Prime School BD (PSBD24) is popular blog site about technology, merchandising, textile & accounting rules in Bangladesh. Also the post that are publishing about Accounting tutorial, Textile, RMG, Merchandising, Knit Merchandising, Woven Merchandising, Apparel Merchandising, Garments, Dyeing, Spinning, Washing, Buying House, else many things with tips & tricks.

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Prime School BD (PSBD24) is popular blog site about technology, merchandising, textile & accounting rules in Bangladesh. Also the post that are publishing about Accounting tutorial, Textile, RMG, Merchandising, Knit Merchandising, Woven Merchandising, Apparel Merchandising, Garments, Dyeing, Spinning, Washing, Buying House, else many things with tips & tricks. বদিউজ্জামান ( রুবেল )
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GSM Calculation for Woven Fabric


Introduction:

GSM (Gram per square meter) is an important matter in textile sector. Higher GSM fabric is heavier and lower GSM fabric is lighter. A woven garments merchandiser must have to know the GSM calculation method to ensure the right GSM fabric that ordered by the buyer (though suppliers are regularly mentioned about the fabric GSM).
GSM Calculation for Woven Fabric
GSM Calculation for Woven Fabric

GSM:

GSM stands at Gram per square meter. It is the weight of fabric in one gram per square meter. It’s unit is gm/m2.

Crimp Factor:

Crimp percentage or crimp factor is defined as the mean difference between the straightened thread length and the distance between the ends of the thread while in the cloth, expressed as a percentage.

Woven Fabric GSM Calculation Method:

During calculating woven fabric GSM from fabric construction, we have needed the following formula.
GSM (Gram per square meter),


Example:

Suppose,
A woven fabric construction is like that-

Now, calculate the fabric GSM.

Solution:

From the given fabric construction we can see that,
  • Warp count- 50
  • Weft count- 40
  • EPI (Ends per inch) – 130
  • PPI (Picks per inch) – 60
  • Warp crimp factor- 1.2
  • Weft crimp factor- 1.0
Now, by applying all the data in the required formula, we can easily find out the above woven fabric GSM.
GSM (Gram per square meter),
= (3.12 + 1.5) × 23.5
= 108.57
So, above woven fabric GSM is 108.57
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Dyeing/Finishing with Color



When ‘colour’ is applied to a fabric it is termed as dyeing. Dyeing and printing of fabrics is usually done after routine or basic finishes but prior to the application of other finishes. It is mainly done to give colour to the fabric and thus improve the appearance of the fabric.

Dyes and Sources of Dyes

The dyes which are used for colouring fabrics can be classified according to their sources.
NaturalChemical
  • Saffron
  • Mehendi
  • Indigo
  • Acid
  • Basic
  • Azoic
  • Direct
  • Disperse
  • Reactive
  • Vat

Natural Dyes

These dyes are based on raw materials available in nature (plants, insects and minerals) and are non–polluting.

Chemical Dyes

These dyes are not received from natural sources. They are synthetically made by using various chemicals. Chemical dyes are cheap and easy to apply, with overall good colour fastness but cause environmental pollution.

Stages of dye application

When we go to the market we find it is not only fabrics which are dyed but sewing threads and knitting yarns are also available as dyed materials.

Dyeing may be done during

Fibre Stage

Both natural and manmade fibers can be dyed at this stage. It gives very uniform dyeing and fast colours. But there is a lot of wastage during further processing of fibres.

Yarn stage

Sometimes yarns are also dyed, especially when they have to be sold as such. Hence in embroidery thread, sewing threads and knitting yarn, dyeing is done at the yarn stage.

Fabric stage

This is the most popular stage of dyeing. Most of the fabrics which are dyed in a single solid colour are dyed at this stage. This method is a fast method and it is easy to match colours. Blended fabrics can also be dyed.

Garment dyeing

Sometimes, after stiching the garment, there is a need to dye it, for example, dupattas for suits are dyed after making.

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Lab Dips

A lab dip is a swatch of fabric test dyed to hit a colour standard. There are different matching systems followed in Labs such as Tube light matching, Sun light matching, Ultra Violet matching, Sodium light matching etc.

What is a lab dip?

Lab dye or "lab dips" is a small swatch of a fabric selected for a garment style, dyed to a specified shade. Fabric suppliers usually send lab dyes to buyers for approval before the fabric is dyed in bulk production.
A lab dip is a visual aid on how the color will look when dyed. The lab dip is typically done on a small swatch of fabric, about 6" by 6" in size. Lab dips need to get approved before running production. Please note that doing a lab dip on a beaker and running production are two completely different processes.

Will the samples exactly match with the production?

Attempts are made to match the final product as close as possible to the lab dips, but due to uncontrollable variables such as the following, the lab dips may not match 100% with the final products:
  • Dye stuff varies from lot to lot which in turn will make variations on dyed output.
  • Atmospheric conditions, such as humidity, vary in the lab room and the production area.
  • Cotton used to produce fabric absorb dye differently.
  • Fabric production from lot to lot vary. If dyeing
  • Sample fabric that is received to make lab dips and/or samples may be different from what is used in production.
  • Some colors are sensitive to heat. When drying, color can change slightly in the dryer.

Lab Dip Matching Systems

There are different matching systems followed in Labs. They are
  • Tube light matching.
  • Sun light matching.
  • Ultra Violet matching.
  • Sodium light matching (show room).
Each of the above matching will give different results. For example, if a lab dip matches to the original in tube light, will differ in sun light. So the lab dips are to be made according to the buyer’s matching system.
Different buyers follow different matching systems. Hence before proceeding lab dips, merchandiser should be aware of the buyer’s matching system. Thus the lab-dips should be made and tuned according the buyer's lab-dip matching system.

Merchandiser's responsibility with lab-dips

It is the merchandiser’s responsibility to get the Lab dips from the processing mill and to get approval from the buyer.
Also the merchandiser must be sure of making the lab dips in the actual production fabrics based on the specification provided by the buyer on number on shades and swatches.
Before sending the lab dips to the buyer, the merchandiser should verify whether they are closer to the required shade and should be arranged to redone if they wont strictly fall under the specification provided by the buyer. The lab-dips should be submitted to the buyer in careful packings.
The testing labs maintain a reference number of the test conducted by them and the same should be referenced on all preceding documents, in order to maintain the accuracy of the lab dip test and it will also help to redo the test with similar parameters on the same lab.
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Textile Labelling Objective

The main objective of Textile Labelling are : 1.to protect consumers against misrepresentation in the labelling and advertising of textile fibre products 2.to enable consumers to choose textiles on the basis of fibre content

Objectives of Textile Labelling

The objectives of the Act and the Regulations are to protect consumers against misrepresentation in the labelling and advertising of textile fibre products and to enable consumers to choose textiles on the basis of fibre content.
Unless a consumer textile article is exempt from the labelling requirements of the Act and Regulations, the dealer must ensure that a textile disclosure label meets the criteria detailed in all of the following sections:
  • Fibre Content
  • Bilingual Requirements
  • Dealer Identity
  • Form and Application of Labels
The following examples have been provided to illustrate many of the common issues dealing with the declaration of fibre content on a label.
  • Velvet Dress (sections, findings, ornamentation, lining).
  • Stretch Pants (elastic yarn).
  • Jacket (findings, reinforcement yarn, lining, trimming, sections).
  • Sweater (large trimmings, mixed fibres).
  • Carpet (pile and backing).
Some dealers may wish to display non-requiredinformation on a textile disclosure label:
  • Care Information
  • Trade Marks and Descriptive Terms
  • Sizing
Some dealers may be interested in miscellaneous information related to other legislation:


  • Imported Items
  • Flammability Standards
  • Upholstered and Stuffed Articles
Read More »

Textile (Woven Dyeing) Finishing Processes

The whole cycle of finishing consists of mechanical and chemical processes, which are used depending on the kinds and end uses of the fabric. Mechanical processes include drying, calendaring, schreinering, embossing, sueding, raisingetc and chemical processes include in the application of special substances on the fabric, impregnation with size, starch, dextrin and other polymeric substances.

Steaming

A fabric steamer uses steam rather than heat to remove wrinkles. The steam, and slight pressure of the steamer's surface, relaxes the fibers rather than flattening them. Because of this process, using a fabric steamer is gentler on clothing, faster than using an iron, and eliminates scorching. The fabric steamer is ideal for use on napped fabric, such as velvets and velveteen. A traditional iron will crush the nap, unless used with a needle board, but the fabric steamer doesn't exert pressure, preserving the luxurious look and feel of any material. Even very delicate materials, such as satins and silks, benefit from the gentle care of a fabric steamer.

Sanforizing

It is a process whereby the fabric is run through a sanforizer; a machine that has drums filled with hot steam. This process is done to control the shrinkage of the fabric.

Tentering

It is the mechanical straightening and dying of the fabric. Tenter fames hold the fabric with special pins. The chain is spread apart to the desired width of the fabric. The fabric is moved through dying units. Later the fabric is rolled on cylinders.

Calendaring/Embossing/Crabbing

Fabric calendaring is effected in special machines I.e. calendars, the main working organ of which is rolls with smooth surface for normal calendaring engraved surface for emboss calendaring and engraved finer lines for schreinering calendaring or for getting crepe effect. The calendar may be 3 bowl or five bowl and the contacting one bowl is plain steel roller and the other may be covered with rubber otherwise the fabric at nip point will break if both bowls are hard.
Glazing or rolling calendar: This method is not particularly important for nonwoven fabrics, with occasional exceptions. The smooth surface can be obtained usually by selecting an appropriate form of bonding and, especially, for drying a wet-bonded web. Calendaring has not met with much success since it is often accompanied by undesirable compression. The only time a rolling calendar is used is when two steel rollers are paired to break the so-called 'blotches' in spun-bonded fabrics.
Moiré or goffering calender: The calenders are common in nonwoven finishing and are used in the compacting of the webs made of natural and synthetic fibers. This type of calendering can be considered to be both a bonding and finishing process. Webs composed of longitudinally oriented cotton or viscose fibers with a GSM of about 10-30 g/m2 can be stiffened and compacted sufficiently by passing them through a goffering calender when slightly damp. Hot embossing of synthetic fiber webs, even when the fibers are longitudinally oriented, produces a product remarkably strong due to the fibers melting at the embossed areas. The patterns can be of grid, webbed or point type. The temperature of the heated rollers is generally 20-30°C above the melting point of the fibers and the nip roll pressure 20-50dN/cm, depending on the volume of the web and the proportion of synthetic fibers it contains. If the web is cross-laid, point embossing results in maximum strength. If the fibers are arranged lengthwise, webbed embossing is employed.
The embossing effect is used to obtain special effects such as leather graining, simulated weave, plaster, brush strokes, cord and mock tiling. Another area in which heated calenders used is in the manufacture of laminates. Here thermoplastic fibers, layers of thread or film are placed between two layers of non-plastic web and are fused together by heat and pressure. Such laminates are used as tablecloths, seat and cushion covers. Calenders are also used in the transfer printing of the bonded webs.
Crabbing is a preliminary treatment for both un-dyed and dyed woven fabrics with differing objectives. In the case of un-dyed woven material the crabbing process serves to fix the fabric so as to avoid too intensive creasing and felting at the subsequent dyeing stage. After being dyed the woven fabric is smoothed and leveled by crabbing. Silicone blankets are used in this process.

Perforating and Slitting

The nonwoven bonded fabrics produced are too stiff and are, therefore, unsuitable for clothing. This is because the individual fibers are not free to move in relation to one another, as are threads in woven or knitted fabrics. Perforating and slitting are two methods practiced to improve the fall or drape of nonwoven bonded fabrics.

Perforating:

The Artos method is a method of perforating in which the web, which has been bonded by using chemicals, is perforated with hot needles. This process not only punches holes but also reinforces as a result of cross-linking and condensation of the bonding agent. The Hungarian firm Temaforg uses a similar method to perforate webs made of synthetic fibers to produce nonwoven bonded fabrics which are strong and yet supple enough for use as building and insulation materials.

Slitting

Slitting originally developed to improve the softness and drape of films was used by the Breveteam Company for interlinings, in particular for adhesive fixable interlinings. The optimum cut length and distance between the slits to get maximum softness and fall without serious reduction of strength can be calculated. The effect of slitting allows greatest flexibility at right angles to the direction of the slit.
The slitting is accomplished by a roller with small blades mounted on it, for example, in an off-set arrangement 1.7 mm apart, making slits of a maximum length of 6.5mm. Rotary knives with spreaders can be fitted to the roller, thus making an interrupted cutting edge. Polyethylene or polyamide film shaped by splitting or embossing and stretching by the Xironet and Smith-Nephew methods make good air permeable bonding layers.

Anti-crease finish

For getting anti crease effect usually melamine formaldehyde, urea formaldehyde and dimethylol dihydroxy ethylene urea (DMDHEU), butane tetra carboxylic acid (BTCA) etc. can be used. At very high temperature, they react with cellulose and give permanent anti crease effect. The following reactions take place between the cellulose macromolecule and DMDHEU
The usual method is Padding with DMDHEU and Catalyst -> Drying at (90-100) degree C for 5 minutes -> Curing at (140-150) degree C 5-3 minutes

The following recipe can be used:

Stabitex FRD/Fixapret CPN (DMDHEU) = 75 g/L
Ploy Vinyl acetate = 20 g/L
Ammonium sulphate = 10 g/L Or Magnesium Cholride = 10 g/L
Sodium perborate = 0.3 g/L
The fabric is padded with the above solution and then dried at 100 degree C following curing at 160 degree C for 3 minutes. Curing can be carried out in the stentering machine or curing chamber.

Antistats

Static electricity tends to build up in nonwovens made of synthetic fibers due to their lack of moisture regain and conductivity. This can cause problems such as clinging and dragging during processing, apparel that clings and crackles, dangerous discharge of static electricity in explosive atmospheres and tendency to attract airborne dirt and soil in processing and use. The antistats work in three basic ways. They improve the conductivity of the fibers, coat the fiber with a thin layer of material that will attract a thin layer of moisture, and finish the fabric such that it holds a charge opposite to that normally accumulated on the fiber to neutralize the static charge. Antistats can be either durable or non-durable. Examples of durable antistats include vapor deposited metals, conductive carbon or metallic particles applied by binders, polyamines, polyethoxylated amine and ammonium salts and carboxylic salts. Non-durable antistats usually consist of inorganic or organic salts or hygroscopic organic materials. Examples are quaternary ammonium salts, imidazoles and fatty amides which are cationic. Anionic antistats include phosphates, phosphate esters, sulfonates, sulfates and phosphonates. Examples of nonionic antistats include glycols, ethoxylated fatty acids, ethoxylated fatty alcohols and sorbitan fatty acid esters.

Antimicrobials

These are used to control populations of bacteria, fungi, algae and viruses on the substrate. The treatment usually prevents the biological degradation of the product or prevents the growth of undesirable organisms. Broadly classed, the antimicrobials are either fixed or leachable. The fixed treatments are durable, but the leachable treatments may transfer to the surrounding environment through migration, solubility or abrasion. A generic list of the treatments include alcohols such as isopropanol or propylene glycol, halogens such as chlorine, hypochlorite, iodine, N-chloramine and hexachlorophene, metals such as silver nitrate, mercuric chloride and tin chloride, various peroxides, phenols quaternary ammonium compounds, pine oil derivatives, aldehydes and phosphoric acid esters. Care should be taken in the application of these compounds to prevent inactivation, loss of durability or masking of the active ingredient with other finishes.

Lubricants

Lubricants or slip agents are generally applied as processing aids to help in stretching or to improve the process ability of nonwovens. They are also applied to aid in sewing, quilting, tufting or other processes where needles penetrate the fabric. Lubricants impart the same properties as softeners but specifically reduce fiber friction. Common chemicals include sulphonated oils, oil emulsions, silicones, esters, polyethylene dispersions and fatty acid soaps. Many surfactants may also be used. Care should be taken to avoid excessive strength loss.

UV absorbers and polymer stabilizers

Ultraviolet light can do great damage to the polymers causing photo-degradation, yellowing, loss in strength and fading of the colors. The damage is generally due to the formation of destructive free radicals in the polymer. The finish can protect the fabric by shielding the fiber or absorbing the light or by chemically quenching the free radicals. The three main classes of products used are, substituted benzotriazoles, benzophenones which are UV absorbers, and hindered amines which are free radical reactants. They are applied from a bath or added to the polymer.

Thermoplastic binders, resins and emulsion polymers

Binders and resins are widely used in the finishing of nonwovens to add strength, control stiffness, add mold ability or pleat ability, provide durable flame retardants, color, reduce linting and control shrinkage. They soften when exposed to heat and return to their original state when cooled and, hence, can be set. Emulsion polymers are also called latexes. The common binders, resins and polymers include acrylics, PVC, poly-acrylic acid, urethanes, starch, vinyl acetate etc.

Thermosetting resins and crosslinking agents

These are used to produce wrinkle resistant or permanent-press textiles. They are used to crosslink cellulose for wrinkle resistance, crosslink binders for wash durability and solvent resistance. The technology is based on the ability of formaldehyde to react with cellulose and nitrogen containing resins. The important resin types are melamine-formaldehyde, urea formaldehyde and dimethyloethylene urea. The reaction is usually catalyzed by acids, such as Lowry-Bronsted or Lewis acids. Problems encountered include formaldehyde generation, tensile loss, discoloration and amine odor.

Softening

To impart softness, smoothness and flexibility it is necessary to apply a softening agent. According to ionic nature softener can be classified into:
  • Anionic softener
  • Cationic softener
  • Amphoteric softener
  • Non ionic softener
  • Among them, cationic softeners are mostly used because most of the textile is anionic in nature. Therefore cationic softeners have a god affinity towards textile fibers.

    The following recipes can be used:

    Basosoft 8 kg
    Glycerine 1 kg
    Water as required
    Stentering speed 45-60 m/min

    Temperature in different chambers of the stenter m/c

    1st chamber180°C
    2nd chamber180°C
    3rd chamber190°C
    4th chamber210°C
    5th chamber170°C

Stiffening Treatment

To impart hard or stiff handle it is necessary to apply a softening agent .For stiffening treatment the following chamber chemicals can be used.
  • Starch or modified starch
  • Polyvinyl acetate(PVA)
  • Polyethylene Emulsion

Recipe:

Perapet PE 40(polyethylene)10 Kg
Water90 Kg
Temperature220 °C
Fabric speed in stenter40-60 m/min
Pressure in Padder4.5 kg/cm
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Major Weaving Patterns

Major weaving patterns such as plain, twill, satin, Dobby, Jacquard, Pique, Pile, its characteristics, usages and techniques

Basic Weave Patterns

Plain Weave

Simplest weave requiring a 2 harness loom, formed by yarns at right angles whereby each warp yarn interlaces with each weft yarn Properties: least expensive to produce, reversible unless surface design, wrinkles more, firm & wears well, less absorbent, abrasion resistant, used as background for printing/embroidery

Rib Weave fabrics

Rib effect is produced by using heavy yarns in the filling direction or by more warp than filling yarns per inch. Eg Bengaline, ottoman, faille, poplin, broadcloth, taffeta

Basket Weave fabrics

Basket weave is made by treating two or more yarns as one in either the warp or weft or both the directions and interlacing them in plain weave. It is not as firm as plain weave, have more yarn slippage, shrinks easily. Eg 2X1, 2X2, 2X4, 3X2, 4X4. Oxford cloth is 2X1 & monk cloth is 4X4. Flat duck, hopsacking, panama are other examples.

Twill Weave

Each warp or weft yarn floats across two or more weft or warp yarns with a progression of interlacing by one to the right or to the left, forming a distinct diagonal line or wale. Direction of diagonal may be formed from right to left, from left to right or a combination of both. Soil resistant, softer & pliable, good wrinkle recovery, durable & wears well. The direction of the twill on the back of the cloth is opposite to the twill line on the face. 3 harness are required for twill weave.
  • Right Hand Twill - diagonals run upwards to the right
  • Left Hand Twill - diagonals run upwards to the left.
  • Balanced Twill – same number of warp pass over filling yarns. It is reversible. 2X2, 4X4
  • Unbalanced Twill – have uneven number of warp or filling yarn. It has a right or wrong.
  • Denim Broken Twill – combines right or left hand twills
  • Herringbone Twill – a series of inverted V’s are formed resembling the backbone of the
  • herringbone fish. Most commonly used in suiting fabrics.
  • Twill Angles – according to the angles of the diagonal line, Regular twill - 45° ? ,
  • Reclining twill – with smaller angles, Steep twill – with larger angles. E.g.: denim, herringbone, hound’s-tooth

Satin Weave

Each warp/ filling yarn floats over 4 filling/ warp yarns & interlaces with 5th filling/ warp yarn, with progression of interlacing by 2 to right or left (warp faced/ weft faced). Luster (long floats), firm, durable (yarns packed closely together), pliable, wrinkle resistant, yarn slippage. Satin is warp faced. Sateen is weft faced. 5 harness are required for satin weave.

Compound/Complex/Novelty Weaves/Figure/Decorative weave

Dobby Weave

Small figured designs (floral or geometrical) woven repeatedly throughout the fabric, produced by a combination of two or more basic weaves, using a dobby attachment on the loom. Weaving pattern controlled by a plastic tape with punched holes that control the raising & lowering of warp yarns. It uses up to 32 harness.

Jacquard Weave

Characteristics: highly intricate large designs using coloured yarns and multi-weaves produced on loom with jacquard attachment. Incorporates all 3 basic weaves & their combination. Each warp yarn is controlled separately by punched cards that are laced together in a continuous strip. Are more expensive. Used for home furnishing, apparel, elaborate & decorative fabrics. Eg Brocade, Damask, tapestry, brocatelle, matelasse

Surface Figure /Extra Yarn Weaves

Extra warp or weft yarn introduced in fabric to produce designs at regular intervals. Between 2 motifs, extra yarn floats across back of fabric Clipped / unclipped Spot – embroidery like design are achieved through either extra warp or weft yarn. Long floats on the back when cut is called Clipped Spot & when uncut – Unclipped Spot.
Swivel - contains extra filling yarns. In these weave the extra yarn is interlaced with the background at different places to avoid pulling. These are more stronger than Spot weave.
Lappet – contains extra warp yarns.

Pique

Lightweight to heavyweight cotton fabric with a raised woven design. Lengthwise wales or cords on the face of fabric (formed by extra warp yarns) that are held in place by crosswise weft floats on the back of fabric. Extra warp yarns (stuffer yarns) do not show on face of fabric. They are not interwoven but laid under the cords to emphasize quilted effect. Made on dobby or jacquard loom. Eg waffle, huck toweling, granite, honeycomb, bedcord, pique

Double Cloth

They are made with 3, 4 or 5 sets of yarn. Two fabrics are woven together on the same loom, one above the other & laced together with an extra set of warp or weft yarns called binder yarns (5 sets of yarns). Pile fabrics are commonly prepared by this method. Produces a variety of fabrics, reversible, stable, may have different color or design on the two sides. Used for upholstery, drapery and heavy apparels.

Other Special Weaves

Crepe Weave

Crinkled or pebbly surface. Irregular, indistinct pattern utilizing both plain and satin weave using dobby attachment are made. Few crepe weave fabric are available. Other crepe fabrics are created using crepe yarn which are highly twisted (up to 65 tpi). Textured yarns, bicomponent yarns (uneven shrinkage), embossing, stamping crepe like effect are being used. In all these plain weave, synthetic fibers and thermoplastic property is used.

Leno Weave

The warp yarns are paired. With a special leno or doup attachment warp yarns are crossed/ twisted over each other in pairs around each pick, firmly holding the filling yarn in the figure – 8 loops formed. Leno fabrics are open and gauge like. Leno weave is useful in reducing yarn slippage, greater firmness & strength than plain weave. Uses-curtain, gauge, marquisette, grenadine, fruit sacks, rice net, mosquito net, mesh.

Woven Pile Fabrics

3-dimensional fabrics, utilizing 3 sets of yarns, warp & weft to form base fabric & extra set of warp or weft yarns to form pile or loop surface. Extra set of yarns forming the pile may be cut to produce an erect pile on the face of fabric – Cut Pile – velvet or left uncut to form loops on one or both sides of fabric- Uncut pile – terry.
Warp pile fabric - velvet, plushes, terry, velour.
Weft pile fabric – velveteen, corduroy

Colour & Weave Effect

Pattern produced in a fabric by using a certain weave and a certain arrangement of differently coloured yarns in both warp and filling. Hound’s tooth – 2 up, 2 down, 45° left hand twill, and group of 4 yarns of one colour are arranged in both warp & filling followed by the other colour.

Triaxial Fabric

Triaxail fabrics have 3 set of yarns, 2 warp & 1 filling. The warp yarns are placed diagonal to each other by special attachments, through which the filling yarn is interlaced. It is an ancient weave used in basket weaving. Stability against stretching in all direction even bias, strong resistance, resistance to shear forces & raveling. Lighter, longer life & less material required than biaxial fabrics. Three major weaves – basic triaxial weave, basic basket triaxial weave & biplane weave. Uses – aerospace, industrial fabrics, sail cloth, balloon, truck covers, uniforms & outerwear.
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How to Calculate Air Freight Charges of Garments-

Air Freight: 
Without sea freight, the airlines have decided to charge for the heavy merchandise (high density goods) by weight and lightweight merchandise (low density goods) by volume. However, airplanes can take less weight than ocean liners, the way they Set the standard, in the garment industry, when you ship goods by air, you have a 70% chance to be charged by weight, about 30% chance by volume. 
Garments export with air
Garments export with air
The followings are the relationship between weight and volume as set by IATA (International air transport association). 
1. From most shipping locations in the Far East to the U.S. destinations and Canada 7000 cubic cm = 1 kilo.

2. From certain locations in the Far East to the U.S. destinations and Canada 6000 cubic cm = 1kilo.  

When you have low density goods to ship by air, in order to determine if you should try to make the cartons as small as possible to save freight. At first you should check with the local air forwarding agent by asking him in the country where you are, how many cubic cm is considered 1 kilo in weight. They will tell you either 7000 or 6000. This is the answer you have needed. Then you physically check the weight and measurements of the good s packed for the air shipment. 

Now we have the 3 answers as follows, for example: 
  1. The country name Bangladesh and the formula is 6000 cubic cm = 1 kilo
  2. The measurements of the cartons are 50cmX 60cmX 40cm
  3. The gross weight of the cartons is 16 kilo per carton.
Now, let us find out if we should try to make the cartons smaller to save air freight by doing the following calculation, Multiply 50 × 60 × 40 = 120000 cubic cm. 120000 cubic cm divided by 6000 = 20 kilo Now you know, by volume the one carton is of 2 kilo, but by actual weight the carton is of only 16kilo. You should also know the airline will charge whichever is higher; in this case, they will charge you for 20 kilo, by volume. If the air freight rate is 2.80 per kilo this carton will cost you $56.00. Now, in order to save some money, let us try to make the carton smaller, usually by cutting the height of the carton. Let’s say we have succeeded in cutting down the height by 5 cm, and see how much money we can save.  

Note:  
Original size of the carton: 50 X 60 X 35 cm (=20 kilo)
   
Now cut down to 50 X60 X 35 cm= 105000 cubic cm.105000 / 6000 = 17.5 kilo  

Now by using the new carton, we have saved 2.5 kilo and this carton will cost only $ 49.00 (17.5Kilo X 2.80). 
..
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