Assignment on Cutting Room

Prepared For: Kazi Shamsur Rahman Assistant Professor Proctor, AMT BIFT.

Prepared By: Name A S M Towheed

ID 072-001-045

Faysal Ebne Wadud Sawiket Rusdi

072-015-045

Md. Rizwan Razu

072-039-045

072-016-045

Page | 1

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 Information of Babylon Group Garments Division (Woven) Floor area Capacity Production line Textile Composite Division (Knit) Supporting Division Their Mission Their Strength Woven Customers Knit Customers Management of Babylon Group

Page No. 1 2 3 3 4 4 5 7 7 10 11 11

Growth History (Statistics)

12

Product Category

13

Certification of international organizations Why cutting room is important in the factory

14

14

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Factors in the cutting room: Activities in cutting room in clothing industry Organogram of cutting room

15 15

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

Marker analysis

Spreading

37

38

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 Page | 5

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 2-B/1, Darussalam Road,

Babylon Dresses Ltd.

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 Tshirts/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 : 0088-0312511538. 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. Page | 12

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 Page | 13

 

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 GERMANY

MOTHERS WORK, MAY DEPT., SAKS, NYNE, MEIJER, BOSCOV, JC PENNEY, LEE, WALMART, SEARS, CARHARTT, CATO, K-MART, AMERICAN EAGLE etc. 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

Page | 15

Knit Customers

Country

Company

USA UK

WALMART, TARGET, SARA LEE TESCO, BHS, GREENWOODS, NEW LOOK, ARCADIA, Jerzees

SWEDEN GERMANY

H&M TOM TAILOR, KARSTADT, QUELLE, NECKERMAAN, WESTERN STORE

SPAIN DENMARK

REEBOK, NIKE EKSPERTO, MARCUS GRUPPEN, FOTEX, BILKA

HOLLAND

Vroom & Dreesmann (V&D), O’NIEL

FRANCE FINLAND ITALY BELGIUM

RIPCURL, JULES, MONOPRIX INTRADE UPIM, TRR, METRO 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 Page | 16

Mr. Abdus Salam - In Charge Of Production Planning And Control

Growth History (Statistics)

Page | 17

Product Category WOVEN

Gents

Ladies

Children

Ladies

Children

KNIT

Gents

EMBROIDERIES

Gents

Ladies

Page | 18

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 Page | 19

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 Page | 20

 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

Page | 23

 Tracing paper

 CAD system

Page | 24

 Cutting table

 Measuring tape Page | 25

   

Pencil Gum tape/ scotch tape Weight machine Spreading stand

 Auto spreader

   

Clamp Spike Ruler Scissors

Page | 26

Cutting machine:  Straight knife

 Band knife

Page | 27

 Round knife

    

Die press cutter Hot notcher Computer controlled cutting machine Drill machine Metal glove

 Bundle card Page | 28

 Numbering machine

 Number sticker

Page | 29

 Rack  Resister book

Page | 30

Production flow chart in the cutting room: Fabric inspection Cut Ratio

Planning

Markers

Spreaders

Production

Spreading

Manual Machine Machine

Cutting

Die Press Cutter Computer Shade marking

Cut Inspection Preparation of sewing

Tickets

Bundles

Numbering

Page | 31

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 Page | 34

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

S

M

L

XL

Total ply=100

Color Page | 35

Red

1

2

2

1

Ply=50

Yellow

1

2

2

1

Ply=50

S

M

L

XL

1

2

2

1

Garment= 6×100= 600

Cut 2 Size

Total ply=100

Color Blue

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 Page | 36

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 Page | 37

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

Types of marker: I. II. III.

Single garment marker Single size two or more garment marker 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) Page | 40

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 = Fabric width = Pattern set weight = Desired efficiency = What will be the marker length?

250 gm 150 gm 900 gm 90%

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 cm 2 = 36000 cm2

Page | 41

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 =

Page | 42

= = 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

Page | 43

 End loss  Marker length  Folded fabric

 Fabric on the open Page | 44

 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. Page | 45

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 Page | 46

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 | 47

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)

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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)

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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)

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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

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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: Bundle card 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.

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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.

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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

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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 )



Working width: 600 mm. Page | 55



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" Page | 56



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

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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 manufacture of machine-made embroideries in St. Gallen in eastern Page | 58

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 nonevenweave 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 countedPage | 59

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 Page | 63

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 3dimensional 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 | 64

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 | 65

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 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 | 67



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 | 68

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 shirt.

t-

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.

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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 1-72

-

72 6 144 12 300 25 504 42 1,008 84 3,000 250 6,000 500 12,000 1,000 24,000 2,000

1 Color * $5.00 $1.70 $1.25 $1.05 $0.90 $0.75 $0.65 $0.50 $0.40 $0.35

2 Color * $6.00 $1.90 $1.40 $1.20 $1.05 $0.85 $0.75 $0.60 $0.50 $0.40

3 Color * $7.00 $2.10 $1.55 $1.35 $1.20 $0.95 $0.85 $0.70 $0.60 $0.50

4 Color * $8.00 $2.30 $1.70 $1.50 $1.35 $1.05 $0.95 $0.80 $0.70 $0.60

5 6 7 8 Color Color Color Color NA

NA

NA

NA

$2.50 $1.85 $1.65 $1.50 $1.15 $1.05 $0.90 $0.80 $0.70

$2.70 $2.00 $1.85 $1.65 $1.25 $1.15 $1.00 $0.90 $0.80

NA $2.15 $1.95 $1.80 $1.35 $1.30 $1.10 $1.00 $0.90

NA $2.30 $2.10 $1.95 $1.40 $1.45 $1.30 $1.10 $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

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* Additional $25.00 setup charge Screen Charges Screen Type Spot Color Screens 4 Color/Simulated Process Screens Automatic Press Screens

Price $25.00 $35.00 $35.00

Notes: All screens are stored for one year from the last order. Film Charges Film Size 8.5 x 11 Positive 11 x 17 Positive 13 x 18.5 Positive

Price $10.00 per color $15.00 per color $20.00 per color

Notes: Call for a quote on larger film sizes. Art Charges Charge Type Separations Typesetting Custom Design

Price $60.00 per hour $35.00 per hour Call for quote

Notes: 1/2 hour minimum for typesetting. Scanning Charges Size 8.5 x 11 Original 11 x 17 Original Oversize

Price $15.00 $20.00 Call for quote

Notes: 1/2 hour minimum for typesetting. Page | 71

Miscellaneous Charges Item Flashcures Ink Changes PMS Match (Custom Ink)

Price $0.20 each $10 each $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 4-6 Days 2-3 Days 24 Hours Same Day

Price add 25% add 40% add 50% add 100%e

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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…

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