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
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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 )
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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 )
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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
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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
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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-
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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.
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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.
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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]
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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
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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
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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
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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.
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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