Tuesday, January 4, 2011


www.giftfeestructure.blogspot.com as per condition apply.  GIFT: Gandhi Institute of Fashion and Textile
If any Yellow Pages show in Google web search beside Prof. Khalid Ameer Rafique GIFT, anywhere is not our BRANCH, because we do not have. As shown in grotal.com in Maninagar Ahmedabad is not our “GIFT” BRANCH, Kindly NOTE. They Misleading Misguiding Students.
NOTE: In same account Year, GIFT all Educational Schemes Begins from 16th April and gets over in November same account year, which means no benefits new learner, can avail.

All copy rights are reserved by GIFT: Gandhi Institute of Fashion and Textile. By Prof Khalid Ameer Rafique.  


They learn how to convert the above learning into design elements in flow like Textile surface.
Learn how to draw bail booties, how to draw motif, how to draw border and panel, how to draw overall Jaal with nature ornaments, how to draw Yokes, how to draw sari Pallu, how to draw abstract embroidery concept and how to draw geometrical pattern etc.
Learn how to Draw & Create, finished Landscapes, Floral, Fruits, Animals and Nature, Terracotta, Mermaids with water life, and their abstract forms in style of wall hanging, otherwise the same work enlargement for Textile Concept Printing-BLANKET, BEDSPREADS AND CURTAIN.
Learn Block Printing, Khadi Printing, Batic Resist Printing, Shibori Dyeing, Tie and Dye, Lahariaya Dyeing, Clamp Dyeing, Vegetable Dyeing, Mineral Dyeing, Hand Embroidery, Screen Printing, Emboss Printing and Stencil Painting with Air Brush
15.1 Textile print Development
15.2 Textile repeat fixation, in all style
15.3 Textile Print color separation tracing
15.4 Textile different repeat and super imposing printing etc.
Jal, Bail – Boutas, Geometrical, Floral, Animals, Graphics, Terracotta sea-life, Birds and Butterfly etc.
11.1 Textile Preparatory
11.2 Textile Processing
11.3 Textile dyeing & printing
11.4 Textile vegetable dyeing
11.5 Textile Costing
11.6 Woven Textile
11.7 Non Woven Textile
11.8 Textile Types
11.9 Textile Fibres
11.10 Textile blends
11.11 Textile Hair
11.12 Textile marketing and trading
11.13 Textile business style
  5. TEXTILE MACHINES (Discussion)
  6. TEXTILE FOR FASHION (Discussion)
18.1 History of Textile
18.2 Textile world trends
18.3 Textile Forecasting system
18.4 Textile for fashion industry
18.5 Textile Importance
Note: If any leaner wishes to learn sample weaving on sample handloom practically that can be arranged specially for that learner only and sample weaving should not cross 43 hours which is sufficient for any learner to weave what they have learnt in textile weaving theories all fabric constructional along with designing. In that case, learning duration will increase for textile designing specialization.
Learning time 3.5 Months to 4 Months 3 hours and 5 days / week
Basic Knowledge for Specialization in Textile Print Design
Textile Design is not as simple as it seems. It is not an exercise where bits and pieces of designs can be collected and put together to make a single design, nor is it easy like the making of instant coffee, but is a very thoughtful process of creating a design where one needs a clear in depth understanding of conceptualization of basic forms e.g. the elements of nature. When work is copied, the subject loses its purity and genuineness and this replica does not survive too long in professional practice.
Gandhi GIFT NGO which is amazing in its own ways of teaching and ideologies of their subject has always had a mission for success having a definite noble philosophy behind it. This has always been in continuous practice to learn all minute details in depth such as, how to conceive ideas, its implementation in surface ornamentation style using technicalities such as colour separations, repeats, needed décor for its performance in the form of an end use like Garments, Home Textile and other purposes.
For a GIFT learner it is very simple to achieve the above mentioned during classroom learning of the Textile Course abstract, under the guidance of GIFT faculty. All contents are systematically from A to Z, synchronized in a stepwise manner without any hurdles to achieve the above mentioned. That is why GIFT is the first wonder of Design Education for its teaching of such lengthy Design Courses through part-time short term, without adding much burden to the learner’s shoulder. This means they can have different lives for their learning with a different education stream where mostly GIFT learners are school and college students as well as housewives.
When distinctly elaborated, one can say that GIFT Common Foundation Course is enough to practice Textile in the field of Print Designing. GIFT is certainly unique since it is at certain instances based on versatile moral stories like that of systematic learning like magnetizing Art through the Sorcerer’s splashing of wonderful thoughts, with meaningful abstract ideas of heart, like a clever crow’s mind sort, like a directional continuous tortoise walk, without a giving up attitude as a confused fox, that gives way to GIFT students.
The above moral codes and GIFT Textile course abstract constantly link to each other in a manner which gets revised during every other course ,in context of textile, and is at least repeated 25 times during the course of Textile Designing while the individual learner learns at GIFT NGO. This is taken care of with a constant watch on each learner’s progress, and that makes learning much easier
GIFT’s first exercise of Colour Transparency teaches learners to use soft tools by understanding its character in various ways while developing varying forms, without any hesitation or hindrance using ink colours to create overall surfaces from the earth’s paradise and natural, geometrical and insect formation giving a transparent character of colours.
This teaches the fresh learner in depth colour interaction along with composition of versatile Textile surfaces helping to understand color’s transparent effect, all taught in the Common Foundation Learning of GIFT Design Education. This is the first course of GIFT Foundation Program, which makes it the first wonder of Gandhi GIFT NGO Education that helps build the confidence in each learner for further growth and learning. With the help of this the learners learn to make the earth’s paradise in its natural, geometrical and insect forms, etc converting them into Textile Prints and “bouties” of singular style and so on. All this can thus be further utilized as a single print, in a flat or embossed manner for decorating purposes and making the designs ready for printing and embroidery in just 30 hours of learning of any fresh learner at Gandhi GIFT NGO. (The total quantum of fresh learners created material, in A3 size cartridge paper includes 40 plates fresh as well as its empirical method style of learning) but these students can recover half of their fees just by selling their learnt material since it is presented in an appropriate way.
That is why GIFT is known globally but it is a surprise to the learner and their parents due to their speedy achievements.
The second exercise of the Common Foundation Course is the Ornamental Design where GIFT NGO teaches scribbling of pen in black and white style, where the faculty guides them to understand and convert it into definite meaningful minute elements of earth’s paradise and its forms of nature in a versatile super imposing style. The enlargement of this is in itself almost near to the development of Textile Surface concepts.
The above exercise is taught at GIFT keeping in mind Textile Design, Jewelry Design as well as Fine Arts for its multipurpose usage in any form of Home decor, which is quite useful for future professional practice.
Due to GIFT’s repetitive teaching methods of previous learning the students learn composition of ornamental nature and geometrical form in a similar manner to what they have learnt in color transparency while making final art piece like fine art design.
The method of flat and fan brush painting taught at GIFT is as clear as black and white where the boldest to the minutest and the most intricate details, when composed by the learner turned into art pieces, can be sold anytime recovering at least quarter of the amount paid as fees at GIFT. The learners are certainly advised to keep photocopies of the originals that they sell for future reference.
Pencil Shading for Textile style surface
The Pencil Shading exercise of various forms of nature is taught with light falling on the object from different directions, forming shadows creating a volume effect in the composition making it look alive in nature, which teaches the GIFT learner to add more value to the subject. From the above learning the students can later utilize it for creating dimensions in Textile Prints, Fashion Illustrations and Jewelry concepts, because with this exercise GIFT NGO learners are able to see and practice 3 D Designs in many ways in their future.
Embossing style of Textile Surface
Another exercise, embossing, is adding more dimension to the surface while coloring with air brush. At this juncture, a better understanding from above subjects and its implementation with minute detail, certainly boosts the morale of the GIFT learner and helps them proceed further for specialization of any of the two subjects, be it Fashion or Textile Designing at GIFT NGO.
The above learning of art creates many art pieces made during the common learning program taught at GIFT, and if the learner sells these pieces in the market they will recover most of the money paid during their learning. For this, GIFT NGO is unique and is known globally, and since then GIFT has been arranging professional art shows quite often, in favor of GIFT learners.
But the common learning program does not end here, which means that, more skills are needed to help fresh learners, which can be utilized in their advanced learning like Textile Print Design, Fashion Illustrations, Jewelry design, Home Decor and also in their presentation work. Thus, it is very important for every learner to possess such skills in the field of design.
Water Color in style of Textile
Water color is an exercise which helps the students to paint fresher looking objects of nature, geometrical forms as well as Fashion Illustrations. Certainly, once the learners gain knowledge and understand the above mentioned subject, they are quite capable to revise and recall their previously learnt subjects, and add value to its look with an ornamental touch for the filling and color transparency for its background as well as shading to make it more presentable.
Basically, water color is an addition to improve the presentation techniques of every subject, as learned above for future practice. The learners utilize their skills they have painted on paper using the above understanding, on textile using various methods and mediums of printing with different pigments, dyes or from textile printing etc and create usable products like cushion covers, table mats, etc. To take this subject further at an advanced level they learn stencil designing using various techniques, especially with tools like air brush painting that gives them extra skills which they can use in future while learning Advanced Textile and Fashion Design with good amount of confidence.
These skills are somehow not enough at GIFT NGO to develop Textile Print Designs, that is why GIFT teaches the learners at least a thousand “boutie” designs which are later converted into panels where students learn to connect the designs , then these designs are converted into yokes for necklines and then sari “pallu” designs. The specimens are also designed using hand and machine embroidery where students develop a range of designer pieces created on their own from the start to finish. This learning develops in-depth confidence in each learner, and at this juncture the learner becomes ready to proceed further for learning Textile Print Design and basic weaving on loom.
Simply with the above learning, using skills of embroidery with appropriate threads and colors and converting their concept into end product certainly gives courage and spirit to attempt further learning with heart and soul. Therefore GIFT faculty has always taught their students free hand designs, in any textile surface without any restrictions, so that they can work with a clear state of mind and blow out ideas for conceiving Textile Print Design Concepts.
Later, every individual at Gandhi GIFT is taught as to how the above learning can to be used technically serving the purpose of appropriate deliverance like forming registration marks, fixing repeat continuous flow of the concept, intricate inlay “jaals”, blotch style scattered chintz, sari pallu, sari border, sari “boutie” and “boutas” and understanding the use of block print for print design etc.
Here, their learning with pencil is complete where Textile Print Designing is concerned. They learn how separation of colors for printing purpose as required for the final print design for above mentioned subject which is incorporated all the further printing styles and methods as per their understanding, guidance and feedback appropriately.
Then comes the subject as to how the printing on the cloth will be done according to the theory learnt with its technicalities to be utilized for final result. This knowledge will help while learning about chemicals and vegetable paste and other dyes.
The duration of learning of the above subject at GIFT is 160 hours and it is simply impossible to believe that any institute can teach the developing of concepts of actual designs and its technical conversion into such printing is possible , but such achievements are only possible at GIFT which is taught in our Foundation Course. That is why GIFT has worked wonders in imparting short-term part-time Design Education globally.
One should not be surprised by GIFT’s teaching methods, objectives and missions because every learner’s work gets checked daily by faculty for their growth, and this is only possible by the willingness to teach and high morale of the guide and teacher while teaching. Thus the staff at GIFT is certainly in favor of the above mentioned attitude towards teaching and learning, by the grace of God Almighty which is the supreme exalted power.
To make the above learning much simpler in the favour of GIFT learners, we provide additional knowledge through workshops to learn other basic skills such as Block Printing, Khadi Printing, Resist Printing such as Batik, Shibouri, Tie and Dye, Clamp Dye, Leheriya etc, Vegetable Dyeing, Mineral Dyeing, Emboss and Painting, Hand Embroidery, Stencil, Printing, etc for their development of knowledge and skills.
Textile Print and woven style Tessellation
Due to the above learning from the beginning to this juncture, we can clearly understand that GIFT fresh learners become very flexible and able to utilize their knowledge of skills as well as conceptualization effortlessly. Here, GIFT NGO teaches them the toughest subject of Textile Design which in other words is a tessellation of the earth paradise through its natural, abstract, geometrical forms, insect, and their mix and match style for creating print design and woven concept professionally which is taught in a very simple and unique style.
It is important to know that for the above learning GIFT fresh learner does not use facilities such as computer and various software, which normally in other Design Institutions, are used as a common practice. On the other hand, the learners clearly know how to implement the theoretical knowledge given to them and transfer that using the basic software's of the computer.
Simply, GIFT NGO does not believe to teach which can be easily snatched by others because it is not available in other source of knowledge beside them. That is why GIFT learners work always remains unique and genuine than others.
The above total learning of GIFT learners, from basic to advanced in a short term specialization, for above mentioned subjects is not less than any other known design institute’s UG and PG Program Course. So it is for you to decide which part of education one should enjoy learning through GIFT education.
It certainly saves time and lacks of rupees in a lot of manners. Simply this is happening due to the style of inculcating morale and power in each GIFT learner and also praising appropriately, the work in depth for their growth by the grace of God Almighty.
After completing the above mentioned subject GIFT NGO begins teaching about weaving, which is very simple and easy to learn at GIFT. It is thus elaborated as follows.
Basically, when common people see the working of hand loom and power loom for making of any fabric through various media like audio, video, documentary films, TV coverage, still pictures through print media, books, magazines, industrial and hand loom sector visits, show the intricacy of making clothes in various complicated ways used for different purposes, but GIFT learning is made extremely simple so that the GIFT learners can practice weaving effortlessly with an in depth understanding of the subject weaving in the field of designing. Therefore GIFT believes that a subject needs to be segregated for better understanding, at least for a wider subject like weaving.
The understanding of fibre and its spinning into versatile yarns along with the various methods of spinning systems and its different uses is mentioned in detail in the column of COMMON TEXTILE. Weaving doesn't mean that if you have yarns you can place it on loom for weaving. Technically, it is not a correct version of learning, because it implies a systematic planning from fibre stage to the end product for definite market purposes. The minute details of weaving begin from fibre and yarn followed by various preparatory systems for weaving and finishing. That is why GIFT’s teaching has segregated the spinning knowledge for weaving purposes systematically as follows.
Basic understanding about sample warping in synchronized along with yarn count, reed, fabric geometry with the warping pattern and fabric construction needs to be understood before the warping of any sample. That means the learner must be aware of the sectional warping system.
The leasing separation of the individual ends of warp is not that important for sampling but it is essential for production because every single end of warp on the loom is attached with warp ends in a break stop motion. This means that whenever any warp thread breaks, the loom will automatically stop.
Secondly, after completion of the making of the warp it should be transferred on the warping beam which is attached on the loom with a let off motion.
Thirdly, the warp should be drafted in loom shaft frame according to the warping pattern relative to its fabric structure. After drafting, the threads need to be dented appropriately in the reed, chosen as per the fabric structure, that means the warp ends from the warp beam almost reach the take off beam by passing through sharp frame healds to the reed followed by the beater. On reaching the take off beam of the loom the threads should be tied systematically leaving any ease, where the tension of the warp threads need to be more or less the same for a better weaving process.
Later the shaft frame should be attached to the treadle in the case of a hand loom and in the power loom it is tied with taped or dobby systematically according to the fabric construction peg plan (weaving style) and weft insertion where all accessories such as pick wheel or dobby chain should be attached.
At this juncture, the loom is ready for weaving. In case there is a need for more weft insertion, in that case, drop box, projectile or any other system from the loom is utilized and thus one can start making a sample on the loom with systematic weft insertion from the above mentioned with perfection.
The above mentioned is certainly very simple to understand, especially how to weave on a loom, but the right way to teach the fresh learner is to bring in the awareness of its preparatory system.
Every design institutions are teaching subjects where at times they need to push away their whims and whimsical moods during such professional teaching. Otherwise this kind of nature of the faculty would lead to the development of frustration and a feeling of insecurity, where the students become less enthusiastic towards the subjective knowledge. That is why GIFT is more powerful than any other institution for basic knowledge teaching of the above subject and inculcating them into each individual’s mind as follows.
First of all learners should learn what yarn is, and its difference at various stages, whether finer or coarser, the technicality of its count in relation to weaving where it is necessary to understand the systematically followed knowledge of fabric geometrical cover factor. One must learn all possibilities of various weaving constructions without fault as you may have seen a slippage on the warp and weft finished fabric in the market. Thus, to avoid such faults in weaving, one must know what ends and picks are required per inch while deciding the fabric construction for developing a perfect sample of textile. This incorporated knowledge certainly builds more confidence and power in each learner to courageously develop an attitude of multitasking and its utilities just as the designers of today.
Certainly, if the above knowledge is perfect, almost 80% of the doubts of the learner for woven design will be reduced. That means the above subject should be taught by any teacher through heart and soul for better development of a student for his or her future.
What is Fabric Construction?
Normally, in Designing Institutes they hypothetically with their whimsical mood divert the subject in relation to discoveries from God’s created earth paradise in various forms, patterns, textures, etc which is not correct.
One should teach the above subjects in direct context because Fine Arts and Designing are two different subjects. No doubt, they are historically related to each other and are very well synchronized with its compositions through intricate inlay of overlapping or flat structures etc. But from the above subject, learners are learning as a profession. That means, if their learning is direct subjectively, it will certainly boost their morale and confidence and they will courageously proceed further with improvement rather than getting entangled in foolish talks, explanations and justifications which is not required by any textile industry. Then why not approach the learning of the subject directly without wasting time having total fruitful productivity. That means the teachers need good subject understanding along with explanation power and references to help each fresh learner for their future practice.
Before going to the direct context of learning, every learner must compulsorily pay attention to the behaviour of different system yarn spinning systems because in weaving their character for forming any fabric construction needs to be understood. This certainly is important because this understanding should be incorporated by the learner before understanding the A, B, Cs of fabric construction.
Fabric Construction
There is no doubt that one can count the types of Fabric Construction on their finger tips, but its intricacy of inlaying capacity in versatility is certainly endless. Therefore every decorative of Fabric Construction is mind-blowing in itself.
For example Plain Weave has a fabric construction of “one up one down” which had been developed by human mind. Its versatility with various fibre and yarns is like the magic wand of a sorcerer creating beautiful textile.
For example “Dhaka mulmul thaan” passes through a ring of the size of a little finger, whereas the same style woven industrial canvas with a length as Dhaka mulmul cannot even be lifted easily inspite of the width of fabric being the same. This difference shows the weight wise and design variation which gives rise to various types of textiles available, as mentioned in our text on general Textile.
For example Calico, Cambric, Chiffon, lawn cloth, Muslin, Organdie, Poplin, Voile, etc are known textiles in terms of plain fabric for multipurpose fibre mostly cotton and silk, and now available in synthetic also. Emergence of such textile does not depict the end of Plain Weave Fabric Construction. Infact this weave is more intricate design using versatile hand dyed fibre and yarn having different count. Its development can be simply seen through Chambray effect (endless in colour). Colour and weave effect, stripes, checks with same count and creating a similar thing using fancy yarn, thin and thick yarn in warp and weft in terms of fine to coarser Fashion Textile. That means the above technicalities are essential for each learner’s understanding about fabric cover factors where practice is needed before setting the loom for weaving and this method should be followed for all fabric structure.
Plain Fabric Structure Versatility
It is normally woven on a 4 shaft loom with “one up one down” style of fabric construction. It does not necessarily need 4 shafts, but it is used to reduce weight on the shaft frame while weaving in order to avoid breakage or damage of yarn or the shaft frame where entangling of healds with each other might take place. This practice can be followed with other fabric structures if needed.
Mostly Plain Weave fabric structure does not have a square geometry, but this can be manipulated using the calculated shrinkage from loom and of the finished fabric accordingly. This calculation will certainly vary from fibre to fibre due to their individual characters otherwise a standard understanding of the plain weave is that the warp weight is mostly higher than weft, which means more ends per inch than picks per inch. The above understanding followed systematically as above with all fabric construction with appropriate adjustment in the shaft denting mostly as the various fabric constructions by its names as follows.
Plain Weave , Warp Rib, Weft Rib, (Oxford weave), Basket (Mat, Hopssack), Drill, sateen, simple twill (2 up-2down) Derivatives Twill, Elongated Twill, Derivative of Twill, Irregular Sateen Weave broken Twills, Diamond Twills, Herringbone Twill, combination of Twills, Fancy Twills, ZigZag Twill, Wavy Twill, patterning Twill (Figure twill) Hopssack, Crepe, Honeycomb Huckaback, Mockleno, Ribs and Cord, Weft Cord Weave, Bedford Cords, combination of weaves, Colour and Weave (with versatile fabric construction for formation of stripes, checks, texture, pattern, etc.) Back Cloth, Double Cloth colour in weave, Warp back cloth, Double cloth, Wedded Double cloth, Treble cloth, extra warp and extra weft, figurative Jacquard, Warp and Weft pile, Pile figurative both way – warp and weft, Tapestry pile fabric, special Madras Gauze fabric in colour and weave effect, Figurative cut gauze fabric, Leno (mosquito nets) etc.
The above mentioned practical teaching of Textile Fabric Construction to the fresh learner is not an easy task for any Designing Institution. It is time consuming, and hardly any institutes prefer to carry this burden to impart such subjective knowledge, practically in the present scenario of learning, but below are some segregation's for the usage of textile specially for professional practice of Designers. This is to make learning easy with sound knowledge of designing appropriately with needs as instructed.
Dress material, shirting, suiting, sheeting, soft evening dress fabric, chintz’s, blouse fabric, sari textile, uniform for apparel industry and heavier material such as home textile in the form of bed sheet, bed cover, pillow cover, table tops and mats, doormats, carpet dhurries, flooring, tapestry, upholstery, drapes, floral, wall hangings, etc for toiletries such as towels, napkins, etc for industrial textile, filter fabric, canvas, water resistant fabric, tent textile, hose, mosquito nets, etc.
The above mentioned understanding is segregated for 3 definite purposes which is important for any design institute to thoroughly teach the learners subjects as per their interest.
Basically most of the design institutions practice industrial oriented Fashion Design and teach in depth about Apparel Industry needs including Home Textile, but unfortunately they fail to teach the important details like for example textile constructions, which is difficult to teach and enough time to practice practically on the loom. This shows that the structural knowledge is essential because whenever they get a chance to practice designing professionally in the industry they can utilize that knowledge which they have gained as students.
The above subjects at GIFT NGO are taught with extra care to all voluntary learners, giving individual attention to their subjects, taught with in depth understanding of Design and the knowledge needed while working in the industry is sufficiently taught to each individual learner of GIFT.
In spite of all this institutions are not able to fulfill the student’s awareness completely towards the subject due to time bound teaching programs but that can certainly be fulfilled by professional practice because for learning where the sky is not the limit, by the Grace of God Almighty.
Basic Knowledge for Versatile Textile Properties and its processing
History reflects the mirror of versatile textile which travels from one corner to another around the globe through versatile human habitats, tradings or conquering each other. Due to that the acceptance power of each others’ different qualities took shape and it was later developed into very fine quality textile. For example, muslin (muz’lin or mousselin) was first woven in Mesopotamia as very fine cotton cloth and later developed different kinds of blending with wool and hair. It was used for women’s dress as “muslinet” which was processed like a simple wash. That means, in that era, to make the fabric soft people used to wash the garment frequently by using natural alkalies and methods simple beating. With that the idea of processing of fabric was conceived and today, it has become an endless process in textile industries. That is why every fibre and its blend handling in the process are different for appropriate finished fabric as needed which is difficult even for the processor to remember at times. That is why every record of each step should be recorded of whatsoever they discover for finishing fabric in order to maintain the quality and standard for repetition as needed by the users.
That is why, it is very important to understand the physical properties of fabric and its constructions along with definite meaning of processing which has become an essence in this competitive market of textile.
Some of the brief details are given as follows:
Effect of woven fabric construction on fabric properties:
The design of fabric construction which is supposed to meet basic requirement of its end use is little complicated. Because there are many factors involved in the fabric design construction as well as structure as to fibre type, yarn geometry, over all structure of fabric and method of finishing which is initially for processing to predict what kind of treatment is required. Therefore, it is a difficult task for any processor to have a better tactile of fabric through processing.
Even though they have in-depth knowledge of fabric processing they repeating-need to understand the fabric, how to treat through its empirical relationship of versatile fabric properties (fibre, yarn, its blends, types of fabric construction, etc.) and concentrated parameters in finishing the fabric.
How to make the above subject simpler which is professionally applied in small and large scale industries are as follows in brief:
Tensile Strength: This reflects the fabric strength due to its fabric construction in relation to fibre and yarn twist. It shows that the tensile strength will not increase through processing. For example: it has whenever the fabric has more crimp that means less strength, then accordingly one can handle the fabric in construction and should take care of fabric shrinkage settings. The highest crimp is in plain fabric and the fabric construction which has low crimp will have more strength.
Fabric extensibility: Simply this is to understand the major role of behavior of fabric for its utility that should be considered from fibre to end product that is, fibre blending, yarn making, fabric structure designing and it’s finishing. This means that this phase of textile processing of decrimping or the crimp removal is in the warp direction of fabric load taking capacity. Hence, stiff fabric (due to yarn quality and fabric construction) is not always stable.
To understand the above one should be careful while making fabric which should incorporate the yarn quality with higher side twist crimp and should be woven with longer floats. This will certainly give better extensibility and should always be considered vice versa in terms of the needed fabric.
Fabric Surface Friction: Again this is due to the yarn quality and fabric construction but it mostly occurs in plain fabric due to the yarn. In other construction fabric with higher number of interaction of warp and weft (blending of fabric structure) produce high crimp which is rough on that surface of the fabric. This means the synchronization of yarn quality and fabric construction should be matched for a smooth fabric which should be taken into consideration while designing.
Fabric tearing strength: This subject is highly important in relation to fabric utility that is more closely related to the fabric serviceability than tensile strength which is in contrast to woven fabric behavior under fabric tearing loads is quite different. To have a better resistance of fabric towards tearing, fabric construction direction should be appropriate where fabric yarn can take the load or divert the load. This means comparatively the rib and basket fabric construction have more ease compared to plain fabric construction to withstand the pressure of tearing. Otherwise, while increasing the tearing strength in fabric one should consider the fibre and yarn twist in fabric geometry. Then certainly one will find more tearing strength appropriately in all fabric construction.
Fabric abrasion resistance: It is highly related to woven fabric construction and its yarn properties geometrically. Due to that if it is not appropriate from the above mentioned physical properties of fabric, it will certainly form crimp or crowns along the fabric surface. That means fabric surface becomes rougher. To avoid such abrasions one should consider the yarn quality and accordingly the fabric construction then certainly the outcome of the fabric surface will have less abrasion.
Fabric drape: This is the most important subject for a designer because the cloth falls towards gravity according to the above mentioned physical properties of fabric. Certainly they will develop from the fabric made ups such as garments and drape accordingly. For above such mentioned physical properties of fabric knowledge one should avoid making heavy fabric which is woven by coarse counts with dense fabric construction where flexibility of movement according to the fabric structure is less. That is why one should develop such knowledge while designing woven fabric.
Fabric crease resistance: This is a very important character of fabric, mostly gets affected in its utility specially with the quality of drape as well as above mentioned physical properties of fabric. To understand the above, a plain woven fabric with high fabric count puts a heavy strength on the fibres which limits the recovery of the fabric. That means in the fabric construction, recovery of fabric is more crease resistant.
The above understanding will certainly help while developing fabric in relation to fibre length and appropriate yarn counts and twists, then certainly every fabric construction will have crease resistance which is most important in garment and should be considered through empirical methods while designing.
Fabric pilling resistance: Basically, during weaving fabric tends to collect on the surface like little ball (pills) formations due to the surface yarn fibre and if it is strong; it has not taken care during yarn spinning then certainly it will spoil the fabric appearance. That is why always avoid very low twist yarn in the warp of fabric construction. Basically, pilling is like a minute fibre of yarn standing up on fabric surface like hair which distorts the look of fabric sheen. Keeping in mind the physical properties of fabric, plain fabric has more problem than other fabric construction. Due to that there is a higher possibility of appearance of crimp and pilling on the fabric surface. And utility of such fabric for other end product shortens the grace and is to be considered very essential while designing.
No doubt in processing through singeing and shearing, one can remove such unwanted properties on fabric surface but that can be avoided on the initial stages of fabric construction.
Fabric finishing: It is important for all designers to know versatile fabric from varying textile systems and its finishing methods so that they can appropriately design the fabric.
Sequence of processes for worsted top dyed wool suitings and shirting fabric qualities are as follows:
Wet finishing, preparation, brushing, shearing, grey’s covering, flannel finishing (15%-40%), heavy brushing/meeling as per the market fabric design needs, drying, heat setting, rope scouring, drying, inspection, dry finishing, damping, continuous decadising, pressing (paper continuous pressing through heat), kire decadising, London shrinkage and shocking treatment (where fabric passes with very high RPM speed of above 40 degree temperature and reach to blow minus 10 degree which helps in fabric to avoid burning in normal ironing)
Worsted fabric piece dyeing for suiting and shirting: The fabric is almost same as mentioned above except in the case of dyeing. Special care is taken in weaving because fabric construction opening is minimal than top dyed fabric and later after dyeing its heat is set through shrinkage, like top dyeing.
Synthetic top dyed suiting and shirting: Fabric blend style should be as follows:
Polyester: Viscose = 80 : 20 / 70 : 30 / 65 : 35
Polyester: viscose: Silk = 70 : 15 : 15 / 60 : 20 : 20
Polyester: viscose: silk: linen = 60 : 10 : 20 : 20 / 60 : 20 : 10 : 10 / 65 : 10 : 15 : 10
Poly: viscose: linen: silk: hair: chicken feather = 60:10:10:10:5:5
Its processing sequence are as follows: Lot preparation and brushing, light singeing, brushing, shearing, grey scouring, drying, inspection, dry finishing, damping, continuous paper pressing and care decadising.
Cotton fabric finishing for top dyed and piece dyed: lot preparation, mending and checking, grey scouring, drying, rope bleaching, drying, mercersing, scouring, drying, heat setting for width finishing, singeing, dyeing (if needed), rope scouring, drying, inspection, dry finishing, damping, pressing (calandering), continuous decadising and care decadising.
The processing of textile is a very meaningful subject which should be considered before designing of any fabric. It is given as follows: fibre and its blends, yarn and its twists, fabric construction design wise along with blending versatile yarn in it by various meaning and looks, fabric setting, etc.
That means a designer’s mind should be like a composite textile unit otherwise designer’s would be dependent for all the above mentioned subjects.
Tessellation for Textile
Basically by the virtue of God Almighty when the human mind grows to practice symmetrical, geometric forms traced through history, like the Carved Jaali of Mughal Art, created with a designer’s skill as well as for technical purposes like light and air ventilation in their houses and Mosques, through beautiful synchronized tessellation of geometry.
Similarly are the Kangara miniature paintings where historically artists have painted distorted perspectives in the background and foreground where nature was depicted in the in versatile forms of tessellation.
In England few famous artists have painted Worldwide known famous Church roofs (arches) as well as magnificently huge glasses showing remarkable workmanship of painted windows in the style of tessellating nature and forms which are famous since centuries.
While looking at Roman architecture one can see from a distance, a formation of symmetry of pillars in a geometrical style of tessellation quite similar to that of the Mughal Forts. The Mosque is also built in a similar style where a number of pillars form geometrical tessellations with a span of view with no hurdles, and in the Dome of the inner side décor where there was stone cutting, carving in floral and geometrical forms. Ahmedabad has old and latest built monuments like Jama Masjid and others. Here the main masjid dome has one side stone cutting and carving in floral and geometrical forms which are architecturally strong.
Historically seen in Rajasthan, preserved and displayed in Jaipur palace, are the paper cut jaalies made during the time of the kings which is another way are methods of tessellating forms of nature with this art.
More or less during the Golden Era of Fine Art painting in Europe, even human forms were tessellated remarkably as an art of tessellation, preserved in museums to glance and understand the beauty of painting such fine art.
At a later stage in Europe, such art was developed with two tessellations, where each forms inlay in versatile manner, in continuity overlapping and interlacing within each other in a beautiful rhythm and flow, painted by known artists like William Morris and Fiskar. Today in Designing Institutions they are referred to while teaching Textile Design students, especially for painting purposes.
The above kind of art can be seen as wall paintings in Rajasthan, specially the Jaipur Aamer Fort, Tonk, Sunheri Kothi which is painted by pure gold as well as in Mughal Forts and Palaces which later spread in all corners of India.
For example in Karnataka, the artists work to create wood cut tessellations by using different colors and grains of the wood, converting such tessellations into paintings on canvas.
Then there is also extremely fine decoration on Chandan wood with minute detailed ivory pieces, with floral patterns along with geometry tessellation sold as art pieces of that area for multiple purposes.
In Muradabad and Jaipur there are artists who carve or emboss various floral style in geometry and other figures with brass plates which are sold as table tops which till today attracts tourists.
In the Textile industry we often see perfect tessellated forms specially, in (Phulkari) Rabari, Kashmiri embroidery etc and in weaving like the Banaras Brocades which are well known for its own tessellated style of weaving.
Where does the above understanding of human being come from? Certainly, the Earth Paradise created by God Almighty.
Due to that Prof. Khalid has developed a meaningful course for Textile learners which is quite useful and handy to create textile print surfaces quickly, appreciable in single colour printing that can be done in multiple colour style using round brush with long hair and this can be done easily which no institution on this earth presently teaching as a special Course of Textile. Therefore GIFT NGO students are enjoying such textile creations while learning textile prints.
The above GIFT’s course content for tessellation has its own versatile meaning and definition. For example, without geometry, one can tessellate any nature and form of god’s creation by the grace of God Almighty.
Another beauty of the above is that the learners observe the outcome of their work quite differently after painting it which is much beyond their imagination, like the sorcerer’s magic of Tessellation.
For example, if learners are creating rose tessellations and when tessellated in a bunch they reflect different forms apart from the rose such as masks of human and animal faces and so on. That means by making one surface helps bring out versatile forms in Tessellation.
The above mentioned tessellation course content developed at GIFT NGO took Prof. Khalid almost 10 years to introduce in classroom teaching. That was when he realized that the method of teaching the subject of Tessellation is simplified in many forms which means many “William Morris” will get graduated from GIFT every year.
Its course content is full of natural, geometrical and abstract forms which the learners must explore endlessly for attaining mastery on such subjects, which is very important for the Final Textile prints in the industry like the sorcery magic of print.
GIFT Home Fashion and Textile Interior Decor and Jewelry Design
Initially, since 5th October 1995, GIFT Gandhi NGO was teaching only 2 major Designing Courses which were Fashion and Textile Design because these two courses were equivalent to UG and PG of other known Design Institutes.
Initial years consisted of almost 50-50% theory and practical learning, Making and its utility, and 1998 inwards it became 90% demonstratively learning. This included actual prototypes of working in Designing Education where remaining part of education is based on practical theories rather than Design History, which can be easily learnt by students with various sources, without any help of GIFT. For that GIFT has a collection of 4000 books for students of all needed subjects, otherwise internet facility is commonly available for everyone.
Due to the feedback of GIFT graduates who have now become entrepreneurs, we realize that they find a market slack twice a year, during which they mostly sit idle, and indulge themselves in clearing their other part of organization such as procuring new raw material, accounting and other legalities which is essential for any organization.
This is why GIFT has launched 2 Add up Courses, keeping in mind the feed backs of GIFT graduates keeping in mind the market fluctuations, helping the GIFT learners to handle such situations effortlessly by imparting such additional knowledge of designing. That is why GIFT’s in depth research to develop the course content for above subject is almost very close to Fashion and Textile Designing.
With the understanding of versatile Textile and Fashion Designing, it was easy for GIFT faculty to comprise the course content for Add up Home Fashion Textile Interior Decor as well as Jewelry Design keeping in mind certain ideas. First of all GIFT faculty came up with various questions towards this education like; What else is needed in the add up course for its teaching? How is it useful in the times of market slack where they are advised not to spend much for new additions? That is why the new style is accepted carefully looking at the practicalities in the market, is launched for GIFT learners studying Fashion and Textile Design. That means with Fashion one can only learn Home Fashion Textile Interior Décor and with Textile they can learn both the Add-up Courses comparatively in a very short span which is not even a month.
The above addition was not a difficult task for GIFT faculty because they knew that for the above designing knowledge GIFT fresh learners do not require extra skills. That means they are all well equipped with understanding skills and facility to practice professional learning.
The Home Fashion Textile Decor Course succumbs to the need of Home Decor used by Architects, Interior Designers or housewives in the form of upholstery, tapestry, wall hangings in Textile or Fine Arts, such as canvas, paper fine arts in beautiful drawings, landscapes, abstracts, water colour painting, bedspreads, cushion covers, table tops and mats, draping, flooring and Interior color . All this is taken care through classroom teaching through skillful practical teaching, highly appreciated ergonomically by the end users and the market, from its very first Home Decor Show in 2006.
In spite of this course being an Add up Course, it helps each learner to become more powerful with their skills and it brings in confidence that removes all hesitation and hindrance for the students to practice professionally. This is simply possible due to the openness towards learning of each student towards GIFT teaching and we are highly obliged by this attitude of theirs. In this way we do hope that GIFT will be much bigger in the near future by the grace of God Almighty.
Same goes for the Jewelry Design Add-up course of GIFT, which is taught very easily since learners have GIFT’s Textile Designing background where they have learnt immense conceptualization power through all forms of earth’s paradise that makes their designing method as easy as kids learning craft in primary school.
Before designing the above course content we kept in mind its versatile utility in correlation to previously learnt skills of Textile Designing in synchronization with Fashion industry. That is why GIFT add-up Jewelry Design Course is almost related to Fashion Jewelry and its accessories which is taught through workshops where they learn how to make a variety of chains, pendants, necklace, bracelets, bangles, earrings, rings, anklets, hair clips, tie clips, sari clip, decorative table piece, etc which is one gram (1gm) gold jewelry through actual prototype made with artificial material that can certainly be converted in real jewelry with semi precious stones and also pure gold. This teaching thus gives students the power of developing a skill for their future practice.
They also learn to mold Swiss epoxy to make versatile pendants, beads, etc which is jewelry in abstract forms, quite in Fashion nowadays. Its utility is for Fashion accessories such as buttons, belts etc (with the help of threads and finer rope which is amazingly taught at GIFT.) Thus this kind of learning is enjoyed by the learner where the basics of Jewelry Design are taught and they become much capable of making designs by themselves using their creativity and previously taught methods of conceptualization for this purpose. They further continue to design on paper where their common learning course and Textile skills come into use with different drawing and coloring media (tools).
It is important to note that the above add-up courses are for GIFT learners only and not for other institute learners where one is eligible for these courses only if they have undergone learning of Fashion and Textile Designing at GIFT because the methods of teaching of other institutes are completely different than GIFT and we do not believe in keeping any learner in a dilemma.
Since the above learning duration of the course is not more than a month, through part time short term learning, then you can gauge the quality of faculty GIFT possesses. That makes GIFT education rich globally and is lowest priced professionally, and being an NGO all our courses are affordable globally by anybody. This has only been possible due to the missions of GIFT NGO as well as the grace of God Almighty.


Blog ID Title
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www.gandhigifttextile.blogspot.com GIFT: Gandhi Institute of Fashion & Textile
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www.gifthometextile.blogspot.com GIFT: Gandhi Institute of Fashion & Textile
www.homefashiontextile.blogspot.com GIFT: Gandhi Institute of Fashion & Textile
www.2011gift.blogspot.com GIFT: Graduate & Alumni
www.giftshow2011.blog.spot.com GIFT SHOW 2011 “DESIGN MANDI”
25TH SHOW of GIFT in Ahmedabad
www.giftinst.blogspot.com GIFT GENERAL FASHION & TEXTILE
www.gifttextile201.blogspot.com GIFT TEXTILE DESIGN EDUCATIO
www.giftfashion2011.blogspot.com GIFT FASHION {APPAREL} DESIGN
Email address: info@gift-india.com
www.giftfeestructure.blogspot.com as per condition apply.  GIFT: Gandhi Institute of Fashion and Textile
If any Yellow Pages show in Google web search beside Prof. Khalid Ameer Rafique GIFT, anywhere is not our BRANCH, because we do not have. As shown in grotal.com in Maninagar Ahmedabad is not our “GIFT” BRANCH, Kindly NOTE. They Misleading Misguiding Students.
NOTE: In same account Year, GIFT all Educational Schemes Begins from 16th April and gets over in November same account year, which means no benefits new learner, can avail.

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