Novel and colorful burnout printed fabrics

Novel and colorful burnout printed fabrics A printing process in which corrosive chemicals (such as sulfuric acid, ALCL3, etc.) are printed on fabrics composed of multi-component fibers. After drying, drying an…

Novel and colorful burnout printed fabrics

A printing process in which corrosive chemicals (such as sulfuric acid, ALCL3, etc.) are printed on fabrics composed of multi-component fibers. After drying, drying and other post-processing, a certain fiber component is destroyed to form a pattern. Mostly used on velvet fabrics. This pattern may be concave and convex in order, or may be translucent, and is highly decorative. Appropriate tolerant dyes can also be added to the printing paste to rotten one fiber component while coloring the fibers of another component to obtain a colorful burnout effect.

Burnout printing was first used on silk interwoven fabrics, such as burnout silk, burnout velvet, and later on burnout polyester/cotton fabrics and other fabrics. Burnout fabrics are made of two different fibers interwoven or blended. One fiber can be destroyed by certain chemicals, while the other fiber is not affected, forming a special style of burnout printed fabric, usually made of Acid-resistant fibers such as silk, nylon, polyester, polypropylene and other fibers are interwoven or blended with cellulose fibers such as viscose fiber and cotton to form fabrics. Strong acidic substances are used to mix the pulp for printing. After drying, the cellulose is hydrolyzed and carbonized by the strong acid. After washing, a translucent and concave-convex pattern is obtained. With the return of fashion in the past two years, burnt-out designs are once again widely used in decorative fabrics and clothing fabrics such as curtains, bedspreads, and tablecloths.

At present, polyester-cotton core-spun yarn fabrics are mostly used in China, and strong acid slurry is used to print on the fabrics. Sulfuric acid is the preferred strong acid. Acidic salts such as aluminum sulfate and sodium bisulfate can also be used, but the effect is not as good as sulfuric acid. The printing paste should be resistant to strong acid, have good permeability, have clear printed outlines, and be easy to wash off. Such pastes include white dextrin, synthetic dragon gum, oil/water emulsified paste, etc. After printing, it is dried, baked at 140°C for 3Os, and washed in a rope shape to remove carbonized matter. If the baking temperature is too high, the printed area will be dark brown and difficult to clean. If the temperature is not enough, the printed area will be white and opaque, indicating insufficient effect and difficult to wash off. Generally, the color of the printed area will be light yellowish brown after baking. Check whether the baking temperature is appropriate and whether the residue on the product is easy to wash away. You can pull the fabric with your hands under tension to make the residue come off immediately.

The burnout printing method can be either direct printing or resist printing, that is, printing with slurry in advance, drying and then pickling and steaming to remove the ground color part to achieve special effects.

The quality requirements of burnt flowers are reflected in the transparency of the burnt parts. The outline of the flower pattern must be clear, non-bleeding, not too many flowers, too many flowers, continuous lines, beautiful flower patterns, and accurate registration.

When designing patterns, avoid points, lines, and surfaces that are too thin or too small to prevent the problems of lost flowers and blurred pattern outlines during burnout. For patterns designed with burnt-out printing, when connecting the burnt-out and printing parts, attention should be paid to leaving an appropriate gap to prevent the burnt-out paste and printing paste from interpenetrating during burnout and destroying the effect of the pattern. It is not advisable to register too many colors to avoid difficulties in plate alignment during registration.

Regarding the choice of burnt-out gray fabrics, the burnt-out gray fabrics currently available on the market mainly include the following types: polyester/cotton core-spun white cloth. The burnt-out part has good transparency and is suitable for high-end burnt-out products. Polyester/cotton blended fabric has poor transparency in burnt-out areas, so it can be used for general burnout products. Acrylic/cotton color core fabric with good transparency in burnt-out areas.

When designing the drawing manuscript, you should pay attention to the following issues: When tracing burnt flowers, appropriate gaps must be left at the pattern connections, and the lines must be fine, well-proportioned, and accurate. The negative film should be kept clean, and acid-resistant photosensitive glue should be used for burnout plate making.

The weave design of burnt-out fabrics generally uses plain weave. The following four issues should be paid attention to in fabric weave design:

Selection of fabric tightness: The tightness of burnt-out fabrics includes two concepts , one is the tightness of the core-spun yarn part of the fabric, and the second is the tightness of the mesh part of the fabric. If the fabric is too tight, weaving production will be more difficult. If the fabric is too tight, the warp and weft yarns will easily shift in the screen part. Therefore, it is generally better to use a total tightness of about 71-75% for burnout fabrics, of which the warp tightness is 48-52% and the weft tightness is 45-48%.

Selection of reed size for weaving: In view of the uniform arrangement of warp and weft yarns of burnt-out fabrics, it is generally appropriate to use a steel reed with a higher reed number, which has a significant effect on improving product quality. In actual production, when reeding, it is best to wear one warp yarn per reed, and at most two warp yarns per reed.

Selection of twist coefficient of core-spun yarn: The twist coefficient of core-spun yarn is closely related to the quality of burnt-out fabric. If the twist coefficient is too small, the filament part will feel unpleasant after burnout and lack the silk screen style; at the same time, after the filament is twisted, the product will easily fluff, affecting the service life: during the weaving process, the outer cotton-covered part It is also easy to get cotton balls due to friction. If the twist coefficient is too large, kinked yarns may easily occur during weaving. Therefore, in actual production, it is more appropriate to choose a twist coefficient of core-spun yarn used in burnout fabrics between 304 and 333.

Selection of cotton coverage rate of core-spun yarn: The coverage rate of cotton fiber on the core-spun yarn for burnout fabrics should be determined according to the style and different uses of the product to determine the applicable coverage rate. . From the perspective of the product’s prominent pattern and strong three-dimensional effect, the percentage of white cotton should be larger. Generally, the cotton covering rate of polyester-cotton core-spun yarn is 43-48%, which is more suitable.


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Author: clsrich

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