An alternative approach of Eco-friendly & Sustainable Printing of Cotton Fabrics Using Natural Resources.
Submitted by
Name Student ID
Md. Jashim Uddin 192003021
Sourav Santara 192003002
Foni Chandra Bala 192003007
Nurul Huda Miraj 192003022
Department of Textile Engineering
Green University of Bangladesh
January, 2024
An alternative approach of Eco-friendly & Sustainable Printing of Cotton Fabrics Using Natural Resources.
Submitted by
Name Student ID
Sourav Santara 192003002
Foni Chandra Bala 192003007
Md. Jashim Uddin 192003021
Nurul Huda Miraj 192003022
Department of Textile Engineering
GREEN UNIVERSITY OF BANGLADESH
Supervised by
Md. Mahbubur Rahman Assistant Professor
Department of Textile Engineering
A thesis submitted to the Department of Textile Engineering for the partial fulfillment of the degree of B.Sc. in Textile Engineering
January, 2024
Certificate
This is to certify that the following students have completed this thesis, titled " An alternative approach of Eco-friendly & Sustainable Printing of Cotton Fabrics Using Natural Resources." under my supervision and in partial fulfillment of the requirements for the Bachelor of Science in Textile Engineering degree at Green University of Bangladesh, November 2023 marked the date of the presentation.
Signature of the candidates
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Sourav Santara 192003002
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Foni Chandra Bala 192003007
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Md. Jashim Uddin 192003021
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Nurul Huda Miraj 192003022
Signature of supervisor
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Md. Mahbubur Rahman
Assistant Professor
Department of Textile Engineering Green University of Bangladesh
DEDICATION
This project is dedicated to every member of our group for their cooperation and sacrifice during the research for this paper. We are grateful to MD. MAHBUBUR RAHMAN, Assistant Professor in the Department of Textile Engineering at the Green University of Bangladesh in Purbachal, for his assistance in preparing the final document as well as for his support.
Abstract
This study uses orange peel as a natural thickener and powdered moringa leaves as a natural dye to investigate a sustainable and environmentally friendly method of textile printing on cotton fabric. The goal is to create a substitute technique that capitalises on the special qualities of these plant-based materials while lessening the environmental impact of traditional textile printing methods.
The natural dye extracted from moringa leaves offers a rich source of colorant compounds, such as chlorophyll and flavonoids, providing a vibrant and diverse color palette. Moringa leaves are known for their sustainable cultivation and accessibility, making them an ideal candidate for environmentally conscious textile applications.
The use of orange peel as a natural thickener aims to replace synthetic thickeners commonly employed in traditional textile printing. Orange peel contains natural polysaccharides and pectin, providing viscosity and adhesion properties essential for the printing process. This not only enhances the sustainability of the printing method but also explores the repurposing of agricultural by-products.
The experimental process involves the extraction of the moringa leaves dye through environmentally friendly methods, followed by the preparation of the orange peel thickener. The printing paste is then formulated by combining the natural dye and thickener in various ratios to optimize color intensity, print sharpness, and wash fastness.
The printed cotton fabric undergoes eco-friendly fixation methods, such as steaming or heat curing, ensuring the longevity of the prints without compromising sustainability. The study also investigates the influence of different mordants and pre-treatments on the color fastness and durability of the printed designs.
The results of this research contribute to the growing field of sustainable textile printing, offering an innovative solution that aligns with the principles of green chemistry and circular economy. The combination of moringa leaves powder and orange peel as natural dye and thickener, respectively, presents a promising avenue for the textile industry to reduce its environmental footprint and embrace a more sustainable future.
Acknowledgment
First, our gratefulness goes to Almighty ALLAH to give us the strength and ability to complete our Internship and this report. We would like to thank the people, who have made a significant contribution to make this report. Their guidelines, suggestions & inspiration helped us a lot.
I am grateful to my Supervisor Md. Mahbubur Rahman, Assistant Professor, Department of Textile Engineering, Faculty of Science and Engineering of the Green University of Bangladesh. My supervisor's deep knowledge and keen interest in textile dyeing and finishing influenced me to carry out Project (Thesis) work, his unlimited patience, scholarly direction, constant encouragement, energetic supervision, constructive criticism, valuable advice, and much lower reading. This Project (Thesis) has been completed by drafting and revising at all stages.
I would like to thank Prof. Dr. Nitai Chandra Sutradhar, Chairman, Department of Textile Engineering of the Green University of Bangladesh for his kind help in concluding my Project (Thesis) report.
Finally, I would like to thank our entire course partners at Green University of Bangladesh who participated in the discussion during the complete.
Table Of Contents
Abstract ………………………………………………….. V
Acknowledgment ………………………………………………….. VI
List of Figures ………………………………………………….
List of Tables …………………………………………………..
List of Acronyms ………………………………………………….
1. Introduction
………………………………………………….
01
1.1. Background of the Study …………………………………………………. 02
1.2. Aim & Objective of the Research …………………………………………………. 02
1.3. Research Question …………………………………………………. 03
1.4 Outline of the thesis ………………………………………………….. 04
2. Literature Review
…………………………………………………..
05
2.1 Introduction ………………………………………………….. 06
2.1.1 General Background ………………………………………………….. 06
2.2 Theoretical Aspects ………………………………………………….. 07
2.2.1 Natural Dyes …………………………………………………. 08
2.2.2 Natural Thickening Agents ………………………………………………….. 09
2.2.3 Advantages & Challenges ………………………………………………….. 10
2.2.4 Recent Development ………………………………………………….. 10
2.2.5 Summary …………………………………………………. 11
2.3 Comparison & Discussion …………………………………………………. 11
2.4 Summary ………………………………………………….. 14
3. Materials & Methods
…………………………………………………..
16
3.1 Introduction ………………………………………………….. 17
3.2 Materials & Equipment ………………………………………………….. 17
3.3 Screen Printing ………………………………………………….. 17
3.3.1 Working Procedure ………………………………………………….. 18
3.4 Design the Sketch ………………………………………………….. 18
3.5 Screen Preparation ………………………………………………….. 19
3.6 Printing Paste Making …………………………………………………. 19
3.6.1 Extract Pectin from Orange Peels ………………………………………………….. 19
3.6.2 Preparation of the Printing Paste …………………………………………………. 20
3.7 Working Procedure of Printing on Cotton
Fabric …………………………………………………. 21
3.8 Drying ………………………………………………….. 21
3.9 After Treatment …………………………………………………. 22
3.10 Summary ………………………………………………….. 23
4. Results & Discussions
………………………………………………
24
4.1 Introduction ……………………………………………… 25
4.2 Test Bed Implementation ……………………………………………… 25
4.2.1 Colour Fastness to Wash (ISO 105-C06
Method) ………………………………………………….. 26
4.2.2 Colour fastness to Wash Rating ………………………………………………….. 26
4.2.3 Colour Fastness to Perspiration (EN
ISO 105-E04 Method) …………………………………………………. 27
4.2.4 Colour fastness to Perspiration Rating ………………………………………………….. 27
4.2.5 Colour Fastness to Saliva (Chinese
Standard GB/T 18886-2002 Method) ………………………………………………….. 29
4.2.6 Colour fastness to Saliva Rating ………………………………………………….. 30
4.2.7 Colour Fastness to Light (ISO 105-
B02: 2012 Method) ………………………………………………….. 31
4.2.8 Findings of Light Fastness ………………………………………………….. 31
4.2.9 Colour Fastness to Rubbing ………………………………………………….. 31
4.2.10 Findings of Rubbing Fastness ………………………………………………….. 32
4.2.11 Colour Fastness to Water …………………………………………………. 32
4.2.12 Findings of Colour Fastness to Water …………………………………………………. 32
4.2.13 Bursting Strength Test ………………………………………………….. 33
4.2.14 FTIR Test ………………………………………………….. 34
4.2.15 Costing ………………………………………………….. 34
4.2.15 Results and Discussions …………………………………………………. 35
5. Conclusion
………………………………………………….
36
5.1 Concluding Remarks …………………………………………………. 37
5.2 Limitations …………………………………………………. 37
5.3 Recommendations for future study …………………………………………………. 38
5.4 Reference …………………………………………………. 40
List Of Figures
Figure 2.1:Chemical structure of moringa leave ………………………………………… 07
Figure:3.1: Flowchart of Screen-Printing Process ………………………………………… 18
Figure: 3.2 Design the Sketch ………………………………………… 18
Figure: 3.3: Screen Frame for printing ………………………………………… 19
Figure: 3.4: Extracting Pectin from Oranges Peels ………………………………………… 20
Figure: 3.5: Printing Paste ………………………………………… 20
Figure: 3.6: Applying Printing Paste on Cotton Fabric …………………………………………. 21
Figure: 3.7: Conveyer Dryer …………………………………………. 23
Figure: 4.1: Printing on Cotton Fabric …………………………………………. 25
Figure 4.2: Colour fastness to wash Test Report ( Natural
Thickener) …………………………………………. 42
Figure 4.3 : Colour fastness to wash Test Report
(Synthetic Thickener) ………………………………………….. 43
Figure 4.4: Colour fastness to Perspiration Test Report
(Natural thickener) ………………………………………….. 44
Figure 4.5: Colour fastness to Perspiration Test Report
( Synthetic thickener) ..…………………………………………. 45
Figure 4.6: Colour fastness to Saliva Test Report
( Natural thickener ………………………………………… 46
Figure 4.7: Colour fastness to Saliva Test Report
( Synthetic thickener) …………………………………………. 47
Figure 4.8: Colour fastness to Light Test Report (Natural
thickener) …………………………………………. 48
Figure 4.9: Colour fastness to Light Test Report
(Synthetic thickener) …………………………………………. 49
Figure 4.10: Colour fastness to Rubbing Test Report
( Natural thickener) …………………………………………. 50
Figure 4.11: Colour fastness to Rubbing Test Report
( Synthetic thickener) ………………………………………….. 51
Figure 4.12: Colour fastness to water Test Report
( Natural thickener) …………………………………………. 52
Figure 4.13: Colour fastness to water Test Report
(Synthetic thickener) …………………………………………. 53
Figure 4.14 : Bursting Strength ( Natural thickener) …………………………………………... 53
Figure 4.15 : Bursting Strength ( Synthetic thickener) …………………………………………... 54
Figure 4.16: FTIR Test ( Natural thickener) …………………………………………… 54
Figure 4.17: FTIR Test (Synthetic thickener) …………………………………………… 55
List Of Tables
4.1: Colour fastness to Wash Rating (Natural thickener) ………………………… 26
4.2: Colour fastness to Wash Rating (Synthetic thickener) ………………………… 26
4.3: Colour fastness to Perspiration Rating for Acid ( Natural thickener) ………………………… 27
4.4:Colour fastness to Perspiration Rating for Alkali ( Natural thickener) ………………………… 28
4.5 : Colour fastness to Perspiration Rating for Acid ( Synthetic thickener) ………………………… 28
4.6: Colour fastness to Perspiration Rating for Alkali ( Synthetic thickener) ………………………… 29
4.7: Colour fastness to Saliva Rating (Natural Thickener) ………………………… 30
4.8: Colour fastness to Saliva Rating (Synthetic Thickener) ………………………… 30
4.9: Colour fastness to Water Rating (Natural thickener) ………………………… 32
4.10: Colour fastness to Water Rating (Synthetic thickener) ………………………… 33
List of Acronyms
ISO ……………. International Organization For Standardization
EN ISO ……………. European Norm International Organization For Standardization
GB/T ……………. National Standard /Recommendation
Chapter: 1
Introduction
1.1. Background of the Study:
Introduction:
Textile printing is a centuries-old craft that has developed through time by combining different materials and techniques to produce designs that are both bright and long-lasting. There is an increasing interest in investigating natural dyes and thickeners for textile printing due to the increased focus on environmentally responsible methods. The use of orange peel as a natural thickening and moringa leaf powder as a natural dye for textile printing on cotton cloth is the main topic of this study. Screen printing is a novel application of stencilling techniques in which a coloured image or picture is created by the colour spreading through the gaps in the sheet that is placed on the fabric surface. The textile industry is notorious for its environmental impact, especially concerning water pollution and chemical usage in dyeing and printing processes. Shifting towards natural alternatives not only addresses these concerns but also aligns with the increasing consumer demand for sustainable and eco-friendly products. Moringa leaves, known for their rich colour properties, and orange peel, recognized for its thickening capabilities, present a promising combination for a greener textile printing approach. Moringa oleifera, commonly known as the drumstick tree, is renowned for its nutritional value. On the other hand, its leaves also contain natural dye chemicals that give textiles distinctive and vivid colours. In order to investigate the possibility of using powdered moringa leaves as a sustainable and affordable substitute for synthetic dyes, this study attempts to extract and optimise the dyeing process from the powder. The natural ingredient pectin, which is found in orange peel, can be employed in textile printing as a thickening agent. With its capacity to attach naturally occurring dyes to fabrics, pectin improves the endurance and colour retention of the dye. Orange peel is a byproduct of the citrus industry that is repurposed when used as a thickener, creating a sustainable element [1].
The use of non-toxic and eco-friendly natural dyes on textiles has become a matter of significant importance because of the increased environmental awareness in order to avoid some hazardous synthetic dyes. Natural dyes produce very uncommon, soothing and soft shades as compared to synthetic dyes. On the other hand, synthetic dyes are widely available at an economical price and produce a wide variety of colours; these dyes however produce skin allergy, toxic wastes and other harmfulness to human body. There are a small number of
companies that are known to produce natural dyes commercially. For example, de la Robbia, which began in 1992 in Milan, produces water extracts of natural dyes such as weld, chlorophyll, logwood, and cochineal under the Eco-Tex certifying system, and supplies the textile industry. In USA, Allegro Natural Dyes produces natural dyes under the Ecolour label for textile industry [2].
Printing is a form of dyeing in which the color is applied to specified area. The resulting multicolored patterns have attractive and artistic effects which enhance the value of fabric. To resist the coloring matter to the design area, it is pasted with thickening agent which may be natural or synthetic polymer. Plant products are attractive alternatives to synthetic products because of biocompatibility, low toxicity, environmental “friendliness” and low price compared to synthetic products. Natural products are also generally non-polluting renewable sources for the sustainable supply [3].
Thickening agents are an important component of any printing process. Thickeners are high- molecular-weight viscous chemicals that form a sticky paste with water, imparting stickiness and plasticity to the printing paste. These thickeners help to keep the design outlines from spreading even under high pressure. The primary function of thickeners in the textile industry is to retain or stick dye particles to the targeted portions of the fabric until the dye has transferred to the fabric surface and its fixation has been completed. A thickener adds viscosity to printing pastes, prevents early reactions between the print paste’s chemicals, and aids in the seizing of the print paste’s constituents on textiles. The thickener must be stable and suitable with the dyes and dyeing auxiliaries that are being employed [4].
There is a wide range of thickener materials available including alginates, natural vegetable gums, synthetic polymers, or even foams. The synthetic thickening agents used is generally extremely high-molecular weight polymers capable of developing a very high viscosity at a relatively low concentration. However, the paste or thickening agents are difficult to dispose off as it creates sedimentation in the water during its waste disposal. An increasing awareness about the realization that the intermediates and chemical used in synthetic dyes being toxic and hazardous to human health as well as to the environment, has led to the revival of interest in the non-toxic eco-friendly materials (Babel et al., 2015) [5].
Textile printing is very certainly as old as civilization itself. The textile sector has a significant impact on the economies of countries. The use of colour through dyeing and printing procedures has also played a significant part in all civilizations. The Colouration of fabric becomes a major process in the production of textile material. Textile printing is an old art form that dates back thousands of years. It is one of the most diverse and significant methods of
introducing colours and patterns to textile materials. It is also the process of mixing a design concept, one or more colours, and a substrate (usually textiles) with a natural or synthetic thickener, while applying a technique to correctly apply the colours. The main objective of printing is to create colourful patterns with sharp borders on textile fabrics without any dye spilling beyond the design motif's borders. Textile printing is defined as a regulated technique of colouring cloth in specific patterns or motifs by employing specialized printing techniques and machinery. It is also the process of creating a colour pattern or drawing on textile materials. The colour is linked to the fibre in properly printed fibres to protect against washing and crocking. Localized dyeing is a term used to describe textile printing. Unlike dyeing, the dye penetrates into specific regions of the substrate during printing [6].
1.2. Aim & Objective of the Research:
The aim of this research is to explore and develop an alternative method for textile printing on cotton fabric by utilizing moringa leaves powder as a natural dye and Orange Peel as a natural thickener. This study aims to investigate the feasibility, sustainability, and effectiveness of this eco-friendly approach compared to traditional textile printing methods.
Objectives of the study:
Our thesis work carried out to fulfil some objectives such as;
● To evaluate different types of fastness tests.
● To evaluate different types of physical properties of printed fabric.
● To determine the bonding between dye molecules & fiber polymers.
● Finally, to implement the sustainable and eco-friendly printing method using natural resources.
1.3. Research Question:
● How does the colour fastness of cotton fabric printed with moringa leaves powder compare to traditional synthetic dyes?
● What factors influence the dye absorption and fixation properties of moringa leaves powder on cotton fabric?
● What are the optimal concentrations of moringa leaves powder and Orange Peel in the printing paste for achieving vibrant and durable prints on cotton fabric?
● What is the environmental impact of using moringa leaves powder and Orange Peel in textile printing compared to conventional synthetic dyes and thickeners?
1.4 Outline of the thesis:
The introductory chapter 1 provides background information regarding the aim & objective of the research and research question. Chapter 2 highlights relevant literature review, in order to situate the forthcoming research within the extant theoretical paradigms. Chapter 3 provides explanation and justification for the research methodology & materials are used. Chapter 4 presents the descriptive statistics and the results of the statistical analysis, followed by a conclusion in Chapter 5.
Chapter 2 Literature Review
2.1 Introduction
2.1.1 General Background
Natural dyes are getting more and more popular as people become more conscious of the environmental issues that arise from using synthetic dyes. The World Bank estimates that synthetic textile dyes account for 17%–20% of industrial water pollution and that 40% of synthetic dyes include recognized carcinogens (Srivastava and Singh, 2019). Natural dyes were used in the past to colour textile items. Different methods and techniques were used by people from different parts of Bangladesh based on the local plants, products, and resources that were available. Various protocols and guidelines were adhered to based on the expertise and understanding of the artisans. Many industrial facilities, big and small, are now looking at practical ways to make eco-friendly products, as well as natural sources for natural colourants. This will attract consumers who care about the environment and aid in the production of eco- friendly textile products (Jyothi, 2008). Printing is well-known for its valuable addition to textiles. Natural dyes can create a vast array of colours through a mix-and-match method. Green-printed fabrics have the potential to expand the market for exports. Although the use of natural dyeing has grown among Bangladeshis, there is limited research and usage of natural dye for printing. Though printing can be finished using natural dyes, the use of synthetic thickening and binding agents will release pollutants. So, when making printing paste, natural thickening agents need to be carefully considered. Utilizing screen printing is common, and the majority of textile printing is done using this technique worldwide. The purpose of the project was to increase awareness of eco-textiles by printing cotton cloth by hand using natural dyes and natural thickeners [7]. One of the most polluting sectors in the world is the apparel manufacturing sector. Textile mills use 20,000 chemicals to make garments, many of which are known to cause cancer. These pollutants account for one-fifth of all industrial pollution worldwide. About 20% of the world's clean water contamination is said to be caused by the production of textiles, specifically by dyeing and finishing processes. These days, pollution of many kinds endangers both our environment and our lives. Businesses that deal with dye, printing, and finishing are alarmingly harming the environment. Colour may be detrimental to the environment and other living beings, despite its evident attractiveness. Different dyes and pigments are used to achieve the desired colour. In the past, natural dye was the main source
of dye for textiles. The need for coloured and printed fabrics is growing, and it appears that natural dyes are not up to the challenge. Consequently, natural dyes have been replaced on the market by synthetic dyes. Synthetic dyes are used in many aspects of textile printing and dyeing nowadays. Conversely, artificial colouring poses a serious threat to both human health and the environment. Many dyes and chemicals, including sulfides (indigo and azoic), metal compounds, acidic acids, nitrates, complex compounds, enzymes, and other auxiliary chemicals, can produce toxic textile effluent. Businesses engaged in printing and dyeing generate wastewater that contains a diverse range of dyes or other colouring agents. They are ideal for transporting across lakes and rivers because of their high solubility in water. They might develop into something even more dangerous and carcinogenic. Consequently, all life on Earth is poisoned by these hues. Therefore, the topic of "the printing of cotton fabric using natural dye and natural thickener" was chosen since it is urgently necessary to address the health and environmental risks associated with synthetic thickeners and dyes. The hunt for sustainable alternatives has been spurred by the negative environmental consequences of synthetic chemicals as well as the possible risks to customers and workers [8].
2.2 Theoretical Aspects:
The theoretical aspects of printing cotton with natural dye and natural thickener involve understanding the principles, processes, and advantages associated with this eco-friendly and sustainable approach. Natural dyes are derived from plant sources, insects, and minerals. Common sources include indigo, turmeric, madder, pomegranate, and onion skins. Natural dyes are generally considered environmentally friendly as they are derived from renewable resources and often biodegradable. Natural dyes may exhibit variations in color due to factors such as plant variation, climate, and processing methods. This can contribute to unique and aesthetically pleasing outcomes.
Natural thickeners are substances that help in the adherence of dye to fabric. Common sources include plant-based materials like guar gum, gum arabic, and starch. Natural thickeners are preferable in eco-friendly printing as they are biodegradable and often obtained from renewable resources. Thickeners assist in controlling the application of dye on the fabric, ensuring better precision and preventing bleeding or spreading.
Figure: Major chemical constituents present in Moringa Leaf extract
Literature Review
Textile printing is a technique that is becoming more and more common in the textile wet processing industry for all kinds of fibers, textiles, and apparel. Fundamentally, printing is a colouring technique in which the colours are applied to specific areas of the fabric instead of the entire surface. The fine and artistic colourful patterns that are produced raise the cloth's value over that of simply dyed cloth. Natural dyes have been the primary dye used on textiles since prehistoric times. It appears that natural dyes will not be enough to meet the increasing demand for fabrics with colours and prints. Thus, synthetic colours have taken on the role of natural dyes on the market.Conversely, artificial colouring poses a serious threat to both human health and the environment. Many dyes and chemicals, including sulfides (indigo and azoic), metal compounds, nitrates, complex compounds, enzymes, and other auxiliary chemicals, can produce toxic textile effluent. Businesses engaged in printing and dyeing generate wastewater that contains a diverse range of dyes or other colouring agents. They are ideal for transporting across lakes and rivers because of their high solubility in water. They might develop into something even more dangerous and carcinogenic [9].
Consequently, all life on Earth is poisoned by these hues. To confine the colouring material to the design area, it is pasted with the aid of a thickening agent. A good print requires accurate colour, a precise mark, levelness, dexterity, and economical use of dye. The kind of thickener that is utilized has an impact on each of these factors. Textile printing pastes have always contained thickeners as their primary component [8].
In the past, textile printing methods have frequently used synthetic thickeners and dyes. But there's a growing interest in looking at natural alternatives as people become more conscious of health issues and environmental sustainability. With an emphasis on their benefits, drawbacks, and most recent advancements, this literature review attempts to investigate the use of natural dyes and thickeners for textile printing on cotton cloth.
Natural dyes have thus been a part of human society for eons. Using natural colourants has many benefits, including being safe for skin contact, derived from renewable resources, simple and in harmony with nature, eco-friendly, and not requiring additional chemical reactions during production. They have lovely, deep tones, can be used as a health medicine, are easily biodegradable, just need mild reaction conditions to be extracted and used, and don't require any special upkeep. They can also be applied to a matrix using a basic dye house. Natural dyes are recommended for use on textile products. The following suggestions are in favor of the widespread use of natural dyes:Use with confidence, there is no discolouration, and there is no substantial environmental impact. It offers a vivid and unique colour palette, is eco-friendly, safe, colour-paying, renewable, etc. [12].
However, natural dyes can also have certain drawbacks, such as fading more quickly than synthetic dyes. Additionally, because the colour pay-off has a much softer effect, it might not be appropriate for every job. Availability: Since nature is unpredictable, some items may be out of season or unavailable at certain times.
However, there are a number of benefits to using natural thickeners when printing textiles. Initially, there are no health hazards to end consumers or textile workers as they are non-toxic. Furthermore, natural thickeners frequently show good compatibility with textile dyes, which improves the sharpness and colour yield. Furthermore, they have the ability to enhance the overall print quality and give the printed fabric a smooth texture. In addition, natural thickeners are inexpensive substitutes because they are readily available.
Unfortunately, using natural thickeners comes with certain drawbacks. As natural thickeners might vary from batch to batch, one such difficulty is maintaining a constant viscosity. Furthermore, variables including pH, temperature, and microbial activity might affect their
stability and shelf life. These difficulties need process optimization and the creation of suitable formulation strategies [13].
People employ a lot of synthetic colourants these days for a variety of practical purposes in modern culture. However, overuse of synthetic colours that are carcinogenic, non- biodegradable, and benzidine-like can have a negative impact on the environment and human health. While natural dyes don't have these negative consequences, their low yield and poor binding ability still need to be taken into consideration. Therefore, it is imperative to do additional studies and optimize the output of natural resources. From the perspective of Bangladesh, there are enough plants, minerals, and animals that can produce dyes, and by growing or processing them, significant quantities can be produced.It is possible to investigate the use of bacteria and insects in the manufacturing of colourants. Natural dyes are now employed in all industries where synthetic dyes play a significant role, and some of them replace synthetic dyes with the desired sustainability [14].
Enhancing the effectiveness of natural thickeners in textile printing has been the subject of recent research. Researchers have looked into the potential benefits of mixing several natural thickeners to increase stability and viscosity. In order to improve the stability and rheological characteristics of the natural thickeners, attempts have also been undertaken to alter them chemically or physically. Additionally, the application of nanotechnology in printing systems based on natural thickeners has demonstrated encouraging outcomes in terms of enhanced print endurance and quality.
An alternate method that adheres to sustainability and environmental friendliness is being explored through the use of natural dyes and thickeners in textile printing on cotton cloth. Natural dyes have benefits despite certain drawbacks, including being safe to use on skin, made from renewable resources, easy to use and in harmony with the environment, eco-friendly, not requiring additional chemical reactions during production, not having a significant impact on the environment, stain-free, providing a vibrant and distinctive colour scheme, renewable, colour pay-off, safe, etc. However, there are benefits to using natural thickeners as well, like reduced toxicity, better print quality, and affordability. Promising outcomes have been observed in recent developments centered around formulation processes, modification approaches, and uses of nanotechnology.To fully realize the potential of natural dyes and natural thickeners in textile printing, more study is required to solve issues related to performance.
2.2.1 Natural Dyes
Environmentally friendly and non-toxic bioresource goods are becoming more and more popular in many areas of our lives as a result of the public's increased awareness of eco-safety and health issues. Since ancient times, natural dyes derived from plants, insects, animals, and minerals have been used to colour textiles (Kadolph, 2008), as well as food ingredients (Dweck, 2002) and cosmetics (Frick, 2003). Natural dyes are sustainable, renewable bioresource products with minimal environmental impact. The usage of natural colourants drastically decreased with W.H. Perkin's discovery of the artificial colourant "mauve" in 1856, which led to a spike in the study, manufacture, and application of synthetic dyes (Holme, 2006). On the other hand, the use of some artificial dyes causes allergic, poisonous, carcinogenic, and hazardous reactions in addition to negative environmental repercussions.Natural dyes that are safe and non-toxic have resurfaced as a possible "green chemistry" option to supplement or replace synthetic dyes, at least in part in light of the increasing environmental and health issues around dyes (Yusuf et al., 2011; Mirjalili et al., 2011). Research and development on the manufacturing and use of natural dyes have recently regained momentum, likely as a result of the growing demand for more natural products that support a more natural lifestyle (Grifoni et al., 2009). According to Dawson (2009), the natural flora and wildlife are a source of fascination due to their wonderful colours, which draw humans towards a wide range of opportunities.Numerous plant and animal/insect sources have been identified for colour extraction (Guinot et al., 2006; Kumar and Sinha, 2004). These sources have found a wide range of applications, including textile dyeing (Samanta and Agarwal, 2009), Printing, functional finishing (Gupta et al., 2005), food colouration (Delgado-Vargas et al., 2000), cosmetics (Dweck, 2002), dye-sensitized solar cells (Hao et al., 2006), histological staining (Tousson and Al-Behbehani, 2011), pH indicator (Mishra et al., 2012), and various other application disciplines (Kushwandi et al., 2012; Zyoud et al., 2011) [10].
2.2.2 Natural Thickening Agents
As a major component of textile printing pastes, thickener was used. They have a high molecular weight, a high viscosity, a strong handling, a long hydration time compatible with other components of printing pulp, and they are colourless. You impart plasticity and adhesiveness to the printed paste so that patterns without bleeding are introduced. Printing
pastes primarily have the purpose of holding, attaching, and moving the teat onto the targeted cloth. Various well-known natural and synthetic thickeners were present. Natural thickeners are preferred to synthetic thickeners as they are comparatively cheap, easily available, and non- irritant in nature. Natural products are also generally non-polluting renewable sources for sustainable supply [11].
Eco-friendly substitutes for synthetic thickeners, such as natural thickeners made from plant sources, are gaining popularity. Biodegradability, renewable supply, and a lower environmental impact are some of the benefits of these natural thickeners. Alginate, starch, carrageenan, guar gum, and other natural materials have all been investigated for their thickening qualities. The thickeners found in nature are Roots, seeds, seaweeds, and plant exudates are examples of natural sources of polysaccharides that are frequently used. A few of them appear suitable for printing in a certain colour group, but they need to be chemically modified to meet printing standards. Biopolymers relying heavily on polysaccharides and hydroxyl groups and having a high molecular weight are natural thickening agents. Naturally occurring products are typically produced using renewable resources without causing pollution.Synthetic thickeners have certain disadvantages, such as high cost, toxicity, and environmental pollution.
2.3 Comparison & Discussions of this Project Work
The principle of "Printing on Cotton Fabric with Natural Dyes and Natural Thickener" was inspired by contrasting and discussing pertinent works in the field. By evaluating past studies and research, we can identify research gaps, highlight the uniqueness of this thesis work, and bolster the project's significance.
❖ Comparison with Conventional Synthetic Thickener
Generally synthetic thickeners are long-chain polymers with partly cross-linked carboxylic groups. When neutralized, the chemicals produce gels with a high viscosity that can expand considerably in water. Examples of synthetic polymers are polyvinyl alcohol, polyvinyl pyrrolidone, polyacrylic acid, and polyacrylamide. Lately, polyester printing has seen a rise in the use of synthetic thickeners. Especially when using disperse dyes, they have a low electrolyte finish. Synthetic thickeners provide a number of benefits, but they also have many
disadvantages, including high cost, toxicity, and particularly environmental damage. For this reason, the need for natural thickeners to lessen environmental contamination and promote eco- friendly textile printing is growing every day.
Conversely, natural thickeners are preferred over synthetic ones because to their lower cost, greater availability, and environmental friendliness. Natural thickeners are often renewable, non-polluting materials that have an endless shelf life.
By comparing our work to these research we highlight the need for developing an environmentally friendly alternative that eliminates health hazards and decreases pollution to the environment.
❖ Reason for using Moringa Leaf Powder as a Natural Dye:
The motivation for using Moringa Leaf Powder as a Natural dye in textile printing because it has various environmental & health benefits.It is effective against a wide range of bacteria and fungi. It is a strong antioxidant effective against prostate and skin cancers, an anti tumor and anti aging substance.Moringa leaf powder is used for polluted water purification.If we dyed/printing of cotton fabric using moringa leaf powder it will reduce environmental pollution especially water pollution.So we can say printing of cotton fabric using moringa leaf tree is environment friendly process.Due to an abundance of antioxidants and nutrients, moringa leaves improve the health and appearance of skin, The antioxidants present in moringa leaves reduce the appearance of fine lines and wrinkles on the skin.If we dyed or printed the cotton fabric using moringa leaf powder it creates bonds with cellulose and provides a more vibrant green colour. It does not contain any harmful ingredients & is also environmentally friendly. It also increases the sun protective properties of fabric.The another reason for choosing Moringa Leaf Powder as a Natural Dye is because It's a natural dye and collected from natural sources very easily.Also It's provides good colour fastness to washing, ligh, perspiration, rubbing, pilling and others important properties as an alternative of conventional synthetic dyes.
By discussing and referencing these works, we justify our motivation to specifically explore the uniqueness of Moringa Leaf Powder as a natural dye showcasing its potential as an eco- friendly natural dye for textile printing [16,17].
❖ Research Gap:
We can determine the research gap that this thesis seeks to fill by thoroughly comparing and discussing related papers. We employ moringa leaf powder as a natural dye because it has several advantages for the environment and human health, in addition to offering excellent properties that work wonders for textile printing. I believe it will be an ideal replacement for harmful synthetic dyes. It is regrettable, however, that no study papers exist in which the researchers employed moringa leaf powder as a natural dye for the textile dyeing and printing process. However, if you're looking for a natural dye substitute instead of synthetic ones, try Moringa leaf powder. It appears to be a significant research deficit.For this reason, we feel compelled to utilize moringa leaf powder as a natural dye. In this instance, we will demonstrate how we can utilize moringa leaf powder as a natural dye in an eco-friendly printing process, protecting the environment from the harmful impacts of synthetic dyes.
On the other hand, This gap is filled by the particular use of natural thickeners for screen printing, which uses orange peels as a sustainable supply. This thesis work's significance and innovation are justified by the project's distinctiveness, which results from combining eco- friendliness, waste utilization, and increased textile performance.
2.4 Summary
The project's goal is to create a sustainable and environmentally friendly method of textile printing using natural dye and natural thickener. In lieu of synthetic dye, we utilize moringa leaf powder, which is derived from natural sources. The use of moringa leaf powder as a natural dye in textile printing is encouraged by its many health & environmental advantages. As an alternative to traditional synthetic dyes, it also offers good colour fastness against washing, light, perspiration, rubbing, pilling, and other significant qualities. The particular justification for utilizing moringa leaf powder is that it is non-toxic, environmentally friendly, and has some distinctive qualities that are very beneficial to both the environment and human health, such as its ability to effectively combat a variety of germs and fungi. Moringa leaf powder is used to purify contaminated water and can also be used to dye or print cotton fabrics, which will reduce environmental pollution, particularly that caused by water pollution. It is a potent antioxidant that is effective against skin and prostate cancer. It also has anti-tumor and anti-aging
properties. The skin's health and look are enhanced by moringa leaves' wealth of minerals and antioxidants, which also lessen the appearance of wrinkles and fine lines on the skin.It is safe for the environment and doesn't include any hazardous substances.
Paste thickening by utilizing pectin extracted from fruit peels, specifically sweet orange peels.Thickening agents used in traditional textile pastes are frequently synthetic compounds, which can be harmful to the environment and human health. In order to address the waste produced by the food business as well as the ecological impact, this research aims to investigate the potential of pectin as a naturally occurring thickening agent extracted from easily accessible fruit peels.
The project begins with a thorough literature review, which examines the shortcomings of conventional dyes and conventional thickeners, highlights the shift towards sustainability in the textiles and garments industry, and explores the utilization of natural dyes & natural thickeners. The review also covers the extraction of pectin from fruit peels and its application in textile paste thickening, identifying the research gap and rationale for the proposed project.
The methodology section describes how to make printing paste with natural dye and thickener, specifically how to extract pectin from sweet orange peels and make a thickener that is based on pectin and can be used for screen printing. In order to enhance pectin yield and quality, a variety of extraction procedures are investigated and refined. During the experimental procedures, the formulated pectin-based thickener and natural dyes are tested and evaluated for their performance. This includes print sharpness, colour fastness, wash durability, light fastness, rubbing fastness, pilling test, saliva test, perspiration test, K/S value test, and considerations for eco-friendliness, compatibility, and versatility.
The project emphasizes the benefits of using Moringa Leaf Powder as a natural dye and pectin extracted from fruit peels as a natural thickener for textile paste. It reduces the reliance on synthetic chemicals, minimizes environmental pollution, and promotes a circular economy by utilizing Moringa Leaf Powder & fruit peels waste. The Moringa Leaf Powder & pectin-based thickener aims to enhance the print quality, durability, and eco-friendliness of screen-printing processes in the garments industry.
The industrial scale implementation phase explores the potential for scaling up the use of Moringa Leaf Powder as a Natural Dye & natural thickener into existing screen-printing practices. Protocols, guidelines, and cost-effectiveness analyses are developed to facilitate the commercial viability of the project.
In summary, the initiative "Printing of Cotton Fabric with Natural Dye and Natural Thickener" offers the textile and apparel industries an environmentally responsible and sustainable alternative. It uses sweet orange peels and moringa leaf powder to maximize waste, addresses the shortcomings of traditional synthetic dyes and thickeners, and supports the advancement of environmentally beneficial behaviors. The project's results are intended to raise industry standards for environmental responsibility and performance by enhancing the sustainability and performance of screen-printing procedures.
Chapter 3 Materials & Methods
3.1 Introduction:
This portion provides a step-by-step guide through the complete process, including everything from sketch design to printing on cotton fabric and finishing the printed fabric with an after- treatment process. To give a full grasp of the procedure, each stage will be thoroughly discussed including fabric selection,thickener preparation, print paste preparation to final output. Direct boiling and microwave heating are the two most often utilized techniques for pectin extraction. A good pectin yield can be obtained using the traditional method of direct boiling, which takes about two hours to complete. The extracted pectin experiences thermal deterioration as a result of a comparatively lengthy direct heating duration. In contrast, extracting a sufficient amount of pectin via microwave heating takes about fifteen minutes.Methods employing microwave heating are generally more effective in terms of pectin yield and give better quality products as well.
3.2 Materials & Equipment
Sweet Orange as a thickener, Moringa Leaf Powder as a dye, Single Jersey Cotton Fabric (140 GSM), Soda Ash, Urea, Sodium Alginate, Hydrochloric Acid, Spoon, Mixing Machine, Digital Hot Plate, Steel Strainer, Water, Beaker, Balance Scales, Graduated Cylinder, Pot, Screen Frame, Iron, Air Dryer, Graduated Pipet, Squeegee & knife.
3.3 Screen Printing
The most widely used printing technique on an industrial scale is screen printing. Screen printing comes in two primary varieties: rotary screen printing and flat-bed screen printing. Automatic or manual flat-bed screen printing is available. The most productive printing method is rotary screen printing, which is typically automatic. In screen printing, the print paste is applied to the fabric by passing it through a mesh or screen that, depending on the intended print pattern, has some open and some blocked areas. The pattern of the screen's open sections determines the print design that is produced on the fabric. A woven mesh is used in screen printing, a printing method, to support an ink-blocking stencil and produce the desired image. With the use of picture to video technology, the complex process of screen printing can be vividly captured and shared, giving viewers a greater understanding of the creativity and skill involved. Using a screen as a stencil to apply layers of ink to the printing surface is an ancient technique known as screen printing. To get the final look, each hue that is used in the design, one at a time, need its own screen. Different kinds of printing screens are required for this [18].
3.3.1 Working Procedure/Flow Chart of Screen Printing on Cotton Fabric
Figure: 3.1: Flowchart of Screen-Printing Process
3.4 Design the Sketch
Initially, under the guidance of our supervisor, we created the design for the cotton fabric.
Figure: 3.2 Design the Sketch
3.2 Selection of Fabric:
The study was carried out during 2023. Cotton has good weaving & knitting qualities, high tensile strength, good absorption, low cost, above all abundant usage. It is the commonly used fabric for most of the textile products and was selected for the study. We use single jersey white scoured & bleached cotton fabric for this experiment & Its GSM is 140.
3.5 Screen Preparation
At the industrial level, screen printing is the most widely used printing technique. The two primary methods of screen printing are rotary screen printing and flat-bed screen printing. The flat-bed screen printing process can be automated or manual. The highest printing productivity is achieved by rotary screen printing, which is often automatic. In order to achieve the desired print pattern, screen printing entails applying print paste to cloth through a mesh or screen that has some open and some blocked areas. The screen's open sections determine the pattern of the print design that is produced on the fabric. the design, we removed the screen and rinse it with water to ensure a clean and clear stencil. Finally, we let the screen dry completely before using it for printing.
Figure: 3.3: Screen Frame for printing
3.6 Printing Paste Making
3.6.1 Extract Pectin from Orange Peels
At this project, we use natural thickener as an alternative to synthetic thickener. So we start by removing the peels from the sweet orange. Sweet orange peels were cut into small pieces & a soft white substance inside the skin of citrus fruits were removed from the peels. The peels cut
more into smaller pieces & then washed with a large volume of water to remove dust & dirt. Then in a beaker 500 mL distilled water is taken & put in a pot. Afterwards, for making 100 gm paste, 170 g peel pieces were weighed and put them into a pot & 4.5 mL hydrochloric acid was used to achieve a pH of 1.32. After that, the pot was put in a digital hot plate for boiling at room temperature of 30℃ for 45 minutes. The peels were stirred during boiling with a spoon continuously. Then during boiling to make a good mesh a mixing machine is used for mix the peels more. Its residues were then removed by steel strainer by filtering them through a fine mesh. After that, the white paste was kept for cooling for 1.20 hour.
Figure: 3.4: Extracting Pectin from Oranges Peels
3.6.2 Preparation of the Printing Paste
In this experiment we prepared printing paste two times. At first, we prepared printing paste by using natural dye & natural thickener & other auxiliary chemicals & at the 2nd step we prepared printing paste using natural dye & synthetic thickener. The recipe for the preparation of printing paste using natural sources are: Moringa Leaf Powder 10gm/l, Orange Peel 50 gm/ l, soda ash 15 gm/l, & urea 10 gm/L. On the other hand, the recipe for the preparation of printing paste using natural dye & synthetic thickener are: Moringa Leaf Powder 10 gm/l, Sodium Alginate 20gm /l, soda ash 15gm/ l, urea 10 gm/l for 100 gm paste by measuring in balance weight. For this whole process we have added as much water as required. After adding all the chemicals, we stirred & gave the paste a very good mix. Then kept the paste for 1.20 hours so that all the chemical mixed properly & ready for printed on cotton fabric.
Figure: 3.5: Printing Paste
3.7 Working Procedure of Printing on Cotton Fabric
Using the pattern as a guide, at first we cut a single jersey cotton fabric into tiny pieces. To make sure the cotton fabric was smooth, we ironed it after that. Subsequently, we positioned a double cotton cloth beneath the ready-made screen frame, securing it firmly to avoid any shifting. Near one end of the stencil, we put the printing paste onto the screen. We forced the paste through the stencil's open sections and onto the printing surface below by pulling it across the screen with a squeezy. To guarantee that the paste was distributed evenly, the squeegee was held at a 45-degree angle.
After loading the paste, we evenly applied pressure while squeezing the screen. This produced the printed design by forcing the paste through the stencil's open sections and onto the cotton fabric underneath. In order to get the correct opacity and colour intensity, we made several passes. We lifted the screen and took the cotton cloth off the printing surface once a print was finished. The screen needs to be properly cleaned to get rid of any leftover paste that might have blocked the design in order to be ready for the next printing. Every cotton fabric that needs to be printed went through this procedure again.
Figure: 3.6: Applying Printing Paste on Cotton Fabric
3.8 Drying
The process of drying involves bringing a commodity's moisture content down to a level appropriate for processing, storage, or consumption. The goals of drying differ depending on the commodity. For instance, broadacre grains are usually dried to provide a safe moisture content for silo storage for an extended period of time or to reach a marketable moisture content. Other commodities, such as hemp seed, must be dried right away to maintain product quality. The commodity being dried as well as the surrounding environmental factors affect the drying process's volumes and rates. The drying technique may have a significant impact on the drying rate as well [19].
The printed fabric must be dried after printing on the cotton fabric. We started by removing extra moisture with an air dryer to speed up the drying process. The cloth was then hung to allow for proper air circulation on a drying rack or line. Using this technique, the printed fabric may naturally dry outside. This method worked well for this small-scale printing project because we had no timing constraints.
3.9 After Treatment/Curing of the Printed Fabric
In the textile industry, curing is a procedure used to enhance a material's qualities and attributes. Usually, the procedure is applied to textiles that have been treated with a polymer or another chemical to give them a particular property, such flame retardancy or water resistance.
The coated cloth is cured by heating it to a high temperature for a predetermined period of time. The type of coating utilized and the intended result determine the temperature and length of the curing procedure. Typically, the cloth is heated to temperatures between 120 and 220 degrees Celsius in an oven or other specialized apparatus. There are various uses for the curing process.
To ensure that the polymer or chemical coating sticks to the fabric surface effectively, it first aids in setting the coating. As a result, the finish becomes more resilient to deterioration, washing, and other stresses.Second, curing can enhance the fabric's overall functionality. For instance, a waterproofing chemical coating on fabric could not work completely until it has cured. A stronger barrier against water is produced by the curing process's heat, which activates the coating's waterproofing qualities [20].
Once the cotton fabric has dried, we send the printed fabric to the clothing department for further processing. This stage is required to guarantee that the print is completely fixed onto the fabric.
The printed fabric is fed through a dryer after being precisely placed on a conveyor belt. The conveyor drier has heating components that use hot air or infrared radiation to produce controlled heat. To guarantee that the print cures properly and doesn't harm the cloth, the heat is carefully controlled.
The heat from the conveyor drier causes the print to cure and fuse with the fabric fibers as the cloth passes through it. Several factors, such as the type of dye used, the fabric's specific composition, and other considerations, might affect the specific heat set temperature for cotton fabric in a conveyor dryer. Cotton cloth is what we used for this project, and the ideal heat setting temperature for it is usually between 160°C and 193°C, run for 30 to 60 seconds.
Through the process of curing, the design is firmly fixed into the cloth, increasing its resistance to rubbing, fading, and washing. In the conveyor drier, the cloth goes through a cooling phase after the curing process. This stage of cooling serves.
Figure: 3.7: Conveyer Dryer
3.10 Summary
The chapter describes the steps and techniques used in this environmentally responsible type of textile printing. The main emphasis is on screen printing, a popular method for transferring graphics onto textiles. In this instance, the textile paste is thickened using pectin, a natural thickener made from the peels of sweet orange fruits, which aids in improving control and accuracy throughout the printing process. A detailed explanation of the steps and techniques used in this approach is provided. Using an appropriate extraction technique, pectin is first extracted from the skins of sweet orange fruits. The textile paste uses the extracted pectin as a thickening agent. The extracted pectin is mixed with other essential ingredients such water, urea, soda ash, and binders to create the textile paste, which is covered in this chapter. In order to obtain the necessary consistency and viscosity for screen printing, the paste is made. In addition, the chapter offers insights into the printing process. The screen preparation is covered. Through the use of a screen and the proper printing equipment, the textile pastes containing the thickener based on pectin are applied to the cloth.Also covered are the steps involved in drying and curing the printed fabric. Usually, the printed fabric is run through a conveyor drier, which applies regulated heat to the fabric to cure and set the printed design. Specific drying and curing parameters, like temperature and duration, are established according to the kind of fabric and ink/dye combination.Overall, the chapter highlights the utilization of pectin extracted from sweet orange fruit peels as a natural thickener in screen printing for textile paste thickening. It provides detailed methods and procedures for incorporating this eco-friendly approach into the textile printing process, offering a sustainable alternative to conventional thickening agents.
Chapter: 4 Results & Discussions
4.1 Introduction:
This Project focuses on the performance assessment of screen printing using an environment friendly natural dye prepared from Moringa Leaf & natural thickener derived from pectin extracted from sweet orange fruit peels. The primary goal of this research is to establish an eco- friendly & sustainable method of textile Printing. Normally, Screen printing is a popular & convenient technique for applying designs onto fabrics, and the utilization of natural dye & natural Thickeners offer an alternative to conventional synthetic dye & synthetic thickening agents. By extracting pectin from sweet orange fruit peels, a renewable and biodegradable resource, this research justify the efficiency and effectiveness of Moringa Leaf Powder as a natural dye & the efficiency of Orange peel as a thickening agent. This section examines the preparation of Printing paste using Natural dye & thickening agent using Orange peel, the printing process, and the curing of the printed fabric, aiming to assess the performance and viability of this eco-friendly approach in the textile printing industry.
Figure: 4.1: Printing on Cotton Fabric
4.2 Test Bed Implementation/Conducting Experiments:
After the completion of the printing process when the printed fabric is fully ready, we have run some chemical & physical tests. The objective of this test is to investigate how much the printing colour changes, fades & transfers. For sucurecessful completion of this project it is necessary to see the printed fabric’s physical & chemical properties. So, we have run 8 tests on the printed fabric those are given below:
4.2.1 Colour Fastness to Wash (ISO 105-C06 Method) :
This experiment was carried out in our university's wet processing lab. This experiment's primary objective was to measure the amount of fading that dyes or pigments showed over time,especially after repeated washings. Determining the quality of the dye, pigment, and thickener used required verifying the printed fabric's washability. The experiment's result serves as the first prerequisite, pointing us in the direction of subsequent procedures involving further testing.
4.2.2 Colour fastness to Wash Rating:
Table 4.1: Colour fastness to Wash Rating
Sample Staining Color Change
Wool Acrylic Polyester Nylon Cotton Acctatc Cotton
Natural 4/5 4/5 4/5 4/5 4/5 4/5 3
Synthetic 4/5 4/5 4/5 4/5 4/5 4/5 4
The positive findings of the colour fastness to wash test show that the colour of the cloth did not noticeably fade or transfer while being washed. As per the wash fastness assessment, the printing has exceptional colour fastness against washing, receiving a 3 for colour change. This represents an excellent degree of resistance to colour fading or modification based on the grading system. Additionally, when multi-fiber testing is taken into account, the printing shows an outstanding 4 out of 5 for each of the six fabrics that were tested. The fabric's dye or pigment showed good washing resistance, meaning it could tolerate several washes without significantly losing colour.
4.2.3 Colour Fastness to Perspiration (EN ISO 105-E04 Method):
Colour fastness against perspiration refers to how well a cloth holds up against colour fading or transfer when it comes into contact with human perspiration. Sweat can contain a range of chemicals that, when combined with dyes or other textiles used in clothing, can cause skin irritation, rashes, and red pimples in addition to causing colour fading in garments. Standard test procedures, which entail exposing a textile sample to artificial sweat for a predetermined amount of time, are typically used to quantify colour fastness to perspiration. Artificial sweating involves the use of certain substances. The list of all these compounds' names is provided below. Next, the amount of colour loss or transfer is evaluated. This test makes use of a respirometer. Results for colour fastness to perspiration are usually given on a scale of 1 to 5, where higher numbers correspond to better colour fastness.
4.2.4 Colour fastness to Perspiration Rating:
Table 4.2: Colour fastness to Perspiration Rating for Acid
Table 4.3: Colour fastness to Perspiration Rating for Alkali
These tables display the staining ratings for perspiration fastness for various fabrics treated with acid and alkali. Every type of fabric, including cotton, wool, acrylic, polyester, nylon, and acetate, has a score of three out of five. A moderate to fair degree of resistance to colour stains under acidic or alkaline circumstances is indicated by a sweat fastness score of 3. Under such circumstances, fabrics assigned this classification should be able to fairly maintain their original colour and appearance. These findings imply that when exposed to acids or alkalis, the tested fabrics perform similarly in terms of sweat fastness, independent of their composition.
4.2.5 Colour Fastness to Saliva (Chinese Standard GB/T 18886-2002 Method):
The colour fastness to saliva is an important aspect to consider when evaluating the performance of printed fabrics. Basically this test is very important for kids iteam.Saliva, being a common substance that may come into contact with textiles, can potentially affect the colour stability and quality of the printed designs. Therefore, assessing the colour fastness to saliva helps determine the fabric's ability to retain its colour and resist any potential colour transfer or degradation when exposed to saliva. This experiment provides valuable insights into the durability and suitability of the printed fabrics for practical use and everyday scenarios where contact with saliva may occur.
4.2.6 Colour fastness to Saliva Rating:
Table 4.4: Colour fastness to Saliva Rating :
Sample Staining
Wool Acrylic Polyester Nylon Cotton Acctatc
Natural
3
3
3
3
3
3
Synthetic
4 4 4 4 4 4
All fabrics, including wool, acrylic, polyester, nylon, cotton, and acetate, have received a score of 3 out of 5 for saliva fastness. A saliva fastness score of 3 suggests that the fabrics exhibit moderate to good resistance to colour fading or change when exposed to saliva. This indicates that the fabrics can retain their original colour and appearance well, even when they come into contact with saliva. These results imply that the tested fabrics have been treated or dyed using methods that provide a consistent level of resistance to colour alteration in the presence of saliva.
4.2.7 Colour Fastness to Light (ISO 105-B02: 2012 Method):
The influence of light on the fading of dyes is a complex phenomenon influenced by many variables, making predictive tests for colour fastness to light difficult to establish. The final outcome is affected by a number of factors, including the amount of shade, the presence of undesirable chemicals, humidity, temperature, the presence of air pollutants, and the spectral quality and intensity of the incident light. On the market, a wide variety of light fastness tests are available. Every person has benefits and drawbacks. Though carbon arc and ambient sunlight are also employed, xenon arc and MBTF lamps are the most often utilized.
4.2.8 Findings of Light Fastness:
The light fastness test report shows a before shade & exposed shade sample, where the printed fabric colour fastness to light shows a 4 out of 8 grading point by light fastness grading scale which range is 1-8. So, grading of 4 indicates a moderate level of resistance to fading or change in colour when exposed to light. This means that the tested sample has a moderate ability to retain its original colour under light exposure. While it is not the highest level of colour fastness, it still demonstrates a satisfactory performance in terms of maintaining its colour integrity.
4.2.9 Colour Fastness to Rubbing:
Colour Fastness to Rubbing refers to ability to sustain original colour of dyed fabrics when rubbing. Dry rubbing colour fastness refers to the situation of fading and staining of dyed fabric when rubbed with standard white cloth. Wet rubbing colour fastness refers to the situation of fading and staining of dyed fabric when rubbed with standard white cloth which water content is 95% to 105%. The evaluation of Rubbing colour fastness depends on the degree of staining of white cloth. The white cloth is compared to staining sample cards to measure staining fastness after testing. Rubbing colour fastness, same as washing colour fastness, divided into 5 grades, among which grade 5 is the best and grade 1 is the worst. The friction fading of fabric is to make dye fall off caused by friction. Wet rubbing is influenced by both external force and water, so it is about one level lower than dry rubbing.
4.2.10 Findings of Rubbing Fastness:
The colour fastness to rubbing grading of the printed fabric is 4/5 for dry & 4/4 for wet rubbing which indicates a moderate to good level of resistance to colour transfer when the sample is subjected to rubbing or friction. A grade of 4/5 for dry rubbing suggests that the printed fabric exhibits a high level of colour fastness, meaning that it resists colour transfer or fading when subjected to rubbing in a dry condition. This indicates that the printed design or colour on the fabric remains intact and does not easily transfer to other surfaces or fade during normal wear and use. However, the grade of 4 for wet rubbing implies that the fabric's colour fastness is excellent. When it comes into contact with body. Overall, the results suggest that the printed fabric has a satisfactory level of colour fastness to rubbing, both in dry and wet conditions.
Table 4.4: Colour fastness to Rubbing rating:
4.2.11 Colour Fastness to Water:
The term "colour fastness to water" refers to the ability of textile yarns and fabrics that have been dyed, printed, or otherwise coloured to withstand water. This test is conducted using ISO 105 E01, also known as AATCC 107-1991. Using this procedure, you may determine how much cross-staining might result from leaving damp clothes in contact with one another. The test evaluates a coloured textile's ability to withstand water. The sample is placed in a unique holding device at a certain pressure after being completely wetted in water that meets ISO 105 E01 specifications and coming into contact with a piece of multi fiber strip.The sample and multi fiber strip are then taken out of the device and dried separately for four hours at 37°C. At that point, the gray scale ratings for the sample's colour change and the multifiber strip's fiber staining are calculated. These experiments use distilled water because tap water's composition varies.
4.2.12 Findings of Colour Fastness to Water:
Table 4.5: Colour fastness to Water Rating:
Sample Staining
Wool Acrylic Polyester Nylon Cotton Acctatc
Natural
4
4
4
4
4
4
Synthetic 4 4 4 4 4 4
The colour fastness to water grading of the printed fabric is ⅘ which indicates very good level of resistance to colour transfer or bleeding when the sample is subjected to water. A grade of
⅘ suggests that the printed fabric exhibits a high level of colour fastness, meaning that it resists colour transfer or fading when subjected to water.. This indicates that the printed design or colour on the fabric remains intact and does not easily transfer to other surfaces or fade in wet condition. However, the grade of 4 implies that the fabric's colour fastness to water is excellent.
4.2.13 Bursting Strength Test:
The bursting strength of knitted fabrics is the minimum amount of force that is required to break the fabric. Whenever a fabric is subjected to an extreme force or pressure from the vertical direction, it is called bursting. The force that is required to rupture the fabric in this scenario is called bursting strength [21].
In our clothes, part of the package's elbows, knees, and other locations, over time these parts of the textile will be deformed, and knitted pants’ knee location is easy to wear out. With time, there will occasionally be toes exposed to the outside world around our socks. This is due to the fact that these textile sections undergo continuous exposure to a concentrated force from the top, which causes them to expand and burst prematurely.We must use specialized equipment to test the force that knitted fabric is subjected to when it expands to rupture, known as the top breaking strength or bursting strength of the instrument called the Bursting Strength Tester, because testing knitted fabric only at the tensile strength level does not reflect this top breaking strength.Additionally, we should use a burst strength tester to test the aforementioned textiles to make sure the burst strength satisfies the necessary standards before making final items like truck covers, tarpaulins, trampoline fabrics, swimming pool covers, and compactor curtains.An essential physical measure of a knitted fabric's durability or quality is its bursting strength [22].
4.2.14 FTIR Test:
FTIR analysis aids in clients' understanding of goods and materials. Our professionals use FTIR to identify chemical compounds in consumer items, paints, polymers, coatings, pharmaceuticals, foods, and other products. They provide analytical testing, sample screens, profiles, and data interpretation on a global basis. FTIR-capable laboratories can be found all over the Intertek global laboratory network. FTIR provides both qualitative and quantitative examinations for both inorganic and organic materials. By creating an infrared absorption spectrum, Fourier transform infrared spectroscopy (FTIR) can determine the chemical bonds within a molecule. The spectra yield a sample profile, a unique molecular fingerprint that is useful for screening and scanning materials for a variety of elements. FTIR is a useful analytical tool for analyzing covalent bonding information and identifying functional groups [23].
4.2.15 Costing:
Approximate cost of screen printing on cotton fabric by pigment & synthetic thickener in Bangladesh cost about 25-40 taka per kg for each print.
Costing of this Experiment Printing:
For making 1 kg paste it took, Cotton fabric cost-800 taka
Natural thickener (Sweet orange peels) cost: 300 taka Synthetic Thickener (Sodium Alginate): 250 gm 150 taka Moringa Leaf Powder Cost: 110 taka
Hydrochloric Acid- For 50 gm 100 taka Urea-For 30 gm 30 taka
Soda Ash-For 200 gm: 20 taka Frame cost: 700 taka
Total cost = (800 +300+ 150+110+100+30+20+700)Taka
Total cost = 2210 taka/kg
Let’s say, for each fabric paste/colour consumption rate is 10 grams per print So,
Number of Prints = (1 kg of paste / paste/colour consumption per print) Number of Prints = (1000 grams / 10 grams) = 100 print
So, for per print it takes=2210/100 Taka
=22.1Taka
Therefore, the total cost for the printing, excluding labor & design cost is 2210 taka & per print
22.1 taka.
4.2.16 Results and Discussions:
On the basis of the performance analysis, The printed fabric provides very good light fastness, wash fastness, water fastness & rubbing fastness properties & moderate perspiration fastness, saliva fastness properties. This means that the colours on the fabric are highly resistant to fading or bleeding during washing, exposure to light,water & rubbing.Even the colours on the fabric are moderate resistance to fading or bleeding during contact with saliva, and perspiration. In terms of light fastness, the fabric shows good resistance to colour fading when exposed to light.While it may experience some minimal fading over time, it remains within an acceptable range.
However, when it comes to rubbing fastness dry & wet condition, the fabric displays a very good level of resistance to colour transfer when rubbed.While there might be some slight colour transfer under wet rubbing conditions, it is still considered satisfactory.
Overall, the printed fabric appears to have excellent durability and colour fastness properties in various conditions, making it suitable for a wide range of applications.
Chapter 05 Conclusion
5.1 Concluding Remarks
This project investigates the use & outcome of orange peel as a natural thickening agent and moringa leaf powder as an environmentally safe natural dye for screen printing. In addition to comparing the results produced when using natural dye and natural thickener with those obtained when using synthetic dye and synthetic thickener, the work focuses on finding a sustainable substitute for the synthetic dye and thickeners that are frequently used in textile printing processes. The project starts out by outlining the environmental risks connected to synthetic thickeners and dyes, as well as the possible uses of orange peel and moringa leaf powder as natural, eco-friendly dyes and natural, biodegradable substitutes.
Consequently, the procedure for removing pectin from orange peels is explained, focusing on the use of eco-friendly methods. Because it has exceptional properties and a few unique attributes that make it stand out in the textile printing process, moringa leaf powder is an ideal replacement for synthetic dye. This project will assist you in comprehending the motivation behind using Moringa leaf powder as a synthetic dye alternative as well as the findings of the research. Pectin obtained from orange peel is then combined into a paste for use in textile printing, and its ability to thicken is assessed.
The research results and observations demonstrate that the viscosity and rheological attributes of the pectin-based paste are appropriate for screen printing applications & Moringa Leaf Powder is an alternative dye from natural source for printing Cotton fabric instead of Synthetic dye. Furthermore, the printed fabric samples exhibit adequate colour fastness, clear and sharp visuals, high printability, and other desirable attributes. The completion of the project emphasizes the potential of natural thickener (orange peel) and natural dye (moringa leaf powder) as sustainable thickeners and dyes for textile printing, providing an eco-friendly option for the industry while diminishing its ecological influence.
5.2 Limitations
● When we first started this project, we experimented with different kinds of fruit peels and aloe vera paste as a thickening agent. But, we ran into trouble because the peels weren't sticking to the fabric well.
● We found problems like colour fading or stains when we examined the wash fastness, which is why it took us six weeks to complete this experiment .
● Nowadays, working with Natural sources is very difficult.We face difficulties to collect our ingredients for tests especially Moringa Leaf Powder. Because it’s collected from Moringa Tree which is not available everywhere.But we have tried our best to get final output from our work.
● The preparation of dye from Moringa Leaf is quite a difficult & time consuming process.
● In this Project, We use Orange Peel as a Natural Thickening Agent. Nowadays, the cost of Orange Fruit is very high.Though Orange peel is a very good thickening agent but It's very costly, not an economic process of textile Printing. It is not suitable for large scale production.
● We have used only natural sources in big portions of this project.As a result, we faced difficulties to keep colour on fabric.
● One unexpected thing we have faced is that after printing we got a strong smell of Moringa Leaf Powder on the printing portion of the fabric.
● Fabric hand feel is comparatively harsh when compared to the sample printed with synthetic dye & synthetic thickener.
● After ironing, the colour fades slightly on the printing portion.
● Colour is not so bright & slightly dull when compared to the sample printed with synthetic dye & synthetic thickener.
● Colour fastness to perspiration is not a satisfactory level.
● Colour fastness to Saliva is not so good.
● Also colour fastness to light is average.
5.3 Recommendations for future study:
This project is done by using natural resources that's why we face some trouble and some limitations. Normally it is difficult to produce shade by using natural dyes & natural thickener. We use Moringa Leaf Powder as a natural dyes & Orange peel as a natural thickening agent. Using natural dyes & natural thickener in textile printing is an eco-friendly & sustainable approach. But we find some limitations in this approach including poor colour fastness, light fastness, poor colour fastness to saliva rating, strong smell of moringa leaf powder, harsh hand feel, colour staining, colour fading after ironing and so on. So here are some recommendations for future studies to explore and enhance the alternative method of textile printing using Moringa Leaf Powder & Orange peel as a natural dye & natural thickener are mentioned below:
● Investigate different methods for extracting dye from moringa leaves powder to maximize colour yield.
● Explore various solvents, extraction temperatures, and durations to find the most efficient extraction process.
● Experiment with different mordants and fixatives to enhance the colour fastness of the natural dye on cotton fabric.
● Explore the use of pre-treatments or post-treatments to improve wash and light fastness.
● Investigate the effects of using different natural thickeners such as guar gum, agar- agar, or starch, as an alternative to Orange peel & determine their impact on print quality and durability.
● Compare and contrast different printing techniques, such as block printing, screen printing, and direct printing, to determine which method provides the best results in terms of colour penetration and design resolution.
● Explore surface modification techniques to enhance the affinity of cotton fabric for natural dyes. This could include pretreatments or coatings that improve the adherence of the dye to the fabric.
● Conduct long-term durability studies to assess the resilience of the prints to repeated washing and exposure to sunlight.
● Finally, Economic feasibility studies can be conducted to assess the cost-effectiveness of integrating large-scale textile printing operations, considering factors such as raw material availability, extraction efficiency, and production scalability.
5.4 References:
[1] https://textiletutorials.com/screen-printing-in-textile-definition-techniques/
[2] Eco-Friendly of Textiles Dyeing and Printing with Natural Dyes by Nattadon Rungruangkitkrai, Rattanaphol Mongkholrattanasit.
[3] Screen Printing on Silk Fabric using Natural Dye and Natural Thickening Agent by Sudha Babel and Rupall Gupta.
[4] Eco-Friendly Natural Thickener (Pectin) Extracted from Fruit Peels for valuable Utilization in Textile Printing as a Thickening Agent by Sara A. Ebrahim, Hanan A. Othman, Mohamed
M. Mosaad and Ahmed G. Hassabo.
[5] Mango Kernel starch: A bio- thickener for natural printing on fabric by Jyoti V Vastrad and Rajashri S Kotur.
[6] An Overview on Printing Textile Techniques by Menna M. Ragab, Hanan A. Othman, Ahmed G. Hassabo.
[7] ECO-FRIENDLY PRINTING ON COTTON WITH NATURAL MORDANTS K.
SANGAMITHIRAI*
[8] Pollution in the textile Industry.
[9] Natural Thickener in Textile Printing Sara. A. Ebrahim a, Ahmed G. Hassabo b, and Hanan A.Osman a.
[10] Recent advancements in natural dye applications: a review by Mohammad Shahid,Shahid- ul-Islam, Faqeer Mohammad.
[11] Recent Use of Natural Thickeners in the Printing Process by Doaa Hamdi, Ahamed G Hassabo,Hanan Othman.
[12] Why Natural dyes are important? (Detailed Guide)
[13] Natural Dyes: Advantages and Disadvantages
[14] A brief review on natural dyes, pigments: Recent advances and future perspectives.
[15] NATURAL FIBERS VS SYNTHETIC FIBERS
[16] A Critique on Synthetic Thickeners in Textile Printing by Ahmed G. Hassabo a *, Mai Abd El-Aty b and Hanan A. Othman b
[17] Synthetic Thickener in Textile Printing Menna M. Ragab a, Ahmed G. Hassabo b* and Hanan A.Othman a
[18] https://textilelearner.net/flow-chart-of-textile-printing/ https://www.textileflowchart.com/2015/02/process-flow-chart-of-printing-screen- preparation.html
[19] https://agridrydryers.com/the-process-of-drying/
[20] https://www.textileglossary.com/terms/curing.html
[21] https://www.pacorr.com/blog/importance-of-bursting- strength/#:~:text=The%20bursting%20strength%20of%20knitted,scenario%20is%20called% 20bursting%20strength
[22] https://www.testextextile.com/fabric-bursting-strength/
[23] https://www.intertek.com/analytica laboratories/ftir/#:~:text=Fourier%20Transform%20Infrared%20Spectroscopy%20(FTIR)%2 0identifies%20chemical%20bonds%20in%20a,samples%20for%20many%20different%20co mponents
Test Report :
Figure 4.2: Colour fastness to wash Test Report ( Natural Thickener)
Figure : Colour fastness to wash Test Report (Synthetic Thickener)
Figure 4.4: Colour fastness to Perspiration Test Report (Natural thickener)
Figure 4.5: Colour fastness to Perspiration Test Report ( Synthetic thickener)
Figure 4.6: Colour fastness to Saliva Test Report ( Natural thickener)
Figure 4.7: Colour fastness to Saliva Test Report ( Synthetic thickener)
Figure 4.8: Colour fastness to Light Test Report (Natural thickener)
Figure 4.9: Colour fastness to Light Test Report (Synthetic thickener)
Figure 4.10: Colour fastness to Rubbing Test Report ( Natural thickener)
Figure 4.11: Colour fastness to Rubbing Test Report ( Synthetic thickener)
Figure 4.12: Colour fastness to water Test Report ( Natural thickener)
Figure 4.13: Colour fastness to water Test Report (Synthetic thickener)
Figure 4.14 : Bursting Strength ( Natural thickener)
Figure 4.15 : Bursting Strength ( Synthetic thickener)
Figure 4.16: FTIR Test ( Natural thickener)
Figure 4.17: FTIR Test (Synthetic thickener)
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