency = 90%
What will be the marker length?
Step 1:
1 sq m = 10000 cm2 pattern board wt. = 250 gm
So, 1 cm2 pattern board wt = 250/10000 gm/cm2
= 0.025 gm/cm2
Step 2:
Area of the marker in pattern board = 900/0.025 cm2
= 36000 cm2
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Step 3:
We know,
Marker efficiency =
L = 266.67
= 267 cm
So to active 90% marker efficiency, the length of marker will be 267
cm.
Calculating Marker Efficiency:
Let’s assume an order came like this
S M L XL
2: 3: 3: 2
Now,
S pattern set weights = 150 gm
M pattern set weights = 200 gm
L pattern set weights = 250 gm
XL pattern set weights = 300 gm
Total = 2500 gm
1 cm2 pattern board weights = 0.02 gm
Area accrued by pattern on marker= 2250/0.02
= 112500 cmᶺ2
Marker Efficiency =
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=
= 90.36%
The Efficiency of the marker is 90.36%
Marker analysis:
We have to consider the followings to analyze a marker:
Fabric face to face or back to back
Marker width
Length of the marker
Pattern component
Style model
Fabric consumption
Matching design
Both way marker
Grain line
Checked fabric
One way marker
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End loss
Marker length
Folded fabric
Fabric on the open
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Splicing position or overlapping
Size combination
Selvedge and edge
Spreading:
Factors of spreading:
Fabric direction:
Before spreading the direction of the fabric have to be right. The
direction could be top to bottom or bottom to. It specially matter
where the fabric has likes velvet or the fabric has shine like shiny
fabric. If the fabric is cut into two different direction then if may
happen that the garment has two different look on light reflection.
Alignment:
The alignment is important factor for spreading. The lay of fabric
should be closed by clamp or attached by spick to maintain the
alignment point to point. The grain line of the fabric should be
considered.
Matching checks and strips:
If checked and stripe of a fabric are not matched it could be the cause
of rejection of the garment. Before cutting it has to be made sure that
the checked and strips of cut panel are checked and matched.
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Fabric Put-up and Spreading Modes
Fabric Put-up; Open and Rolled
Fabric is flat open with the face to the inside of the roll
Fabric Put-up; Folded and Rolled
Fabric is folded on one end and both selvedges are superimposed on the other edge of the roll
Face is to the inside of each folded layer
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Fabric Put-up; Tubular Fabric Rolled
Tubular Fabric from a circular knitting machine is rolled up Face is to the inside of the roll, and there is a fold at each end of the
roll
Spreading Mode; Open Fabric, Face One Way, Nap One Way (F/O/W, N/O/W)
Techniques of spreading:
Face to face or back to back
Alternative piles in different directions.
Face to back
Alternative piles in different direction.
Face to back or back to face
All piles are in same direction.
Face to face and back to back
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All piles are in same direction.
Those are given as followings.
Spreading starts at one end of the table on each ply
Spreading Mode; Open Fabric, Face One Way, Nap UP and Down (F/O/W, N/U/D)
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Spreading starts at one end of the table. Fabric is cut at the far end, rotated 180 degrees, and then spread to the beginning. The Fabric is
cut and rotated 180 degrees then the process is repeated.
Spreading Mode; Open Fabric, Face to Face, Nap One Way (F/F, N/O/W)
Spreading starts at one end of the table. Fabric is cut at the far end, the roll is brought to the beginning of the table, rotated 180 degrees,
then spread to the far end again. The Fabric is cut at the far end, brought back to the beginning of the table, rotated 180 degrees then
the process is repeated.
Spreading Mode; Open Fabric, Face to Face, Nap Up and Down (F/F, N/U/D)
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Spreading starts at one end of the table. Fabric is folded over at the far end, then spreading continues back to the beginning of the table. The
Fabric is folded over then the process is repeated.
Spreading Mode; Folded Fabric, Face to Face, Nap One Way (F/F, N/O/W)
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Folded fabric spreading starts at one end of the table. Fabric is cut at the far end, then returned to the beginning. Then the process is
repeated. On the control side of the table the Fold is superimposed one layer on the previous layer.
This process is also used on tubular rolled fabric
Spreading Mode; Folded Fabric, Face to Face, Nap Up and Down (F/F, N/U/D)
Spreading starts at one end of the table. Fabric is spread to the far end of the table. The fabric is folded over, and then spread back to the
beginning. The fabric is folded over, and then the process is repeated. On the control side of the table the Fold is superimposed one layer on
the previous layer. This process is also used on tubular rolled fabric
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Bundling:
Bundling is to bundle the cut fabric. It is done to minimize size
differences, avoid mixing up with different buyer’s order, to check toe
measurement. Bundling cars is used in bundling.
Buyer:
Order No:
Style No:
Cut# Date:
Size: Pieces:
Part:
Cutter:
Bundling is to bundle the cut pieces of different parts. Bundling is
done to reduce the mixing of parts, shading, mixing with another
order, size, styling, and rejection of the garment.
Bundling is done with a marker on it, and then tied with the selvedge
of fabric with a bundle card. It is very simple but important task
indeed.
Bundle card
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Numbering:
Number is given to the cut pieces of a garment are numbering.
Numbering is the last check point to prevent shading. It helps to make
a garment from a ply. That means, every part of a garment comes from
an individual ply. Like the sleeve will be attached with 25 front and
back, each part of the garment will be known as 25.
Numbering could be done by sticker or machine or pen, usually on the
seam allowance. Sometimes extra fabric is kept over the seam
allowance when cutting. Numbering is done on the extra fabric by
machine. So the ink of the machine is not spread on the garment.
Cut panel checking:
It is very simple task to check the cut fabric parts with the marker, but
it is very important to reduce rejection.
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Cut ship ratio:
The ratio between cut quantity and shipment quantity is the cut ship
ratio.
=
= 90%
If the selling price per garment is 5 UDS. Then the financial los is 10×5
= 50 USD.
Fusing machine:
Multi-fusing Machine
Our wide range of multi-fusing machines are manufactured using high
grade raw materials.
These are in compliance with various industrial standards and possess
following specifications:
Offer manual, pneumatic, continuous and alternate operations
It has different sections for loading, heating, pressing and
unloading functions
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This durable machine has electronic temperature regulator that
can be modified from different fusing pressure
It has automatics switch off facility and also gives a signal at the
right temperature for efficient functions
Integrated with advanced cleaning system
The fusing machines are available in different versions for
varied working lengths.
Continuous Fusing Machine
We offer a wide range of Continuous Fusing Machine which is
customized as per the specifications of our clients. These are high
performing, offered at industry leading price and are available with
following specifications:
Continuous fusing machine for shirts' collar and cuffs with
loading and unloading of pieces on the same side
Composed by a loading section (A), one preheating and heating
section (B) with electronic temperature controls from 0 to 200¡C
One pressing section (C) with silicone-coated pressing cylinder
and an unloading section ( D )with blades for pieces detachment.
Features:
2 electronic temperature controls from 0¡ to 200¡ C
Silicone-coated pressing cylinder ( E )
Two belt cleaning devices ( F )
Working width: 600 mm.
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Adjustable speed: from 0,6 to 3 m./min. by inverter control
Adjustable pressure: from 0 to 6 Atm nstalled power: 8,3 Kw
Automatic switch off
Shuttle Machine
We have available with us a wide range of Shuttle Machine which is
customized as per the specifications of our clients. These are offered
at industry leading price and are known for following specifications:
Shuttle machine for collar and cuffs "TOP FUSING", with fused
material cooling before unloading (A)
High effective specific pressure
Heating of the lower plate to improve the banding between the
fusing material and the fabric
Working plate dimensions 600x360 mm
Features:
Two flapper screens hold the pieces keeping them in the original
position during the movement; whilst one is under pressing, the
other one is in loading/unloading position (B)
Pneumatic movement of theframes
Fixed silicone-coated upper plate ( C )
Movable lower plate electrically heated with electronic
temperature control from 0 to 200¡ C ( D )
Adjustable pressing time from 0 to 60"
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Adjustable pressing pressure between the frames from 0 to 4
kg/cm 2
Adjustable cooling time from 0 to 12"Option
Additional flapper screen.
Embroidery
Embroidery is the art
or handicraft of
decorating fabric or
other materials with
needle and thread or
yarn. Embroidery may
also incorporate other
materials such as
metal strips, pearls,
beads, quills, and
sequins
A characteristic of embroidery is that the basic techniques or stitches
of the earliest work—chain stitch, buttonhole or blanket stitch,
running stitch, satin stitch, cross stitch—remain the fundamental
techniques of hand embroidery today.
Machine embroidery, arising in the early stages of the Industrial
Revolution, mimics hand embroidery, especially in the use of chain
stitches, but the "satin stitch" and hemming stitches of machine work
rely on the use of multiple threads and resemble hand work in their
appearance, not their construction.
Origins
Detail of an embroidered silk gauze
ritual garment. Rows of even, round
chain stitches are used both for
outline and to fill in color. From a 4th
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century BC, Zhou era tomb at Mashan, Hubei province, China.
The origins of life and embroidery are lost in time, but examples
survive from ancient Egypt, Iron Age Northern Europe and Zhou
Dynasty China. Examples of surviving Chinese chain stitch
[embroidery worked]] in silk thread have been dated to the Warring
States period (5th-3rd century BC).[1]
The process used to tailor, patch, mend and reinforce cloth fostered
the development of sewing techniques, and the decorative possibilities
of sewing led to the art of embroidery.[2] In a garment from Migration
period Sweden, roughly 300–700 CE, the edges of bands of trimming
are reinforced with running stitch, back stitch, stem stitch, tailor's
buttonhole stitch, and whipstitching, but it is uncertain whether this
work simply reinforces the seams or should be interpreted as
decorative embroidery.[3]
The remarkable stability of basic embroidery stitches has been noted:
It is a striking fact that in the
development of embroidery ... there
are no changes of materials or
techniques which can be felt or
interpreted as advances from a
primitive to a later, more refined
stage. On the other hand, we often find in early works a technical
accomplishment and high standard of craftsmanship rarely attained in
later times. [4]
English cope, late 15th or early 16th century. Silk velvet embroidered
with silk and gold threads, closely laid and couched. An example of
English embroidery in silk and metal threads, contemporary Art
Institute of Chicago textile collection.
Elaborately embroidered clothing, religious objects, and household
items have been a mark of wealth and status in many cultures
including ancient Persia, India, China, Japan, Byzantium, and medieval
and Baroque Europe. Traditional folk techniques are passed from
generation to generation in cultures as diverse as northern Vietnam,
Mexico, and eastern Europe. Professional workshops and guilds arose
in medieval England. The output of these workshops, called Opus
Anglicanum or "English work," was famous throughout Europe.[5] The
manufacture of machine-made embroideries in St. Gallen in eastern
Page | 59
Switzerland flourished in the latter half of the 19th century.
Classification of Fusing:
Japanese free embroidery in silk and
metal threads, contemporary.
Embroidery can be classified according
to whether the design is stitched on
top of or through the foundation
fabric, and by the relationship of
stitch placement to the fabric.
In free embroidery, designs are
applied without regard to the weave of
the underlying fabric. Examples
include crewel and traditional Chinese and Japanese embroidery.
Cross-stitch counted-thread embroidery. Tea-cloth, Hungary, mid-20th
century
Counted-thread embroidery patterns are created by making stitches
over a predetermined number of threads in the foundation fabric.
Counted-thread embroidery is more
easily worked on an even-weave
foundation fabric such as embroidery
canvas, aida cloth, or specially woven
cotton and linen fabrics although non-
evenweave linen is used as well.
Examples include needlepoint and
some forms of blackwork embroidery.
Hardanger, a whitework technique. Contemporary.
In canvas work threads are stitched through a fabric mesh to create a
dense pattern that completely covers the
foundation fabric. Traditional canvas
work such as bargello is a counted-
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thread technique.[6] Since the 19th century, printed and hand painted
canvases where the painted or printed image serves as color-guide
have eliminated the need for counting threads. These are particularly
suited to pictorial rather than geometric designs deriving from the
Berlin wool work craze of the early 19th century
In drawn thread work and cutwork, the foundation fabric is deformed
or cut away to create holes that are then embellished with embroidery,
often with thread in the same color as the foundation fabric. These
techniques are the progenitors of needle lace. When created in white
thread on white linen or cotton, this work is collectively referred to as
white work.
Materials
Phulkari from the Punjab region of India. Phulkari embroidery, popular
since at least the 15th century, is traditionally done on hand-spun
cotton cloth with simple darning stitches using silk floss.
Laid threads, a surface technique in wool on
linen. The Bayeux Tapestry, 11th century.
The fabrics and yarns used in traditional
embroidery vary from place to place. Wool,
linen, and silk have been in use for
thousands of years for both fabric and yarn.
Today, embroidery thread is manufactured
in cotton, rayon, and novelty yarns as well as
in traditional wool, linen, and silk. Ribbon
embroidery uses narrow ribbon in silk or silk/organza blend ribbon,
most commonly to create floral motifs.
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Surface embroidery techniques such as chain stitch and couching or
laid-work are the most economical of expensive yarns; couching is
generally used for gold work.
Canvas work techniques, in
which large amounts of yarn
are buried on the back of the
work, use more materials but
provide a sturdier and more
substantial finished textile.
In both canvas work and
surface embroidery an embroidery hoop or frame can be used to
stretch the material and ensure even stitching tension that prevents
pattern distortion. Modern canvas work tends to follow very
symmetrical counted stitching patterns with designs developing from
repetition of one or only a few similar stitches in a variety of thread
hues. Many forms of surface embroidery, by contrast, are
distinguished by a wide range of different stitching patterns used in a
single piece of work.
Machine
Commercial machine embroidery in
chain stitch on a voile curtain,
China, early 21st century. Much
contemporary embroidery is
stitched with a computerized
embroidery machine using patterns
"digitized" with embroidery software. In machine embroidery, different
types of "fills" add texture and design to the finished work. Machine
embroidery is used to add logos and monograms to business shirts or
jackets, gifts, and team apparel as well as to decorate household
linens, draperies, and decorator fabrics that mimic the elaborate hand
embroidery of the past.
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They have well facilitated embroidery section.
Printing
Printing is a process for reproducing text and image, typically with ink
on paper using a printing press. It is often carried out as a large-scale
industrial process, and is an essential part of publishing and
transaction printing.
The intricate frontispiece of the Diamond Sutra from Tang Dynasty
China, AD 868 (British Museum)
Main article: History of printing
Woodblock printing
Woodblock printing is a technique for printing text, images or patterns
that was used widely throughout East Asia. It originated in China in
antiquity as a method of printing on textiles and later on paper. As a
method of printing on cloth, the earliest surviving examples from
China date to before 220, and from Roman Egypt to the 4th century.
"Selected Teachings of Buddhist Sages and Son Masters", the earliest
known book printed with movable metal type, 1377. Bibliothèque
Nationale de Paris.
Main article: History of typography in East Asia
By AD 593, woodblock printing was in wide use in China, and the first
printed periodical, the Kaiyuan Za Bao was made available in Beijing in
AD 713. The Tianemmen scrolls, the earliest known complete example
of a woodblock printed book with illustrations, was printed in China in
AD 868.[citation needed]
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Around the mid-century, block-books, woodcut books with both text
and images, usually carved in the same block, emerged as a cheaper
alternative to manuscripts and books printed with movable type.
These were all short heavily illustrated works, the bestsellers of the
day, repeated in many different block-book versions: the Ars moriendi
and the Biblia pauperum were the most common. There is still some
controversy among scholars as to whether their introduction preceded
or, the majority view, followed the introduction of movable type, with
the range of estimated dates being between about 1440 and 1460.
A case of cast metal type pieces and typeset matter in a composing
stick.
Movable type is the system of printing and typography using movable
pieces of metal type, made by casting from matrices struck by
letterpunches. Movable type allowed for much more flexible processes
than hand copying or block printing.
Around 1040, the first known movable type system was created in
China by Bi Sheng out of porcelain.[4] Sheng used clay type, which
broke easily, but Wang Zhen later carved a more durable type from
wood by 1298 AD, and developed a complex system of revolving tables
and number-association with written Chinese characters that made
typesetting and printing more efficient. However, the main method in
use there remained woodblock printing.
Around 1450, Johannes Gutenberg introduced what is regarded as an
independent invention of movable type in Europe (see printing press),
along with innovations in casting the type based on a matrix and hand
mould. Gutenberg was the first to create his type pieces from an alloy
of lead, tin and antimony – the same components still used today.[5]
Johannes Gutenberg's work on the printing press began in
approximately 1436 when he partnered with Andreas Dritzehen — a
man he had previously instructed in gem-cutting—and Andreas
Heilmann, owner of a paper mill.[6] It was not until a 1439 lawsuit
against Gutenberg that official record exists; witnesses testimony
discussed type, an inventory of metals (including lead) and his type
mold
Compared to woodblock printing, movable type page setting was
quicker and more durable. The metal type pieces were sturdier and the
lettering more uniform, leading to typography and fonts. The high
quality and relatively low price of the Gutenberg Bible (1455)
established the superiority of movable type, and printing presses
Page | 64
rapidly spread across Europe, leading up to the Renaissance, and later
all around the world. Today, practically all movable type printing
ultimately derives from Gutenberg's movable type printing, which is
often regarded as the most important invention of the second
millennium.
Rotary printing press
Main article: Rotary printing press
The rotary printing press was invented by Richard March Hoe in 1843.
It uses impressions curved around a cylinder to print on long
continuous rolls of paper or other substrates. Rotary drum printing
was later significantly improved by William Bullock.
[Modern printing technology
The folder of newspaper web offset printing press.
Currently, most books and newspapers are printed using the
technique of offset lithography. Other common techniques include:
flexography used for packaging, labels, newspapers.
hot wax dye transfer
inkjet used typically to print a small number of books or
packaging, and also to print a variety of materials from high
quality papers simulate offset printing, to floor tiles; Inkjet is
also used to apply mailing addresses to direct mail pieces.
laser printing mainly used in offices and for transactional
printing (bills, bank documents). Laser printing is commonly
used by direct mail companies to create variable data letters or
coupons, for example.
pad printing popular for its unique ability to print on complex 3-
dimensional surfaces.
relief print, (mainly used for catalogues).
rotogravure mainly used for magazines and packaging.
screen-printing from T-shirts to floor tiles.
[edit] Gravure
Gravure printing is an intaglio printing technique, where the image to
be printed is made up of small depressions in the surface of the
Page | 65
printing plate. The cells are filled with ink and the excess is scraped
off the surface with a doctor blade, then a rubber-covered roller
presses paper onto the surface of the plate and into contact with the
ink in the cells. The printing plates are usually made from copper and
may be produced by digital engraving or laser etching.
Gravure printing is used for long, high-quality print runs such as
magazines, mail-order catalogues, packaging, and printing onto fabric
and wallpaper. It is also used for printing postage stamps and
decorative plastic laminates, such as kitchen worktops.
[edit] Impact of the invention of printing
[edit] Religious impact
Samuel Hartlib, who was exiled in Britain and enthusiastic about social
and cultural reforms, wrote in 1641 that "the art of printing will so
spread knowledge that the common people, knowing their own rights
and liberties, will not be governed by way of oppression".[9] For both
churchmen and governments, it was concerning that print allowed
readers, eventually including those from all classes of society, to study
religious texts and politically sensitive issues by themselves, instead of
thinking mediated by the religious and political authorities.
It took a long time for print to penetrate Russia and the Orthodox
Christian world, a region (including modern Serbia, Romania and
Bulgaria) where reading ability was largely restricted to the clergy. In
1564, a White Russian brought a press to Moscow, and soon after that
his workshop was destroyed by a mob.
In the Muslim world, printing, especially in Arabic or Turkish was
strongly opposed throughout the early modern period (printing in
Hebrew was sometimes permitted). Indeed, the Muslim countries have
been regarded as a barrier to the passage of printing from China to the
West. According to an imperial ambassador to Istanbul in the middle
of the sixteenth century, it was a sin for the Turks to print religious
books. In 1515, Sultan Selim I issued a decree under which the practice
of printing would be punishable by death. At the end of the century,
Sultan Murad III permitted the sale of non-religious printed books in
Arabic characters, yet the majority were imported from Italy.
Jews were banned from German printing guilds; as a result Hebrew
printing sprang up in Italy, beginning in 1470 in Rome, then spreading
to other towns. Local rulers had the authority to grant or revoke
licenses to publish Hebrew books.[10]
Page | 66
It was thought that the introduction of the printing medium 'would
strengthen religion and enhance the power of monarchs.' [11] The
majority of books were of religious nature with the church and crown
regulating the content. The consequences of printing wrong material
were extreme. Meyrowitz[11] used the example of William Carter who, in
1584, printed a pro-Catholic pamphlet in Protestant-dominated
England. The consequence of his action was hanging.
The widespread distribution of the Bible 'had a revolutionary impact,
because it decreased the power of the Catholic Church as the prime
possessor and interpretor of God's word.'[11]
[edit] Social impact
Print gave a broader range of readers access to knowledge and enabled
later generations to build on the intellectual achievements of earlier
ones. Print, according to Acton in his lecture On the Study of History
(1895), gave "assurance that the work of the Renaissance would last,
that what was written would be accessible to all, that such an
occultation of knowledge and ideas as had depressed the Middle Ages
would never recur, that not an idea would be lost".
Print was instrumental in changing the nature of reading within
society.
Elizabeth Eisenstein identifies two long term effects of the invention
of printing. She claims that print created a sustained and uniform
reference for knowledge as well as allowing for comparison between
incompatible views. (Eisenstein in Briggs and Burke, 2002: p21)
Asa Briggs and Peter Burke identify five kinds of reading that
developed in relation to the introduction of print:
1. Critical reading: due to the fact that texts finally became
accessible to the general population, critical reading emerged
because people were given the option to form their own
opinions on texts.
2. Dangerous Reading: reading was seen as a dangerous pursuit
because it was considered rebellious and unsociable. This was
especially in the case of women because reading could stir up
dangerous emotions like love. There was also the concern that if
women could read, they could read love notes.
Page | 67
3. Creative reading: Printing allowed people to read texts and
interpret them creatively, often in very different ways than the
author intended.
4. Extensive Reading: Print allowed for a wide range of texts to
become available, thus, previous methods of intensive reading of
texts from start to finish, began to change. With texts being
readily available, people began reading on particular topics or
chapters, allowing for much more extensive reading on a wider
range of topics.
5. Private reading: This is linked to the rise of individualism. Before
print, reading was often a group event, where one person would
read to a group of people. With print, literacy rose as did
availability of texts, thus reading became a solitary pursuit.
"While the invention of printing has been discussed conventionally in
terms of its value for spreading ideas, it’s even greater contribution is
its furthering of the long-developing shift in the relationship between
space and discourse.
The proliferation of media that Ong is discussing in relation to the
introduction of the printing press, to the death of an oral culture and
that this new culture had more of an emphasis on the visual rather
than in an auditory medium. As such the printing press gave birth to a
more accessible and widely available source of knowledge in the sense
that it broke down the boundaries between the possessors of
knowledge and the masses. The narrative or discourse now existed in
what would become indirectly through time, the global village.
The invention of printing also changed the occupational structure of
European cities. Printers emerged as a new group of artisans for whom
literacy was essential, although the much more labor-intensive
occupation of the scribe naturally declined. Proof-correcting arose as a
new occupation, while a rise in the amount of booksellers and
librarians naturally followed the explosion in the numbers of books.
Digital printing
Digital printing accounts for approximately 9% of the 45 trillion pages
printed annually (2005 figure) around the world.[8]
Printing at home or in an office or engineering environment is
subdivided into:
Page | 68
small format (up to ledger size paper sheets), as used in
business offices and libraries
wide format (up to 3' or 914mm wide rolls of paper), as used in
drafting and design establishments.
Some of the more common printing technologies are:
blueprint—and related chemical technologies.
daisy wheel—where pre-formed characters are applied
individually.
dot-matrix—which produces arbitrary patterns of dots with an
array of printing studs.
line printing—where pre-formed characters are applied to the
paper by lines.
heat transfer—like early fax machines or modern receipt
printers that apply heat to special paper, which turns black to
form the printed image.
inkjet—including bubble-jet—where ink is sprayed onto the
paper to create the desired image.
xerography—where toner is attracted to a charged image and
then developed.
laser—a type of xerography where the charged image is written
pixel by pixel by a laser.
solid ink printer—where cubes of ink are melted to make ink or
liquid toner.
Vendors typically stress the total cost to operate the equipment,
involving complex calculations that include all cost factors involved in
the operation as well as the capital equipment costs, amortization, etc.
For the most part, toner systems beat inkjet in the long run, whereas
inkjets are less expensive in the initial purchase price.
Professional digital printing (using toner) primarily uses an electrical
charge to transfer toner or liquid ink to the substrate it is printed on.
Digital print quality has steadily improved from early color and black
& white copiers to sophisticated color digital presses like the Xerox
iGen3, the Kodak Nexpress, the HP Indigo Digital Press series and the
InfoPrint 5000. The iGen3 and Nexpress use toner particles and the
Indigo uses liquid ink. The InfoPrint 5000 is a full-color, continuous
Page | 69
forms inkjet drop-on-demand printing system. All handle variable data
and rival offset in quality. Digital offset presses are also called direct
imaging presses, although these presses can receive computer files
and automatically turn them into print-ready plates, they cannot insert
variable data.
Small press and fanzines generally use digital printing. Prior to the
introduction of cheap photocopying the use of machines such as the
spirit duplicator, hectograph, and mimeograph was common.
They are a Macintosh based shop but files created in Adobe Photoshop and Adobe Illustrator on a PC compatible computer are acceptable.
They do not accept files created in Microsoft Word, Microsoft Excel or Microsoft PowerPoint. We are not able to create separations from any files created with these programs.
Images created for the internet are generally unacceptable as image resolution is generally too low (72 dpi) to correctly reproduce the image on a t-shirt.
Adobe Photoshop files must be at 300 dpi at final print size.
To alleviate confusion all type should be created in Adobe Illustrator and converted to outlines.
When placing images created in Photoshop into Illustrator do not enlarge the placed image. Resizing the image changes its resolution. Even though the original Photoshop file is 300 dpi, if you enlarge it 300% in Illustrator the resolution becomes 100 dpi.
All PANTONE colors must be specified using solid, coated colors. A color copy of the artwork is extremely helpful for matching purposes. A proof is required for all 4 color process and simulated process jobs.
Please consider the color of your selected garment when submitting artwork. For your own reference place your artwork on a background color of your selected garment color. Artwork is separated differently for different color garments.
Page | 70
They do all art work on front, back, left chest, sleeve, etc in any color.
Shirt Catalogs
We supply apparel from major wholesale dealers. Please view their online catalogs below to find the garments you want. Pick your style and we'll give you a full quote including all charges.
American Apparel Wearables Catalog
Notes:
* Prices shown on the American Apparel site are retail. Our prices will be included in your quote. * If you don't see the garments you want contact Mike Lynch for more choices.
Printing Prices
Printing prices are for standard single sided t-shirt printing on WHITE shirts. Additional costs for specialty printing are also listed.
Pieces Dozens 1 Color
2 Color
3 Color
4 Color
5 Color
6 Color
7 Color
8 Color
1-72 - * $5.00
* $6.00
* $7.00
* $8.00
NA NA NA NA
72 6 $1.70 $1.90 $2.10 $2.30 $2.50 $2.70 NA NA
144 12 $1.25 $1.40 $1.55 $1.70 $1.85 $2.00 $2.15 $2.30
300 25 $1.05 $1.20 $1.35 $1.50 $1.65 $1.85 $1.95 $2.10
504 42 $0.90 $1.05 $1.20 $1.35 $1.50 $1.65 $1.80 $1.95
1,008 84 $0.75 $0.85 $0.95 $1.05 $1.15 $1.25 $1.35 $1.40
3,000 250 $0.65 $0.75 $0.85 $0.95 $1.05 $1.15 $1.30 $1.45
6,000 500 $0.50 $0.60 $0.70 $0.80 $0.90 $1.00 $1.10 $1.30
12,000 1,000 $0.40 $0.50 $0.60 $0.70 $0.80 $0.90 $1.00 $1.10
24,000 2,000 $0.35 $0.40 $0.50 $0.60 $0.70 $0.80 $0.90 $1.00
Additional Costs:
Add "flash cures" charge (under misc. charges) for colored shirts.
Add 85% for second side or placement.
Add 20% for sweats, caps, aprons and totes.
Add 50% for jackets
Page | 71
* Additional $25.00 setup charge
Screen Charges
Screen Type Price
Spot Color Screens $25.00
4 Color/Simulated Process Screens $35.00
Automatic Press Screens $35.00
Notes:
All screens are stored for one year from the last order.
Film Charges
Film Size Price
8.5 x 11 Positive $10.00 per color
11 x 17 Positive $15.00 per color
13 x 18.5 Positive $20.00 per color
Notes:
Call for a quote on larger film sizes.
Art Charges
Charge Type Price
Separations $60.00 per hour
Typesetting $35.00 per hour
Custom Design Call for quote
Notes:
1/2 hour minimum for typesetting.
Scanning Charges
Size Price
8.5 x 11 Original $15.00
11 x 17 Original $20.00
Oversize Call for quote
Notes:
1/2 hour minimum for typesetting.
Page | 72
Miscellaneous Charges
Item Price
Flashcures $0.20 each
Ink Changes $10 each
PMS Match (Custom Ink) $12.50 per color
Notes:
* Press Checks are recommended on designs over 1 color and required on process work.
* Press Time is $55.00 an hour. The first hour is free. Please be punctual.
Handling Charges
Item Price
Customer Supplied Goods $1.00 each
Notes:
* Handling charges ONLY apply to customer supplied goods.
Rush Charges
Time Price
4-6 Days add 25%
2-3 Days add 40%
24 Hours add 50%
Same Day add 100%e
Page | 73
Babylon Printing – Samples
It is said that if any Garment company take care of its Cutting Room
it will not be closed. Babylon Group is very concern of the Cutting
Room that makes it one of the best Garment Manufacture of
Bangladesh. And at least we want to thank our Dear Sir, Kazi
Shamsur Rahman for giving us a chance to see this Garment
factory.
THE END…