My LiFe

At last

2014-08-21T14:13:00.001+06:00

When I take decision, I consider a lot issues. Sometimes I can't maintain my decision. I am floating like a bird in a blue with full of confusion. I need to overcome these...... today I have taken a decision and I will fulfill it , anyhow...

Back to my blog

2014-08-13T12:50:00.001+06:00

After a long time, I am back to my blog. I will try to be regular on my blog....
I am little bit busy with my another website....

Back to my blog

2013-06-28T01:15:00.001+06:00

Key points of sucess

2013-03-06T12:22:00.001+06:00

Well dress up for interview or any other formal event or meeting.
Take care yourself.
Art or style of presenting myself.
Proper step should be taken.
Honesty.
Dreaming.
Making myself confident.
Step by step planning.
Search for work not job.
Job anywhere in Banglaesh.
Approach presentation.
Utilizing traffic jam.
We have to make plan properly.
Sleepiness.
Using technology to leading easy life and job.
Using mobile phone as diary, notebook.
Using mobile apps.
Motivation and responsibility.
Leadership.
Self confidense and self motivation.
Learn to say sorry.
Have to polite.
Facing problem, never escape.
Before facing challenge, interview or before giving presentation, you must have to do some homework.
Be positive at every moment of life.
Positive thinking.
Control ego and tolerance.
Prove your efficiency.
Forgiveness.
Be cool to react or facing any hard situation.
Need to know the reality.
Judgement.
We should love critisism.
Time management.
Winner always say yes.
Tips about Resume/CV.
Help others.
Take break/ spend free time with family.

Sent from my iPhone

Valobasi Ajo

2013-03-06T12:20:00.000+06:00

Hoito tomar posondar manus onak
Hoito tomar valobasar manus onno kau
Hoito sudhu kostoi paia jabo
Tobu tomay valobasa jabo.
Valobasa manai to sudhu kasa thaka noi
Dur thakao valobasa jai
Vul gulo amari, kosto gulao amari
Toba kano misa asa
Buk vora valobasar asa
Ja silo amar nioti
Hoyasa amari khoti
Kii ba asa jai
Dura thaka mana noito vula thaka
Vula thaka manai to dura thaka
Hoito ami kisui pabona tobu valobasa jabo
Vul gulo amari, kosto ta amari thak.
Valo thako priotoma, valo thako tumi.

Mind mapping

2013-02-26T22:06:00.000+06:00

Have anyone idea about mind mapping? Its very effective way to set up your mind into fixed one. Theres various way to make your plan. You have to use your brain by effective way. There are many software, android apps, iphone apps for mind mapping.
You can use anyone. But you can write your plan in a paper, it is more effective...

Change

2013-02-26T21:59:00.000+06:00

I am not mentally satisfied person. I have changed my blog name's few times. Dear visitors of this blog, please dont upset...

University life ta khub miss kori

2013-02-16T21:56:00.001+06:00

Variety life at prothom kothao ghurta jaor akta picture. Banglar Tajmohol.

Meeting with operators at Lunch hour

2013-01-17T14:38:00.000+06:00

Definition of production

2013-01-04T19:18:00.001+06:00

Production along with marketing, merchandising, operations and finance is one of the essential functions in apparel manufacturing. Production is any progress or procurement developed to transform a set of input elements like men, machinery, capital, information and energy into a set of output elements like finished products and services in proper quality and quantity, thus achieving the objectives of an enterpise...
(Buffa and Sarin 2009)

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BARRE IN FABRICS

2012-09-11T17:06:00.001+06:00

BARRE IN FABRICS

INTRODUCTION

In textile industry, one of the most common and perplexing quality control problems is barre(repetitive yarn direction streaks). The factors which can cause or contribute to barre are varied and diverse.

Barre is defined as "unintentional, repetitive visual pattern of continuous bars or stripes usually parallel to the filling of woven fabric or to the courses of circular knit fabric." Barre is sometimes used as a synonym for WARP STREAKS.

Barre can be caused by physical, optical or dye differences in the yarns, geometric differences in the fabric structure or by any combination of these differences.

Barre is basically a visual phenomenon and any property of yarn which makes it 'look' different from the adjacent yarn in a fabric would result in this defect.

Barre can be due to the following

fibre properties
yarn characterisitics
knitting parameters

In weft knit fabrics Barre is taken to include only those fabric defects charecterised by coursewise (widthwise) repearing bars or stripes. In warp knits, the warp (or length) direction. This is symptomatic of the way in which the fabrics are produced.

CAUSES OF BARRE

All barre is the consequence of subtle differences in yarn reflectance between individual yarn in the knit structure. Any mechanism that can change the reflectance of a yarn in a knit structure is a potential barre source. Barre can be caused by physical, optical, or dye differences in the yarns, geometric differences in the fabric structure, or by any combination of these differences. A barre streak can be one course or end wide or it can be several - a "shadow band"

It is not the inadequacy of the raw material property which results in Barre, It is the inconsistency or the variability of the particular property which results in Barre.

The properties which are the causes of Barre are given below.

Fibre Micronaire variation
Fibre color variation
Yarn linear density variation
Yarn twist variation
yarn hairiness variation
knitting tension variation
improper mixing of cotton from different origin
improper mixing of cotton from different varieties
improper mixing of cotton grown in different seasons
Zellweger Uster has published the following details regarding Barre

causes	% ge of defect
fibre	70
yarn count variation	10
twist variation	10
hairiness	10

Micronaire:

The difference in Micronaire average of the mixings of the entire lot should not be more than 0.2
The range of the Micronaire of the individual bales used in the mixings should be same
the C.V.% of Micronaire of individual bales within the mixing should be less than 12 %
Same micronaire bales should not be placed side by side and a group should be formed with the different micronaire bales and it should be repeated in the bale laydown
David M. Clapp 5 , of Cotton Incorporated demonstrated that as the difference in micronaire value increases, the intensity of the barre effect becomes more serious. In the process, he observed that the cause of barre is not the difference in dye uptake between the thin cell walls of the low micronaire fibres and the thicker cell walls of the high micronaire fibres.He showed that per unit weight, dye exhaustion / fixation is essentially the same for the low micronaire and high micronaire fibres and also illustrated that at high micronairevalues, both the maturity and fineness registered an increase. More importantly, he extended his study and showed that by proper blending of the cottons, the occurrence of barre due to differences of even upto 1.6 micronaire can be eliminated.

Fluorescence:

The difference in UV reading average of the mixings of the entire lot should be same
Variation in UV readings within the bale should be less
out side storage of cotton should be avoided
UV readings increase over time if it is stored for a long time
should not mix high and low UV bales
Colour has been one of the primary factors of cotton quality for quite a long time. Colour is particularly important as a measure of how well a yarn or fabric will dye or bleach. Colour in general is expressed in trichromatic terms, such as L, a and b (Reflectance, Redness/greenness and Yellowness / blueness). The significance of these components with regard to cotton has been extensively studied and is generally agreed upon that only reflectance and degree of yellowness are important in assessing cotton colour
The influence of cotton colour on the dyeability characteristics of fabrics have been studied and reported by the U.S. Department of Agriculture , which revealed that a significant correlation exists between the colour characteristics of raw cotton and the colour of washed and wash-dyed cotton fabrics. Since much of the barre effects are due to the variations in dyeability characteristics within a fabric, difference in colour properties could be expected to influence the seriousness of any barre incidences in the fabric.

Yarn properties:

It has been widely accepted that it is the inconsistency or the variation aspect of the yarn properties which is a prime cause for 'Barre"
Of the various quality characteristics tested, variation in hairiness count and twist are considered to be three important properties which need proper control to avoid barre.
Slippage of spindle tape is the main reason for the TPI variations. If the TPI is more in yarn then the yarn diameter will reduce adn number of helical angle will increase. If the diameter of the yarn is low then more light will pass through that region of cloth because the gap between the two yarn is more.When more ridges are present, then more light reflects from the surface of the yarn. Hence regions with high TPI yarn appear light coloured after dying.

Knitting:

A bar or stripe may be caused by several variables shown below
Tight loops: This may take the form of a shaddow ( several courses involved) or a discreet line ( one course involved). It will normally show up as a dark or dense line or shaddow
Slack loop: Similar to above, but it shows up as a sheer or light line.
improper stich length at a feed
improper tension at a feed
variation in fabric take-up from loose to tight
Worn needles, which generaly produce length direction streaks
Uneven cylinder height needles(wavy barre)
Uneven loops: In this the "average" stitch length is the same in all cases but the distribution of the length of yarn between the dial and the cylinder of knitting machine is not balanced on a particular course. Thus it will appear as a tight or slack course on one side but analysis will not show up the fault.

Weaving:

Uneven warping tension
Uneven take-up tension
Uneven let-off motion
Uneven tension on filling
Scuffing or filling yarn on the beam
Bent beam gudgeons

BARRE IN FABRICS - Page 2

VISUAL BARRE ANALYSIS:

The first step in Barre investigation is to observe and define the problem. Barre can be the cause of physical causes which can usually be detected, or it can be casued by dyeability differences which may be nearly impossible to isolate in fabric. Barre analysis methods that help to discriminate between physical barre and barre caused by dyeability differences incluede Flat Table Examination, Light source Observation, and the Atlas Streak analyser.

FLAT TABLE EXAMINATION:

For a visual barre analysis, the first step is to lay a full width fabric sample out on a table and view both sides from various angles. Generally, if the streaky lines run in the yarn direction, color differences can be seen by looking down at the fabric in a direct visual line with the yarn direction, and the defect can be positively identified as a barre defect. Viewing the fabric with a light source in the back ground will show if the barre is physical.

LIGHT SOURCE OBSERVATION:

After completing an initial Flat Table Examination, a Light Source Examination may provide further useful information. Full width fabric samples should be examined under two light conditions, fluorescent and ultraviolet (UV) light. Observations that should be made while viewing under lights are: frequency and direction of the barre whether streaks are dark or light and total length of pattern repeat.
Ultraviolet light, commonly referred to as a "black light", allows the presence of mineral iols to be more easily detected, due to their radiant energy (glow). When observed under UV light, fabrics with streaks that exhibit glow suggest improper preparation. A change in composition or content of oil/wax by the spinner or knitter without appropriate adjustments in scouring can create this problem.

PHYSICAL BARRE ANALYSIS:

When the cause of barre is determined or presumed to be physical in nature, physical fabric analysis should be done. Physical barre causes are generally considered to be those which can be linked to yarn or machine differences. Methods of physical barre analysis include fabric dissection, microscopy, and the Roselon Knit Extension Tester.

FABRIC DISSECTION:

To perform accurate fabric dissection analysis, a fabric sample which contains several barre repetitions is required. First, the barre streak boundaries are marked by the placement of straight pins and/or felt markers. Individual yarns are removed from light and dark streak sections, and twist levels, twist direction, and cut length weight determinations are made and recorded. For reliable mean values to be established, data should be collected from at least two light/dark repeats. After compilation of yarn information, the numbers can be compared individually to adjacent yarns as well as by groupings of light and dark shades.

MICROSCOPY:

Microscopic examination is useful for verifying yarn spinning systems. Yarns from different spinning systems can have different light reflectance and dye absorption properties. Ring spinnning produces yarn that is smooth. Open end spinning produces yarn with wrapper fibres at irregular intervals. Air jet spinning produces yarn with more wrapper fibres than open end and inner fibres are more paralle. Microscopy can also reveal a shift in loop formation in knitted fabrics when twist direction (S and Z) differences are present.
Barre is noticed in a fabric when the visual perception of colour of a particular portion of a fabric is different from that of an adjacent portion. Numerous attempts have been made by research workers to arrive at a mathematical number which gives an equal change when a change in perceptible colour difference exists.
Reflectance differences have been considered by many researches to be indication of barre in fabrics. E.R.Cairns, H.A.Davis and J.W.Coryell 5 hypothesised that double knit barre is caused by textured yarn reflectance differences in the knit structure. Depending on the detailed arrangement of these differences, barre is seen as continuous or random and either as single end streaks or bands. Based on studies made with a research grade spectrophotometer, they also found that yarn reflectance differences are caused by differences in key textured yarn properties like bulk, cross section, loop size etc.

PREVENTION OF BARRE:

As outlined, Barre is caused by INCONSISTENCIES in materials, equipment, or processing. To prevent Barre form occuring, consistency must be maintained through all phases of textile production. Stock yarns should be properly and carefully labelled to avoid mixups. Fugitive tints can be useful for accurate yarn segregation. Inventory should be controlled on a First In/ First Out basis. All equipement should be properly maintained and periodically checked. Before beginning full scale production, sample dyeings can be done to check for Barre.
Salvaging a fabric lot with a Barre problem may be possible through careful dye selection. Color differences can be masked by using shades with very low light reflectance (navy blue, black) or high light reflectance (light yellow, orange, or finished white). Dye suppliers should be able to offer assistance in this area. Also, if the cause of the barre is an uneven distribution of oil or wax, a more thorough preparation of the fabric prior to dyeing may result in more uniform dye coverage.
With close cooperation between production and quality control personnel, barre problems can be successfully analysed and solved.

EXPERIMENT:

The experiments done by Mr.ANBARASAN of PREMIER POLYTRONICS is given below.

FIBRE PROPERTY INFLUENCE ON FABRIC BARRE:

EXPERIMENTAL PROCEDURE
It was identified that the incidences of fabric barre was more common in knitted fabrics. So one of the most commonly used hosiery counts - 30s Nec Combed Hosiery was chosen for the study.
Preparation of basic yarn samples:
Preparation of samples with different yarn count:
The extent of influence of yarn count was studied by taking into consideration three levels of count. To avoid any abnormal conditions of spinning, one of the levels was maintained at the normal level used by mill for regular production. The other two samples were obtained by spinning counts differing by 2 Nec(6.7%) from the normal. The three count samples of 28, 30 and 32 Nec are designated as A, B and C respectively.
The raw material and the process parameters maintained in all departments upto ring spinning were maintained the same for all the three samples. In ring frames, the count change pinion was changed to obtain the required count. All the other process parameters were maintained the same in ring frames as well.

Preparation of samples from different micronaire cottons:
The samples for studying the influence of fibre micronaire were prepared by spinning yarn from cottons of micronaire values ranging from 3.8 to 4.32. The micronaire values of the samples are given in Table 1 along with their designations. The cottons were obtained by segregating samples of the same cotton variety to avoid influences of other varietal factors.

Serial No.	Sample designation	Micronaire
1	P	3.8
2	Q	3.95
3	R	4.14
4	S	4.32

Table : Micronaire Values of Basic Samples

Cottons with difference in micronaire readings of less than 0.15 were not taken up since 0.15 represented the measurement accuracy of the micronaire instrument. The spinnings were carried out using a miniature spinning system having the following sequential processing stages :
- Carding
- Drawing
- Sliver to Yarn Spinning
About 50gms of cotton was processed from each sample to obtain yarns sufficient for the subsequent knitting process.

Barre in Fabrics

Preparation of samples from cotton with different colour levels:

For studying the influence of colour, the parameter 'Degree of yellowness(+b)' provided by the high volume fibre testers was taken as the reference. Five spinnings were carried out with cottons of different +b values. The values are shown below.

Serial No.	Sample	Degree of Yellowness (+b)
1	A1	9.2
2	B1	10.5
3	C1	11.6
4	D1	13.5
5	E1	1

Table : Degree of Yellowness (+b) for Basic Samples
The spinnings for these samples were also carried out using the miniature spinning system.

Fabric Preparation
For all the trials to study the influence of count, fibre micronaire and colour, to detect the presence or otherwise of the barre effect, different combination of two levels were selected. The yarn samples were knit into single jersey fabrics on a circular knitting machine with 2.5mm stitch length such that the two different levels of the combination formed alternate portions of the fabric as shown below :

Fabric knitted with a combination of yarn samples.
The fabrics were knitted with 48 cones of each of the two levels feeding the machine.

Dyeing
The fabrics for all the combinations were dyed using Procion Blue MR dye of 2.5% concentration. The same batch of dye bath was used to dye all the fabrics pertaining to a particular property in order to eliminate the introduction of any possible errors in the process of dyeing.

RESULTS AND DISCUSSIONS

Influence of Yarn Count
The intensity of the barre effect noticed for the various count combinations in terms of the visual grading are represented in the following table.

combination	count		difference in count	average grade
combination	1	2	difference in count	average grade
AB	28	30	2	4.25
BC	30	32	2	4.5
AC	28	32	4	4.75

Table: Influence of Count on Barre Intensity

The table clearly shows that the intensity of barre is more severe as the difference in count levels increases. It can also be noted that even if a count deviation of +2 Nec from the average is present, a grade of more than 4.0 is recorded which indicates a reasonably high amount of barre.

Influence of Fibre Micronaire:
The four basic yarn samples obtained from cotton with different micronaire values were used to knit fabrics in a total of 6 combinations with the difference in micronaire values ranging from 0.15 to 0.52. The intensity of barre for these combinations are tabulated below in terms of the average visual grade.

Combination	Micronaire value		Difference in Micronaire	Average grade
Combination			Difference in Micronaire	Average grade
PQ	3.8	3.95	0.15	3
RS	4.14	4.32	0.18	2
OR	3.95	4.14	0.19	3
PR	3.8	4.14	0.34	2
QS	3.95	4.32	0.37	3
PS	3.8	4.32	0.52	2

Table: Influence of Micronaire on Barre Intensity

The table shows that, within the range of micronaire taken-up in the present study, the intensity of Barre remains fairly constant. An important observation is that the intensity of Barre is serious even with a micronaire difference of 0.15. Hence when preparing mixings of single cotton variety, it should be ensured that the difference in average
micronaire between successive mixings is less than 0.15

Influence of Fibre Colour:
From the basic 5 samples of yarn differing in terms of the 'Degree of Yellowness (+b)', a total of 10 combination of fabrics could be obtained, with the colour difference ranging from 1.1 to 5.2. The details of the samples and the intensity of barre noticed in these samples are tabulated below.

Micronaire Value Combination

Serial No	Combination	Degree of Yellowness		difference in +b values	visual grade
1	B1C1	10.5	11.6	1.1	1
2	D1E1	13.5	14.7	1.2	2
3	A1B1	9.2	10.5	1.3	3
4	C1D1	11.6	13.5	1.9	4
5	A1C1	9.2	11.6	2.4	3
6	B1D1	10.5	13.5	3.0	5
7	C1E1	11.6	14.7	3.1	4
8	B1E1	10.5	14.7	4.2	5
9	A1D1	9.2	13.5	4.3	5
10	A1E1	9.2	14.7	5.5	4

Table : Influence of Degree of Yellowness on Barre Intensity

The influence of colour on the barre intensity is clearly seen from the last two columns of the table where the visual barre grade shows a direct relationship with the difference in +b values of the cottons used. An exclusive consideration of the +b value gave the following best-fit equation for the Visual Grade (VG).
VG = 5.101 - 0.078(+b) - ((4.393 )/square(+b))
A good correlation of 0.90 was obtained between actual and predicted grades.

CONCLUSIONS
The influence of three important parameters - yarn count, fibre micronaire and fibre colour - on the intensity of the barre defect iin cotton knitted fabrics are discussed. Of the fibre parameters, the degree of yellowness of cotton seems to have a relatively more significant effect on the Barre intensity in fabrics than the micronaire. However even deviation of micronaire value to the extent of +0.15 results in a visible barre defect. Deviations in yarn
count also shows up significantly as Barre defects. Avoidance of the Barre effect, therefore, requires proper control on all these parameters.

STUDY ON BARRE CAUSED BY RAWMATERIAL

The current expansion of the worldwide market for cotton has opened up many possibilities for the spinning mill. Spinning mills now have many options in the raw materials they purchase for producing yarn. This expansion in the availability of raw material has helped in reducing costs and improving yarn quality and spinning efficiency. Unfortunately this situation has also presented some new challenges for the spinning managers and cotton buyers. Traditionally purchased cottons had well established seed varieties and growing regions. This meant that with an average control of micronaire they had few problems with the dying and finishing of cotton fabrics.

Over the past two years we have seen a rapid increase of the problems with dying and fabric finishing. This is especially evident in the claims and rejects 100% cotton knitted fabrics for fabric barre’. Claims and rejects can easily wipe out any savings in raw material costs obtained by purchasing cotton from several international sources. Many spinning mills are under the impression that all upland seed varieties mature the same as related to the micronaire. Unfortunately what they discover is that cottons with similar micronaire that have different growing regions and seed varieties dye differently.

Controlling some of the basic fiber properties can give the spinning mill the information necessary to reduce and or eliminate the recurring problems of barre’. Mill experience and trials have given us the necessary information to set up guidelines for controlling the fiber properties that influence the dyability of cotton yarns in knitted fabrics. There are several mechanical causes of fabric barre’ that are associated with the spinning and sliver preparation processes in the spinning mill. The following table shows that the major cause of BARRE is due fiber.

FABRIC BARRE
CAUSE	% OF DEFECTS
Fibre	70
Yarn count variation	10
Twist variation	10
Hairiness	10

While mechanical differences and variations in yarn count, twist and hairiness can also be a cause of the barre’ effect the single largest cause lies in the variation in fiber properties. Figure 3 shows the fiber properties that have a major influence in the causes of barre’. Micronaire, maturity/fineness and fluorescence all play a major role in the consistent dying and finishing of knitted fabric.

Micronaire

Most mills have learned over the years that they need to control the average of the micronaire in the bale laydown. Most mills have some type of system to categorize cotton bales into groups in an effort to control the average micronaire. While controlling the average micronaire is a good first step many times this is not enough control to eliminate the barre’ effect, especially in knitted fabric. The causes and controls necessary for eliminating dying problems as they relate to micronaire are given below

difference in micronaire should be less than 0.2
change in average micronaire from mix to mix should be less than 0.1
C.V% of micronaire within mix should be within 10%
Bales with same micronaire should not be placed side by side

The additional control of the variation or CV% of the micronaire must be added to the overall control of the average in each laydown. It is also necessary to change the average of the laydown over time so that all bales in the warehouse can be processed. The change in average micronaire in the laydown must be changed slowly over time.The maximum bale-to-bale variation ( c.v%)within the mix should be 10%. A variation(c.v%) of micronaire higher than 10% will very likely cause a barre’ effect in the fabric.

Maturity & Fineness

Micronaire is an indication of the maturity in cotton fiber, although it is not a direct measurement of the fiber maturity. Micronaire can be used successfully to control barre’ if the cotton being processed is from the same seed variety. If cottons from several varieties or growing areas are being blended together, then additional testing and maturity information may be necessary.

Causes of Barre due to Maturity

Blending cottons from different growth areas
Blending cottons from different seed varieties
seasonal changes in cotton growth cycle 1. weather 2. insects
Immature fibre cotent % (IFC%) 1.White speck neps 2. carding speeds

An example of fabrics made of yarn produced from three (3) different bales of cotton is shown in figure .

The cottons all had the same micronaire (4.2) but, as can be seen, the dye uptake on the individual yarns were very different. The above Figure is a good example of how cotton fiber maturity (not micronaire) can cause a barre’ effect in fabric. These bales of cotton were tested on the HVI instrument and the yarn was tested on the Uster Evenness tester. These results are shown in figures 1 , it is not possible to determine any significant differences between these three cottons that would cause a problem in dying and finishing. The cottons are also tested on the new AFIS Length and Maturity to determine if any difference could be found.

STUDY ON BARRE CAUSED BY RAWMATERIAL

The AFIS Maturity module is a single fiber measurement of individual fiber maturity. The individual fiber maturity information gives a distribution of fiber maturity as well as the average fiber maturity. The distribution enables us to identify the very immature fibers and it is described by the Immature Fiber Content (IFC%). Figure 2 clearly shows a considerable difference of the three bales in the IFC%. Maturity differences in cotton can also cause defects in fabric such as white speck neps. Fabric in figure 3 was knitted from yarn produced from three different cottons having similar micronaire values. There was a significant difference in the amount of white specks in the three fabric samples. The three cottons were tested on the AFIS Maturity module and the results are given in figure 4. The differences in the AFIS IFC% correlates visually to the amount of white specks in the three fabrics. Interesting is that the overall average maturity ratio from the three cottons was very similar, giving no indication of a potential problem of white specks.

Variation of Maturity in Sliver

There is a possibility to optimize the carding process to make sure all cards remove as much of the immature fiber as possible. Figure 5 shows the results from testing a line of cards all fed from the same bale laydown. It is interesting that while the card mats all show very similar results the card slivers show quite some variation. The possibility of the influence of carding on the maturity of the sliver was investigated further using the AFIS Maturity module. Several individual cards were analyzed and it was apparent that there was a large variation in the amount of immature fibers removed by the cards. This initial trial indicated that it is possible to change the mechanical setup of a card to influence the removal of immature cotton fibers. These results are shown in figure 6.

Fluorescence

Another major cause of fabric barre’ is a change in the cotton fiber fluorescence. Fluorescence can be measured by the Uster Fiberglow, which measures the ultraviolet light that is reflected from the cotton sample. Fluorescence (UV) is not cotton color, but the effect of sunlight on the structure of the fibers.

Fluorescence can cause BARRE if

the variation in average UV readings between mixings is high
C.V.% in UV readings within a mix is high
End of season cotton crop changes
Outside storage of cotton bales is practiced
mixing high and low UV bales is done
UV readings increase over time in the warehose

Bale laydowns should be controlled using similar techniques that are used for Micronaire. These solutions for controlling fluorescence are given below

UV test every bale before making mix
don’t allow more than 10 points difference of UV readings within mix
UV average should be less than 1 point between mixes
category groups should be set up for UV

The variation within a single mix should be a maximum of +/- 5 points. The average UV reading of the mix should not change more than +/- 1 point from mix to mix. There is normal change in the UV readings from crop year to crop year. This is due to seasonal changes as well as the difference in UV from cotton stored in a warehouse from 9-12 months. Blending old crop and new crop must be done carefully to reduce the chance of creating fabric barre’. Typically each new year the cotton crop will have a different UV average and range depending on the weather at the time of the harvest.

Conclusions

At least 70% of the causes of fabric barre’ are due to variations in fiber properties. There are specific solutions available for spinning mills to control the key fiber properties that affect the dyeing and finishing of cotton fabrics. Individual bale measurements of Micronaire, maturity and fluorescence will help the spinning mill to control all aspects of fiber barre’ problems. The exact solution will depend greatly on the specifics of end product, spinning system and raw materials used by individual mills. Application guidelines are available for use in selecting bales for mixes and storing bales in the warehouse. Instruments and software programs are available to help the spinning mill monitor and control these specific fiber properties.

REFERENCE:USTER APPLIACTION HANDBOOK FOR AFIS PRO

Passage of Warp Yarn in a Loom

2012-07-15T05:48:00.003+06:00

101 Power Phrases, Promotion Headers and Teasers

2012-07-11T21:23:00.002+06:00

One of the things I have learned from being practical is the ‘alternative’. There are many problems can be solved, many needs be addressed and many dollars can be save by using ‘alternatives’.
It same is true with making print design for you business promotion; there are many alternative words and phrases which you can used besides from the word promotion itself. Instead of using, ‘Back to School Promotion’ or ‘Summer 2012 Promotion’ you can use other headlines that are more emphatic, attention grabbing and not worn out.
I have here a collection of power phrases, headers and teasers which you can use in promoting you products or services.

100% Chance of Savings Better Buck Buys
A Sale that will Really Pick you Up
All the Best!
Bargain Blast
Bargain Blitz
Bargain Bonanza
Bargain Headquarters
Barrel of Bargains
Best Buy
Best Deals
Best Selling
Best Value
Big Bargains
Bilk Savings for Healthy Appetites
Budget-crunching Hits
Buy 1 Free 1
Case Closed. We’ve Got the Best Buys in Town
Cool Reductions
Discover the treasure that lies hidden in your lifestyle.
Dividend Days
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Thank you for reading.

Sandblasting

2012-07-11T21:19:00.001+06:00

Sandblasting is a technique to give the “worn-out-look” to jeans. Many brands sourcing denim from Bangladesh have declared that they no longer use sandblasting to fade their products. The ban had been adopted by scores of brands in the last year after the process was proved to cause fatal lung diseases, including silicosis. However our new report reveals that regardless of whether a brand has ‘banned’ sandblasting or not, sandblasting - both manual and mechanical – is still commonly used.

Our research clearly shows that not only manual but also mechanical sandblasting poses a deadly risk to Bangladeshi garment workers.

One factory owner interviewed stated that it was impossible to produce some of the designs requested without the use of sandblasting. Indeed workers said they are told to switch to using sandblasting, even if a buyer has said it is not be used, in order to meet production deadlines. Others stated that production was often carried out at night to avoid detection by inspectors and auditors.

Workers interviewed suffered from constant coughing and breathing difficulties. They were using old machinery, and were forced to work up to twelve hours a day in dusty, poorly ventilated rooms, without adequate health and safety protection. Most interviewed had colleagues who had fallen ill. The report highlights the lack of medical care provided to workers and the difficulties they face in getting adequate diagnosis and treatment.

The Clean Clothes Campaign and partners are now calling on brands to take more action to end all forms of sandblasting. This includes ceasing production in any unit which carries out either manual or mechanical sandblasting production, making changes to the design of the jeans and working with local trade unions and workers' rights organisations to ensure the ban is being respected.

CCC is also calling on national governments to ban the process and for the EU to introduce an import ban on sandblasted products. The CCC also wants to see the garment industry included in the World Health Organisation/International Labour Organisation work on the elimination of silicosis and to develop a national programme in Bangladesh.

The report was released at a press conference in Geneva on 29th March. Just prior to the release CCC held an experts meeting on the continued use of sandblasting in denim production and the need to develop proper models of compensation workers affected or potentially affected by silicosis. The ILO was present at the meeting as were several CCC partners and former sandblasting workers from Turkey and Bangladesh

2012-07-11T18:51:00.001+06:00

77 Visual Merchandising Guidelines and Techniques [PDF]

Five basic tips on merchandising and conversion

2012-07-11T18:36:00.001+06:00

Merchandising a website takes many forms and is often considered separate to conversion management, but they are in fact deeply integrated.
If you're selling a physical product which requires delivery then merchandising activities could evolve around the category, product, range, accessories and indeed delivery itself.
If you're merchandising a less-tangible product like a service or piece of software, you could merchandise a need, benefits, the service, related products as well as payment options.
Having been asked a few months back to create a presentation on basic merchandising tips I felt compelled to share them with fellow marketers.

Price, Place, Promotion, Product.

The tried and tested 'marketing mix' plays an important role in online merchandising. However, knowing what to do with this and how to translate this into an effective trade plan will differentiate your offering from your competitors.
Knowing how to complement this will help you stand out, and conversion management will provide the edge you need.

Before I start out, this isn’t intended to be a nitty gritty in-depth guide to online trading, but instead a view of merchandising and conversion management basics I’ve found useful over the years.

1. Perceptive propositioning

Between your product and marketing is the proposition. Selling ice to Eskimos is all well and good to prove you're a great salesperson, but in reality it'll not generate brand trust or when reality hits and they discover the product’s not right for them.
Getting the proposition right isn't as easy as it sounds. The first touch point is usually through marketing; online, in-store, TV, direct mail to name but a few channels.
Understanding that your online merchandising journey doesn’t necessarily start online, let alone start on your website, is a significant first step to getting the proposition right.
The message must carry itself consistently and clearly across the customer journey. And even then there are multiple messages being carried by your marketing yet one website to deliver this, not 10 sales assistants in your store.
Consider the selling of a hotel stay. Are you selling a place to sleep or an experience? Is it functional or aspirational? How does your website make the customer feel? How do they want to feel? Does this carry across your marketing message through to the website?
A low-cost budget hotel sells on price and functionality. The hotel room the customer buys into is the end goal. Conversely the high-end hotel is selling an experience. Sleeping in the room is only part of the experience.
The proposition in both cases is what you’re ultimately selling, not the product. It’s rarely as clear-cut as this though. Brands serve many types of customer and so getting the proposition right in the way you merchandise your products or services requires a deep understanding of your customer and product affinities.
Getting into the mindset of your customer will also help you get into the forefront of your customer’s mind.

2. Pricing and promoting effectively

Cornered a niche? Playing in a competitive field? High-end? Budget brand? No matter where you are, getting the price and promotion mix right is critical.
Consider a subscription site. If you overcharge, you may lose business to a competitor. Undercharge and you may have reduced your revenue potential, yet possibly claim more market share. Are you growing a long-term business or short-term profit?
This is as much about your business and trading objectives as much as the products and target consumers. If you’re a high margin retailer, then you may have more bandwidth with price and subsequently offer more price based promotions.
This certainly has its drawbacks, especially when you discount so often that customers refuse to pay full price knowing that if they hold out they’ll grab a bargain. If not, a competitor will jump in. Do you act first? Or wait for a competitor to gain the early advantage.
For a low margin product or business, reducing price becomes the last resort and promotions pivot around added extras. Loyalty schemes often drive repeat business through additional rewards for ongoing loyalty, deferring the hit on margin. Or perhaps you focus on high profile loss leaders, creating a perception of price competitiveness.
If you’re in a competitive niche, with a limited set of suppliers you’ll need a unique selling point to stand out or strong brand advocacy to attract and retain customers.
Another point of differentiation is effectively packaging your price. From experience in travel, this has certainly come out as a key concern for customers over the years in not knowing or understanding the full price of a product until they pull out their credit card.
Pricing effectively takes on many forms yet one of the most common, overlooked aspects for e-retailers is the final price. I won’t attempt to try and explore the nuances and annoyances of pricing and checkout abandonment - there's already much written about this.
The key finding I’d share from over the years is that no matter how good or bad your user experience, in a price sensitive economy, customers will more often than not persevere.
This is certainly not a good excuse to skip over a good online experience but optimising your site without getting these two P’s right may well leave you spinning your wheels. Get the other two P’s right in Product and Placement and you’re well on your way.
My tip would be to ensure you remain competitive within your market as much as decreasing attrition.

3. Context is king

Here’s the end goal of online trading: to sell the right product to the right customer at the right time at maximum profitability.
Merchandising within the right context is as much about the position within the conversion funnel. Taking a potential customer from prospect to customer to advocate is a key fundamental of conversion management.
Merchandising is concerned with getting the right message or product to the customer, presenting the product in the right way and at the right time.
Merchandising should pivot around the customer's needs, but can also be based on what the customer doesn’t think they need. They don’t need the latest touch screen gadget but they may like one, or may not even know they'd be interested until you show it to them.
Merchandising doesn’t directly concern itself with the user experience, yet this is the foundation of good merchandising. Matching a customer’s needs, whether apparent or not, to your product.
As digital marketers we realise consumers shop in many different ways. Some dive straight into a product, others will take a more general browse.
Merchandising context can take into account many aspects of the user journey. Here are a few examples:

First visit? Second?
Prospect? Existing customer?
Time of day – important if you’re targeting at-home mums during the day.
Demographics – this could include affluence or life-stage.
Geographic location – think of local targeting.
Source of visit - such as search engine, email, direct, landing page.

I’ve known businesses that employ a role to simply merchandise the company’s various homepages and nothing else, such is the importance placed on the 'shop window', or teams which literally update offers and prices throughout the day based on demand and availability.
Consumers are savvy creatures. I certainly am. I should be, after all, I know the tricks of the trade right? Yet I'm still duped into buying things online that I don’t need or didn’t intend to buy because it was surfaced at just the right time.
That’s clever contextual merchandising. And I love it.

4. Lubricate your path to purchase with a good user experience

A good user experience lubricates your purchase funnel, merchandising provides momentum and direction. This is where the lines of traditional merchandising and conversion rate optimisation can blend into an awesome user experience.
You could argue that Amazon doesn’t offer a great user experience yet it somehow drives phenomenal sales. I’d disagree. The experience is efficient. The one-click add-to-basket is addictively good as a consumer.
It’s actually far easier to purchase on Amazon than many of the leading e-commerce sites. Yes, there’s a lot of clutter and as a usability practitioner it goes against many recommendations, yet the impressive sales figures suggest otherwise.
Have you visited Jacob Nielsen’s web usability website? I’ve been an avid follower for over a decade yet the design has barely changed. His principles have endured. However, I'd argue Jacob is not trading his website.
If the user experience reduces friction, strong merchandising guides them through your site, motivating and inspiring customers. Many websites suffer from fragmentation when it comes to merchandising.
It is extremely difficult to fully merchandise and tailor a website for each consumer. But you can get pretty close. Which leads me onto the next point…

5. Choose the right tools, but moreover, the right people

The range of tools available for your website right now is quite mind-blowing thinking back a decade. Just take a look at this small, but useful list:

Automated merchandising. Let a mixture of automated rules and commercial input decide on which piece of content or product to surface based on various aspects of the user and their experience within your site.
Click to chat. Perhaps the next best thing to a sales assistance if used in the right way. It can provide the edge your website needs to improve your customer experience especially when your operators are trained to aid and close sales and not just field general queries.
Multivariate testing. I’m a huge advocate of testing. It’s so easy to test your site as long as you've got the right team creating those tests. I’ve been asked a number of times what happens when there’s nothing left to test. I’ve yet to encounter that scenario.
Online customer surveys. Not only will it provide candid insight into what your customers truly think of your site, you’ll learn so much more about how to improve your offering.
Real-time user tracking. Again another underused tool, is replaying user sessions. Find out what customers didn’t do, which is just as insightful as what they did.
Search and faceted navigation. A good search experience goes beyond the tool you’ve chosen, it’s also about the active management of your search experience. Customers expect to find what they want with your search box and narrow down their options. If not, you may well be losing 20% of your revenue.A small merchandising tip: look out for your search keywords that return zero results; you may well find new product ranges which customers think you stock that you don’t… perhaps you should?
Targeting and segmentation. The ability to split your traffic into pre-defined blocks of attributes and behaviour and target content to them comes close to offering a tailored web experience. Segmentation by definition groups clusters of customers and is not one to one but does provide an edge over spray and pray approaches to merchandising. For example, a simple male/female segment split based on logged-in users gives an instant merchandising opportunity to effectively double the merchandising space on your homepage.
User reviews and testimonials. Let your advocates sell your product for you. User reviews do a great job in surfacing low quality products that are not fit for purpose. If average reviews are constantly low, will you persist in selling it? Or feed back to your buying team to enhance it? Or push back on your supplier?
Videos, 360s and visual merchandising. With broadband speeds increasing over time, video and other bandwidth intensive media are becoming less of an issue for consumers and can add an extra dimension to your toolset. In-depth apparel zooms and detailed swatches have certainly provided consumers with a more realistic view of what they’re buying, coming closer than ever to physically having the product in front of you.
Web analytics. This still remains the central source of information for many businesses yet some of the examples above demonstrate that data sources are far more abundant. Is data the new oil? I certainly think it will last longer…

With so much access to data and insights, websites continue to struggle with conversion. Whilst you can debate the exact split, for me it falls back to the 80:20 rule of resourcing, your emphasis should certainly be on hiring the right number and expertise of people to operate those tools.
I’ve lost count of the number of conversations I’ve had about companies struggling to create insight due to a lack of resource. It can be difficult to justify costs but if you’re trading a medium to large website you’ll soon hit barriers in keeping the user experience together; you can’t put a price on experience and knowledge to turn insights into revenue.
Finally I’ll end with what has been the theme for the past few years. The days of silos are in the past. Online and offline marketing is continuing to diverge.
If you run a bricks to clicks business, glean insights from your stores. If you run a sales call centre alongside your website, listen to calls, understand why they’re calling. Complement the experience across your channels and indeed devices.

http://econsultancy.com/us/blog/7978-10-basic-merchandising-tips-to-increase-sales

Bangladesh: Labour rights activist tortured and killed

2012-07-11T18:19:00.001+06:00

Aminul Islam, a Bangladeshi labor rights activist and former apparel worker was tortured and murdered last week in Dhaka. His body was dumped outside of the capital city and was found by local police last Thursday. According to the police report, Aminul Islam's body bore signs of brutal torture. It is most likely that Aminul was murdered because of his labour rights work.

Aminul Islam worked for the Bangladesh Center for Worker Solidarity (BCWS) and the Bangladesh Garment and Industrial Workers Federation (BGIWF). He was last seen on Wednesday evening 4 April, 2012, when he left for a meeting with a worker who had called him seeking assistance. Earlier that evening, after having observed a police van parked outside, Aminul and a colleague had closed the local BCWS office fearing harassment or arrest. Aminul's family and friends searched for him until Saturday, when his wife recognised a photograph of his body, published in a local newspaper.

Repression against trade unionists and labour rights activists in Bangladesh is a serious problem, and worker protests have been met with violence many times over the last years. In particular, the wage protests of 2010 resulted in hundreds of arrests of workers and trade unionists, including Aminul Islam. In June 2010 Aminul had been detained by officials of the National Intelligence Service (NSI). According to Aminul, he was subjected to severe and repeated beatings, which his captors said would stop only if he agreed to give false testimony against his colleagues at BCWS. Dozens of labour leaders are still facing charges of instigating riots and related activities; charges regarded as baseless by international labour and human rights organisations.

CCC is calling for the Bangladeshi authorities to launch an immediate and impartial investigation into the killing and for them to work tirelessly to bring the perpetrators to justice. We are also calling on supporters worldwide, including EU missions and other organisations to generate similar pressure on the Bangladeshi authorities in order to stop the culture of impunity that has led to this tragic murder. Our heartfelt condolences go out to Aminul’s family and friends at this time.

What is AQL (Acceptable Quality Level)

2012-07-11T03:42:00.001+06:00

The “AQL tables” are statistical tools at the disposal of buyers (for product inspections). They help determine two key elements:

How many samples should be inspected?
Where is the limit between acceptability and refusal, when it comes to defective products?

The need for an objective measurement of quality
In virtually every production batch, there will be defective products. It is true even after the manufacturer has checked each individual product and has repaired the defective ones.
Thus, in a supplier/buyer relationship, the supplier cannot be expected to deliver defect-free goods. However, the buyer wants to control the quality of purchased goods, since he does not want too many defects. But what does “too many” mean?
How to set the limit between acceptability and refusal in a way that can be agreed upon and measured?

Definition and application of ‘AQL’

The limit, as described above, is called the ‘AQL’. It stands for ‘Acceptance Quality Limit’, and is defined as the “quality level that is the worst tolerable” (ISO 2859 standard).
For example: “I want no more than 1.5% defective items in the whole order quantity” means the AQL is 1.5%.
In practice, three types of defects are distinguished. For most consumer goods, the limits are:

0% for critical defects (totally unacceptable: a user might get harmed, or regulations are not respected).
2.5% for major defects (these products would usually not be considered acceptable by the end user).
4.0% for minor defects (there is some departure from specifications, but most users would not mind it).

These proportions vary in function of the product and its market. Components used in building an airplane are subject to much lower AQL limits.

Getting familiar with the AQL tables

Before using the AQL tables, you should decide on three parameters:

The ‘lot size’. If you ordered different products, the quantity of each product is a lot size, and separate inspections should be carried out for each lot. If you ordered only one product, the lot size is your total order quantity.
The inspection level. Different inspection levels will command different number of samples to inspect. In this article, we will stick to the so-called “level II”, under “normal severity”.
The AQL level appropriate for your market. If your customers accept very few defects, you might want to set a lower AQL for both major and minor defects.

There are basically two tables. The first one tells you which ‘code letter’ to use. Then, the code letter will give you the sample size and the maximum numbers of defects that can be accepted.
First table: sample size code letters

How to read this table? It is very easy.
If you follow my example, I assume your ‘lot size’ is comprised between 3,201pcs and 10,000pcs, and that your inspection level is ‘II’. Consequently, the code letter is “L”.

Second table: single sampling plans for level II inspection (normal severity)

How to read this table?
Your code letter is “L”, so you will have to draw 200pcs randomly from the total lot size.
Besides, I assume you have set your AQL at 2.5% for major defects and 4.0% for minor defects. Therefore, here are the limits: the products are accepted if NO MORE than 10 major defects AND NO MORE than 14 minor defects are found.
For example, if you find 15 major defects and 12 minor defects, the products are refused. If you find 3 major defects and 7 minor defects, they are accepted.
Note: in quality inspections, the number of defects is only one of the criteria. It is sometimes called “quality”, or “quality findings”. The other criteria are usually on the inspector’s checklist, which typically includes:

Packaging conformity (barcodes, inner packing, cartons, shipping marks…).
Product conformity (aspect, workmanship…). If all the products are in red color instead of orange, there is no need to count each sample as a defect. It makes more sense to refuse for product conformity.

Specific tests defined in the inspection protocol (they might not be performed on all samples).

How To Control Shrinkage And Twisting In Fabric

2012-07-11T03:17:00.001+06:00

What Causes Shrinkage and Twisting?

During spinning, weaving, bleaching, dyeing and the various finishing processes, yarns and cloth are under a continuous tension that causes Shrinkage And Twisting in the fabric. Yarns and/or fabrics are not fixed materials. They consist of separate, stretchable fibers which submit to the tension. In other words, fabrics do stretch in length and width. The tension within the yarns, which is caused by
This stretching, can be eliminated when the friction within the fabric is reduced. This reduction in friction occurs during laundering where both water and soap act as a lubricant. The lubricant, along with the mechanical action of the washer, helps the fibers relax and contract to their original length before the elongation takes place. This means that the fabric shrinks and recaptures its original equilibrium.

Controlled Comprehensive Shrinkage and Twisting Process:

The internationally well-known and most important shrinking process today dates back more than 70 years. Though the correct expression for this process is Con-trolled Compressive Shrinkage, the average person knows it as SANFORIZED. The process is a purely mechanical treatment without any addition of chemicals. The word SANFORIZED is derived from the first name of the inventor of the compressive shrinkage process, Mr. Sanford L. Cluett. The Sanforized Company, a division of Cluett Peabody & Co., Inc., New York, USA, is sole owner of the registered trademarks Sanforized, Sanfor and Sanforizado. The Sanforized label means dimensional stability for
garments made up of Sanforized labeled fabrics. The purpose of the process is to shrink fabrics in such a way that textiles made up of these fabrics do not shrink during washing.
The amount of potential wash shrinkage must be determined prior to shrinking. A full width sample is wash-tested according to the test method. After the lengthwise and widthwise shrinkage has been deter-mined, the compressive shrinkage machine can be adjusted accordingly.

The shrinkage and Twisting Control Process Can be Described by the Schematic Below:

Fabric (F) passes through the skyer (S) or other moisten-ing device and is moistened by water and/or steam. This will lubricate the fibers and promote shrinkability within the fabric. Normally, a fabric must be moistened in such a way that every single thread achieves a moisture content of approximately 15%. This allows compression of the fabric with very little resistance. When the fabric passes through the clip expander (C), we obtain the required width. The clip expander also trans-ports the fabric to the most important part of the machine: the rubber belt unit (indicated by arrows in above figure). In the close-up of fig. 1, we see the endless rubber belt (R). By squeezing rubber belt (R)
between pressure roll (P) and rubber belt cylinder (RB), we obtain an elastical stretching of the rubber belt surface. The more we squeeze the rubber belt, the more the surface is stretched. This point of squeezing is known as the pressure zone, or the nip point. Fabric (F) is now fed into the pressure zone. When leaving the pressure zone, the rubber belt recovers itself and the surface returns to its original length carrying the fabric with it. The effect of this action is a shorting of the warp yarn which packs the filling yarns closer together. At this actual moment, shrinkage occurs. After compaction within the rubber belt unit, the fabric enters the dryer (D). Here the fibers are locked in their shrunken state by removing the moisture from the fabric. After the compressive shrinkage process is completed, another sample of the fabric is taken. This sample is also wash-tested. The final result of this test must meet the Sanforized Standard in length and width before it may carry the Sanforized label. All Sanforized Licensees are contractually obligated to follow the required test method and meet the standards set forth by The Sanforized Company.

Shrinkage and Twisting Standards for Woven and Knit Fabrics

Standards for Shrinkage of Sanforized Labeled Woven Fabrics: Woven fabrics shall not either shrink or gain in excess of 1% in either the warpwise or the weftwise direction when subjected to the wash-test method of the United States Federal specification number CCC-T-191A or ISO 675.
Standards for Shrinkage of Sanfor-Knit: Labeled Knit Fabrics Knit fabrics shall not either shrink or gain in excess of 5% in either the longitudinal or the cross direction when subjected to the wash-test AATCC 135-1987 or ISO 6330 (60 degree, tumble dry).

http://www.garmentsmerchandiser.info/shrinkage-and-twisting/

Sanforization

2012-07-11T03:16:00.001+06:00

Sanforization is a process of treatment used for cotton fabrics mainly and most textiles made from natural or chemical fibres, patented by Sanford Lockwood Cluett (1874–1968) in 1930. It is a method of stretching, shrinking and fixing the woven cloth in both length and width, before cutting and producing to reduce the shrinkage which would otherwise occur after washing.

The cloth is continually fed into the sanforizing machine and therein moistened with either water or steam. A rotating cylinder presses a rubber band against another heated rotating cylinder, thereby the rubber band briefly gets compressed and afterwards shrinks to its final size. The cloth to be treated is transported between rubber band and heated cylinder and is forced to follow this brief expansion and recontraction and thus gets shrunk.

The bigger the pressure applied to the rubber band the bigger the shrinking afterwards.

The aim of the process is a cloth which does not shrink during clothes production by cutting, sewing or by wearing and washing the finished clothes.

For technical application, cloth may be specified to have a shrink-proof value of under 1%.

Art

2012-04-21T17:25:00.001+06:00

2012-03-05T16:01:00.000+06:00

Washing process in Apparel Manufacturing

2012-01-21T01:35:00.002+06:00

Apparel manufacturing III
Washing
Prepared By
Md. Mahfuzur Rahman
Sr. Lecturer
Department of Textile engineering
Daffodil International University
Click the link below to download, this file is in pdf format
http://www.mediafire.com/download.php?lrk2w45uatoog0f
Washing (Apparel manufacturing)

Garment / Apparel Patterns Instruction

2012-01-21T01:28:00.002+06:00

Garment / Apparel Patterns Instruction:

Following instruction must be marked on apparel pattern, to enable the garment to be made up correctly: -
1. Style Number.
2. Name of the part
3. Size ( it will show you how to find your size on a pattern finished garment measurements)
4. Grain Line: All patterns must have grain lines. It indicates the length direction of fabrics, i.e. during marker making all patterns must be placed to the length direction.
5. Balance Mark: Used to ensure patterns are sewn together at the correct points.
6. Construction Lines: These include buttonholes, pocket placing etc.

Garment Patterns Construction:

1. Manual Method.
2. By Computer (CAD).

Principles of Pattern Making:

A garment sewing pattterns or garment fabric & patterns draft is developed by calculating, taking account of the following measurements: -
1. Direct Sample.
2. Specification Sheet/ Measurement Chart.
3. Actual body size measurements.
4. Easy Allowances.
5. Sewing Allowance.

Pattern Draft:

A pattern draft is a diagrammatic representation of the way a garment is constructed. The objective of pattern draft is to develop a sample garment.

Pattern Sets:

Different sizes of pattern for a particular style are called pattern sets, e.g. L.M.S.

Production Pattern:

The pattern se which are used for huge production is called production pattern.

Textile materials, processes, products

2012-01-21T01:19:00.000+06:00