Textile Fabrics and Their Preparation for Dyeing

Paul N. Hasluck

Description

First published in1906, this book contains a classic guide to textiles, dealing specifically with various different fabrics and how they should be prepared and dyed. Written in simple, clear language and full of helpful illustrations and diagrams, “Textile Fabrics and Their Preparation for Dyeing” is perfect for textile novices and DIY enthusiasts, and it would make for a wonderful addition to collections of related literature. Paul Nooncree Hasluck (1854 – 1916) was an Australian engineer and editor. He was a master of technical writing and father of the 'do-it-yourself' book, producing many books on subjects including engineering, handicrafts, woodwork, and more. Other notable works by this author include: “Treatise on the Tools Employed in the Art of Turning” (1881), “The Wrath-Jobber's Handy Book” (1887), and “Screw-Threads and Methods of Producing Them” (1887). Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.

Informations

• Publié par: Read Books Ltd.
• Date de parution: 01 décembre 2020
• Nombre de lectures: 0
• EAN13: 9781528766647
• Langue: English

Extrait

TEXTILE FABRICS AND THEIR PREPARATION FOR DYEING
Copyright 2017 Read Books Ltd.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Paul Nooncree Hasluck
Paul Nooncree Hasluck was born in April 1854, in South Australia. The third son of Lewis Hasluck, of Perth, the family moved to the UK when Hasluck was still young. He subsequently lived in Herne Bay (Kent), before moving to 120 Victoria Street, London, later in life.
Hasluck was the secretary of the Institution of Sanitary Engineers - an organisation dedicated to promoting knowledge of, and development in the field of urban sanitation. Hasluck was also the editor of several magazines and volumes over his lifetime, including Work Handbooks , and Building World . He was an eminently knowledgeable and talented engineer, and wrote many practical books. These included such titles as; Lathe-Work: A Practical Treatise on the Tools employed in the Art of Turning (1881), The Watch-Jobber s Handy Book (1887), Screw-Threads, and Methods of Producing Them (1887), and an eight volume series on The Automobile as well as a staggering eighteen volumes of Mechanics Manuals .
In his personal life, Hasluck married in 1883, to Florence - and the two enjoyed a happy marriage, though his wife unfortunately died young, in 1916. Hasluck himself died on 7th May, 1931, aged seventy-seven.
A History of Textiles and Weaving
A textile or cloth is a flexible woven material consisting of a network of natural or artificial fibres, often referred to as thread or yarn . Yarn is produced by spinning raw fibres of wool, flax, cotton, or other material to produce long strands. Textiles are then in turn, formed by weaving, knitting, crocheting, knotting, or pressing fibres together (felt). The words fabric and cloth are used in textile assembly trades (such as tailoring and dressmaking) as synonyms for textile . However, there are subtle differences in these terms in specialized usage. Textile refers to any material made of interlacing fibres. Fabric refers to any material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods (garments, etc.). And finally, Cloth may be used synonymously with fabric but often refers to a finished piece of fabric used for a specific purpose (e.g., table cloth ).
The word textile comes from Latin, textilis , meaning woven (from textus , the past participle of the verb texere , to weave ). From ancient origins, the production of textiles has altered almost beyond recognition however. Industrialisation and the introduction of modern manufacturing techniques have changed both the working methods - speed and scale, and the end product itself. For some types of textiles though; plain weave, twill, or satin weave, there is little difference between the ancient and modern methods. Textile production has been evidenced as early as Neolithic times. In 2013, linen cloth was found at the atalh y k site (Turkey), dated at around 700 BCE. Another fragment has been found in Fayum (a city in middle Egypt), dated to about 5000 BCE. Flax was the predominant fibre in Egypt at this time (3600 BCE), hugely popular in the Nile Valley, though wool became the primary fibre used in other cultures around 2000 BCE.
Emerging from these early examples, weaving has developed into an enormous industry. Essentially, weaving is a method of fabric production in which two distinct sets of yarns are interlaced at right angles to form a fabric. Other techniques include: knitting, lace making, felting and braiding. The longitudinal threads are called the warp and the lateral threads are the weft or filling . ( Weft , or woof is an old English word meaning that which is woven. ) Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. The way that these warp and filling threads interlace with each other is called the weave . The majority of woven products are created with one of three basic weaves: plain weave (strong and hard-wearing, used for fashion and furnishing fabrics, with a simple criss-cross pattern), satin weave (which typically has a glossy surface and a dull back, characterized by four or more weft yarns floating over a warp yarn, or vice versa) and finally, twill (a pattern of diagonal parallel ribs - in contrast with a satin and plain weave).
Before the Industrial Revolution (1760-1840), weaving was a manual craft and wool was the principal staple. In the great wool districts a form of factory system was introduced, but in more rural areas weavers worked from home on a putting-out system. The wooden looms of that time were either broad or narrow ; broad looms were those too wide for the weaver to pass the shuttle through the shed, necessitating employing an assistant (often an apprentice). This ceased to be necessary after John Kay invented the flying shuttle in 1733 however. The flying shuttle essentially involved a box, at either end of the loom, which caught the shuttle at the end of its journey, and propelled the shuttle on its return trip. This massively sped up the process of weaving, consequently resulting in a shortage of thread and a surplus of weaving capacity! The problem was largely solved with the opening of the Bridgewater Canal in June 1761, allowing cotton to be brought into Manchester, an area rich in fast flowing streams that could be used to power machinery.
Edmund Cartwright was the first to attempt to mechanise weaving. He built a factory at Doncaster and obtained a series of patents between 1785 and 1792. Cartwright later sold these to the Grimshaw brothers of Manchester, but their Knott Mill mysteriously burnt down the year afterwards. Whatever the process, woven grey cloth - the end-product of weaving, was then sent to finishers , where it was bleached, dyed and printed. Natural dyes were originally used, with synthetic dyes coming in the second half of the nineteenth century (the need for these chemicals was an important factor in the development of the chemical industry too). Up until this point, all textiles were made from natural fibres; animal substances such as wool or silk, plant based materials such as cotton, flax or jute, and mineral sources, such as asbestos and glass fibres. In the twentieth century however, these were supplemented by artificial fibres made from petroleum.
Today, the textile industry is thriving, creating many sub-industries - such as those purely devoted to colouring or patterning the woven material. Many famous fashion designers, such as Armani, Gianni Versace and Emilio Pucci have relied on textile designs to set their fashion collections apart; easily recognisable by their signature print driven designs. In properly printed fabrics the colour is bonded with the fibre, so as to resist washing and friction. This can be done by stencils, wood-blocks, engraved plates, rollers or silkscreens. Woodblock printing, still used in India and elsewhere today, is the oldest of these dating back to at least 220 CE in China. Most commonly however, textiles are dyed all over, with fabrics now available in almost every colour. Coloured designs can be created by simple printing, weaving together fibres of different colours (tartan or Uzbek Ikat), adding coloured stitches to finished fabric (embroidery), creating patterns by resist dyeing methods, tying off areas of cloth and dyeing the rest (tie-dyeing), or drawing wax designs on cloth and dyeing in between them (batik).
Textiles have been a fundamental part of human life since the beginning of civilization. As has been evidenced, the methods and materials used to make them have expanded enormously, but the function of fabric itself has largely remained the same! The history of textile arts is also the history of international trade, as silks were brought from China to India, Africa and Europe, whilst Tyrian purple dye was an important trade good in the ancient Mediterranean. We hope this book inspires your own journey into textiles and weaving. Enjoy.
TEXTILE FABRICS AND THEIR PREPARATION FOR DYEING
WITH NUMEROUS ENGRAVINGS AND DIAGRAMS
BY
PROFESSOR J. J. HUMMEL, F.C.S.
LATE DIRECTOR OF THE DYEING DEPARTMENT OF THE YORKSHIRE COLLEGE AND LEEDS UNIVERSITY
NEW AND REVISED EDITION
EDITED BY
PAUL N. HASLUCK
HONOURS MEDALLIST IN TECHNOLOGY
PREFACE.

T EXTILE F ABRICS AND T HEIR P REPARATION FOR D YEING contains, in a form convenient for everyday use, a comprehensive treatise on the subject. The contents of this manual are based on the highly esteemed book written by the late Dr. J. J. Hummel, F.C.S., Professor and Director of the Dyeing Department of the Yorkshire College, Leeds.
Without omitting any essential part of the original work the matter has been revised and brought up to date by Mr. A. R. Foster, Consulting Textile Expert, City and Guilds Honours Medallist. Needless to say many changes have taken place since the previous edition was published, and whilst the new processes and appliances have been incorporated, the older methods which are still in vogue in less progressive works, have been retained and revised. In this manner the manual has been made valuable, not only to the student but all employed in bleaching, finishing, and dyeing works.
Readers who may desire additional information respecting special details of the matters dealt with in this book, or instructions on any kindred subjects, should address a question to the Editor of W ORK , La Belle Sauvage, E.C., so that it may be answered in the columns of that journal.
P. N. HASLUCK.
La Belle Sauvage, London ,
November