Textile dyeing books pdf

These initial ideas are then usually developed through until the designer is happy to offer them as proposals to meet the initial need. In the early stages, alternative ideas will often also be presented. These proposals will be considered and perhaps modified.

A decision is then taken as to the best solution to the design problem and the necessary specifications and instructions will then be given. See Fig. Efficient project management and efficient time management are obviously both desirable. A project entails one or a number of individuals working together over a period of time to achieve an agreed goal or outcome.

Any project needs to be completed on time, to a standard and within a budget. A design project, as any other project, needs to be planned and managed efficiently. Planning is achieved by making decisions about what is to be achieved aims and how best to get there who does what, when and how. While planning takes a little time, lack of planning can result in the waste of a lot of time, the expenditure of much money and the generation of considerable stress and tension.

A plan gives what could be described as a set of route markers that allow checks to be made as work is undertaken to achieve the goals. Regular checking of current position against plan identifies any deviations from course which can then be remedied. The more detailed the plan, the more route markers there will be.

A plan helps in the controlling of events rather than events determining direction. Very few jobs go exactly according to plan, but if there is no plan there is no way to keep control and track progress. The essence of an objective is that it defines what is wanted without describing how this is going to be achieved.

Without objectives people do not know where to invest their time or resources, and they can drift in an unco-ordinated way. When objectives are unclear, it is impossible to make effective plans and people will not be committed to action. Despite the obvious importance of objectives many people find it difficult to set them.

This is when the designer finds out what is required of them. Many clients often have little idea of what they actually do want so it is up to the designer to get as much information as possible; this is usually done by asking questions.

For example, a checklist for a briefing meeting would simply be a list of questions, prepared beforehand, that the designer will use as a prompt see Chapter 6. Enough knowledge of a situation is required to enable a checklist to be developed that covers the right questions. Use of a properly prepared checklist should ensure that the designer does not forget to ask for any necessary information and this should help avoid misunder- standings that might create problems later in the design process.

The simplest is to arrange elements of the plan in a logical sequence. Working from the brief, designers determine what is required to fulfil this and plan a logical sequence of events to take them through the design process to a design solution that satisfies the brief. These products or outcomes need to be listed and agreed. Having considered what it is that is to be achieved, the processes or work to achieve the outcomes can be determined. Finally, it must be decided what inputs are necessary to enable the work to be carried out successfully.

Outcomes Processes Inputs Fig. Outcomes: The planned result of the project, equal to the aims and objectives of the project, to achieve the quality or standard required. Processes: The work needed to be done to achieve the output deliverables or outcomes. Inputs: The resources in terms of individuals and their skills, time, materials, equipment, techniques, etc. For example, a designer is asked to design a range of printed curtaining fabrics. The outcomes would be a specified number of fabric designs, with colourways, for a specific time, to sell at a specific price point.

The processes would be initial research of the market to see what is currently selling and what the competition are doing , the formulation of initial design ideas, the development of these ideas, the selection and production of the specified number of fabric designs with recommendations for print base fabrics to be included in the range, colourway development and selection, and the specification of final fabrics for production.

The inputs would be the designer with the required skills and knowhow, the time they would require and the materials and equipment necessary. During a design project, several stages can be under way at the same time.

Each step is represented by a line or block placed on the chart in the time period in which it is to be undertaken. When completed, a Gantt chart shows the flow of activities in a sequence, as well as those that can be under way at the same time. See Appendix A. Gantt charts can also be used to chart actual progress, by drawing lines in different colours to show the start and end dates of each step.

This allows easy assessment of whether or not a project is on schedule. These are more sophisticated forms of planning than Gantt charts and are appropriate for projects with many interactive steps. The progress of a project should be monitored and measured against the plan. When deviations occur, corrective action should be taken. Time management is simply making the best use of time to achieve what is necessary.

To effectively manage time, goals and time limits need to be set. What is required? What has to be achieved and when? How efficiently do these goals have to be met? It is only against set targets that success can be measured.

The way any individual uses time is unique to that individual. Some people use time as chunks into which they can fit certain activities, all neatly stacked. Others have no clear view of time, selecting activities at random or changing priorities to suit the current crisis. There are strengths and weaknesses in both ways and it is of value to consider both because many people will alternate between the two, depending on the jobs in hand.

The way designers use their time will be different, since everyone has their own pace of work and their own rhythms, with different peaks for different activities. Managing time costs time. To sit down and plan the best use of time is an investment. It takes time to learn to use software packages for word processing and database management but their use is a huge investment for future time management. The time spent on any activities should be considered afterwards and evaluated.

Can any lessons be learnt to plan more effective use of time in the future? Targets that will result in a high pay-off should be identified. Constructive avoidance is when time is spent on work that is neither important nor urgent in preference to urgent and important work. Having the right products in a range is very important in terms of how well that range will sell.

Brief Research Design work Range Fig. Good design adds value to a product. With products of equal quality and price, the design will be what differentiates. What does the designer need to know or make decisions about when planning a range?

Or, put at its most simplistic, how does a designer decide what to design? All designers are designing for the future and are influenced by trends in their product area. As well as needing to understand forecasting, a designer needs to know other informa- tion when planning a range. It is usually the job of the design manager or stylist in a studio to plan the ranges.

There will have been some discussion with sales, marketing and production about all or some of the factors listed above — essentially to build up a full picture of what criteria the range must answer. The type of designs depends on the products being designed for, the customer profile, price points for sales, manufacturing plant availability and quality.

The number of designs and colourways in a range is controlled by several commercial factors including the amount of capital the company wishes to tie up in the range, the raw materials that are needed, the amount of stock that can be carried, and the production capacity, i. This is unsatisfactory if there is any form of time limit on when the answer is required.

This is appropriate if it is known who to ask and what to ask. Known as primary research or field research, this is where designers find information directly for themselves; by going out and looking at the shops and visiting trade fairs and exhibitions, by asking relevant individuals and groups, by using mailed questionnaires, by setting up focus groups and by interviewing people. This is appropriate if it is known where to look, how to look it up and what exactly is being looked for. Known as secondary or desk research, this is where information is gleaned from work already carried out by other individuals or groups.

Such research might include looking at market research information obtained through government censuses and large market research programmes. The aim should be to find key information. Identify what is not known. The questions that need to be answered should be identified and listed. The level of answer required should be established there is a balance between the importance of what is being looked for and the time and effort spent looking and a checklist of likely sources of reliable answers to questions can be prepared.

It is sensible to keep control over any search for information by setting limits and deadlines and by using expert opinions and expert literature searchers to identify the most promising sources. It is important to stop as soon as there is enough information to move forward and it is essential to keep accurate references.

Sometimes, the information sought may have to be bought, sometimes it may be free — part of a marketing strategy on behalf of the supplier. However, whether visiting a new supplier to source yarn or buttons, or telephoning to check prices of fabrics, it is important that designers know exactly what they want so as not to waste time.

Before any visit, the information required should be clearly identified. It is essential for any designer to be prepared, and establishing a checklist of questions that need to be answered is a good way of making sure that all relevant information is obtained. When seeking information about market areas and products, it would be usual to employ professional market researchers. However, sometimes designers may prefer to carry out some market research themselves.

A busy company director or buyer is much more likely to complete and return a questionnaire if it is clear to read, to the point and does not take up too much of their valuable time. Formulating questions in such a way that they can be answered by ticking boxes is much more likely to elicit a positive response than having questions that require written replies.

Design ideas can come from almost any source, but sometimes designers may find difficulty in thinking of suitable sources and themes for work. In its most formal sense, it is a group participation technique for generating a wide range of ideas in order to tackle a stated problem. In a less formalised way, an individual or pair can use a brainstorming session to generate ideas.

What follows is a description of brainstorming at its most formalised; such a rigid approach, however, may well inhibit ideas. Too vague or too restrictive a statement should be avoided. The group should ideally include some people familiar with the problem area. Small groups of about 4—8 people are best. The session rules are: a No criticism is allowed of any idea. Once a basic colour palette has been decided, this will help the ideas being developed to work together as a total package.

Colour co-ordination does not mean that every design has to be in exactly the same colourway, but colours should be related. New fashion colours should be looked at alongside any existing palette to make sure that these work as part of the range. If a design was well received and is still selling well, it makes commercial sense to carry it on. It is hard to argue with sales figures. Re-colouring can add to the sales of a proven design.

Areas and themes will have been identified according to the customer requirements, as will the appropriate number of products to fall within them. Having established the number of products and colourways for each, initial ideas for the range can be put together. At this development stage it is very necessary to maintain an overview of the whole range.

If it is a range of apparel fabrics that is being developed, then there might be part of the range aimed at menswear and part at womenswear. An important existing customer may be a pyjama manufacturer and so designs suitable for that customer must be included. Designs may be developed in-house or bought in, or a mixture of both. Designs may come from archives of designs that have already been developed and sampled.

A few designs can be assembled around each theme or group and any areas where it is felt designs are missing will prompt more sampling. Production capabilities and machine loading must be considered. For example, there is no point when designing a range of knitted fabrics to produce all the fabrics for this on one specific machine type if the manufacturing company owns several different types of machines, producing quite different fabrics.

It is only when all such considerations have been taken into account that the final selection of the designs to be included in the range will be made. Once fabric designs are chosen, suitable colourways will be selected, and if necessary, sampled. Colourways may be balanced or not. Balanced colourways are when the colours change but the relationships of the colours within the design stay the same. Unbalanced colourways are when there are no similar colour relationships between colourways.

For example, a three-colour print design has a dark blue ground, large flowers in mid- blue and small flowers in light blue. A balanced colourway of this would be one that had a dark green ground, large flowers in mid-green and small flowers in light green. An unbalanced colourway would be one that had a bright yellow ground, pink large flowers and dark blue small flowers.

For a range to work as a total package, themes and concepts can also be used as well as colour and colour co-ordination.

For example, Dorma, a UK bedding manufacturer, produced a very successful range of bedlinen based on the illustrations in the book The Country Diary of an Edwardian Lady. This range was so successful for Dorma that several seasons later a further bedding range was developed from the same book, but this time using a different colour story. Themes can be used as a base for designs and colour co-ordination. Themes and concepts can also help with publicity, being taken through to brochures and in-store presentations.

Many fabric ranges will include plain colours. In most product ranges there are basics that have to continue, and decisions have to be made as to which colours will be carried on and which will be dropped. Often, these plain colours are related to other products in the same area; for example, towels relate to bathroom fittings, telephones to paints and wall coverings. There should be some co-ordination between plain and patterned ranges. This allows customers to buy from both and thereby increases sales.

Range planning and development is very important. The brand range is what a company sells itself on. The image created with the range will be the image of the company for the next twelve months or so until the next range. Designers will usually try out different ideas, taking the best of these through into fabric or, in the case of print design, through to designs painted-out to size and in repeat. Computer-aided design CAD systems can be very helpful at the sampling stage, allowing different ideas to be tried and fabrics to be simulated without the expense of fabric sampling.

Very often, machinery has to be taken out of production for sampling, and time that is not being used to make saleable products on expensive machinery is costly. Money tied up in sample stocks is also money that cannot be recouped. In the early s however, things began to change. Many companies closed due to world-wide recession. Those that survived had to work harder to maintain a place in the market. Ranges had to be well presented, with marketing becoming increasingly important.

For example, for yarn manufacturers and spinners it was no longer sufficient to show new yarns just on cones. Ranges had to be carefully planned, the presentation of the range to the customer became very important and the presentations began to include how a range might be used.

Spinners started to employ designers to put together trend ideas. Different yarn qualities within a range would often be colour co-ordinated to help the customer maximise use, and fabrics that illustrated the current trends would be made up from the yarns in the range. Presentations of a range are often both written and oral. There will normally also be drawings and photographs illustrating how fabrics from the range work together, how fabrics work when made up into or incorporated into products and how these products work with other, related products.

Presentations often reflect the theme used for the design work. For a presentation to be successful, the designer must have answered the brief. If the brief is not clear, it is difficult to solve the design problem. At a briefing meeting, the designer is trying to get as much information as possible. It is therefore important that presentations should be made to the person who gave the briefing.

Presentation of the final range to the person who asked for the work to be undertaken is, however, not the only type of presentation a designer will be called upon to contribute to or to make. Once the range has the approval of the relevant directors or company board members, the designer may well be asked to make presentations to sales teams, agents and customers.

Designers are called upon all the time to give presentations of their work and so an ability to present themselves and their work well is very important. The best presentations are simple and to the point; this is as true of visual presentations as of written and oral presentations.

Their work will often need little verbal explanation, clearly communicating the intention by virtue of visual impact. The way such work is presented is very important because good presentation can show a design solution to advantage while poor presentation can hide and distract from good design. Presentation is itself an exercise in design. Good presentation should be suitable and professional. It should be suitable in that the presentation style and techniques should show whatever is being shown be it fabrics, yarns, artwork or drawings to its best advantage; it should look as good as it possibly can.

All presentations should be professional in that they should look neat and tidy, deliberate, considered, planned, well designed, appropriate, consistent, related and reflect the work presented. Poor presentation is chaotic, messy, dirty, disorganised and inappropriate. See Appendix B for tips on presenting work.

The ideas may come from magazines, postcards, colour swatches, yarn or fabric pieces. Presentation of mood boards should be simple and suitable; the style of presentation should reflect the mood. A sporty mood board will be presented differently from a mood board reflecting luxury and wealth. This will allow the client to feel that they have some input and also should prevent unsuitable work being done.

The client may be in-house or external. An external presentation may be more formal than an in-house presentation, but the presentation should in both cases be appropriate and show the ideas to their best advantage.

It will often show the development of ideas through to the final design work. It should be neat and tidy, and presented in a coherent manner. It should be easy to look at. What will they expect to see? Publicity can contain photographs of furnishing products in room settings, emphasising the importance of colour co-ordination and pattern co-ordination.

It can be seen how the range is related to other products in the same room area. Publicity for fashion garments will show how the garments in the range can be used with other garments. If the range has a name or theme this can be emphasised, for example through publicity with a distinctive logo.

A logo can be used on packaging and on any labels. If the product is not fully visible when packaged, then a photograph will be needed. This technique is often used for duvet packaging; the folded duvet will be packaged with a photograph of the duvet in situ, allowing an appreciation of the full design.

Such photographs may well also be used for in-store displays. If the product is targeted as a gift then the packaging should be especially attractive. Soap may be sold with a towel. Products sold in a basket mean that the packaging becomes a product in its own right.

Concept selling offers many related products in an area, and bedding, curtains, lampshades and other items for the bedroom may be displayed together, co-ordinated by colour and a common or linked theme. Such selling techniques make it easier for the designer to get across the message of co-ordination and for the customers to see how the product will work in their home. However, presenting merchandise in this way is not always easy for department stores, where buying systems have been traditionally broken down into product areas.

The designs may be either the work of the designer doing the presentation or the result of several designers and others, such as technicians and sales personnel, who have all had an input. Design is very much a team activity with the designer co-ordinating the design development, whether this is for one fabric or a range of fabrics. They have to try to identify gaps in product and colour ranges and their ultimate design work should be to fill these gaps.

Designers need to try to identify new directions for their customers. It is important that new ranges lead the way rather than follow so that customers come back for new ideas. Storyboards are frequently used to illustrate points in such presentations. Feedback from the customer on designs and directions should be encouraged to ensure that the customer is involved and has a degree of ownership, and that the brief is answered.

This also helps establish good working relationships. The design process is investigative, creative and rational, and involves decisions being made. The design process starts with a need, involves research, ideas generation and design development, and ends with a new design.

Design projects have to be completed to schedules and within set budgets, so efficient project management and time management are important. Planning is about managing and controlling events to achieve a goal or goals.

The aims and objectives of any project require to be identified. This is usually done at the briefing meeting, and here checklists can be a helpful tool. There are different methods that can be used to help in planning projects. These include backwards planning, Gantt charts and network analysis. How an individual uses time is unique to that individual. Planning how to best use time is crucial. Research is important to the designer — both primary and secondary research. Information can be gathered from a variety of sources and in different ways.

Generation of ideas can be aided by brainstorming and this can be carried out formally or very informally. Range planning, range development and presentation are vital functions of the textile design process. References 1. Potter, N. Things, Places, Messages 3rd rev. Bibliography Adair, J. Bond, W. Davidson, J. The designers responsible for such textiles have to balance many factors when answering a design brief.

What is the fabric for? How must it perform? What are the economic restraints? How is the fabric to be produced? Research into how people select products shows that colour and appearance are two of the most significant factors, with handle, performance and price coming lower down in terms of importance. Textile designers therefore need to have a good understanding and sensitivity to colour and aesthetics. The same design elements and principles apply to design as to fine art, and an under- standing of and an ability to use these are as vital to the designer as to the fine artist.

Shapes, forms, colours and texture all combine to become a unified whole which is commonly called a design. In the first instance it may seem impossible to objectively analyse works of art.

In different cultures and at different times, styles of art and even the media used to express art have varied enormously. There are, however, certain basic design features that appear to be natural and common to all art.

Pick up one of the many books on design and these elements and principles will be there, although they may be detailed slightly differently in each. This is, in part, due to the way that in any one work of art no one element or principle can exist in isolation.

Designing can be defined as relating and visually arranging components or elements to create effects. Space, line, shape, form, colour, value and texture are the design elements with which artists and designers work to create a design. The design principles of balance, movement, repetition, emphasis, contrast and unity are what artists and designers do with the design elements to make the art form or design.

A line moves, and as it does so it indicates direction. A straight line leads the eye swiftly across the picture plane but the eye travels more slowly when following the path of a jagged line. Lines appear in different ways. There are curved lines and straight lines. These can be long or short, thick or thin, ragged, sharp, light, dark, simple or complex. Lines can be broken and yet have direction.

Lines can be textured and can be coloured. Lines can be made from repeating similar elements, as diverse as dots or people, in a lengthways direction. Lines can be used to create form, to give depth. Lines can be carefully controlled to create optical sensations and can be used to project feelings of sensitivity and strength. When someone looks at lines they try to fit them into something related to their previous experiences; for example, scribbled spirals may be interpreted as seashells, and a few lines can easily suggest an apple to someone who is familiar with this fruit.

Skilful artists and designers play with this tendency to see familiar forms in everything by using only a minimum of visual clues to evoke a far more elaborate response. Care must be taken, however, that abstract designs and patterns do not unintentionally suggest unpleasant or ugly forms to the viewer. A shape or figure is a positive thing and occupies positive space. The area surrounding a shape is called the background or ground. It is a negative thing and occupies negative space.

Shapes can be clearly defined with hard edges but often they are not clearly defined, which means that it is more difficult to see where shape ends and background begins. There are a great variety of shapes to be found in nature. Many artists have drawn creative inspiration from natural shapes. Through their imagination, artists have invented new ways to use shape and communicate ideas.

Shapes can be solid or opaque, linear, textured, coloured and outlined. Shapes can be transparent, revealing other shapes behind them. Similar shapes need not be identical, yet they can have a common relationship, which visually ties them together. Some shapes will command more attention than others, depending on their size, colour, value, texture, detail or their location in relation to other shapes.

Tall shapes are elevating, long flat shapes express calmness, downward- pointing shapes activate the sense of falling. In art and design, form is the illusion of three-dimensional volume or mass seen in two dimensions. Careful observation of the forms around reveals that, in nature and in man-made objects, many forms can be described as combinations of the basic geometric structures; spheres, cylinders, cones, cubes and pyramids. Line, shape, colour, value and texture can all be used to suggest form by the artist on a picture plane, and by the textile designer within fabric.

A flat surface has only two-dimensional space. This means that it has length and width but no depth. It is impossible to create actual depth or space on a flat surface but an illusion of space, distance or depth is possible. There are many methods used by artists and designers to create this sense of space, and to convince the observer that there is space and depth when, in fact, they are victims of a type of visual deception.

Objects placed higher up can create the feeling of depth or distance. Overlapping shapes can also create the feeling of depth, as can converging lines. If, in two-dimensional art and design, space exists purely as an idea or concept, it leaves the artist or designer free to compress or stretch it as they wish, to portray the particular feeling that is desired.

Colours have an effect on space. Colours that are warm and bright appear closer, while dull or cool colours recede into the distance. A flat surface that is covered only with pattern can eliminate any feeling of space. Throughout history, the study of colour and the development of colour theories were frequently undertaken by artists and designers, and many artists have spent their lives attempting to understand colour. Seurat wanted to apply a scientific system to the methods of the Impressionists, and his Pointillist theories, where dots of colour from a restricted colour palette were used to create the impression of a wide range of colour, clearly show his fascination with analysing colours.

Colours communicate; some colours are associated with cold blues and greys and some with warmth reds and oranges. Colour can convey the time of day, weather conditions and temperature, and even the time of year. Colours can be designed to blend in with the environment or to stand out. In art and design work, the colour can be used in a natural or abstract way. Maps make use of both abstract and natural colour; natural colours are used when illustrating mountains, deserts and seas while maps showing political boundaries will use abstract colour.

Colour is a crucial part of all branches of design and design-based industries. Advertising agencies know that graphic information in colour will have a more profound effect than that in black and white. Colour grabs the attention span because memory recall from colour is quite pronounced. Colour is used to promote corporate identity. Blue is used by many banks to give the suggestion of reliability, while the appetite colours of red and yellow are used by fast food chains.

Green is frequently used to denote environmental friendliness while more subtle greens convey a feeling of upmarket status. The green livery of Harrods, the world-famous upmarket store in London, epitomises good taste and sophistication.

Forecasting colour trends is itself an industry, and fashion colours change with the seasons. Underlying these cyclical trends, however, are some basic colour preferences. In colour popularity tests, blue is frequently placed first, with red second.

Blue ties are most popular, with red ties in second place, and blue and red cars regularly occupy top positions, only being outdone by silver, a colour symbolising luxury and wealth.

The colour of a product influences the perception of it, and this is used extensively in marketing. Many people believe a red car will drive faster than a white one. Tests with coffee showed that coffee served in a red mug was preferred to the same coffee served in a yellow mug considered too weak and in a brown mug too strong. Foodstuffs claiming to be pure and unadulterated often use blue and white packaging to communicate purity.

However, in this age of environmental awareness it is predicted that more earthy colours will symbolise a natural product while white will be associated with chlorine and all that is environmentally unfriendly.

Products communicating strength adopt vibrant and contrasting colours; the greater the contrast, the stronger the associated power. Colour can be used to represent a product, with some colours idealising a product, and some using biological signals to communicate function. The production of nitrocellulose rayon by Chardonnet. Regenerated cellulose. Polynosic fibres. Thepreparationof cellulose.

The production and uses of. A short description of regenerated protein fibres. The large-scale preparation of hcxamethylene diamine and adipic acid. Polyesters, including. The properties of acrylonitrile. Fibres obtained from polyurethane and. Crimping thermoplastic yarns. Elastomeric fibres. Water and water purification.

The classification of natural waters and the impurities in the claises. Sequestering agents. Methods of determining temporary and permanent hardness. Detergents and scouring. The properties of waxes and vegetable oils and the manufacture and properties.

Anionic and cationic compounds. Surface tension and the mode of. Solvent scouring. Bleaching powder and sodium hypochlorite and the determination of available. Bleaching cellulosic fibres with hypochlorites. Hydrogen peroxide and. The use of sodium chlorite for. Staving with sulphur dioxide.

Unshrinkable and other finishes. Causes of shrinking of wool and a review of shrink-proof finishes. Description of. Methods for making fabrics fire resistant, water repellent, and moth- and. Introduction to chemical constitution and colour, theory of dyeing, and classification of dyes.

Theories of relationship between colour and chemical constitution of organic. Dyes and Pigments Encyclopedia of Textile Finishing Functional Dyes Handbook of Industrial and Hazardous Wastes Treatment Industrial Dyes: Chemistry, Properties, Applications Reactive Dyes for Textile Fibres Reference Books of Finishing Singeing fundamentals Textile Dyeing and Printing Volume 1 Textile Dyeing and Printing Volume 2 Textile Dyes Textile Finishing Textile Printing The Chemistry of Dyeing The Finishing of Textile Fabrics Water Recycling in Textile Wet Processing Wool Dyeing.

A Comprehensive Study on Jute Fiber 2. Advanced Fiber Spinning Technology 3. Advances in Wool technology 4. Atlas of Fibre Fracture and Damage to Textiles 5. Bast and Other Plant Fibres 6. Cotton Science and technology 8. Fatigue Failure of Textile Fibres 9. Handbook of Fibre Rope Technology High-Performance Fibres Identification of Textile Fibers Multifunctional Barriers for Flexible Structure New Millennium Fibres Physical Properties of Textile Fibres Physical Properties of Textile Fibres 4th Edition Polyesters and Polyamides Regenerated Cellulose Fibers Dyeing and Chemical Technology of Textile Fibres 2.

Handbook of Fiber Chemistry 3. Manufactured Fibre Technology 5. Manufactured Fibre Technology 6. Natural Fibers, Biopolymers and Biocomposites 7. Reference Book for Manmade Fibers 9. Surface Characteristics of Fibers and Textiles.

Advances in Yarn Spinning Technology 4. Fancy Yarns: Their Manufacture and Application 6. Technical Textile Yarns Advances in Carpet Manufacture 2. Advances in Knitting Technology.

Fundamentals and Advances in Knitting Technology 5. Sizing in Clothing 8. Smart Fibres, Fabrics and Clothing 9. Structure and Mechanics of Woven Fabrics Textile Design: Principles, Advances and Applications A Handbook of Weaves 2. Fabric Structure and Design 3. First Book of Modern Lace Knitting 4. Handbook of Textile Design 5. Handbook of Weaving 6. Nonwoven Fabrics 8. Nonwoven Technology 9. Reference Books for Knitting Reference Books of Weaving Textile Sizing The Fundamentals of Printed Textile Design Theory of Silk Weaving.

Advances in Apparel Production 2. Clothing Appearance and Fit: Science and Technology 3. Computer Technology for Textiles and Apparel 4. Engineering Apparel Fabrics and Garments 5. Humidification and Ventilation Management in Textile Industry 6. Improving Comfort in Clothing 7. Industrial Cutting of Textile Materials 8. Industrial Engineering in Apparel Production 9. Management of Technology Systems in Garment Industry New Product Development in Textiles Prospects of Denim in Bangladesh Quality Characterization of Apparel.

Science in Clothing Comfort Sizing in Clothing Statistics for Textile and Apparel Management Strategic Management in the Garment Industry Basics Fashion Design Sourcing Ideas 2.

Basics Fashion Design Textiles and Fashion 3. Basics Fashion Design Construction 4. Beginning Garment Making 5. Career in Textile and Fashion Designing 6. Encyclopedia of Clothing and Fashion 9.

Fashion Accessories Fashion Illustrator Fashion Marketing Fashionable Technology Fashioning History Geometric Symmetry in Patterns and Tilings Hand Book of Industrial Engineering