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Prepared For:

Kazi Shamsur Rahman

Assistant Professor

Proctor, AMT

BIFT.

Prepared By:

Name ID

A S M Towheed 072-001-045

Faysal Ebne Wadud

072-015-045

Sawiket Rusdi 072-016-045

Md. Rizwan Razu 072-039-045

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March03,10

Kazi Shamsur Rahman

Course teacher,

Cutting Room Technology

BIFT.

Dear Sir,

This is the assignment we made based on the factory visit at ABONI Textile, ABONI Knitwear, BABYLON washing and JUNIPER embroidery Ltd. On May04, 2010.

This assignment has five (5) main parts, information about Babylon group, importance of Cutting Room Technology, Cut plan, marker and marker efficiency, and detail about Fusing, Embroidery and printing.

We appreciate your choosing us for the assignment. We are honored to be one of your luckiest AMT students. We hope long live among us and good wish for your coming days.

Yours Sincerely,

A S M Towheed

(Representing the group)

BIFT.

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Contains

Topic Page No.

Information of Babylon Group 1

Garments Division (Woven) 2

Floor area 3

Capacity 3

Production line 4

Textile Composite Division (Knit) 4

Supporting Division 5

Their Mission 7

Their Strength 7

Woven Customers 10

Knit Customers 11

Management of Babylon Group 11

Growth History (Statistics) 12

Product Category 13

Certification of international

organizations

14

Why cutting room is important in

the factory

14

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Factors in the cutting room: 15

Activities in cutting room in

clothing industry

15

Organogram of cutting room 16

Cutting room Machines and tools 18

Cutting machine 22

Production flow chart in the cutting

room:

26

Potential savings in cutting room 27

Cut plan 29

Patten making 31

Marker generation 32

Types of marker 33

Calculating Length of marker 36

Calculating Marker Efficiency 37

Marker analysis 38

Spreading 40

Techniques of spreading 42

Bundling 47

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Numbering 48

Cut panel checking 48

Cut ship ratio 49

Fusing machine 49

Embroidery 52

Printing 57

Babylon Printing – Samples 68

Information of Babylon Group

Babylon Group of concerns saw her emergence in the horizon of

Readymade Garments Manufacturers in Bangladesh in the year 1986

through creation of a small sewing unit called Babylon Garments Ltd.

Through hard toil and perseverance Babylon managed to survive the

difficult times in the early years. Amidst the constant battle for

existence Babylon

nonetheless stuck with her

originally adopted principles

of honesty, integrity, moral

scruples and business ethics.

And that probably had

helped Babylon ease gently

through the perilous path

toward success and stability

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in the subsequent years.

Never missing to realize the future challenges that lay ahead, Babylon

always had put all her efforts and means to master the best practices

in all her manufacturing units in order to achieve professional

competence and reliability.

It has been the policy since inception that Babylon would always offer

more to her customers than could be expected of her. To fulfill this

commitment Babylon has been acting not only as a trusted supplier of

readymade garments but also as a benevolent partner toward all her

buyers and customers.

As a result- meeting the extraordinary requirements of her customers

has become a custom in this business house and a matter of pride for

the Group.

Quick adoption of some of the other very important policies like

getting accreditation of ISO Quality Standard practices, ensuring total

compliance of various Code of Conduct requirements of prestigious

buyers across the world, prioritizing the need for creation of ideal

work conditions for the workers and ensuring proper health care &

safety for them etc. has awarded Babylon a respectable position in the

top echelons of the RMG manufacturers in Bangladesh.

Garments Division (Woven):-

Babylon Garments Limited

Established - Year 1986

Suravee Garments Ltd. Established - Year 1987

Babylon Dresses Ltd. Established - Year 1995

Aboni Fashions Ltd. Established - Year 2000

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Babylon Casual wear Ltd. Established - Year 2006

LOCATION:

Babylon Garments Limited

Babylon Dresses Ltd.

2-B/1, Darussalam Road,

Mirpur, Dhaka -1216.

Bangladesh

Suravee Garments Ltd.

2/C, Darussalam Road,

Mirpur, Dhaka -1216.

Bangladesh

Aboni Fashions Ltd.

Plot – 242-243,

Union – Tetulzora,

Hemayetpur,

Savar, Dhaka.

Babylon Casual wear Ltd.

Plot – 23-24,

Union – Tetulzora,

Hemayetpur,

Savar, Dhaka.

Floor area:

Babylon Garments Limited 90,000 Sq Ft

Suravee Garments Ltd. 60,000 Sq. Ft

Babylon Dresses Ltd. 45,000 Sq Ft

Aboni Fashions Ltd. 25,000 Sq Ft.

Babylon Casualwear Ltd. 40,000 Sq Ft.

Capacity:

Babylon Garments Limited

200,000 ~ 240,000 Pcs of Men's / Children's Formal Shirts per Month

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Suravee Garments Ltd.

60,000 ~ 80,000 Pcs of Ladies / Girls formal, Casual Blouses and Dresses per Month

Babylon Dresses Ltd.

90,000 ~ 100,000 Pcs of Men's/ Children's Casual Shirts per Month and 20,000 Pcs Ladies Dress per Month.

Aboni Fashions Ltd. 50,000 ~ 60,000 Pcs of Men's/ Children's Formal & Casual Shirts per Month.

Babylon Casualwear Ltd.

40,000 ~ 50,000 pcs (per month) of mens and ladies casual wear including Tops and Bottoms in Denim and other medium to heavy materials.

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Production line:

Babylon Garments Limited 10 Line

Suravee Garments Ltd. 05 Line

Babylon Dresses Ltd. 05 Line

Aboni Fashions Ltd. 05 Line

Babylon Casualwear Ltd. 04 Line

Textile Composite Division (Knit):-

Aboni textiles ltd. (established - year 2001)

Aboni is a joint venture composite textile project

with Mens Fashion A/S, Denmark for the production

of knitted fabrics and garments.

Located at Savar near Dhaka.

Total constructed area 67,000 sft started with

composite knit project

The knit textile project has been designed with all

European best Machinery and Technical know-how.

The current capacity of the project is 4.5 tons per

day for Knitting, 8.5 tons per day for Dyeing & 10

tons per day for Finishing.

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Aboni knitwear ltd. (established - year 2002)

Floor area :70,000 sq ft

Capacity :The garments unit

produces about 450,000 pcs of T-

shirts/Tank Tops and 300,000 pcs

of Polo shirts per month

depending on the styles.

SUPPORTING DIVISION:-

JUNIPER EMBROIDERIES LTD. (Established - Year 1989)

Has 10 (Ten) sets of computerized

7/9 color embroidery machines of

Barudan (Japan) brand and one set

of Tajima (Japan) brand. Each

machine consists of 20 heads.

Capacity : 90 million stitches per /

day.

Babylon Washing Ltd.(Established - Year 2003)

Location - Hemayetpur, Savar, Dhaka

Floor - 25,000 sq.ft.

Capacity - 15, 60,000 pieces garments wash per month.

150 ton dying washing per month.

Babylon Washing can do all major & pupular wash types and garment

dyeing including Tie & Dye, Pigment Dye.

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Babylon Trims Ltd. (Established - Year 2003)

Location - Hemayetpur, Savar, Area- 12,000 sq-ft.

Manufacturing of packaging materials including carton boxes,

card board

cutting, tissue paper cutting etc.

Capacity - 5,000 pcs Carton /Day

30,000 pcs Back board & Neckpieces / Day

2,50,000 - 3,00,000 pcs Tissue paper / Day

Babylon Prints (Established - Year 2004)

Location - Hemayetpur, Savar, Dhaka

Floor - 25,000 sq.ft.

Printing facility for prints on knitted garments (Rubber, Plastisol,

Flock etc.)

6 Tables of 100 feet each

Equipped with infra-red dryer & imported Curing Machine Capacity

– 13,000 pcs / day @ standard design.

Babylon Logistics (Established - Year 2006)

DHAKA OFFICE - 2-B/1, Darussalam Road, Mirpur, Dhaka,

Bangladesh. Tel : 0088-02-8023495-6. Fax # 0088-02-8015128

CHITTAGONG OFFICE - House # 12, Road # 02, Lane # 01, Block

#L, Halishahar H/E, Chittagong, Bangladesh. Tel : 0088-031-

2511538. Fax : 0088-031-2515113

We are equipped with a good number of own covered vans to

transport import-export goods from/to port/factory, self customs

brokers unit and freight forwarding activities (air & sea) of

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Bangladesh. BL is promoted by professional air & shipping

personnel's with decades of experience.

Following are the principal nature of services offered by BL.

International freight forwarding (Air & Sea)

Cargo Consolidation & Distribution

Project cargo handling

Custom broking

Their Mission

To maximize profit while creating an environment in which we can

provide the best value and the best services to our customers, while

developing ourselves to our maximum potential in a pleasant, clean

and professional atmosphere.

Quality Policy of Babylon Group

Babylon group is committed to meet and exceed customer

requirements in making garments and obviously meet its own

employee satisfaction.

Babylon will gradually reduce rejection and re-work rate in in- process

and final garments in order to ensure product quality and delivery

time as per buyer's requirements and increase profitability.

Babylon will ensure adequate training and suitable work environment

to enhance productivity and skills of the employee.

Babylon will review its performance in all areas from time to time and

take measures to continually improve quality, work environment and

employee satisfaction.

Their Strength

All the units are being controlled from corporate office located at group's own building in the capital city Dhaka.

Each unit has its own factory management setup to perform from sampling to finishing of the products.

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The issues like Environment, Occupational Health & Safety have been duly taken care of while designing the building. Creche and Medical centre are available in the production facilities. The two units of Babylon Group are accredited on ISO 9001:2000. These are Babylon Garments Ltd. and Aboni Textiles Ltd. Babylon Garments Ltd. is also WRAPPING certified. Aboni Textiles Ltd. of Babylon Group is accredited on Environmental Management System ISO 14001:1996.

Ethical principles apply to all facilities of Babylon Group that produce readymade garments for exporting to foreign countries.

Babylon Group recognizes that there are legal and cultural environments in which factories operate. These ethical principles setforth the basic requirements of Babylon factories in order to do business with its customers abroad.

Babylon makes ceaseless efforts to promote best practices and continuous improvement of ethical issues in all its manufacturing units. For easy access to the issues, the Babylon Management has posted contents in the notice boards of factories in both Bangla (local language) and English.

By now Woven units have become compliant of code of conducts of Capital Mercury Apparel Ltd., Mothers Work, Wal Mart, Kohl's of USA, Arcadia Group Plc, Dimension of UK, H & M of Sweden & the Knit unit by Reebok of Spain & BHS of UK.

In addition to all normal machines and equipment, woven division uses the following machines and equipment to cater various special requirements of customers:-

Arm Hole & Side Seam Fusing Machine Eyelet Sewing Machine Pin tack Machine Blind Stitch Machine Saddle Stitching Machine CAD (Investronica) Cintex Needle Search Machine

The woven division has the capacity of producing about 350,000 pcs of shirts / dresses (Men’s and Ladies) per month.

The knit division in its composite structure has Knitting, Dyeing, Finishing and Sewing facility located near Dhaka City.

The division is still in its first phase, running with a capacity of :

4 tons per day for Knitting, 7 tons per day for Dyeing & 10 tons per day for Finishing

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About 300,000 pcs of 'T' shirts / Tank tops per month About 200,000 pcs of Polo shrits per month

Knitting, Dyeing, Finishing units are equipped with European best brand machines like Sclavos for Dyeing, Mayer & CIE for Knitting and Santex for Finishing.

Knit division knits dyes and finishes 100% Cotton, CVC, T/C, 100% Polyester, lycra fabrics. Knitting unit knits all the basic structures including the following:-

Feeder Stripes Lycra Single Jersy Lycra Rib Waffel Herring Bone etc.

The group enjoys an advantage of handling orders having embroidery requirement from customers using group's own embroidery unit.

The Group in its continuous Endeavour to be more competitive, has included the Printing and Packaging unit in the year 2003. This establishment contributes directly in cost reduction and smooth execution of the orders.

Babylon Washing Ltd. is the latest inclusion in the Group's strength. It was established in September 2003 and has started showing its positive impact on Group's overall business. RMG units of the Group are no more dependent on out sourcing of washing of Garments. Babylon Washing Plant can do the following washings -

Stone Wash Stone Enzyme Wash Enzyme Wash Bleach Wash Garment Wash Silicon Softener Wash Pigment Wash Enzyme Silicon Wash Enzyme Bleach Wash Sand Silicon Wash Over Dye Dip Dye Tie Dye Pigment Dye Wash

Our Customers (Country wise)

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Woven Customers

Country Buyer

USA MOTHERS WORK, MAY DEPT., SAKS, NYNE, MEIJER, BOSCOV, JC PENNEY, LEE, WALMART, SEARS,

CARHARTT, CATO, K-MART, AMERICAN EAGLE etc. GERMANY BROADWAY

SPAIN CORTEFIL (SPRINGFIELD)

HOLLAND DOMO

DENMARK BEST SELLER

SWEDEN KAPPAHL

FRANCE CELIO, VETIR, FABRISTYL, CAMAIEU (JULES), RIPCURL, GO SPORTS

UK TESCO, DIMENSIONS, SAVILE ROW, BHS, ROCHES, GRAHAM HUNTER, PRIMARK, NEXT

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Knit Customers

Country Company

USA WALMART, TARGET, SARA LEE

UK TESCO, BHS, GREENWOODS, NEW LOOK, ARCADIA, Jerzees

SWEDEN H & M

GERMANY TOM TAILOR, KARSTADT, QUELLE, NECKERMAAN, WESTERN STORE

SPAIN REEBOK, NIKE

DENMARK EKSPERTO, MARCUS GRUPPEN, FOTEX, BILKA

HOLLAND Vroom & Dreesmann (V&D), O’NIEL

FRANCE RIPCURL, JULES, MONOPRIX

FINLAND INTRADE

ITALY UPIM, TRR, METRO

BELGIUM E5-Mode

Management of Babylon Group

Mr. Neesar Ahmed

- In Charge Of Import & Administration.

Mr. Emdadul Islam

- In Charge Of Marketing & Quality Control

Mr. Moinul Ahsan

- In Charge Of Finance

Mr. Abidur Rahman

- In Charge Of Export & Embroidery Division

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Mr. Abdus Salam

- In Charge Of Production Planning And Control

Growth History (Statistics)

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Product Category

WOVEN

KNIT

EMBROIDERIES

Gents Ladies Children

Gents Ladies Children

Gents Ladies

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Certification of international organizations

Certificate from ISO

Certificate from ANSI

Why cutting room is important in the factory:

Fabric is the major material of garment, having 55-60% of the total

production cast.

There are three factors to be a major material of any product. Those

are followings,

All the other materials are placed on it.

It is the most costly part of the product.

It covers the most parts of the product.

Fabric has to be cut before it can be made into a garment. Making

garments can be swift and fast as mentioned in the previous section.

But, even if the systems are working at the optimum at all times, the

output of the line i.e., the number of garments that are produced by

the line in a given day, is more or less fixed. One day, the lines might

make a few pieces more. On other days, they might fall short by a few

pieces. The deviations would be narrow and on an average, the output

for the day would be the same. Thus, to be able to produce

consistently, the lines would need to have a constant and timely

supply of cut garments from the cutting room. Thus, the efficiency of

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the cutting room becomes even the more important. The cutting room

would have to remain on top always. If the cutting room is efficient,

the lines can easily meet their daily targets. It is the cutting room that

keeps everything ready before a garment is made by the line. In other

words, all the preparatory work is done by the cutting room. It checks

the fabric, does the lay lot planning, lays the fabric, makes the marker,

cuts the cloth, does the ticketing, sends the cut pieces for embroidery

or printing, sends other cut pieces for fusing and finally, does the

bundling of the cut pieces before introducing it to the line. Thus,

without the efficiency of the cutting room, the efficiency of the whole

plant would suffer.

Factors in the cutting room:

Since recent past, the clothiers have begun to pay attention to

fabric cost.

Fabric cost of a garment is about 55-60% of the total cost of the

garment.

If the industry is competing basically on price, it becomes of

paramount importance, that fabric savings are introduced.

Experience has revealed that 2% to5% savings on fabric can be

very significant saving in the garment cost.

Activities in cutting room in clothing industry:

Fabric inspection

Planning (cut plan) according to shipment schedule

Fabric, interlining, lining receive from store as per the plan

Approved pattern receive from pattern section/PDS

Manual marker generation or marker receive from store as per

the plan

Approved pattern receive from pattern section/PDS

Manual marker generation or marker receive from CAD

Spreading as per cut plan

Cutting

Bundling

Numbering

Cut plan checking

Racking (cut fabric sorting)

Fusing, embroidery, printing

Cut fabric issue/ Supply in sewing floor

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Maintain receiving and issue resister

Reporting

Keep all record perfectly

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Organogram of cutting room:

Cutting Room

Manager/In charge

Asst. manager Cutting

Room

Cutting Room Executive

CAD Room In Charge Supervisor Pattern In Charge

CAD Room In Charge Pattern Master

Assistant Pattern Maker

Marker man

assistant

Spreader

Assistant

Cutter Assistant Issue Record

keeper

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Cutting room Machines and tools:

Fabric inspection machine

Pattern

Marker

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Tracing paper

CAD system

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Cutting table

Measuring tape

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Pencil

Gum tape/ scotch tape

Weight machine

Spreading stand

Auto spreader

Clamp

Spike

Ruler

Scissors

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Cutting machine:

Straight knife

Band knife

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Round knife

Die press cutter

Hot notcher

Computer controlled cutting machine

Drill machine

Metal glove

Bundle card

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Numbering machine

Number sticker

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Rack

Resister book

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Production flow chart in the cutting room:

Fabric inspection

Planning

Cut Ratio

Markers

Spreaders

Production

Spreading Manual

Machine

Cutting

Machine

Die Press Cutter

Computer

Preparation of sewing

Shade marking

Cut Inspection

Tickets

Bundles

Numbering

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Their cutting room has block fusing capabilities and experience with a

wide variety of fabrics and patterns including:

Knits

Polyester

Wool

Rayon

Cotton

Lycra

Spandex

Blends

Plaids

Stripes

checks

Working closely with our apparel pattern makers, our garment cutting

room strives to produce the highest yield per yard of fabric so you

incur as little textile waste as possible.

Potential savings in cutting room:

There are some areas in which there are normally potentially savings.

They are as followings:

Cutting order planning

How much the fabric will be cut pieces required to run sewing,

matching dead line.

Fabric faults

Marker efficiency

Pattern engineering

Match the color shade of garment.

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Remnent waste

Fabric spread out of marker length.

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Fabric width waste

Variation of fabric width.

Spreading waste

Cut plan:

Cut plan is very important. For cut order planning in the apparel

industry, the problem begins with a given set of garments, in varying

sizes, to be manufactured. A plan is needed for spreading the fabric

and dividing the garments into various sections of the spread so as to

minimize fabric waste and the cost of cutting, but still satis the

customer’s order. The cut is performed by spreading fabric onto a

table, often spreading several layers of fabric for cutting efficiency

(See Figure at right). The actual lay out of the pattern pieces are called

a marker.

The key inputs for the cut order planning problem are the sizes to be

cut in each section, ply height in each section and the number of

sections required to fill the order. The size combinations per section

are passed to the marker making function for actual determination of

the marker itself Additional output is the estimated efficiency of the

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marker (in percentage of fabric utilization), the cutting cost per unit,

the total perimeter to be cut and the total area to be cut. In our

previous research, we showed that cutting costs do not have a

significant impact on the total cost of cut order planning, so our

methods are now based solely on the cost of the fabric. Three heuristic

algorithms were developed for solving the cut order planning problem.

The Savings heuristic assigns size combinations to a section based on

the fabric savings achieved by combining them into one section. The

Cherry Picking algorithm builds sections by combining certain sizes

based on the best utilization of fabric. The Improvement algorithm

takes an existing solution and tries to improve it by exchanging sizes

in different sections or by combining existing sections into one

section. These algorithms are embedded in a user interface which we

have developed in the Windows ™ environment on a DOS-based PC.

Where graphics and statistics are displayed for quick understanding of

the results. Both the cut order planning and marker making problems

are combinatorial in nature, and require heuristic methods for

obtaining solutions efficiently.

An example is following:

Total quality = 1200

Maximum ply = 100

Garment per marker = 6

Marker length = 36 ft.

S M L XL

Red 50 100 100 50

Blue 100 200 200 100

Yellow 50 100 100 50

Number of cut =

= 2

Cut 1

Size

Color

S M L XL Total ply=100

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Red 1 2 2 1 Ply=50 Garment=

6×100= 600 Yellow 1 2 2 1 Ply=50

Cut 2

Size

Color

S M L XL Total ply=100

Blue 1 2 2 1 Ply=100 Garment=

6×100= 600

Marker length = 36 ft

= 36/3 yds

= 12 yds

So,

Red fabric required = 50 × 12 yds

= 600 yds

Blue fabric required = 100 × 12 yds

= 1200 yds

Yellow fabric required = 50 × 12 yds

= 600 yds

Total fabric required = (600+1200+600) yds

= 2400 yds.

Patten making:

Patterns are the building blocks of a garment. Without them,

constructing garments would be impossible. Patterns help convert a

flat, two-dimensional cloth into a shapely, three-dimensional garment.

Thus, making patterns would require skill and a sound knowledge of

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different shapes and sizes. However, pattern makers have an empirical

approach to making patterns. I realized this when I interacted with

pattern makers during the course of my diploma project and later,

during the course of my job. All of them exhibited similar traits. They

were very secretive of their craft and did not part with their knowledge

easily. Some of them, I found, were in the habit of looking at patterns

to see if they were correct. They seldom used the measuring tape then.

They all felt the need to have real size patterns in front of them. Their

knowledge was absolutely hand-me-down; from one pattern maker to

the other. They had all learned their skill working as a drudge under

some senior pattern maker who in turn had worked similarly under

someone. Thus, I sincerely feel we should abide by what. I quote from

his book Apparel Manufacturing Handbook:

“Knowledge of the geometric principles of drafting is necessary for

good draping as well as good pattern drafting. Good draping and good

pattern drafting are draping and pattern drafting that can accomplish

the desired end without time-consuming empirical methods or little or

no “cut and try.” The draper or pattern maker should visualize the

approximation of the pattern before steps are taken to develop or

draft the actual pattern. This visualization should be the result of

applying geometric theorems. Many drapers and patternmakers would

save a great deal of time, fabric, and effort, if they mastered the

principles of developing and interpreting geometric theorems.

Empirical drafting and draping systems can be very disastrous when

one attempts to make patterns for radical style trends and designs

without being able to calculate the limitations of the empirical

method. These limitations cannot be fathomed properly unless one

comprehends the principles that govern the development of a sound

drafting or draping method. The geometric principles that govern

apparel pattern drafting and draping are basically the same as those

that govern sheet metal pattern making. Drafting an apparel pattern is

the process of applying geometric principles to calculate the two

dimensional perimeter that can yield a required three dimensional

perimeter. In mechanical or engineering drafting this is termed as

“surface developments.” For drafting apparel patterns, one must

integrate this surface development with the principles that control

fabric drape and apparel fit and drape.”

Marker generation:

Marker is a set of pattern laid on a sheet of paper in an organized

manner and marked according to the pattern shape and size to cu a

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fabric lay of the fabric, so the fabric fallout (fabric wastage) could be

minimized.

Types of marker:

I. Single garment marker

II. Single size two or more garment marker

III. Ratio marker

Here are shown some markers.

Marker: Open, Nap One Way (N/O/W); Spread: Face One Way, Nap One Way (F/O/W N/O/W for

Highest Quality, Low Efficiency, Slow Spreading

Marker: Open, Nap Either Way (N/E/W); Spread: Face One Way, Nap Up and Down (F/O/W N/U/D)

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Medium Quality, Medium Efficiency, Faster Spreading

Marker: Open, Nap Either Way (N/E/W); Spread: Face to Face, Nap Up and Down (F/F N/U/D)

Low Quality, Medium Efficiency Faster Spreading

Marker: Closed, Nap One Way (N/O/W); Spread: Folded and Rolled, Face to Face, Nap One Way (F/F N/O/W)

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Medium Quality, Low Efficiency, Slower Spreading

Marker: Closed, Nap Up and Down (N/U/D); Spread: Folded and Rolled, Face to Face, Nap One Way (F/F N/O/W)

Medium-Low Quality, Medium-Low Efficiency, Slower Spreading

Marker: Closed, Nap Either Way (N/E/W); Spread: Folded and Rolled, Face to Face, Nap Up and Down (F/F

N/U/D)

Low Quality, High Efficiency, Faster Spreading

Face, Nap Up and Down (F/F N/U/D)

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Lowest Quality, Highest Efficiency, Fastest Spreading

We have to remember that the length of the marker is not fixed, but

the width of the marker is equal to the width of the marker.

Calculating Length of marker:

We can calculate the length of a marker. The system is shown as

followings:

Assuming,

1 sq m pattern board weights = 250 gm

Fabric width = 150 gm

Pattern set weight = 900 gm

Desired efficiency = 90%

What will be the marker length?

Step 1:

1 sq m = 10000 cm2 pattern board wt. = 250 gm

So, 1 cm2 pattern board wt = 250/10000 gm/cm2

= 0.025 gm/cm2

Step 2:

Area of the marker in pattern board = 900/0.025 cm2

= 36000 cm2

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Step 3:

We know,

Marker efficiency =

L = 266.67

= 267 cm

So to active 90% marker efficiency, the length of marker will be 267

cm.

Calculating Marker Efficiency:

Let’s assume an order came like this

S M L XL

2: 3: 3: 2

Now,

S pattern set weights = 150 gm

M pattern set weights = 200 gm

L pattern set weights = 250 gm

XL pattern set weights = 300 gm

Total = 2500 gm

1 cm2 pattern board weights = 0.02 gm

Area accrued by pattern on marker= 2250/0.02

= 112500 cmᶺ2

Marker Efficiency =

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=

= 90.36%

The Efficiency of the marker is 90.36%

Marker analysis:

We have to consider the followings to analyze a marker:

Fabric face to face or back to back

Marker width

Length of the marker

Pattern component

Style model

Fabric consumption

Matching design

Both way marker

Grain line

Checked fabric

One way marker

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End loss

Marker length

Folded fabric

Fabric on the open

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Splicing position or overlapping

Size combination

Selvedge and edge

Spreading:

Factors of spreading:

Fabric direction:

Before spreading the direction of the fabric have to be right. The

direction could be top to bottom or bottom to. It specially matter

where the fabric has likes velvet or the fabric has shine like shiny

fabric. If the fabric is cut into two different direction then if may

happen that the garment has two different look on light reflection.

Alignment:

The alignment is important factor for spreading. The lay of fabric

should be closed by clamp or attached by spick to maintain the

alignment point to point. The grain line of the fabric should be

considered.

Matching checks and strips:

If checked and stripe of a fabric are not matched it could be the cause

of rejection of the garment. Before cutting it has to be made sure that

the checked and strips of cut panel are checked and matched.

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Fabric Put-up and Spreading Modes

Fabric Put-up; Open and Rolled

Fabric is flat open with the face to the inside of the roll

Fabric Put-up; Folded and Rolled

Fabric is folded on one end and both selvedges are superimposed on the other edge of the roll

Face is to the inside of each folded layer

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Fabric Put-up; Tubular Fabric Rolled

Tubular Fabric from a circular knitting machine is rolled up Face is to the inside of the roll, and there is a fold at each end of the

roll

Spreading Mode; Open Fabric, Face One Way, Nap One Way (F/O/W, N/O/W)

Techniques of spreading:

Face to face or back to back

Alternative piles in different directions.

Face to back

Alternative piles in different direction.

Face to back or back to face

All piles are in same direction.

Face to face and back to back

Page | 48

All piles are in same direction.

Those are given as followings.

Spreading starts at one end of the table on each ply

Spreading Mode; Open Fabric, Face One Way, Nap UP and Down (F/O/W, N/U/D)

Page | 49

Spreading starts at one end of the table. Fabric is cut at the far end, rotated 180 degrees, and then spread to the beginning. The Fabric is

cut and rotated 180 degrees then the process is repeated.

Spreading Mode; Open Fabric, Face to Face, Nap One Way (F/F, N/O/W)

Spreading starts at one end of the table. Fabric is cut at the far end, the roll is brought to the beginning of the table, rotated 180 degrees,

then spread to the far end again. The Fabric is cut at the far end, brought back to the beginning of the table, rotated 180 degrees then

the process is repeated.

Spreading Mode; Open Fabric, Face to Face, Nap Up and Down (F/F, N/U/D)

Page | 50

Spreading starts at one end of the table. Fabric is folded over at the far end, then spreading continues back to the beginning of the table. The

Fabric is folded over then the process is repeated.

Spreading Mode; Folded Fabric, Face to Face, Nap One Way (F/F, N/O/W)

Page | 51

Folded fabric spreading starts at one end of the table. Fabric is cut at the far end, then returned to the beginning. Then the process is

repeated. On the control side of the table the Fold is superimposed one layer on the previous layer.

This process is also used on tubular rolled fabric

Spreading Mode; Folded Fabric, Face to Face, Nap Up and Down (F/F, N/U/D)

Spreading starts at one end of the table. Fabric is spread to the far end of the table. The fabric is folded over, and then spread back to the

beginning. The fabric is folded over, and then the process is repeated. On the control side of the table the Fold is superimposed one layer on

the previous layer. This process is also used on tubular rolled fabric

Page | 52

Bundling:

Bundling is to bundle the cut fabric. It is done to minimize size

differences, avoid mixing up with different buyer’s order, to check toe

measurement. Bundling cars is used in bundling.

Buyer:

Order No:

Style No:

Cut# Date:

Size: Pieces:

Part:

Cutter:

Bundling is to bundle the cut pieces of different parts. Bundling is

done to reduce the mixing of parts, shading, mixing with another

order, size, styling, and rejection of the garment.

Bundling is done with a marker on it, and then tied with the selvedge

of fabric with a bundle card. It is very simple but important task

indeed.

Bundle card

Page | 53

Numbering:

Number is given to the cut pieces of a garment are numbering.

Numbering is the last check point to prevent shading. It helps to make

a garment from a ply. That means, every part of a garment comes from

an individual ply. Like the sleeve will be attached with 25 front and

back, each part of the garment will be known as 25.

Numbering could be done by sticker or machine or pen, usually on the

seam allowance. Sometimes extra fabric is kept over the seam

allowance when cutting. Numbering is done on the extra fabric by

machine. So the ink of the machine is not spread on the garment.

Cut panel checking:

It is very simple task to check the cut fabric parts with the marker, but

it is very important to reduce rejection.

Page | 54

Cut ship ratio:

The ratio between cut quantity and shipment quantity is the cut ship

ratio.

=

= 90%

If the selling price per garment is 5 UDS. Then the financial los is 10×5

= 50 USD.

Fusing machine:

Multi-fusing Machine

Our wide range of multi-fusing machines are manufactured using high

grade raw materials.

These are in compliance with various industrial standards and possess

following specifications:

Offer manual, pneumatic, continuous and alternate operations

It has different sections for loading, heating, pressing and

unloading functions

Page | 55

This durable machine has electronic temperature regulator that

can be modified from different fusing pressure

It has automatics switch off facility and also gives a signal at the

right temperature for efficient functions

Integrated with advanced cleaning system

The fusing machines are available in different versions for

varied working lengths.

Continuous Fusing Machine

We offer a wide range of Continuous Fusing Machine which is

customized as per the specifications of our clients. These are high

performing, offered at industry leading price and are available with

following specifications:

Continuous fusing machine for shirts' collar and cuffs with

loading and unloading of pieces on the same side

Composed by a loading section (A), one preheating and heating

section (B) with electronic temperature controls from 0 to 200¡C

One pressing section (C) with silicone-coated pressing cylinder

and an unloading section ( D )with blades for pieces detachment.

Features:

2 electronic temperature controls from 0¡ to 200¡ C

Silicone-coated pressing cylinder ( E )

Two belt cleaning devices ( F )

Working width: 600 mm.

Page | 56

Adjustable speed: from 0,6 to 3 m./min. by inverter control

Adjustable pressure: from 0 to 6 Atm nstalled power: 8,3 Kw

Automatic switch off

Shuttle Machine

We have available with us a wide range of Shuttle Machine which is

customized as per the specifications of our clients. These are offered

at industry leading price and are known for following specifications:

Shuttle machine for collar and cuffs "TOP FUSING", with fused

material cooling before unloading (A)

High effective specific pressure

Heating of the lower plate to improve the banding between the

fusing material and the fabric

Working plate dimensions 600x360 mm

Features:

Two flapper screens hold the pieces keeping them in the original

position during the movement; whilst one is under pressing, the

other one is in loading/unloading position (B)

Pneumatic movement of theframes

Fixed silicone-coated upper plate ( C )

Movable lower plate electrically heated with electronic

temperature control from 0 to 200¡ C ( D )

Adjustable pressing time from 0 to 60"

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Adjustable pressing pressure between the frames from 0 to 4

kg/cm 2

Adjustable cooling time from 0 to 12"Option

Additional flapper screen.

Embroidery

Embroidery is the art

or handicraft of

decorating fabric or

other materials with

needle and thread or

yarn. Embroidery may

also incorporate other

materials such as

metal strips, pearls,

beads, quills, and

sequins

A characteristic of embroidery is that the basic techniques or stitches

of the earliest work—chain stitch, buttonhole or blanket stitch,

running stitch, satin stitch, cross stitch—remain the fundamental

techniques of hand embroidery today.

Machine embroidery, arising in the early stages of the Industrial

Revolution, mimics hand embroidery, especially in the use of chain

stitches, but the "satin stitch" and hemming stitches of machine work

rely on the use of multiple threads and resemble hand work in their

appearance, not their construction.

Origins

Detail of an embroidered silk gauze

ritual garment. Rows of even, round

chain stitches are used both for

outline and to fill in color. From a 4th

Page | 58

century BC, Zhou era tomb at Mashan, Hubei province, China.

The origins of life and embroidery are lost in time, but examples

survive from ancient Egypt, Iron Age Northern Europe and Zhou

Dynasty China. Examples of surviving Chinese chain stitch

[embroidery worked]] in silk thread have been dated to the Warring

States period (5th-3rd century BC).[1]

The process used to tailor, patch, mend and reinforce cloth fostered

the development of sewing techniques, and the decorative possibilities

of sewing led to the art of embroidery.[2] In a garment from Migration

period Sweden, roughly 300–700 CE, the edges of bands of trimming

are reinforced with running stitch, back stitch, stem stitch, tailor's

buttonhole stitch, and whipstitching, but it is uncertain whether this

work simply reinforces the seams or should be interpreted as

decorative embroidery.[3]

The remarkable stability of basic embroidery stitches has been noted:

It is a striking fact that in the

development of embroidery ... there

are no changes of materials or

techniques which can be felt or

interpreted as advances from a

primitive to a later, more refined

stage. On the other hand, we often find in early works a technical

accomplishment and high standard of craftsmanship rarely attained in

later times. [4]

English cope, late 15th or early 16th century. Silk velvet embroidered

with silk and gold threads, closely laid and couched. An example of

English embroidery in silk and metal threads, contemporary Art

Institute of Chicago textile collection.

Elaborately embroidered clothing, religious objects, and household

items have been a mark of wealth and status in many cultures

including ancient Persia, India, China, Japan, Byzantium, and medieval

and Baroque Europe. Traditional folk techniques are passed from

generation to generation in cultures as diverse as northern Vietnam,

Mexico, and eastern Europe. Professional workshops and guilds arose

in medieval England. The output of these workshops, called Opus

Anglicanum or "English work," was famous throughout Europe.[5] The

manufacture of machine-made embroideries in St. Gallen in eastern

Page | 59

Switzerland flourished in the latter half of the 19th century.

Classification of Fusing:

Japanese free embroidery in silk and

metal threads, contemporary.

Embroidery can be classified according

to whether the design is stitched on

top of or through the foundation

fabric, and by the relationship of

stitch placement to the fabric.

In free embroidery, designs are

applied without regard to the weave of

the underlying fabric. Examples

include crewel and traditional Chinese and Japanese embroidery.

Cross-stitch counted-thread embroidery. Tea-cloth, Hungary, mid-20th

century

Counted-thread embroidery patterns are created by making stitches

over a predetermined number of threads in the foundation fabric.

Counted-thread embroidery is more

easily worked on an even-weave

foundation fabric such as embroidery

canvas, aida cloth, or specially woven

cotton and linen fabrics although non-

evenweave linen is used as well.

Examples include needlepoint and

some forms of blackwork embroidery.

Hardanger, a whitework technique. Contemporary.

In canvas work threads are stitched through a fabric mesh to create a

dense pattern that completely covers the

foundation fabric. Traditional canvas

work such as bargello is a counted-

Page | 60

thread technique.[6] Since the 19th century, printed and hand painted

canvases where the painted or printed image serves as color-guide

have eliminated the need for counting threads. These are particularly

suited to pictorial rather than geometric designs deriving from the

Berlin wool work craze of the early 19th century

In drawn thread work and cutwork, the foundation fabric is deformed

or cut away to create holes that are then embellished with embroidery,

often with thread in the same color as the foundation fabric. These

techniques are the progenitors of needle lace. When created in white

thread on white linen or cotton, this work is collectively referred to as

white work.

Materials

Phulkari from the Punjab region of India. Phulkari embroidery, popular

since at least the 15th century, is traditionally done on hand-spun

cotton cloth with simple darning stitches using silk floss.

Laid threads, a surface technique in wool on

linen. The Bayeux Tapestry, 11th century.

The fabrics and yarns used in traditional

embroidery vary from place to place. Wool,

linen, and silk have been in use for

thousands of years for both fabric and yarn.

Today, embroidery thread is manufactured

in cotton, rayon, and novelty yarns as well as

in traditional wool, linen, and silk. Ribbon

embroidery uses narrow ribbon in silk or silk/organza blend ribbon,

most commonly to create floral motifs.

Page | 61

Surface embroidery techniques such as chain stitch and couching or

laid-work are the most economical of expensive yarns; couching is

generally used for gold work.

Canvas work techniques, in

which large amounts of yarn

are buried on the back of the

work, use more materials but

provide a sturdier and more

substantial finished textile.

In both canvas work and

surface embroidery an embroidery hoop or frame can be used to

stretch the material and ensure even stitching tension that prevents

pattern distortion. Modern canvas work tends to follow very

symmetrical counted stitching patterns with designs developing from

repetition of one or only a few similar stitches in a variety of thread

hues. Many forms of surface embroidery, by contrast, are

distinguished by a wide range of different stitching patterns used in a

single piece of work.

Machine

Commercial machine embroidery in

chain stitch on a voile curtain,

China, early 21st century. Much

contemporary embroidery is

stitched with a computerized

embroidery machine using patterns

"digitized" with embroidery software. In machine embroidery, different

types of "fills" add texture and design to the finished work. Machine

embroidery is used to add logos and monograms to business shirts or

jackets, gifts, and team apparel as well as to decorate household

linens, draperies, and decorator fabrics that mimic the elaborate hand

embroidery of the past.

Page | 62

They have well facilitated embroidery section.

Printing

Printing is a process for reproducing text and image, typically with ink

on paper using a printing press. It is often carried out as a large-scale

industrial process, and is an essential part of publishing and

transaction printing.

The intricate frontispiece of the Diamond Sutra from Tang Dynasty

China, AD 868 (British Museum)

Main article: History of printing

Woodblock printing

Woodblock printing is a technique for printing text, images or patterns

that was used widely throughout East Asia. It originated in China in

antiquity as a method of printing on textiles and later on paper. As a

method of printing on cloth, the earliest surviving examples from

China date to before 220, and from Roman Egypt to the 4th century.

"Selected Teachings of Buddhist Sages and Son Masters", the earliest

known book printed with movable metal type, 1377. Bibliothèque

Nationale de Paris.

Main article: History of typography in East Asia

By AD 593, woodblock printing was in wide use in China, and the first

printed periodical, the Kaiyuan Za Bao was made available in Beijing in

AD 713. The Tianemmen scrolls, the earliest known complete example

of a woodblock printed book with illustrations, was printed in China in

AD 868.[citation needed]

Page | 63

Around the mid-century, block-books, woodcut books with both text

and images, usually carved in the same block, emerged as a cheaper

alternative to manuscripts and books printed with movable type.

These were all short heavily illustrated works, the bestsellers of the

day, repeated in many different block-book versions: the Ars moriendi

and the Biblia pauperum were the most common. There is still some

controversy among scholars as to whether their introduction preceded

or, the majority view, followed the introduction of movable type, with

the range of estimated dates being between about 1440 and 1460.

A case of cast metal type pieces and typeset matter in a composing

stick.

Movable type is the system of printing and typography using movable

pieces of metal type, made by casting from matrices struck by

letterpunches. Movable type allowed for much more flexible processes

than hand copying or block printing.

Around 1040, the first known movable type system was created in

China by Bi Sheng out of porcelain.[4] Sheng used clay type, which

broke easily, but Wang Zhen later carved a more durable type from

wood by 1298 AD, and developed a complex system of revolving tables

and number-association with written Chinese characters that made

typesetting and printing more efficient. However, the main method in

use there remained woodblock printing.

Around 1450, Johannes Gutenberg introduced what is regarded as an

independent invention of movable type in Europe (see printing press),

along with innovations in casting the type based on a matrix and hand

mould. Gutenberg was the first to create his type pieces from an alloy

of lead, tin and antimony – the same components still used today.[5]

Johannes Gutenberg's work on the printing press began in

approximately 1436 when he partnered with Andreas Dritzehen — a

man he had previously instructed in gem-cutting—and Andreas

Heilmann, owner of a paper mill.[6] It was not until a 1439 lawsuit

against Gutenberg that official record exists; witnesses testimony

discussed type, an inventory of metals (including lead) and his type

mold

Compared to woodblock printing, movable type page setting was

quicker and more durable. The metal type pieces were sturdier and the

lettering more uniform, leading to typography and fonts. The high

quality and relatively low price of the Gutenberg Bible (1455)

established the superiority of movable type, and printing presses

Page | 64

rapidly spread across Europe, leading up to the Renaissance, and later

all around the world. Today, practically all movable type printing

ultimately derives from Gutenberg's movable type printing, which is

often regarded as the most important invention of the second

millennium.

Rotary printing press

Main article: Rotary printing press

The rotary printing press was invented by Richard March Hoe in 1843.

It uses impressions curved around a cylinder to print on long

continuous rolls of paper or other substrates. Rotary drum printing

was later significantly improved by William Bullock.

[Modern printing technology

The folder of newspaper web offset printing press.

Currently, most books and newspapers are printed using the

technique of offset lithography. Other common techniques include:

flexography used for packaging, labels, newspapers.

hot wax dye transfer

inkjet used typically to print a small number of books or

packaging, and also to print a variety of materials from high

quality papers simulate offset printing, to floor tiles; Inkjet is

also used to apply mailing addresses to direct mail pieces.

laser printing mainly used in offices and for transactional

printing (bills, bank documents). Laser printing is commonly

used by direct mail companies to create variable data letters or

coupons, for example.

pad printing popular for its unique ability to print on complex 3-

dimensional surfaces.

relief print, (mainly used for catalogues).

rotogravure mainly used for magazines and packaging.

screen-printing from T-shirts to floor tiles.

[edit] Gravure

Gravure printing is an intaglio printing technique, where the image to

be printed is made up of small depressions in the surface of the

Page | 65

printing plate. The cells are filled with ink and the excess is scraped

off the surface with a doctor blade, then a rubber-covered roller

presses paper onto the surface of the plate and into contact with the

ink in the cells. The printing plates are usually made from copper and

may be produced by digital engraving or laser etching.

Gravure printing is used for long, high-quality print runs such as

magazines, mail-order catalogues, packaging, and printing onto fabric

and wallpaper. It is also used for printing postage stamps and

decorative plastic laminates, such as kitchen worktops.

[edit] Impact of the invention of printing

[edit] Religious impact

Samuel Hartlib, who was exiled in Britain and enthusiastic about social

and cultural reforms, wrote in 1641 that "the art of printing will so

spread knowledge that the common people, knowing their own rights

and liberties, will not be governed by way of oppression".[9] For both

churchmen and governments, it was concerning that print allowed

readers, eventually including those from all classes of society, to study

religious texts and politically sensitive issues by themselves, instead of

thinking mediated by the religious and political authorities.

It took a long time for print to penetrate Russia and the Orthodox

Christian world, a region (including modern Serbia, Romania and

Bulgaria) where reading ability was largely restricted to the clergy. In

1564, a White Russian brought a press to Moscow, and soon after that

his workshop was destroyed by a mob.

In the Muslim world, printing, especially in Arabic or Turkish was

strongly opposed throughout the early modern period (printing in

Hebrew was sometimes permitted). Indeed, the Muslim countries have

been regarded as a barrier to the passage of printing from China to the

West. According to an imperial ambassador to Istanbul in the middle

of the sixteenth century, it was a sin for the Turks to print religious

books. In 1515, Sultan Selim I issued a decree under which the practice

of printing would be punishable by death. At the end of the century,

Sultan Murad III permitted the sale of non-religious printed books in

Arabic characters, yet the majority were imported from Italy.

Jews were banned from German printing guilds; as a result Hebrew

printing sprang up in Italy, beginning in 1470 in Rome, then spreading

to other towns. Local rulers had the authority to grant or revoke

licenses to publish Hebrew books.[10]

Page | 66

It was thought that the introduction of the printing medium 'would

strengthen religion and enhance the power of monarchs.' [11] The

majority of books were of religious nature with the church and crown

regulating the content. The consequences of printing wrong material

were extreme. Meyrowitz[11] used the example of William Carter who, in

1584, printed a pro-Catholic pamphlet in Protestant-dominated

England. The consequence of his action was hanging.

The widespread distribution of the Bible 'had a revolutionary impact,

because it decreased the power of the Catholic Church as the prime

possessor and interpretor of God's word.'[11]

[edit] Social impact

Print gave a broader range of readers access to knowledge and enabled

later generations to build on the intellectual achievements of earlier

ones. Print, according to Acton in his lecture On the Study of History

(1895), gave "assurance that the work of the Renaissance would last,

that what was written would be accessible to all, that such an

occultation of knowledge and ideas as had depressed the Middle Ages

would never recur, that not an idea would be lost".

Print was instrumental in changing the nature of reading within

society.

Elizabeth Eisenstein identifies two long term effects of the invention

of printing. She claims that print created a sustained and uniform

reference for knowledge as well as allowing for comparison between

incompatible views. (Eisenstein in Briggs and Burke, 2002: p21)

Asa Briggs and Peter Burke identify five kinds of reading that

developed in relation to the introduction of print:

1. Critical reading: due to the fact that texts finally became

accessible to the general population, critical reading emerged

because people were given the option to form their own

opinions on texts.

2. Dangerous Reading: reading was seen as a dangerous pursuit

because it was considered rebellious and unsociable. This was

especially in the case of women because reading could stir up

dangerous emotions like love. There was also the concern that if

women could read, they could read love notes.

Page | 67

3. Creative reading: Printing allowed people to read texts and

interpret them creatively, often in very different ways than the

author intended.

4. Extensive Reading: Print allowed for a wide range of texts to

become available, thus, previous methods of intensive reading of

texts from start to finish, began to change. With texts being

readily available, people began reading on particular topics or

chapters, allowing for much more extensive reading on a wider

range of topics.

5. Private reading: This is linked to the rise of individualism. Before

print, reading was often a group event, where one person would

read to a group of people. With print, literacy rose as did

availability of texts, thus reading became a solitary pursuit.

"While the invention of printing has been discussed conventionally in

terms of its value for spreading ideas, it’s even greater contribution is

its furthering of the long-developing shift in the relationship between

space and discourse.

The proliferation of media that Ong is discussing in relation to the

introduction of the printing press, to the death of an oral culture and

that this new culture had more of an emphasis on the visual rather

than in an auditory medium. As such the printing press gave birth to a

more accessible and widely available source of knowledge in the sense

that it broke down the boundaries between the possessors of

knowledge and the masses. The narrative or discourse now existed in

what would become indirectly through time, the global village.

The invention of printing also changed the occupational structure of

European cities. Printers emerged as a new group of artisans for whom

literacy was essential, although the much more labor-intensive

occupation of the scribe naturally declined. Proof-correcting arose as a

new occupation, while a rise in the amount of booksellers and

librarians naturally followed the explosion in the numbers of books.

Digital printing

Digital printing accounts for approximately 9% of the 45 trillion pages

printed annually (2005 figure) around the world.[8]

Printing at home or in an office or engineering environment is

subdivided into:

Page | 68

small format (up to ledger size paper sheets), as used in

business offices and libraries

wide format (up to 3' or 914mm wide rolls of paper), as used in

drafting and design establishments.

Some of the more common printing technologies are:

blueprint—and related chemical technologies.

daisy wheel—where pre-formed characters are applied

individually.

dot-matrix—which produces arbitrary patterns of dots with an

array of printing studs.

line printing—where pre-formed characters are applied to the

paper by lines.

heat transfer—like early fax machines or modern receipt

printers that apply heat to special paper, which turns black to

form the printed image.

inkjet—including bubble-jet—where ink is sprayed onto the

paper to create the desired image.

xerography—where toner is attracted to a charged image and

then developed.

laser—a type of xerography where the charged image is written

pixel by pixel by a laser.

solid ink printer—where cubes of ink are melted to make ink or

liquid toner.

Vendors typically stress the total cost to operate the equipment,

involving complex calculations that include all cost factors involved in

the operation as well as the capital equipment costs, amortization, etc.

For the most part, toner systems beat inkjet in the long run, whereas

inkjets are less expensive in the initial purchase price.

Professional digital printing (using toner) primarily uses an electrical

charge to transfer toner or liquid ink to the substrate it is printed on.

Digital print quality has steadily improved from early color and black

& white copiers to sophisticated color digital presses like the Xerox

iGen3, the Kodak Nexpress, the HP Indigo Digital Press series and the

InfoPrint 5000. The iGen3 and Nexpress use toner particles and the

Indigo uses liquid ink. The InfoPrint 5000 is a full-color, continuous

Page | 69

forms inkjet drop-on-demand printing system. All handle variable data

and rival offset in quality. Digital offset presses are also called direct

imaging presses, although these presses can receive computer files

and automatically turn them into print-ready plates, they cannot insert

variable data.

Small press and fanzines generally use digital printing. Prior to the

introduction of cheap photocopying the use of machines such as the

spirit duplicator, hectograph, and mimeograph was common.

They are a Macintosh based shop but files created in Adobe Photoshop and Adobe Illustrator on a PC compatible computer are acceptable.

They do not accept files created in Microsoft Word, Microsoft Excel or Microsoft PowerPoint. We are not able to create separations from any files created with these programs.

Images created for the internet are generally unacceptable as image resolution is generally too low (72 dpi) to correctly reproduce the image on a t-shirt.

Adobe Photoshop files must be at 300 dpi at final print size.

To alleviate confusion all type should be created in Adobe Illustrator and converted to outlines.

When placing images created in Photoshop into Illustrator do not enlarge the placed image. Resizing the image changes its resolution. Even though the original Photoshop file is 300 dpi, if you enlarge it 300% in Illustrator the resolution becomes 100 dpi.

All PANTONE colors must be specified using solid, coated colors. A color copy of the artwork is extremely helpful for matching purposes. A proof is required for all 4 color process and simulated process jobs.

Please consider the color of your selected garment when submitting artwork. For your own reference place your artwork on a background color of your selected garment color. Artwork is separated differently for different color garments.

Page | 70

They do all art work on front, back, left chest, sleeve, etc in any color.

Shirt Catalogs

We supply apparel from major wholesale dealers. Please view their online catalogs below to find the garments you want. Pick your style and we'll give you a full quote including all charges.

American Apparel Wearables Catalog

Notes:

* Prices shown on the American Apparel site are retail. Our prices will be included in your quote. * If you don't see the garments you want contact Mike Lynch for more choices.

Printing Prices

Printing prices are for standard single sided t-shirt printing on WHITE shirts. Additional costs for specialty printing are also listed.

Pieces Dozens 1 Color

2 Color

3 Color

4 Color

5 Color

6 Color

7 Color

8 Color

1-72 - * $5.00

* $6.00

* $7.00

* $8.00

NA NA NA NA

72 6 $1.70 $1.90 $2.10 $2.30 $2.50 $2.70 NA NA

144 12 $1.25 $1.40 $1.55 $1.70 $1.85 $2.00 $2.15 $2.30

300 25 $1.05 $1.20 $1.35 $1.50 $1.65 $1.85 $1.95 $2.10

504 42 $0.90 $1.05 $1.20 $1.35 $1.50 $1.65 $1.80 $1.95

1,008 84 $0.75 $0.85 $0.95 $1.05 $1.15 $1.25 $1.35 $1.40

3,000 250 $0.65 $0.75 $0.85 $0.95 $1.05 $1.15 $1.30 $1.45

6,000 500 $0.50 $0.60 $0.70 $0.80 $0.90 $1.00 $1.10 $1.30

12,000 1,000 $0.40 $0.50 $0.60 $0.70 $0.80 $0.90 $1.00 $1.10

24,000 2,000 $0.35 $0.40 $0.50 $0.60 $0.70 $0.80 $0.90 $1.00

Additional Costs:

Add "flash cures" charge (under misc. charges) for colored shirts.

Add 85% for second side or placement.

Add 20% for sweats, caps, aprons and totes.

Add 50% for jackets

Page | 71

* Additional $25.00 setup charge

Screen Charges

Screen Type Price

Spot Color Screens $25.00

4 Color/Simulated Process Screens $35.00

Automatic Press Screens $35.00

Notes:

All screens are stored for one year from the last order.

Film Charges

Film Size Price

8.5 x 11 Positive $10.00 per color

11 x 17 Positive $15.00 per color

13 x 18.5 Positive $20.00 per color

Notes:

Call for a quote on larger film sizes.

Art Charges

Charge Type Price

Separations $60.00 per hour

Typesetting $35.00 per hour

Custom Design Call for quote

Notes:

1/2 hour minimum for typesetting.

Scanning Charges

Size Price

8.5 x 11 Original $15.00

11 x 17 Original $20.00

Oversize Call for quote

Notes:

1/2 hour minimum for typesetting.

Page | 72

Miscellaneous Charges

Item Price

Flashcures $0.20 each

Ink Changes $10 each

PMS Match (Custom Ink) $12.50 per color

Notes:

* Press Checks are recommended on designs over 1 color and required on process work.

* Press Time is $55.00 an hour. The first hour is free. Please be punctual.

Handling Charges

Item Price

Customer Supplied Goods $1.00 each

Notes:

* Handling charges ONLY apply to customer supplied goods.

Rush Charges

Time Price

4-6 Days add 25%

2-3 Days add 40%

24 Hours add 50%

Same Day add 100%e

Page | 73

Babylon Printing – Samples

It is said that if any Garment company take care of its Cutting Room

it will not be closed. Babylon Group is very concern of the Cutting

Room that makes it one of the best Garment Manufacture of

Bangladesh. And at least we want to thank our Dear Sir, Kazi

Shamsur Rahman for giving us a chance to see this Garment

factory.

THE END…