worksheet and assessment card masters - National STEM Centre
worksheet and assessment card masters - National STEM Centre
worksheet and assessment card masters - National STEM Centre
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FIBRES i\.ND ,ABRICS<br />
WORKSHEET AND ASSESSMENT<br />
CARD MASTERS<br />
Notes<br />
These <strong>worksheet</strong>s <strong>and</strong> <strong>assessment</strong><br />
<strong>card</strong>s support the Fibres <strong>and</strong> fabrics<br />
area of study of the second phase<br />
of the Nuffield Home Economics<br />
materials. The <strong>worksheet</strong>s provide<br />
supplementary activities <strong>and</strong><br />
information related to the text.<br />
The <strong>assessment</strong> <strong>card</strong>s offer the<br />
teacher a variety of tests <strong>and</strong><br />
projects for each chapter <strong>and</strong> will<br />
help towards effective <strong>assessment</strong><br />
of pupils' performance. They are<br />
aimed to "giveflexibility in use.<br />
They could be used on an OHP or<br />
duplicated either in part or in their<br />
entirety for an end of term test or<br />
when a topic has been completed.<br />
In most cases, the pupils will<br />
require paper on which to answer<br />
the questions. The questions are<br />
varied <strong>and</strong> include objective<br />
questions, structured questions, <strong>and</strong><br />
questions using mathematics. Each<br />
<strong>card</strong> includes suggestions for project<br />
or course work investigations. Many<br />
of the questions have no one right<br />
answer. Pupils should be encouraged<br />
to consider a range of possibilities.<br />
For this reason no answers are<br />
provided for questions on the<br />
<strong>assessment</strong> <strong>card</strong>s.<br />
These sheets may be photocopied<br />
or used to make stencils or overhead<br />
projection transparencies. Copyright<br />
: is waived only for teachers to make<br />
copies for distribution within their<br />
own schools.<br />
General Editor,<br />
Nuffield Home Economics<br />
Marie Edwards<br />
Authors of Fibres <strong>and</strong> fabrics<br />
Barbara Booth<br />
John Pomeroy<br />
Authors of these <strong>worksheet</strong>s <strong>and</strong><br />
<strong>assessment</strong> <strong>card</strong>s<br />
Margaret Boughton<br />
Nina Konrad<br />
Organizers,<br />
Nuffield Home Economics 1977-81<br />
Harry Faulkner<br />
Sharon M. Mansell<br />
Design <strong>and</strong> art direction<br />
by Ivan <strong>and</strong> Robin Dodd<br />
Illustrations <strong>and</strong> diagrams by<br />
Martin Lubikoroski, Christopher Marshall,<br />
Christine Roche, Gary Simmons, <strong>and</strong><br />
Ian Smith.<br />
Printed <strong>and</strong> bound in Great Britain by<br />
Anchor Brendon Ltd of Tiptree, Essex<br />
Published for the Nuffield-Chelsea<br />
Curriculum Trust byHutchinsonEducation<br />
Hutchinson & Co. (Publishers) Ltd<br />
An imprint of the<br />
Hutchinson Publishing Group<br />
17-21 Conway Street, London W1P 6JD<br />
Hutchinson Group (Australia) Pty Ltd<br />
30-32 Cremorne Street,<br />
Richmond South, Victoria 3121.<br />
PO Box 151, Broadway,<br />
New South Wales 2007<br />
Hutchinson Group (NZ) Ltd<br />
32-34 View Road,<br />
PO Box 40-086, Glenfield, Auckl<strong>and</strong> 10<br />
Hutchinson Group (SA) (Pty) Ltd<br />
PO Box 337, Bergvlei 2012, South Africa<br />
First published 1984<br />
© Nuffield-Chelsea Curriculum Trust 1984<br />
British Library Cataloguing<br />
in Publication Data .<br />
Nuffield-Chelsea Curriculum Trust<br />
Fibres <strong>and</strong> fabrics.- (Nuffield home<br />
economics)<br />
Worksheets <strong>and</strong> Assessment <strong>card</strong>s<br />
1. Textile fabrics<br />
I. Title II. Series<br />
677 TS1445<br />
ISBN 0 09 152871 2
FIBRES AND FABRICS<br />
WORKSHEET ANDI ASSESSMENT<br />
CARD MASTERS·<br />
WORKSHEETS<br />
FM1<br />
Presenting data<br />
FM2a <strong>and</strong> b<br />
Why do we have curtains <strong>and</strong> carpets?<br />
FM3<br />
Looking at fibres with a microscope<br />
FM4<br />
How do fibres react to burning?<br />
FM5a<strong>and</strong> b<br />
Effect of wetting on thermal insulation<br />
FM6<br />
Thermal insulation for warmth<br />
FM7a, b, <strong>and</strong> c<br />
Spinning, knitting, <strong>and</strong> weaving<br />
FM8<br />
Fabric strength<br />
FM9<br />
Light <strong>and</strong> colour<br />
FM10<br />
Colour <strong>and</strong> fabric - mixing colours<br />
FM11<br />
Colour fastness of household dyes<br />
FM12<br />
Comparing household dyes<br />
FM13<br />
Colour fastness of curtain fabric<br />
FM14<br />
Minimum-iron finish<br />
FM15<br />
Superwash wool<br />
FM16<br />
Water repellency<br />
FM17a <strong>and</strong> b<br />
Fabric cling <strong>and</strong> anti-stat<br />
FM18<br />
Surface tension <strong>and</strong> detergents<br />
ASSESSMENT CARDS<br />
FM19<br />
Chapter 1 Going shopping<br />
FM20<br />
Chapter 2 The clothes line<br />
FM21<br />
Chapter 3 Why textiles - why not plastics?<br />
FM22<br />
Chapter 4 Fibres: the first step in the line<br />
FM23<br />
Chapter 5 Producing the natural fibres<br />
FM24<br />
Chapter 6 Man imitates nature<br />
FM25<br />
Chapter 7 Comparing the fibres<br />
FM26<br />
Chapter 8 Building up to a yarn<br />
FM27<br />
Chapter 9 Building up to a fabric<br />
FM28<br />
Chapter 10 Colour<br />
FM29<br />
Chapter 11 Putting colour into practice<br />
FM30<br />
Chapter 12 It's all in the finish<br />
FM31<br />
Chapter 13 The garment takes shape<br />
FM32<br />
Chapter 14 Getting dirty<br />
FM33<br />
Chapter 15 Keep it clean<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Suppose you have collected some data <strong>and</strong> want to<br />
present it in a way that is easy to underst<strong>and</strong>. For<br />
example, you have carried out a survey on how much<br />
people spend, on average, every year on clothes <strong>and</strong><br />
textile items. Below are some results for a family with<br />
two children.<br />
Textile items Average annual expenditure<br />
per household<br />
Men's clothes £90<br />
Women's clothes £180<br />
Children's clothes £180<br />
Household textiles £90<br />
You could show this by any of the three ways shown<br />
on this <strong>worksheet</strong>.<br />
Pie chart<br />
100<br />
a<br />
women<br />
children<br />
In the pie chart, the total is represented by a complete<br />
circle (the pie) <strong>and</strong> each item by a sector (or slice of<br />
the pie). The angle of the sector is in proportion to theamount<br />
spent.<br />
For example, in the pie chart below, the spending by<br />
men is represented by 60° of the circle. This is worked<br />
out as follows: men spend one-sixth of the total<br />
(90 -;.540), one-sixth of the complete circle (360°)<br />
is 60°.<br />
Now consider the household textiles used in your own<br />
home. Carry out a survey to find what proportion of<br />
the total is spent on:<br />
a carpets<br />
b curtains <strong>and</strong> furnishing fabrics<br />
c bedding<br />
d towels <strong>and</strong> cleaning cloths.<br />
Choose one or more of the methods shown below to<br />
represent your data. (You may find it useful to look in<br />
local shops or catalogues for the current prices of<br />
these items.)<br />
Pictogram<br />
men 10~~~§JIio<br />
women<br />
~Ci8~~§J<br />
t §~ fell§J e2J<br />
~~~[8§J§J<br />
children It<br />
Bar chart ~eJI§JB<br />
CIl<br />
200<br />
E:0 women children<br />
c:<br />
CIl<br />
~ xw~<br />
household P=9[g ~:l§~]~ f§
NUFFIELD<br />
'·· • HOME ECONOMICS<br />
Why d0we-have curtains FIBRES AND FABRICS:<br />
_' . 'WORKSHEET·<br />
<strong>and</strong> carpets? . FM2a<br />
The colour, texture, <strong>and</strong> pattern of furnishing fabrics<br />
create atmosphere <strong>and</strong> express the personality <strong>and</strong><br />
status of the owners. Textiles also help to keep the<br />
home warm <strong>and</strong> comfortable. The table below shows<br />
that carpets reduce heat loss <strong>and</strong> noise. Complete the<br />
table for the other furnishing fabrics using.the scale.on<br />
the right.<br />
* very little effect<br />
* * some effect<br />
* * * moderate effect<br />
*.* * * big effect<br />
Fabric Heat loss Privacy Noise<br />
furnishings<br />
conduction convection radiation draughts day night traffic footsteps echoes<br />
Carpets<br />
Rugs<br />
Curtains, net<br />
Curtains, thin<br />
Curtains, thick<br />
Curtains, lined<br />
Curtains, with<br />
aluminized lining<br />
Curtains, lined<br />
<strong>and</strong> interlined<br />
Upholstered<br />
furniture<br />
* * * * * * * * * * * *<br />
Below is a list of the properties you should consider<br />
when choosing a carpet. Make your own list of desirable<br />
qualities for curtains <strong>and</strong> upholstery <strong>and</strong> other<br />
household fabric uses.<br />
acoustic comfort<br />
(reduces noise)<br />
walking safety<br />
(does not ruck up)<br />
durability<br />
(wears well)<br />
appearance retention<br />
(tex ture <strong>and</strong> colour)<br />
dimensional stability<br />
(keeps its shape)<br />
electrostatic<br />
(no build-up of static)<br />
walking comfort<br />
(depth of pile)<br />
thermal comfort<br />
(reduces heat loss)<br />
tuft bind<br />
(tufts will not pull out)<br />
soiling<br />
(resists dirt <strong>and</strong> stains)<br />
flammability<br />
(resists fire)<br />
hygiene<br />
(ease of cleaning)<br />
Now rewrite each list of properties in sour order of<br />
importance.<br />
I<br />
- - -<br />
~<br />
* * * * * *<br />
The variety of textile fabrics commonly used to make<br />
bedclothes includes linen, cotton, polyester, nylon,<br />
<strong>and</strong> wool. In addition, padding materials for beds,<br />
pillows, <strong>and</strong> duvets are made from feathers <strong>and</strong> some<br />
synthetic materials. The weight <strong>and</strong> warmth of<br />
bedclothes depends on the materials used.<br />
People vary a lot in their preferences for lightweight<br />
or heavyweight bed coverings. Some bedclothes,<br />
particularly duvets, are sold with a label giving the tog<br />
rating of the item - the higher the tog rating the lower<br />
the heat loss <strong>and</strong> the greater the insulation.<br />
Make a survey of the bedclothes available in a large<br />
specialist department or from a mail-order catalogue.<br />
Draw up a table to describe what you find. Include the<br />
sizes available, whether sheets are plain or fitted, <strong>and</strong><br />
the fabrics used for each item.
Why do we have curtains<br />
<strong>and</strong> carpets?<br />
Furnishing fabrics are expensive largely because of the<br />
area to be covered in even a small home. However,<br />
price is related more to aesthetic than to performance<br />
factors.<br />
Estimate the area of furnishing fabrics that would be<br />
used in a room.<br />
1 Measure the floor <strong>and</strong> windows.<br />
2 List the furniture in the room.<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM2b<br />
·3 Estimate the fabric used for the carpets, curtains,<br />
<strong>and</strong> upholstery.<br />
Note. Curtains must be at least one <strong>and</strong> a half times the<br />
width of the windows.<br />
Window: Floor:<br />
Furniture:<br />
Room area fabric required area fabric required fabric required<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Looking at fibres with a<br />
•<br />
microscope<br />
Examining the fibres in a fabric with a microscope<br />
helps to identify what the fabric is made of. Try this<br />
for yourself.<br />
YOU WI LL NEED:<br />
Sample of fabric of unknown fibre composition<br />
Sample set of fibre slides - natural fibres, regenerated fibres,<br />
synthetic fibres<br />
Microscope<br />
Microscope slides 1',<br />
Dissecting pins f<br />
1 Examine each slide in your sample set under the<br />
microscope. Draw carefully what you see <strong>and</strong> label<br />
your sketch. Switch to polarized light <strong>and</strong> look at<br />
the fibre again.<br />
2 Using pins tease out a few fine fibres from a warp<br />
thread of your unknown sample.<br />
dissecting<br />
pin<br />
3 Put these fibres between two microscope slides.<br />
~thread<br />
microscope<br />
slide<br />
/ -.~ microscope<br />
t====== slide<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS: .<br />
WORKSHEET<br />
FM3<br />
completed<br />
slide<br />
4 Make a slide with the fibres taken from a weft<br />
thread.<br />
5 Examinethese-slides under the microscope <strong>and</strong> draw<br />
what you see in each case.<br />
6 Compare these drawings with those of your sample<br />
slide set or with pages 44 <strong>and</strong> 45 in your textbook.<br />
Have another look at the relevant sample slides.<br />
What are the fibres in the weft thread?<br />
What are the fibres in the warp thread?<br />
Perhaps there is more than one type of fibre in your<br />
warp or weft. Try to identify all the different fibres in<br />
your fabric sample. Mount the sample <strong>and</strong> record your.<br />
findings using a chart like the one below. Say whether<br />
each fibre is natural, synthetic, or regenerated, <strong>and</strong> give<br />
its generic name.<br />
Warp thread<br />
Weft thread<br />
First fibre Name Second fibre Name<br />
type type<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Note. It is essential to examine fibres first under a<br />
microscope to determine whether the fabric sample<br />
is one type of fibre only or a blend of two or more<br />
fibres.<br />
Burning tests are not always a reliable means of<br />
identification because some fibres have modifications<br />
<strong>and</strong> finishes which will alter your results. Synthetic<br />
fibres cause the most difficulty.<br />
In the burning tests, a thermoplastic fibre will shrink<br />
back as it approaches the flame <strong>and</strong> will melt to form a<br />
hard bead. Natural <strong>and</strong> regenerated cellulose fibres do<br />
not shrink from the flame.<br />
YOU WILL NEED:<br />
Small sample of fabric<br />
Flameproof mat or tray of s<strong>and</strong><br />
Bunsen burner<br />
Pair of crucible tongs or tweezers<br />
1 Prepare your equipment to avoid risk of burning<br />
yourself or your surroundings. Wear goggles. 1:\<br />
Put the Bunsen burner in the centre of a large ill<br />
metal tray or flameproof mat. Adjust the flame to a<br />
small blue cone (not roaring).<br />
2 Hold one or two threads from the sample fabric in<br />
the tongs <strong>and</strong> advance them slowly up to the flame.<br />
Observe their behaviour approaching the flame, in the<br />
flame, <strong>and</strong> on removal from the flame.<br />
3 Answer the questions below <strong>and</strong> then use the table<br />
to try to identify your sample.<br />
Does the sample shrink from the flame?<br />
Does it ignite?<br />
Does the flame go out if the sample is removed from<br />
the flame?<br />
Does it burn?<br />
Does it give off smoke?<br />
What does it smell like when burning?<br />
Does the flame go out by itself before the fabric is<br />
cOlnpletely burned?<br />
What remains when the flame goes out?<br />
Fibre When approaching the flame When held in the flame When removed from the flame<br />
Cotton <strong>and</strong> viscose does not shrink away; ignites burns quickly continues burning; light grey<br />
on contact ash; smells like burnt paper<br />
Wool <strong>and</strong> silk furls away from flame burns slowly usually stops burning; brittle<br />
black residue; smells like<br />
burning hair<br />
Acetate <strong>and</strong> triacetate melts <strong>and</strong> shrivels; may ignite burns quickly continues burning; hard black<br />
bead formed; acrid smell<br />
Nylon <strong>and</strong> polyester melts <strong>and</strong> shrivels away from burns slowly with smoky usually stops burning; hard<br />
flame flame bead; polyester dark in colour,<br />
nylon lighter; acrid smell
·Effect of wetting<br />
on thermal insulation·<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS: .<br />
WORKSHEET<br />
F,M5a<br />
WHY SHOULD YOU KEEP YOUR FEET DRY? 2 Fit the covers over two of the boiling-tubes.<br />
YOU WILL NEED:<br />
6 fabric pieces, 10 cm X 10 cm - woven or knitted fabric,<br />
e.g. wool or acrylic jersey<br />
Detergent<br />
Water<br />
Clock or watch with seconds h<strong>and</strong><br />
4 boiling-tubes in st<strong>and</strong><br />
3 thermometers, -10 °c to 110 °c, fitted through corks<br />
Boiling-tube holder<br />
Kettle<br />
Tray to catch spills<br />
Glass rod<br />
Needle <strong>and</strong> thread<br />
Labels<br />
3 different coloured pens<br />
1 Make identical covers for two boiling-tubes using<br />
three layers of fabric as shown below.<br />
three pieces of<br />
woven or knitted<br />
fabric<br />
Fold the three layers<br />
of fabric in half <strong>and</strong><br />
.. stitch to make a close<br />
fitting cover for the<br />
boiling-tubes<br />
3 Label the holes in the boiling-tube st<strong>and</strong> A, B, C,<br />
<strong>and</strong> D. Put the two covered boiling-tubes into holes B<br />
<strong>and</strong> C <strong>and</strong> the two that remain into holes A <strong>and</strong> D.<br />
thermometer<br />
cork<br />
boiling-tube<br />
A<br />
'-<br />
B<br />
fabric<br />
cover<br />
'--<br />
c<br />
4 Carefully fill the four boiling-tubes to within 3 cm<br />
of the top with boiling water. Fit the corks <strong>and</strong><br />
thermometers to A, B, <strong>and</strong> C.<br />
5 Use a clock or watch <strong>and</strong> record your readings every<br />
two minutes in a tabl~ like the one below.<br />
Time (minutes)<br />
Temperature, boiling tube A<br />
Temperature, boiling-tube B<br />
Temperature, boiling-tube C<br />
6 After six readings have been taken, use the glass rod<br />
to add one drop of detergent to boiling-tube D.<br />
7 Hold boiling-tube C over a tray with the holder <strong>and</strong><br />
pour the contents of D onto the fabric. Put C back into<br />
its hole in the st<strong>and</strong>. Continue to take a further five<br />
readings <strong>and</strong> record your results.<br />
What did you notice about the immediate effect on the<br />
temperature of wetting the fabric?<br />
8 Plot your results on the graph on <strong>worksheet</strong> FM5b.<br />
Use a different colour to represent each boiling-tube -<br />
red forA, 'blue 'for B; <strong>and</strong> 'green forC. "<br />
o<br />
© 1984 Nuffield-Chelsea Curriculum Trust<br />
2<br />
D<br />
4
Effect of wetting<br />
on thermal insulation<br />
100<br />
(.)<br />
0<br />
c<br />
ai<br />
~<br />
E<br />
III 95 c.<br />
E<br />
III<br />
I-<br />
90-<br />
85-<br />
80-<br />
75-<br />
70-<br />
65<br />
60<br />
55-<br />
50 I<br />
I I I -<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM5b<br />
0 2 4 6 8 10 12 14 16 18 20<br />
What do you notice when you compare the three<br />
curves you have drawn?<br />
Why should you keep your feet dry?<br />
You could repeat this experiment with an electric fan<br />
blowing on the boiling-tubes <strong>and</strong> compare the results<br />
with those you have just recorded.<br />
Time, in minutes<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Thermal insulation for<br />
warmth<br />
HOW ARE WE PROTECTED FROM COLD?<br />
Protection from cold is provided by textiles which, as<br />
well as being good insulators, are strong, light, <strong>and</strong><br />
flexible enough to make acceptable garments.<br />
HOW IS HEAT LOST FROM THE BODY?<br />
Heat can get through clothing by convection,<br />
conduction, <strong>and</strong> radiation. Convection is the most<br />
important, especially in moving air, but conduction <strong>and</strong><br />
radiation can also be significant. Clothing reduces<br />
convection <strong>and</strong> conduction but not radiation, unless it<br />
is lined with split film foil, as some modern fabrics are.<br />
WHAT MAKES A FABRIC A GOOD INSULATOR?<br />
The main factor which determines how well a material<br />
insulates is the proportion of air which is trapped<br />
between the fibres. Air is a very poor conductor of<br />
heat, so a fabric which contains 80 to 90 per cent air<br />
will reduce conduction very effectively. If the air<br />
cannot move out of the fabric easily, it will also be<br />
very effective in reducing convection. For this purpose<br />
several thin layerswiUusually be more effective than<br />
. one"thick layer ~·A'goodexample'is"quilted' material,<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET' '<br />
FM6 ..<br />
which has a loose filling (down, kapok, or a synthetic<br />
fibre) which holds a lot of air while the thin outer<br />
layers reduce the movement of this air.<br />
We often see togs mentioned when continental quilts<br />
are advertised. The higher the tog value the lower the<br />
heat loss <strong>and</strong> the greater the insulation.<br />
WHY ARE COATS AND JACKETS LINED?<br />
A tog of 1.0 is the thermal resistance of a fabric for a<br />
conventional man's suit or a blanket of about medium<br />
quality. The thermal resistance of several layers of<br />
clothing or bedding in calm ~ir can be obtained by<br />
adding the values for each layer. A new blanket will be<br />
warmer than a much washed <strong>and</strong> worn one. Typical<br />
tog values for a range of fabrics are: blanket 1;<br />
carpet 1 to 3; continental quilt 7 to 14; curtain 0.2;<br />
PVC 'mac' 6; sheet 0.2; shirting 0.1; suiting 1;<br />
sweater 1.<br />
Compile a chart like the one below to show the benefits<br />
which can be gained from combining more than one<br />
fabric.in one garment or combination of garments.<br />
Add your own suggestions of 'garment combinations.,<br />
Garment combination Fabrics Purpose Tog value Advantages Disadvantages<br />
Suit jacket, wool worsted propriety 1.0 smart constricting<br />
tricellining warmth 0.1 easy off <strong>and</strong> on must be cleaned<br />
shirt, <strong>and</strong> polyester /cotton propriety 0.1 easy care not very<br />
warmth absorbent<br />
vest poplin warmth 0.2 absorbent <strong>and</strong><br />
vincel jersey easy to launder<br />
Pullover <strong>and</strong><br />
T-shirt<br />
PVC 'mac' <strong>and</strong><br />
sweatshirt<br />
PVC 'mac' <strong>and</strong><br />
synthetic blouse<br />
Polyester/cotton 'mac'<br />
<strong>and</strong>. crimplene dress<br />
Shoes <strong>and</strong><br />
nylon socks<br />
Wellington boots<br />
<strong>and</strong> thick wool socks<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Spinning, knitting:, <strong>and</strong><br />
•<br />
weaving<br />
A spinning machine has three<br />
functions.<br />
1 To draw on the roving<br />
(continuous str<strong>and</strong> of fibres) fed<br />
to it.<br />
2 To insert the necessary amount<br />
of twist or turns.<br />
3 To wind the twisted thread or<br />
yarn onto a cylindrical bobbin.<br />
TWIST FACTORS<br />
The longer or finer the fibres used,<br />
the less twist is required to give the<br />
'strength needed. This is called the<br />
twist factor. A higher twist than<br />
normal results in a hard, wiry yarn<br />
which will snarl easily. A lower<br />
twist than normal gives a soft,<br />
full yarn. Warp yarns are more<br />
highly twisted than weft yarns.<br />
If fibres are twisted they li,eat an<br />
angle. The direction they take<br />
depends on whether the spindle<br />
rotates clockwise or anticlockwise<br />
when viewed from above. If<br />
clockwise, they will have a 'z' twist.<br />
If anticlockwise, they will have<br />
an'S'twist.<br />
'Z'twist<br />
'S'twist<br />
clockwise<br />
anticlockwise<br />
In a sewing or knitting yarn, the<br />
yarn has the opposite twist to its<br />
plies. This helps to balance the yarn,<br />
making it less liable to snarl or<br />
untwist. Fabrics made from spun<br />
yarn usually have a Z twist in the<br />
warp <strong>and</strong> may have a S twist in the<br />
weft. Light is reflected in opposite<br />
directions from the two types of<br />
thread. Lustrous stripes can be<br />
achieved by having alternate groups<br />
of Z <strong>and</strong> S twist yarns in the warp.<br />
HOW CAN YOU MAKE A<br />
BALANCED YARN?<br />
YOU WILL NEED:<br />
2 cones of fine yarn supported on pencils<br />
in a <strong>card</strong> base (yarn wound onto toilet<br />
roll cores would do)<br />
Wool fleece<br />
Spindle<br />
1 Thread up the spindle as shown<br />
below using the two yarns twisted<br />
together.<br />
spindle<br />
whorl (weighted<br />
cotton reel)<br />
NUFFIELD<br />
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WORKSHEET<br />
FM7a<br />
2 Try to ply the two yarns together<br />
to form a single thicker yarn.<br />
Which kind of twist have you got<br />
in your folded yarn?<br />
Which kind of twist is in the single<br />
yarns?<br />
3 When you can achieve an even<br />
folded yarn you should attempt<br />
to spin from fleece. Start by<br />
twisting some fleece in your finger&<br />
<strong>and</strong> then join it onto the length of<br />
yarn already on the spindle.<br />
(_,~~r~<br />
"(rc ~r~1<br />
(G~/~ wool fleece<br />
'--C~ ~ ,I!<br />
v"l"'-<br />
nI •..or-.<br />
-,<br />
© 1984 Nuffield-Chelsea Curriculum Trust<br />
I!.'<br />
I
Spinning, knitting, <strong>and</strong><br />
•<br />
weaving-<br />
KNITTING TENSION<br />
The 'tension' of a piece of knitted fabric refers to the<br />
number of stitches <strong>and</strong> rows in a given measurement.<br />
When you are following a knitting pattern, it is very<br />
important that your tension is the same as that stated<br />
in the pattern. Why do you think this is? And jf your -<br />
tension isn't the same, how can you make it match?<br />
YOU WILL NEED:<br />
1 ball of double knitting yarn<br />
1 pair of 5-mm (size 6) knitting needles<br />
1 pair of 4lh-mm (size 7) knitting needles<br />
1 pair of 4-mm (size 8) knitting needles<br />
1 pair of 3%-mm (size 9) knitting needles<br />
1 pair of 31J4-mm(size 10) knitting needles<br />
Pencil <strong>and</strong> paper<br />
Ruler<br />
Dress-making pins<br />
1 Using 4-mm (size 8) needles, cast on 30 stitches.<br />
Knit 40 rows of stockingmstitch (knit one row, purl<br />
one row).<br />
2 Measure the tension of your sample. Lay the sample<br />
on a firm, dlat surface. Do not stretch it.<br />
NUFFIELD<br />
- HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM7b<br />
3 Put a ruler over the sample. Mark 10 cm with pins<br />
<strong>and</strong> then count how many stitches you have between<br />
the pins. Count the number of rows in 10 cm in the<br />
same way.<br />
You should have 23 stitches when you measure across<br />
10 cm, <strong>and</strong> 32 rows when you measure down 10 cm.<br />
If you have more stitches in 10 cm, then your tension<br />
is too tight. How do you think you could correct this?<br />
Try out your idea.<br />
If you have too few stitches in 10 cm, then your<br />
tension is too loose. Think how to correct this <strong>and</strong> try<br />
out your idea.<br />
What do you think you should do if you have the<br />
wrong number of rows in 10 cm?<br />
How do you think what you have discovered might be<br />
used to help you in the adaptation of knitting patterns?<br />
24 stitches in 10 cm:<br />
too many stitches.<br />
What do you do?<br />
19 stitches in 10 cm:<br />
too few stitches.<br />
What do you do?<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Spinning, knitting, <strong>and</strong><br />
•<br />
weaving<br />
MAKING A LOOM<br />
A weaving loom can be made out<br />
of a few simple materials. Use the<br />
loom described on this <strong>worksheet</strong><br />
to learn the basic steps involved in<br />
weaving. You can then go on to use<br />
more complicated looms <strong>and</strong><br />
methods.<br />
Once you have made this loom, you<br />
can tryout the effects produced<br />
by all sorts of weaving materials<br />
<strong>and</strong> types of weave. For instance,<br />
you could try weaving with yarn<br />
that you have spun yourself<br />
(<strong>worksheet</strong> FM7a).<br />
YOU WILL NEED:<br />
1 piece of wood, 50 cm X 7 cm X 2 cm<br />
2 pieces of wood, 40 cm X 7 cm x 2 cm<br />
4 screws (1lh-inch)<br />
60 panel pins (%-inch)<br />
Heavy <strong>card</strong> for making shuttle<br />
Bradawl<br />
Screwdriver<br />
Hammer<br />
Scissors<br />
Ruler <strong>and</strong> pencil<br />
1 Make up the wooden frame as<br />
shown on the right. (Put two<br />
screws at each end as shown. This<br />
will make sure that the two<br />
cross-pieces will not move when you<br />
thread up the warp.)<br />
2 Hammer in the panel pins in the<br />
pattern shown at 1.5-cm intervals.<br />
WEAVING<br />
YOU WILL NEED:<br />
Weaving yarns<br />
Loom<br />
.shuttle<br />
1 Thread up the warp with the<br />
yarn you want to use.<br />
2 Cut out a shuttle (17 cm long)<br />
from heavy <strong>card</strong> in the pattern<br />
shown.<br />
3 Choose your weft yarn <strong>and</strong> wrap<br />
about 10 m of it onto the shuttle.<br />
4 Tie one end of the weft yarn to<br />
one end of the first warp thread.<br />
5 Start with a simple weave. Pass<br />
the shuttle across the warp threads,<br />
going under the first warp, then<br />
over the next, <strong>and</strong> so on.<br />
\\\\\~I\\~~\\<br />
I<br />
/vVJ J 1/ ~'f / / I<br />
011 V 7 1I Ij<br />
" • II<br />
'II "<br />
6 At the end of the row, bring the<br />
shuttle back across the warp<br />
threads, going under where you<br />
went over in the first row.<br />
7 After each row push the weft<br />
threads towards the cross-piece<br />
at the end you started from. A<br />
comb is useful for doing this .<br />
8 -Stop weaving when you have<br />
a sample of about 30 cm in length.<br />
Cut the warp threads by the pins<br />
at each end <strong>and</strong> tie them into<br />
bunches of 6 threads.<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM7c<br />
--<br />
/<br />
panel pins<br />
cross-piece<br />
warp yarn<br />
two screws<br />
cross-piece<br />
Cut shuttle from<br />
heavy <strong>card</strong> in<br />
this shape.<br />
Now look at <strong>worksheet</strong> M28.<br />
Copy some of the plain <strong>and</strong><br />
twill weaves shown.<br />
You could also invent some weave<br />
patterns of your own <strong>and</strong> note<br />
them down in the same way as<br />
they are shown on <strong>worksheet</strong><br />
M28.<br />
After you have done some weaving,<br />
decide which thread has to take<br />
most strain - the warp or the weft.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
WHAT AFFECTS FABRIC STRENGTH?<br />
In the following investigation you will learn about<br />
some of the things which affect fabric strength.<br />
YOU WILL NEED: \<br />
Samples of woven fabric labelled with suggested end use<br />
H<strong>and</strong> lens<br />
Dissecting pins<br />
Pencil<br />
Ruler<br />
In these tests give your results a ranking. For example,<br />
in the first test, you would rank the fabric with the<br />
highest fibre density first <strong>and</strong> the fabric with the<br />
lowest density last.<br />
1 Using the h<strong>and</strong> lens, examine the fabric samples <strong>and</strong><br />
identify each weave. Name each of your samples.<br />
2 Measure a square,l.cm,x 1cmon each fabric -sample.<br />
Mark it out with a sharp pencil <strong>and</strong> ruler.<br />
Using the h<strong>and</strong> lens <strong>and</strong> a pin, carefully count the<br />
number of warp threads <strong>and</strong> the number of weft<br />
threads inside the square. Write down your results in<br />
ranked order.<br />
3 Using the lens, examine one warp thread from the<br />
edge of each sample. List the fabrics in order of<br />
thickness of warp thread. Now do the same for the<br />
weft threads.<br />
4 Untwist a warp thread from each sample between<br />
your fingers. Was it highly twisted? Examine one weft<br />
thread in the same way. Write down your findings in<br />
ranked order.<br />
5 Using pins, tease out a few fibres from a warp thread.<br />
Measure their length. Measure the weft fibres from<br />
your sample. Record your results.<br />
Make a list of the factors that you have tested which<br />
affect the strength of a fabric. Can you think of any<br />
other factors which you have not tested?<br />
6 Mount your samples carefully. Label them with<br />
their names, suggested end use, <strong>and</strong> a description based<br />
on your results.<br />
2 sheets of <strong>card</strong><br />
heading<br />
sample<br />
name of<br />
fabric<br />
description of<br />
weave,.yarns,<br />
<strong>and</strong> fibres<br />
Compare your results with the results from the fabric<br />
strength investigations in Chapters 7 <strong>and</strong> 12.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
WHAT MAKES UP WHITE LIGHT?<br />
If you shine a light through a glass prism it will break<br />
the light into small b<strong>and</strong>s of rays which we can see as<br />
the seven colours of the spectrum: red, orange, yellow,<br />
green, blue, indigo, <strong>and</strong> violet. You can do this using<br />
some <strong>card</strong>, a prism, a lamp, <strong>and</strong> a lens.<br />
white<br />
<strong>card</strong><br />
YOU WILL NEED:<br />
Large sheet of white <strong>card</strong><br />
Sheet of black <strong>card</strong> with a<br />
narrow slit cut in it<br />
Lamp or c<strong>and</strong>le<br />
Clear glass bottle<br />
Glass prism<br />
1 Set the apparatus up as shown above.<br />
2 Adjust the positions of the <strong>card</strong> <strong>and</strong> lens until you<br />
can see the whole spectrum. Describe what you see.<br />
A rainbow is made by sunlight shining onto raindrops.<br />
These act like prisms <strong>and</strong> split the light into the colours<br />
of the spectrum.<br />
sunlight<br />
spectrum<br />
Red, green, <strong>and</strong> indigo are the 'primary' colours of<br />
light <strong>and</strong> can be mixed to make any other colour.<br />
Now try combining the different colours to make white.<br />
YOU WILL NEED:<br />
Circle of <strong>card</strong>board<br />
Pencil<br />
Coloured pencils or paints<br />
Paint a <strong>card</strong>board circle with all the colours of the<br />
rainbow as shown below. Put a pencil through the<br />
middle of the circle <strong>and</strong> spin it on a table.<br />
Wbat colour does the circle appear when spinning?<br />
R = red<br />
0= orange<br />
Y = yellow<br />
G = green<br />
B = blue<br />
I = indigo<br />
V = v"iolet<br />
Try to find out why you were asked to colour uneven<br />
sections of the circle.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Colour <strong>and</strong> fabricmixing<br />
colours<br />
The primary colours of paint or dye are not the same<br />
as those of light. The primary colours of paint are<br />
yeliow, blue, <strong>and</strong> pink. The three colours together<br />
make black paint or dye.<br />
WHAT HAPPENS WHEN YOU MIX DYES?<br />
YOU WILL NEED:<br />
Dylon cold-water dyes: primrose (A10), camellia (A16), <strong>and</strong><br />
turquoise saga (A30)<br />
Dylon cold dye fix or washing soda<br />
Kitchen salt<br />
White cotton fabric<br />
3 measuring jugs<br />
3 large bowls<br />
3 wooden spoons<br />
1 Prepare the three dye-baths following the<br />
instructions carefully.<br />
2 Cut strips of fabric, wet them thoroughly, <strong>and</strong> place<br />
one in each bath. Stir for ten minutes, rinse, <strong>and</strong> dry.<br />
3 Using the absorption spectra on the right, try to<br />
predict what colours you could obtain by mixing one<br />
or more or" these dyes. (Try tracing two of the<br />
spectra, one on top of the other.)<br />
4 Cut the strips of coloured fabric into several small<br />
pieces. Keep one of each colour as control samples <strong>and</strong><br />
use the others to test your theories by overdyeing each<br />
to obtain a range of colours. Remember to rinse<br />
between colours.<br />
Are the colours as you expected?<br />
In what way do they differ?<br />
Can you explain why. this, may be?<br />
5 Measure a square or length of fabric sufficient for a<br />
scarf. Use the experience you have gained to produce<br />
an attactive original coloured design.<br />
You may use dip <strong>and</strong> dye techniques to obtain stripes,<br />
or tie dye, or batik.<br />
100 %<br />
% colour<br />
absorbed<br />
0% V<br />
0% 'V<br />
100%<br />
part<br />
absorbed<br />
Camellia (A 16)<br />
100 %<br />
% colour<br />
absorbed<br />
% colour<br />
absorbed<br />
Primrose (A 10)<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET _<br />
FMIO<br />
8<br />
part<br />
absorbed<br />
8<br />
Turquoise saga (A30)<br />
G<br />
G<br />
part<br />
absorbed<br />
part<br />
reflected<br />
y<br />
y<br />
o<br />
part<br />
reflected<br />
0% V 8 G y o R<br />
© 1984 Nuffield-Chelsea Curriculum Trust<br />
o<br />
R<br />
R
Colour fastness of<br />
household dyes<br />
WILL IT FADE?<br />
YOU WILL NEED:<br />
Hot-water dye<br />
Salt<br />
Samples for dyeing (10 cm x 10 cm) of<br />
wool, nylon, <strong>and</strong> cotton<br />
Samples not dyed (5 cm x 5 cm) of<br />
nylon (7), cotton (5), <strong>and</strong> wool (3)<br />
Dry cleaning fluid (perchloroethylene)<br />
Detergent r<br />
Large saucepan<br />
Wooden spoon<br />
Measuring jug<br />
Kettle<br />
Grey scales<br />
3 Petri dishes or similar small dishes<br />
with lids<br />
3 glass mixing bowls<br />
3 wooden spoons<br />
White <strong>card</strong><br />
Adhesive tape<br />
Needle <strong>and</strong> thread<br />
Access to cooker<br />
1 Prepare dye baths as<br />
recommended <strong>and</strong> dye the<br />
10 cm x 10 cm samples.<br />
2 Divide each dyed sample into<br />
four equal sections. Keep one of<br />
each as a control for comparison<br />
later. Also keep one undyed square<br />
of each fabric for comparison.<br />
3 Mount one of each fabric sample<br />
on a piece of <strong>card</strong>. Mask half of<br />
each sample with a second piece of<br />
<strong>card</strong> as shown below. Expose the<br />
<strong>card</strong> to the light of a sunny window.<br />
fabric<br />
samples<br />
4 Check' the fabrics on the <strong>card</strong><br />
after a few days.<br />
r-- --~titiChing<br />
white nylon<br />
1 coloured cotton<br />
white cotton<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FMll<br />
p 1 coloured wool<br />
white wool<br />
---white<br />
nylon<br />
1 coloured nylon<br />
white cotton<br />
0 --white<br />
nylon<br />
Petri dish<br />
Petri dish<br />
with dry cleaning<br />
with dry cleaning<br />
fluid<br />
fluid<br />
0 wool<br />
_---<br />
Petri dish<br />
with dry cleaning<br />
fluid<br />
Q white nylon<br />
1 coloured nylon<br />
white cotton<br />
---white<br />
nylon<br />
1 coloured cotton<br />
white cotton<br />
8glass<br />
bowl with<br />
hot water <strong>and</strong><br />
detergent<br />
8<br />
glassbowl with<br />
hot water <strong>and</strong><br />
detergent<br />
5 Layout six pieces of white<br />
nylon as above. Put dyed squares<br />
on top of each nylon square as<br />
shown above.<br />
6 Lay white wool squares on the<br />
coloured wool, <strong>and</strong> white cotton<br />
on the nylon <strong>and</strong> cotton squares.<br />
7 Sew each set of three layers<br />
together along one edge.<br />
8 Put one sample of each type of<br />
fabric s<strong>and</strong>wich in a small dish <strong>and</strong><br />
cover them with dry cleaning fluid.<br />
Label each dish carefully with the<br />
fabrics it contains. Replace the lids<br />
<strong>and</strong> keep the dishes warm.<br />
9 Put the remaining three fabric<br />
s<strong>and</strong>wiches into glass bowls with<br />
some hot water <strong>and</strong> detergent. Label<br />
each bowl with the fabrics it<br />
contains. Keep the samples moving<br />
with a spoon.<br />
Q ---white<br />
nylon<br />
1 coloured wool<br />
white<br />
8glassbowl<br />
with<br />
hot water <strong>and</strong><br />
detergent<br />
10 When the water is h<strong>and</strong> hot,<br />
rub each sample, <strong>and</strong> then rinse,<br />
dry, <strong>and</strong> iron them. Keep the<br />
washing water in the labelled<br />
bowls.<br />
Did the colour bleed into the<br />
washing water? Did the colour mark<br />
the white sample?<br />
11 Remove the fabrics from the dry<br />
cleaning fluid. Dry <strong>and</strong> press them.<br />
Did the colour bleed into the dry<br />
cleaning fluid? Did the colour mark<br />
the white fabric?<br />
12 Use grey scales to find a<br />
numerical value for the loss of<br />
colour of the dyed sample, the<br />
added colour to the white sample,<br />
<strong>and</strong> the loss of colour due to<br />
sunlight.<br />
13 Mount <strong>and</strong> label all your<br />
samples on <strong>card</strong>. Record your<br />
results below each sample.
DOES IT MATTER WHICH DYE YOU CHOOSE?<br />
YOU WILL NEED:<br />
10 cm x 10 cm squares of similar weights of white fabric in<br />
each of the following fibres: wool, cotton, viscose, acetate,<br />
tricel, nylon, polyester, acrylic<br />
3 packets of household dye, all in same colour if possible: coldwater<br />
Dylon, hot-water Dylon, Dylon wash <strong>and</strong> dye (dispersal<br />
type)<br />
Washing soda<br />
Detergent<br />
White <strong>card</strong><br />
Salt<br />
Large saucepan<br />
Measuring jug<br />
Kettle for boiling water<br />
Wooden spoon<br />
Iron <strong>and</strong> ironing board<br />
Access to gas or electric ring<br />
1 Divide each square of fabric into four equal pieces.<br />
Keep one piece of each fabric as a control.<br />
2 Using each of the three dyes in turn, dye one piece<br />
of each fabric in each dye following the instructions on<br />
"the packet carefully . (Take care not tomix'·up the" ~<br />
.,samples -from.one dye'with;those of another.) ~<br />
0 wool<br />
0 cotton<br />
0 viscose<br />
0 acetate<br />
0 tricel<br />
0 nylon<br />
0 polyester<br />
0 acrylic<br />
3 When the samples are dry, iron them carefuily.<br />
Mount each set of samples on <strong>card</strong>, taking care to label<br />
them <strong>and</strong> keep the fabrics in the same order.<br />
4 Put the mounted samples side by side as below <strong>and</strong><br />
compare them.<br />
Which fabrics were dyed most successfully using coldwater<br />
dye?<br />
Which dye had the best overall results?<br />
How did the wash <strong>and</strong> dye samples compare with the<br />
other two?<br />
Which fabric was least successful overall?<br />
Were any of the fibres damaged by the hot methods of<br />
dyeing?<br />
Were you surprised by any of the results?<br />
undyed cold water hot water wash <strong>and</strong><br />
(control) dye dye dye<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
wool<br />
cotton<br />
viscose<br />
acetate<br />
tricel<br />
nylon<br />
polyester<br />
acrylic<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
wool<br />
cotton<br />
viscose<br />
acetate<br />
tricel<br />
nylon<br />
polyester<br />
acrylic<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
0<br />
wool<br />
cotton<br />
viscose<br />
acetate<br />
tricel<br />
nylon<br />
polyester<br />
acrylic
Colour fastness of<br />
curtain fabric<br />
WHY DO CURTAINS FADE?<br />
YOU WILL NEED:<br />
Curtain fabric sample (from dis<strong>card</strong>ed sample range at sale time)<br />
Cardboard<br />
Washing <strong>and</strong> ironing facilities<br />
Grey scales (British st<strong>and</strong>ards)<br />
1 Divide your fabric sample into four equal sections<br />
<strong>and</strong> number them.<br />
2 Put one section between the pages of a "book in a<br />
drawer. (Remember where!) This is the control.<br />
3 Mount the second piece on a piece of <strong>card</strong>. Cover<br />
half the sample with a second piece of <strong>card</strong> fastened<br />
firmly to it. Expose the sample to sunlight in a sunny<br />
window.<br />
4 W'ashthe third section gently by h<strong>and</strong> in warm<br />
water (40 0 C) <strong>and</strong> mild detergent. Rinse, dry, <strong>and</strong> iron<br />
the sample.<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM13<br />
5 Take the fourth section home <strong>and</strong> add it to the family<br />
wash on four different occasions. Iron the sample.<br />
o c::=:J 00<br />
©<br />
machine wash (x 4)<br />
6 After six weeks, collect together the four sections<br />
<strong>and</strong> compare them with the control piece. Examine<br />
them for colour loss, loss of lustre, disturbance of<br />
surface texture, <strong>and</strong> shrinkage or loss of shape.<br />
Which section has suffered the greatest damage?<br />
7 Now use grey scales according to the instructions to<br />
assess the colour loss of each section. Record your<br />
results under the mounted samples.<br />
How could you use the findings from these experiments<br />
to help someone choose a curtain fabric?<br />
© 1984 Nnffield-Chelsea Curriculum Trust
Fabric can be treated with a resin finish. Find out its<br />
effects for yourself.<br />
The treatment used to give minimum-iron, drip-dry<br />
performance to cotton -involves the production ofa<br />
cross·:linkedpolymer (resin).withinthe fabric structure.<br />
The simplest system involves urea <strong>and</strong> formaldehyde.<br />
--A-B-A-B-A-B-<br />
I I I<br />
B<br />
I --A--B--A-<br />
B<br />
I<br />
B<br />
I B--A -B-<br />
This resin finish ,givento cotton fabrics improves the<br />
easy-care properties of the fabric, but this is not the<br />
only effect on the fabric.<br />
YOU WI LL NEED:<br />
Samples of untreated <strong>and</strong> drip-dry cotton<br />
Ironing facilities<br />
Select white cotton fabrics of comparable quality - one<br />
untreated <strong>and</strong> the other treated with a drip-dry finish.<br />
Carry out the following tests: tear resistance, creasing,<br />
<strong>and</strong> pleat retention (see sections 7.5 <strong>and</strong> 12.5 or ask<br />
your teacher for help). Record your results. Does it come out?<br />
Will it<br />
tear easily?<br />
Will it<br />
crease?<br />
Will it<br />
hold a pleat?<br />
Untreated cotton Drip-dry cotton<br />
CAN YOU BLEACH WHITE COTTON WHEN IT HAS<br />
A RESIN FINISH?<br />
YOU WI LL NEED: .<br />
White drip-dry cotton (old shirt fabric will do), 2 pieces,<br />
10 cm X 10 cm<br />
White calico (untreated), 2 pieces, 10 cm x 10 cm<br />
Ribena or fresh blackcurrant or blackberry juice<br />
Chlorine bleach (e.g. Parazone, Domestos)<br />
Access to washing <strong>and</strong> ironing facilities<br />
1 Stain one piece of each type of fabric with fruit juice.<br />
Let it dry in. Keep the other piece of each fabric as a<br />
control.<br />
heavy stain<br />
2 W'asheach stained fabric to try to remove the stain.<br />
3 Bleach out the stain.<br />
shadow stain<br />
Follow the instruction on the bottle of bleach<br />
carefully.<br />
no stain<br />
4 Thoroughly rinse the fabrics <strong>and</strong> dry them.<br />
5 Iron each fabric with a hot iron (cotton setting).<br />
c<br />
hot setting<br />
Describe the appearance of each piece of fabric.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
All wool fibres have a protective covering of small<br />
scales which give the fibre a saw-tooth appearance<br />
when looked at through a microscope.<br />
Vvhenwool fibres are dragged across each other in<br />
water they slip over each other. However, the saw-tooth<br />
profile tends to make the fibres more <strong>and</strong> more<br />
entangled until they are jammed together <strong>and</strong> a wool<br />
felt is formed.<br />
Vvoolfabrics are sometimes deliberately felted during<br />
manufacture by 'milling'. This closes up the holes in<br />
the fabric structure so that it becomes. less porous <strong>and</strong><br />
more weather resistant (e.g. for woollen overcoats).<br />
Various methods have been tried to shrink-proof wool.<br />
The most common method involves the use of chlorine<br />
gas in water. This reacts with the surface of the wool<br />
fibre so that it will accept a thin layer of nylon<br />
polymer which will make the fibre surface smooth.<br />
This treatment is normally carried out before the yarn<br />
is spun. Lambswool <strong>and</strong> Shetl<strong>and</strong> sweaters are lightly<br />
milled to make them softer <strong>and</strong> are given the shrinkresist<br />
treatment after 'milling'.<br />
Length<br />
Width<br />
Appearance<br />
Texture<br />
Colour<br />
WASHING SUPERWASH WOOL<br />
How does it compare with ordinary wool?<br />
wool fibre<br />
wool fibre<br />
YOU WILL NEED:<br />
2 identical pieces of machine washable woollen fabric<br />
2 identical. pieces of untreated woollen fabric<br />
Bowl<br />
Detergent<br />
Hot water<br />
Untreated Superwash<br />
1 Compare the aesthetic properties of the two types<br />
of woollen cloth. Do they look the same? Do they<br />
drape equally well? Is the colour affected? Are they<br />
equally soft to the touch <strong>and</strong> warm to feel?<br />
2 Put one piece of each fabric on one side as control<br />
samples.<br />
3 Wash both samples gently in warm water with<br />
detergent. Rinse <strong>and</strong> dry. Compare the samples with<br />
the control samples for size, appearance, texture, <strong>and</strong><br />
colour. Record your results.<br />
control gentle wash harsh wash control gentle wash harsh wash<br />
4 Now wash both samples in hot water, rubbing hard.<br />
Rinse <strong>and</strong> dry. Compare with the control samples again.<br />
Record your results.<br />
Do you think that you can safely machine wash<br />
Superwash wool?
IS IT REALLY WATERPROOF?<br />
YOU WILL NEED: _<br />
Sewing machine oil<br />
Zepel or Scotchgard fabric protector<br />
Detergent<br />
3 squares, 5 cm X 5 cm, of each of the following fabrics:<br />
cotton lawn, cotton canvas, thin nylon weave, industrial nylon,<br />
<strong>and</strong> wool gaberdine<br />
Watch or clock with seconds h<strong>and</strong><br />
Wire cooling tray<br />
Pipette or eye dropper<br />
1 Following the instructions on the container, spray<br />
two squares of each type of fabric with Zepel or<br />
Scotchgard.<br />
CAUTION Use by an open window. Avoid h...<br />
breathing vapour. Avoid contact with eyes. ili<br />
2 Rub one drop of sewing machine oil into one<br />
treated sample of each type of fabric.<br />
3 Set the fabric samples out on a wire cooling tray as<br />
shown below.<br />
4 Using the dropper, place one drop of water in the<br />
centre of each of the three squares of wool.<br />
5 Note how long it takes for the water to soak into<br />
each. Draw up a table <strong>and</strong> record your results on it.<br />
treated<br />
<strong>and</strong><br />
soiled<br />
treated<br />
6 Repeat for each fabric in turn.<br />
7 Very carefully, without disturbing any remaining<br />
droplets, touch the underside of each fabric just under<br />
the droplet.<br />
What do you observe? Where have you seen this effect<br />
before? How can it be avoided?<br />
8 Wash each clean treated square in warm water <strong>and</strong><br />
detergent. Rinse them carefully <strong>and</strong> set them out as<br />
before on the wire tray to dry.<br />
9 .Now wash the oily fabric squares. Rinse <strong>and</strong> set<br />
them out to dry.<br />
10 Repeat the water droplet test on these squares.<br />
Record your results. Wash the cooling tray.<br />
Has washing affected the water resistance of the<br />
treated fabric? Can you explain why? Does the oily<br />
fabric behave differently?"<br />
You could try the droplet test using coffee or Coca Cola<br />
instead of water.<br />
What are the active ingredients in Zepel <strong>and</strong><br />
Scotchgard?
fabric cling <strong>and</strong><br />
anti-stat<br />
Garments that cling feel uncomfortable, particularly<br />
when they ride up the body. They look unsightly <strong>and</strong><br />
may spoil the drape of other clothing worn over them.<br />
They also attract dust from the air <strong>and</strong> become quickly<br />
soiled.<br />
The clinging of charged garments to the body arises<br />
with certain types of fibres (especially nylon),<br />
particularly when worn next to each other in warm,<br />
dry conditions. This clinging effect is due mainly to<br />
the electro-static forces between the charge on the<br />
clothing <strong>and</strong> the opposite charge built up on the<br />
body. The charge on the body may be caused by<br />
layers of clothing next to each other (such as a dress<br />
<strong>and</strong> a petticoat) rubbing together when the wearer is<br />
walking about, causing the petticoat to be drawn to<br />
the legs <strong>and</strong> cling to them as shown on the right.<br />
Outer clothing may become charged when you get up<br />
from a plastic covered chair or seat or when top<br />
clothing is removed. As before, the electric field from<br />
the charge can induce an opposite charge on the<br />
adjacent skin, causing the garment to be attracted to<br />
the body <strong>and</strong> taking with it the undergarments.<br />
Static electricity is produced by rubbing. If the<br />
materials are poor conductors the charge builds up.<br />
Different materials generate different amounts of<br />
electricity. They can be arranged in a series (the<br />
triboelectric series). The further apart two materials<br />
are in the series the more electricity they will generate<br />
when rub bed together.<br />
Positive<br />
Negative<br />
wool<br />
nylon<br />
viscose<br />
cotton<br />
human skin<br />
triacetate<br />
polyester<br />
acrylic<br />
PVC 'C<br />
Anti-static substances added to nylon at the melt stage<br />
of production provide a permanent conducting layer<br />
on the fibre surface. Some br<strong>and</strong> names of this type of<br />
fibre are: Counterstat, Ultron, Antistatic Celon, <strong>and</strong><br />
Perlon Antistatic. Untreated fabrics can be improved<br />
by adding a small amount of detergent to the rinsing<br />
water.<br />
Domestic fabric softeners (such as Comfort, Lenor,<br />
Soft Rinse, <strong>and</strong> Softlan) also reduce the build-up of<br />
static <strong>and</strong> are particularly useful when a tumble drier is<br />
used.<br />
+ = positive charge<br />
- = negative charge<br />
+ = positively charged<br />
- = negatively charged<br />
+<br />
+<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM17a<br />
"'" '-..... skin<br />
+<br />
+<br />
+<br />
+<br />
+<br />
underslip<br />
positively charged nylon<br />
underslip has induced<br />
a negative charge on leg<br />
causing underslip to<br />
cling to the leg<br />
wool <strong>and</strong> nylon dress becomes<br />
positively charged when the<br />
wearer gets up from a<br />
PVC-covered chair - this<br />
induces an opposite charge on<br />
the skin causing the garment<br />
to cling taking the underslip<br />
with it<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Fabric cling <strong>and</strong>·<br />
anti-stat·<br />
WHAT MAKES CLOTHES CLING?<br />
YOU WILL NEED: .<br />
Selection of fabrics<br />
Poli~ed plate of stainless steel bent at an angle of 70° one-third<br />
from the end<br />
Rubber or cork. mat<br />
Bulldog clip<br />
Small block of wood<br />
Length of wire<br />
Plastic or wooden tweezers or spatula<br />
Fabric softener (e.g. Comfort)<br />
Watch or clock with seconds h<strong>and</strong><br />
Access to tap<br />
fabric<br />
sample<br />
1 Clamp a strip of fabric to the steel test plate. With a<br />
piece of brushed nylon wrapped round a block of<br />
wood, rub the fabric a number of times. Count the<br />
number of rubs you give the fabric.<br />
2 Tip the test plate onto its shorter side <strong>and</strong> earth it<br />
with a length of wire to a cold water tap. Does the<br />
fabric cling to the plate?<br />
3 Every thirty seconds, pull the fabric away from the<br />
plate with the tweezers. Do this until the fabric has<br />
lost its cling. Note the time this took.<br />
+<br />
+<br />
+<br />
+<br />
bulldog<br />
clip<br />
fabric<br />
+ sample<br />
+<br />
wire to<br />
cold water<br />
tap (earth)<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM17b<br />
4 Repeat these tests using a different type of fabric.<br />
Remember t6 rub the 'same number of times for each<br />
fabric.<br />
5 Record your results <strong>and</strong> compare them with the<br />
triboelectric series on <strong>worksheet</strong> FMl 7a.<br />
What do you find?<br />
6 Rinse the fabric specimens in Comfort or some<br />
other fabric softener. Dry them <strong>and</strong> repeat the test.<br />
Record your results.<br />
What do you find?<br />
steel plate<br />
fapric "<br />
s~mple<br />
bulldog clip<br />
wire to<br />
cold water<br />
tap (earth)<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Surface tension <strong>and</strong><br />
detergents<br />
A drop of water is made of millions of tiny particles<br />
called molecules. These are attracted to each other; so<br />
each molecule tries to get as close to the other molecules<br />
(<strong>and</strong> therefore the centre of the drop) as possible.<br />
Around the edges of a drop of water the molecules are<br />
only attracted into the drop <strong>and</strong> not outwards, so the<br />
drop stays round <strong>and</strong> whole. If you break the surface,<br />
the drop will collapse because you have broken its<br />
surface tension, that is, you have attracted the molecules<br />
away from the centre.<br />
HOW CAN SURF ACE TENSION BE REDUCED?<br />
YOU WILL NEED:<br />
Small pieces of water-repellent cloth, e.g. old mackintosh, or<br />
tightly woven wool worsted<br />
Washing-up liquid<br />
Dropper<br />
Thin glass rod<br />
Needle <strong>and</strong> tweezers<br />
Bowl of water<br />
1 Pick up a needle with the tweezers <strong>and</strong> carefully lay<br />
it onto the surface of the bowl of water.<br />
2 Dip the glass rod into some washing-up liquid.<br />
3 Touch the surface of the water with washing-up<br />
liquid. Take care not to disturb the needle.<br />
needle on surface of<br />
water<br />
~ter<br />
with washing-up<br />
liquid<br />
What happened to the needle? Explain what you saw.<br />
How could you test your idea?<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
WORKSHEET<br />
FM18<br />
4 Lay the piece of water-repellent cloth flat on a table.<br />
Use your dropper to spot it with four separate drops of<br />
water.<br />
5 Pick up a little degergent on the end of the glass rod<br />
<strong>and</strong> use it to touch two of the water drops. Leave the<br />
other two alone.<br />
water-repellent<br />
cloth<br />
touch two water<br />
drops with quid ~<br />
washing-up li~<br />
Did the detergent make the water droplets collapse? .<br />
What happened to the cloth just below the droplets?<br />
How could you test your idea?<br />
© 1984 Nuffield-Chelsea Curriculum Trust
1 Put the three factors of choice in order of importance<br />
for each of the items in the table.<br />
Garment Aesthetics Performance Price<br />
Boy's school<br />
socks<br />
Glitter socks<br />
Fisherman's<br />
socks<br />
Baby's socks<br />
2 Your mother is taking you shopping for new curtains,<br />
a duvet cover, <strong>and</strong> pillowcases for your bedroom. Give<br />
each item a rating from 1 to 10 for aesthetics,<br />
performance, <strong>and</strong> price.<br />
3 Put your answers to question 2 into the form of a<br />
pie chart.<br />
.'4 'The final price of an item is affected by many'<br />
factors. These include:<br />
a the name on the label e the quality of the fabric<br />
b television advertising f colour <strong>and</strong> style<br />
c country of manufacture g how fashionable it is<br />
d size of the shop h how well made it is.<br />
Explain how each of these can affect the final price.<br />
5 Suggest two different fibres suitable for each of the<br />
garments in the following list: child's tights, school '.<br />
skirt, boy's shirt, T-shirt, <strong>card</strong>igan, blazer, <strong>and</strong> P.E.<br />
shorts.<br />
Give reasons for your choice.<br />
6 Tick the important qualities for each garment below.<br />
Warmth<br />
Comfort<br />
Colour<br />
Texture<br />
Washability<br />
Fit<br />
Durability<br />
Style<br />
Absorbency<br />
Shape<br />
retention<br />
7 Which is the odd one out in each of the following<br />
lists?<br />
a colour, texture, warmth, style<br />
b durable, fashionable, washable, dry cleanable<br />
c manufacture, package, advertise, display<br />
d street market, boutique, chain store, mail order.<br />
Explain your choices.<br />
8 Winceyette was a favourite fabric for children's<br />
nightwear because it is cheap <strong>and</strong> has a warm feel. It<br />
is also highly flammable <strong>and</strong> so a safety risk.<br />
a Suggest an alternative fabric for childrens' nightwear.<br />
b How does your suggestion compare with Winceyette<br />
for price, performance, <strong>and</strong> aesthetics?<br />
9<br />
a What advice would you give to the mother in the<br />
picture below?<br />
. b What advice. would you give to the shopkeeper?<br />
·Ct'\tL. ()R;E •./~~H~~"'~<br />
·ls~ ··FI.€>4:J-R,~<br />
N~ P~AM~ CR. PlJ~HCt-f"i~~<br />
PROJECT<br />
Describe the shops in your area which sell household<br />
textiles such as carpets, curtains, bedding, <strong>and</strong> towels.<br />
Nappies Soccer Jeans Business Swimsuit Ski pants Judo suit<br />
shorts suit<br />
© 1984 Nuffield-Chelsea Curriculum Trust
1 Which is the odd one out in each of the following<br />
lists?<br />
a twill, gabardine, drill, basket<br />
b tricot, satin, jersey, stockinette<br />
c corduroy, needlecord, seersucker, velvet.<br />
Explain your choices.<br />
2<br />
a Draw the front <strong>and</strong> back views of a pair of trousers<br />
that you might wear.<br />
b Draw the outline of the separate parts which go to<br />
make up the garment <strong>and</strong> label them.<br />
3<br />
a How much fabric do you estimate would be needed<br />
to make the trousers in question 2?<br />
b List the trimmings you would choose to complete<br />
the garment.<br />
4 Textiles have many properties which make them<br />
particularly suitable for clothing. List them under<br />
these two headings: 'comfort' <strong>and</strong> 'wear'.<br />
Comfort Wear<br />
5 Activities such as acrobatics, skiing, P.E., <strong>and</strong> disco<br />
dancing involve a good deal of bending <strong>and</strong> stretching.<br />
a Which particular textile structures are most suitable<br />
for these activities? Explain why.<br />
b Narne the fibre which has made the most recent<br />
contribution to ease of movement <strong>and</strong> shape retention<br />
in garments for such activities.<br />
6<br />
a Draw a wool fibre <strong>and</strong> a nylon fibre as seen under a<br />
microscope.<br />
b What can you tell from your drawings about the<br />
heat insulation propertie~ of these fibres?<br />
7<br />
a What can be built into a garment to prevent the<br />
normal body movements involved in travelling <strong>and</strong><br />
working from permanently distorting the shape of'the<br />
garments?<br />
b List these trimmings. Fill in the table below with<br />
where each trimming is used in a garment <strong>and</strong> its<br />
purpose.<br />
Trimming Where used Purpose<br />
8 Describe the part played by Lancashire, Hong Kong,<br />
America, <strong>and</strong> Egypt in the history of cotton textile<br />
production.<br />
PROJECT<br />
Survey' the uses of textiles in your school. Identify the<br />
critical aesthetic, performance, <strong>and</strong> price factors for<br />
each use.<br />
Devise a table to show the common <strong>and</strong> specific<br />
properties for each use.
1 Rewrite the following two lists, putting the fibre<br />
source opposite the garment in which it would most<br />
appropriately be used.<br />
,Garment. . ..Fibre source.<br />
a leather bomber jacket 1 sheep<br />
b Dr Marten's boots 2 lamb<br />
c cashmere jumper 3 goat<br />
d Shetl<strong>and</strong> <strong>card</strong>igan 4 cow<br />
e Angora mittens 5 calf<br />
f sheepskin jacket 6 camel<br />
g overcoat 7 rabbit<br />
h suede shoes B moth<br />
kid gloves 9 mink<br />
j silk blouse 10 fox<br />
k mohair scarf<br />
I fur coat<br />
m fur hat<br />
2 List the special properties of each fibre mentioned<br />
in question 1 which makes it particularly suitable for<br />
the garment in which it is used.<br />
3 Explain why animal fibres are not more widely used<br />
to pro'l"ide clothing.<br />
4 Some of the following properties are common to<br />
both paper <strong>and</strong> plastic. Some are not. List them under<br />
the appropriate headings: tears easily; absorbs<br />
moisture; impermeable to moisture; disintegrates in<br />
the wash; can be wiped clean; disposable; can be<br />
easily disposed of; biodegradable; stiff; drapes well;<br />
suffocates; cheap; keeps sweat in; keeps out wind;<br />
keeps out rain.<br />
5 Decide which of the following statements are true<br />
<strong>and</strong> which are false.<br />
a Paper is made from wood pulp<br />
b Wood pulp is made from trees<br />
c Trees are a renewable resource<br />
d Paper is cheap <strong>and</strong> plentiful<br />
e Paper is easily disposed of<br />
f Paper is not a litter problem<br />
g. Burning paper does not cause pollution.<br />
6 Decide which of the following statements are true<br />
<strong>and</strong> which are false.<br />
a Plastic is made from oil<br />
b Oil is a fossil fuel<br />
c Oil is easily _extracted from the ground<br />
d Oil is cheap to buy<br />
e Oil causes no harm to the environment<br />
f Plastic is' easily disposed'of;'<br />
g Plastic is a litter problem<br />
h Some plastics burn <strong>and</strong> give off toxic<br />
fumes.<br />
7 Compare the advantages <strong>and</strong> disadvantages of using<br />
paper with those of using plastics for a variety of<br />
purposes.<br />
BPaper is che~panq..e~ily disposable ..¥List some of its·<br />
. uses under the following headings: catering, hygiene,<br />
hospital use, school use.<br />
9 Plastic is impermeable to water, oil, <strong>and</strong> other liquids.<br />
List some of its uses under the following headings: in<br />
a garage, in the fishing industry, hospital use, <strong>and</strong><br />
catering.<br />
10 What do you underst<strong>and</strong> by a 'technology'? Make<br />
some suggestions for the technology of making<br />
jewellery <strong>and</strong> hats.<br />
PROJECTS<br />
List examples of the uses of paper <strong>and</strong> plastic in the<br />
home. Discuss aesthetic, performance, <strong>and</strong> price factors<br />
for each of these uses.<br />
Consider possible future uses of plastics <strong>and</strong> paper.<br />
Make one article from paper <strong>and</strong> one from plastic that<br />
could be used in the home.
1 Rewrite the following two lists putting the fibre<br />
opposite the appropriate description of its appearance<br />
under the microscope.<br />
a wool<br />
b silk<br />
c linen<br />
d cotton<br />
1 like glass rods, some<br />
stuck in pairs<br />
2 looks like bamboo<br />
3 has scales on surface<br />
4 like a pile of twisted<br />
ribbons<br />
2 When looked at under the microscope man-made<br />
fibres are recognized initially by their:<br />
A similarity<br />
B furry surface<br />
c different colours<br />
D silky appearance.<br />
Choose the correct answer.<br />
3 You have forgotten to make a note of the fibre<br />
content from the label on the roll of fabric in the shop.<br />
Suggest four simple tests you could make in the<br />
classroom to find out what your fabric is made of.<br />
4 Copy the table below <strong>and</strong> list the following fibres<br />
under the appropriate heading in the table: linen,<br />
polyester, wool, tricel, cotton, viscose, silk, acrylic,<br />
nylon, acetate, jute.<br />
Natural fibres<br />
5. The graph below shows the amount of cotton used<br />
in the World from 1950 to 1972. Copy the graph <strong>and</strong><br />
then using a coloured pencil plot a curve to represent<br />
the amount of synthetic fibre used during this period.<br />
Explain why the curves vary .<br />
~ 150001<br />
c:<br />
c:<br />
B u<br />
·S 12 500<br />
Q)<br />
E<br />
o o<br />
9 10000<br />
Regenerated fibres<br />
Synthetic fibres<br />
o 1950 1955 1960" 1965 1970 1975 1980<br />
6 Synthetic fibres are produced by many different<br />
manufacturers in different countries. Give two br<strong>and</strong><br />
names for each of the following generic fibres:<br />
polyamide, polyester, <strong>and</strong> acrylic.<br />
7 Flammability is an important factor to consider when<br />
choosing fabric for clothing <strong>and</strong> furnishings. With this<br />
in mind, name fabrics suitable for the following uses:<br />
child's nightdress, stage or cinema curtains, cook's<br />
overall, old person's dressing gown, <strong>and</strong> fireman's<br />
uniform.<br />
8 List the names of fibres which may be obtained from<br />
each of the sources shown in the pictures below.<br />
9 Write down six items of clothing to be packed for a<br />
cycling holiday. Suggest a suitable fabric for each <strong>and</strong><br />
say why you chose it.<br />
PROJECT<br />
Find out what you can about denim material <strong>and</strong><br />
research the history of jeans. Illustrate your results<br />
with suitable photographs, diagrams, <strong>and</strong> examples.
In questions 1 <strong>and</strong> 2, which one of the statements is<br />
correct?<br />
1 A filament yarn<br />
A is a light fibre yarn<br />
B is a short fibre yarn<br />
c can be very long<br />
D can only be synthetic.<br />
2 Staple fibres are<br />
A very basic fibres<br />
B very short fibres<br />
c more plentiful than any other kind of fibre<br />
1) very long fibres.<br />
3 Underline the odd one out.<br />
a Cotton, liuen, wool, silk.<br />
b Cotton, linen, viscose, nylon.<br />
c Sarille, Dicel, Celon, Trice!.<br />
Explain each of your three choices.<br />
4 Underline the odd one out.<br />
a Lambswool, cottonwoQI, shetl<strong>and</strong>, merino.<br />
b American, Egyptian, African, Indian.<br />
c Merino, crossbred, blackface, paleface.<br />
Explain each of your three choices.<br />
5 Proteins are the building blocks of wool <strong>and</strong> silk.<br />
They are also a vital part of something else you use<br />
every day.<br />
a What textile fibres do these animals produce?<br />
b What other protein substance do they produce that<br />
is useful to us?<br />
6 A sample of wool fibres was found to contain the<br />
following fibre lengths (in cm): 4, 6, 6, 8, 10, 10, 12,<br />
15, 16, <strong>and</strong> 18.<br />
a How would you find the average length of these<br />
fibres?<br />
b lliustrate these results on a graph or histogram.<br />
7 Compare wool <strong>and</strong> cotton fibres. Make a diagram to<br />
show some of the differences between them.<br />
8 Many fabrics are made on automatic machines.<br />
Explain how automation affects the price <strong>and</strong> quality<br />
of man-made fibres.<br />
9 The fibres in the table below are all made of<br />
cellulose taken from different parts of the plants they<br />
come from. Tick the appropriate column for each <strong>and</strong><br />
say what each fibre is used for.<br />
Fibre Seed Stem Leaf Fruit Main use<br />
Cotton<br />
Linen<br />
Kapok<br />
Hemp<br />
Sisal<br />
Coir<br />
Jute<br />
Esparto<br />
Ramie<br />
10 Name <strong>and</strong> describe as many different stages as you<br />
can in the manufacture of a woollen coat.<br />
PROJECT<br />
Look at the following two lists of fabrics.<br />
Worsted, wolsey, donegal, harris, guernsey, kersey,<br />
jersey, fair-isle, cashmere, angora, shetl<strong>and</strong>.<br />
Denim, poplin, muslin, calico, gingham, cambric,<br />
lawn, damask, bedford, nainsook, tulle.<br />
These fabrics have taken their names from places. Find<br />
out where the places are <strong>and</strong> mark them on a map. See<br />
if you can find any more examples <strong>and</strong> put them on<br />
your map.
1 Underline the odd one out.<br />
The quality of vegetable fibres is affected by<br />
a sun, wind, rain, thunder<br />
b famine, drought, flood, pests<br />
c labour, price, transport, storage.<br />
2<br />
a Cellulose is a naturally occurring polymer suitable<br />
for textile fibres. Name two textile fibres made from<br />
cellulose.<br />
b Regenerated cellulose is a man-made polymer. What<br />
shape must the polymer have to be suitable as a textile<br />
fibre?<br />
c What property of the fibre is affected by the shape<br />
of the polymer?<br />
d Silk is a naturally occurring protein polymer. Name<br />
another protein polymer used as a textile fibre.<br />
3 Scientists have imitated the way nature produces<br />
silk in order to produce synthetic polymers in the<br />
correct shape for textile fibres. Explain how this has<br />
been achieved.<br />
4 List the main man-made textile fibres under the<br />
appropriate production method in the table below.<br />
Wet spinning<br />
Dry spinning<br />
Melt spinning<br />
5 The diagrams below represent the arrangement of<br />
molecules in a man-made fibre before <strong>and</strong> after a<br />
certain process has taken place.<br />
-- ----- ----...-..-<br />
----<br />
-...-,-- ...-<br />
a Describe the molecules in each case.<br />
b What is the name of the process responsible for the<br />
change?<br />
c What does it do the fibres?<br />
d What effect does it have on the properties of the fibre?<br />
e What effect does it have on the dimensions of the<br />
fibre?<br />
6 If the original length of a fibre is 10 cm <strong>and</strong> the final<br />
length 12 cm, what is the percentage increase in the<br />
length of the fibre? Explain how you used a formula to<br />
arrive at your answer.<br />
7 Match the list of fibres below to the smells they give<br />
off when burned.<br />
Fibres cotton, viscose, wool, silk, acetate, triacetate,<br />
nylon, polyester, acrylic.<br />
Smells burning hair, burnt fingernail, burnt paper,<br />
burnt string, celery, beans, vinegar, sweet, acrid.<br />
8 List under the headings below the important<br />
qualities of synthetic fibres.<br />
Aesthetics<br />
Performance<br />
Price<br />
9 In each of the following, which two chemicals are<br />
synthesized to produce the fibre?<br />
a nylon<br />
b polyester<br />
c acrylic fibre.<br />
10 Man-made fibres can be produced in many forms.<br />
Name the two forms which are used for clothing.<br />
Discover what other forms these fibres are currently<br />
available in <strong>and</strong> suggest a use for each of them.<br />
11 Describe the advantages <strong>and</strong> disadvantages of nylon<br />
for stockings <strong>and</strong> tights over the materials that it<br />
replaced.<br />
PROJECT<br />
Make a collection of fine fabric samples both natural<br />
<strong>and</strong> man-made <strong>and</strong> identify them. You will find old<br />
samples in markets <strong>and</strong> jumble sales, <strong>and</strong> perhaps your<br />
gr<strong>and</strong>mother may still have some old garments. Mount<br />
them or make a collage to display them. Try <strong>and</strong> find<br />
out something about the garments which can be made<br />
from some of your samples. lliustrate your findings<br />
with drawings or photographs.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
In questions 1to 3, which one of the statements is<br />
correct.<br />
1 The wear you get from a finished garment depends on<br />
A how much you have paid for it<br />
B whether it is in fashion<br />
c whetherthe eolour is 'fast'<br />
D the properties of the fibres from which it is made.<br />
2 Some garments should never be ironed because<br />
A the finish would be spoiled<br />
B they are meant to look creased<br />
c the fibres would melt<br />
D they dry too quickly.<br />
3 Which of the following mixtures would be the most<br />
suitable for a summer shirt?<br />
A wool <strong>and</strong> nylon<br />
B cotton <strong>and</strong> polyester<br />
c viscose <strong>and</strong> silk<br />
D cotton <strong>and</strong> nylon.<br />
4 Underline the odd one out.<br />
a H<strong>and</strong>le, drape, colour, shape.<br />
b Price, performance, colour, aesthetics.<br />
c Cotton, linen, wool, silk, nylon.<br />
5 What m~ght you have done to produce the effects<br />
shown below?<br />
6 What precautions should you take when wearing a<br />
garment made of a flammable material?<br />
7 List four places in a garment where shape retention<br />
is important.<br />
8 Match the garment to the appropriate blend of fibre.<br />
1 sock A wool <strong>and</strong> nylon<br />
2 scarf B polyester <strong>and</strong> wool<br />
3 coat C polyester <strong>and</strong> cotton<br />
4 baby's nightdress D silk <strong>and</strong> cotton<br />
5' tights . E"woo1:<strong>and</strong>"'Cotton<br />
9 Devise a way of testing how a fabric used to cover<br />
an armchair could be expected to behave in everyday<br />
wear.<br />
Using statistical methods, how might you find out<br />
similar information?<br />
10 This graph shows what you might expect as the<br />
temperature of water drops inside a test-tube which<br />
has been insulated with an open weave fabric. Draw<br />
two other curves to show what might happen if<br />
a No insulation is used. ,<br />
b A heavy-weight fabric is used.<br />
60<br />
C3 40<br />
~<br />
o 10 20 30<br />
Time (minutes)<br />
40 50<br />
11 Blended fibres have advantages over a fibre on its<br />
own. The table below gives an example of the reasons<br />
for blending fibres. Fill in the missing information.<br />
Blend Reason for blend<br />
Polyester/cotton performance <strong>and</strong> aesthetics<br />
Wool/nylon<br />
Wool/viscose<br />
Cotton/nylon<br />
PROJECT<br />
Survey the dry-cleaning shops in an area close to your<br />
home. Try to find out what their charges are <strong>and</strong> how<br />
long they take to clean garments. What chemicals do<br />
they use <strong>and</strong> how <strong>and</strong> where do they store them? Do<br />
they have any special offers? Are there some fibres or<br />
fabrics they cannot deal with?<br />
Try to compare a home dry -cleaning task using a<br />
solution of cloudy ammonia in water with professional<br />
dry -cleaning. Select a garment which has not got very<br />
dirty <strong>and</strong> see how successful you can be.<br />
..Spot'isolventsare also available (e.g~·;'Dab-it.;off<strong>and</strong>. '.<br />
Beaucaire.) Try one of these <strong>and</strong> compare all your<br />
results. You might find a table the best way to do this.<br />
You should include time, cost, <strong>and</strong> effectiveness <strong>and</strong><br />
then write down your conclusions.
1 Select the odd one out in each of the following.<br />
a sorting, combing, <strong>card</strong>ing, cutting.<br />
b filament, sliver, roving, tow.<br />
c' winding, shearing, twisting, spinning.<br />
d drawing, reeling, spinning, throwing.<br />
2 Select the odd one out in each of the following.<br />
a extruding, scouring, netting, ginning.<br />
b worsted, woollen, chlorinated, mercerized.<br />
c bulking, crimping, delustring, texturizing.<br />
d blend, loop, filament, staple.<br />
3 The diagrams below refer to fibres. Explain each of<br />
them in a few words:<br />
- --='<br />
--=====- ------ -= ....<br />
:~- -<br />
-~<br />
-<br />
---=:<br />
------ -----<br />
4 The natural crimp in sheeps' wool gives special<br />
properties to woollen cloth.<br />
a Explain what these properties are.<br />
b Describe the process which must take place if a wool<br />
yarn of greater strength is required.<br />
c What is the name given both to the yarn produced<br />
in b <strong>and</strong> the cloth made from it?<br />
5 Scientists have introduced a wool-like crimp to<br />
synthetic fibres in order to give a fuller h<strong>and</strong>le to the<br />
fabric.<br />
a What is this process called?<br />
b What method was previously used?<br />
c What was the main disadvantage of the old method?<br />
6<br />
a Copy the list of methods of producing fibres given<br />
in the lefth<strong>and</strong> column below. Opposite each method<br />
write the trade name of the yarn produced by the<br />
method.<br />
Method<br />
1 edge crimping<br />
2 fabric twist<br />
3 air-texturing<br />
4 knit-de-knit<br />
5 stuffer box<br />
Trade name<br />
a Taslan<br />
b Crimplene<br />
c Banlon<br />
d Agilon<br />
e Buclon.<br />
b Suggest a use for each of the yarns.<br />
c Which one of the yarns will stretch the most?<br />
7 Stretch yarns are frequently used to give comfort in<br />
wear to socks which will fit a wide range of sizes of<br />
feet. If a 500 g load is applied to a 10 em length of<br />
stretch fabric for one hour, it will stretch to 12.8 em in<br />
length. One hour after removing the load, the length<br />
will be reduced to 10.7 em long.<br />
Copy <strong>and</strong> complete the following table showing the<br />
percentage extension <strong>and</strong> recovery of the fabric.<br />
Extended Recovered Extension Recovery<br />
length length (%) (%)<br />
12.8 em 10.7 em<br />
8 Stretch fabrics are used for three main purposes:<br />
freedom of movement, close fit, <strong>and</strong> shape retention.<br />
For each of these purposes, suggest two garments which<br />
illustrate the use, <strong>and</strong> complete the following table.<br />
Freedom of movement Close fit Shape retention<br />
9 Name the type of yarn shown here <strong>and</strong> label its<br />
component parts.<br />
PROJECTS<br />
l\1ake a survey of the range of fancy yarns available in<br />
your district"fo); h<strong>and</strong>;knittirtg. Investigate their price,<br />
qualities, <strong>and</strong> fibre content. Which ones are the best<br />
value?<br />
Collect samples when you can <strong>and</strong> mount them.<br />
Describe <strong>and</strong> sketch a garment which could be made in<br />
either a fancy or exotic yarn.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
1 Select the odd one out in each of the following.<br />
a warp, shed, selvedge, weft.<br />
b friction, slippage, cohesion, weave.<br />
c privacy, comfort, attraction, protection.<br />
d needle, heddle, shuttle, reed.<br />
2 Select the odd one out in each of the following.<br />
a knitting, crochet, tatting, lace.<br />
b French knitting, macrame, plaiting, braiding.<br />
c damask, Jacquard, satin, brocade.<br />
d course, filling, wale, loop.<br />
3 Name the weave patterns shown in each of the<br />
diagrams below.<br />
a<br />
c d<br />
4 Copy the list of articles in the lefth<strong>and</strong> column<br />
below. Opposite each article write the name of the<br />
fabric from which it could be made. (Use each fabric<br />
once only.)<br />
Article<br />
1 tights<br />
2 socks<br />
3 vests<br />
4 pants<br />
5 jumpers<br />
6 T-shirts<br />
7 nightdresses<br />
8 slips<br />
9 trousers<br />
10 sheets<br />
b<br />
Fabric<br />
a Celanese locknit<br />
b wo 01jersey<br />
c nylon tricot<br />
d brushed nylon<br />
e stockinette<br />
f double jersey<br />
g Crimplene jersey<br />
h Vincel jersey<br />
cotton jersey<br />
interlock<br />
5 Some fabrics are made without using yarn.<br />
a Name three ways in which the web of fibres may be<br />
held together to make a fabric.<br />
b Copy the table below <strong>and</strong> complete it to show the<br />
properties of each of the fabrics you have named in a.<br />
6' Copy the list of tools given in the lefth<strong>and</strong> column<br />
below. Opposite each method write the name of the<br />
fabric which it produces.<br />
Tools<br />
1 shuttle<br />
2 hook<br />
3 shuttle<br />
4 bobbin<br />
5 needles<br />
6 latch needle<br />
Fabrics<br />
a machine knitting<br />
b knitting<br />
c lace<br />
d crochet<br />
e tatting<br />
f weaving.<br />
7 Look at the following diagram of the way threads<br />
can be interlocked in a fabric.<br />
a What does it show?<br />
b How many separate threads are involved in its<br />
making?<br />
c Name two different ways in which this process may<br />
be carried out.<br />
8 Look at the following diagram of the way threads<br />
can be interlocked in a fabric.<br />
a What does it show?<br />
b How many separate threads are involved in its<br />
making?<br />
c What advantage does this fabric have over that<br />
shown in question 7?<br />
d Name four items that are frequently made from this<br />
fabric.<br />
PROJECT<br />
Woven, knitted, <strong>and</strong> nonwoven fabrics are used for<br />
many garments <strong>and</strong> textiles in the home. Conduct a<br />
survey to discover the proportion of woven, knitted,<br />
<strong>and</strong> nonwoven textiles in regular use. Present your<br />
findings diagrammatically.<br />
Fibres used Web secured by End use Price Performance Aesthetics<br />
© 1984 Nuffield-Chelsea Curriculum Trust
In questions 1, 2, <strong>and</strong> 3, select the wrong statement.<br />
1 The colour you see when you look at a flower<br />
depends on:<br />
A the number of cells in a petal<br />
B the pigments in the petals<br />
C the colours absorbed by the pigment<br />
D a source of light such as the Sun.<br />
2 White light is:<br />
A a mixture of all the visible spectrum<br />
B the light reflected from a white surface<br />
C a narrow b<strong>and</strong> of the electromagnetic spectrum<br />
D all the colours of the rainbow mixed.<br />
3 A fast dyestuff:<br />
A is a pigment which can bond to a fibre<br />
B will remain bonded to the fabric <strong>and</strong> not wash out.<br />
C is a chemical with an affinity for certain fibres<br />
D quickly loses its colour when washed.<br />
4<br />
a Draw a rainbow <strong>and</strong> label the colours in the correct<br />
order.<br />
b- A fainter bow is sometimes seen beneath the main<br />
rainbow. Draw a fainter bow beneath the first <strong>and</strong><br />
label its colours.<br />
c Explain the relationship of the colours in the inner<br />
bow to those in the outer bow.<br />
5 The graph below shows an absorption spectrogram<br />
for visible light falling on a dye.<br />
a From the spectrogram, say approximately what<br />
percentage of each indicated colour is absorbed.<br />
b What colour would the dyestuff be?<br />
c How are black dyestuffs usually obtained?<br />
% colour<br />
absorbed<br />
100 %<br />
0% V<br />
part<br />
absorbed<br />
part<br />
reflected<br />
B G y o R<br />
6 Pick the odd one out. Loose dye may:<br />
A bleed<br />
B mark off<br />
C 'migrate<br />
D run<br />
E stain.<br />
F leak or even escape.<br />
7 Explain what each of the correct terms in question 6<br />
means in relation to the laundering of fabrics.<br />
8 What are your conclusions about the nature of dyes<br />
<strong>and</strong> their relationships to fabrics?<br />
9 People tend to believe that certain colours suit them<br />
<strong>and</strong> that others do not. Why do you think this is?<br />
Which colours do you think suit you best?<br />
PROJECT<br />
Find out what colours of dye can be obtained from<br />
natural animal <strong>and</strong> vegetable sources, e.g. onion skin,<br />
blackberries. Experiment with different mordants <strong>and</strong><br />
fibres to extend the range of shades available.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
Putting colour into practice<br />
CHAPTER 11<br />
1 Three synthetic dyestuffs built up from simple<br />
chemicals derived from oil are:<br />
a vat dyes; b direct dyes; c disperse dyes.<br />
Under these three headings list the fibres for which<br />
each is particularly suitable.<br />
2<br />
a List four technical factors which a dyer must<br />
consider.<br />
b Describe three of the economic factors involved in<br />
dyeing for the commercial market.<br />
3 Under the headings: a aesthetics, b performance,<br />
c price, assess the following printing methods: block<br />
printing, roller printing, screen printing, transfer<br />
printing.<br />
4 Textiles may be a polymer dyed; b fibre dyed;<br />
c yarn dyed; d piece dyed; or e cross-dyed.<br />
Construct a table to show at which stage each of the<br />
items shown below would be dyed. Give at least one<br />
reason in each case.<br />
1 plain sheets; 2 patterned socks; 3 Jacquardjumper;<br />
4 check shirt; 5 brocade curtains; 6 tweed skirt;<br />
7 printed T-shirt; 8 silk scarf.<br />
NUFFIELD<br />
HOME ECONOMICS<br />
FIBRES AND FABRICS:<br />
,ASSESSMENT CARD<br />
FM29<br />
5 Piece dyeing <strong>and</strong> fibre dyeing are two dyeing<br />
processes used by manufacturers. Suggest two<br />
advantages of each process for the manufacturer.<br />
6 How can cross-dyeing be used to produce a a striped<br />
effect, b a checked pattern, c a Jacquard design, d a<br />
'shot' effect? Use labelled diagrams to illustrate your<br />
answers.<br />
7 Explain the meaning of each of the following terms<br />
in relation to printed fabrics: block, resist, over-print,<br />
engrave, screen, transfer, roller, flock.<br />
8 Quote a line from a popular song <strong>and</strong> describe the<br />
colours <strong>and</strong> designs that you would associate with it.<br />
PROJECTS<br />
Investigate the techniques of paper printing <strong>and</strong><br />
compare them with those used for fabric printing.<br />
Experiment with transfer printing on polyester fabric<br />
<strong>and</strong> cotton fabric. Discuss the methods <strong>and</strong> materials<br />
used in each case.<br />
Make a decorative/useful item for your room using one<br />
of your experimental transfer prints.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
In questions 1, 2, <strong>and</strong> 3, select the correct answer.<br />
1 Grey fabric is so called because it is:<br />
A always that colour<br />
B not yet finished off<br />
C probably dirty after manufacture <strong>and</strong> before finishing<br />
D ready to be dyed.<br />
2 Calendered fabric:<br />
A is wear-dated fabric<br />
B is polished fabric<br />
C is pressed between heated rollers<br />
D is made at a particular time of the year .<br />
•<br />
3 Tentering:<br />
A is special tent material<br />
B smooths, stabilizes, <strong>and</strong> heat-sets material<br />
C is a row of pin marks along the selvedge of material<br />
D is lightly coloured.<br />
4 Copy the lists of fabric finishes below. Write down<br />
the trade name opposite the fabric finish which it<br />
describes.<br />
...Trade names<br />
1 Lintrak<br />
2 Anti-stat<br />
3 Mitin<br />
4 Hercosett<br />
5 Easy care<br />
6 Scotchgard<br />
7 Proban<br />
,Fabric finishes<br />
a non-shrink<br />
b crease-resistant<br />
c water-repellent<br />
d flame-retardant<br />
e moth-proof<br />
f permanent pleats<br />
g resistant to build-up<br />
of static electricity.<br />
5 The fabric finishes in question 4 are chemical<br />
finishes. .<br />
a In what fundamental way do they differ from<br />
physical finishes?<br />
b Copy <strong>and</strong> complete the table below to show the<br />
.disadvantages these finishes can cause when applied to<br />
cotton <strong>and</strong> wool.<br />
Fibre Finish Price Performance Aesthetics<br />
Cotton crease-resistant<br />
Wool shrink-resistant<br />
6 Wool is naturally flame resistant because of its<br />
chemical structure <strong>and</strong> its high natural moisture content.<br />
a Suggest two instances when it would be advisable to<br />
apply a flame retardant finish to woollen fabric.<br />
b Name three highly flammable fibres which are often<br />
given an anti-flame finish.<br />
c In what circumstances would you consider the<br />
expense of this special finish worthwhile?<br />
d Suggest two laundry practice~ which should be<br />
avoided in these cases.<br />
7 Calendering <strong>and</strong> tentering are physical (mechanical)<br />
finishes applied to new fabric.<br />
a Name two more phYSIcal finishes.<br />
b Copy out <strong>and</strong> complete the following table, giving a<br />
rating out of 10 for the effect on price, performance,<br />
<strong>and</strong> aesthetics.<br />
Physical finishes Price Performance Aesthetics<br />
Calendering<br />
Tentering<br />
8 Fabrics are sometimes given special finishes. But the<br />
trouble <strong>and</strong> expense of applying a special finish can be<br />
wasted through carelessness <strong>and</strong> ignorance when the<br />
garments are made up.<br />
a Describe how this can happen.<br />
b Home laundering can also spoil a special finish. Give<br />
,examples of what might happen <strong>and</strong> explain how they .<br />
could have been avoided.<br />
9 Below are two examples of care instructions given<br />
with acrylic garments. The one on the left was stuck<br />
with adhesive to a fluffy scarf. The one on the right<br />
was stitched into a seam of a jumper.<br />
a How would you wash the fluffy scarf?<br />
b Which label is more useful? Give reasons for your<br />
choice.<br />
1DD% ACRYlIC/ACRVUQUE<br />
\i:Ja®<br />
WARM -<br />
COLD RINSE<br />
RESHAPE WHilE DAMP<br />
DRY flAT AWAY<br />
FROM DIRECT HEAT<br />
COOL IRON WHEN DRY<br />
100% ACRYLIC<br />
MADE IN JAPAN<br />
'
In questions 1, 2, <strong>and</strong> 3, select the statement which is<br />
wrong.<br />
1 Creating stimulating new designs is the job of the:<br />
A artist<br />
B stylist<br />
c fashion model<br />
D designer.<br />
2 Engineering the fit of the garment is the jo b of the:<br />
A pattern cutter<br />
B dressmaker<br />
c tailor<br />
D fitter.<br />
3 Amongst British fashion designers are:<br />
A Z<strong>and</strong>ra Rhodes<br />
B Mary Quant<br />
c Calvin Klein<br />
D Hardy Amies.<br />
4 Moulding is a method of shaping fabric by the<br />
application of heat <strong>and</strong> pressure.<br />
a Name four types of garment or accessory where this<br />
method is regularly used.<br />
b Give an example of the fabric which would be<br />
moulded in each instance.<br />
c Give two examples of when moulding would spoil<br />
the appearance of a fabric.<br />
5 Sticking is not normally used as a method of joining<br />
clothing.<br />
a Explain why this is so.<br />
b Give two examples of fabrics used for clothing<br />
which are regularly put together using adhesive.<br />
6 Seams must stretch as much as the fabric or they<br />
will be unsightly <strong>and</strong> uncomfortable.<br />
a Name three machine stitches which give a flexible<br />
seam.<br />
b Which of these stitches stretches the least?<br />
c Has it any advantage over the other two?<br />
d What other component must stretch in order to give<br />
a successful seam on stretchy fabric?<br />
e Explain how to calculate the percentage stretch of a<br />
given seam.<br />
7<br />
a List the performance properties of a good sewing<br />
thread.<br />
b Classify these properties as they apply to<br />
1 polyester thread<br />
2 cotton thread<br />
3 core-spun polyester/cotton thread.<br />
c Give one trade name for each of the above threads.<br />
8 What might be the effects on fashion of<br />
unemployment <strong>and</strong> an economic recession?<br />
PROJECT<br />
The success of a garment can be affected by design,<br />
cut, fashion, colour, pattern, workmanship, fabric,<br />
trimmings, display, <strong>and</strong> advertising.<br />
Discuss this statement from the points of view of the<br />
shop-manager <strong>and</strong> the purchaser of a garment. What<br />
would they each have to say about their priorities?<br />
© 1984 Nuffield-Chelsea Curriculum Trust
1 We all have constant contact with dust.<br />
a Name four occupations which are likely to cause<br />
dust-like or dusty-type soiling.<br />
b Advise what types of fabric should be chosen to<br />
prevent dust adhering to them.<br />
e Advise on suitable methods of removing dust from<br />
the clothing.<br />
2 Greasy soiling attracts <strong>and</strong> holds dust, <strong>and</strong> is much<br />
more difficult to remove than dusty soiling.<br />
a Suggest possible sources of greasy soiling.<br />
b Which garments or parts of garments are prone to<br />
greasy soiling?<br />
e Describe two different methods of dealing with<br />
greasy soiling, <strong>and</strong> specify appropriate fibres, fabrics,<br />
<strong>and</strong> instances for each method. (Give your answer in<br />
the form of a table.)<br />
3 Arrange the following processes under the<br />
appropriate headings in the table below: brush, shake,<br />
rinse through, scrub, pre-wash,dry clean, h<strong>and</strong> wash,<br />
machine wash, bio pre-wash.<br />
Heavy soiling Light soiling<br />
Questions 4 <strong>and</strong> 5 are lists of fabric characteristics<br />
which affect how much dirt a fabric shows. Identify<br />
the odd one out in each case.<br />
4<br />
a glossy, glazed, nap, calendered<br />
b stain resistant, absorbent, water-repellent, shiny<br />
e slippery, silky, rough, soft.<br />
5<br />
a smooth, raised, texturized, brushed<br />
b light, neutral, bright, dark<br />
e checked, sprigged, printed, plain.<br />
6 Rewrite the following lists putting the dust controller<br />
opposite how it works. -<br />
a vacuum cleaner 1 traps rather than disturbs dust<br />
b humidifier 2 sucks up <strong>and</strong> removes dust<br />
c ionizer 3 circulates air <strong>and</strong> filters dust<br />
d damp duster 4 prevents attraction of dust to<br />
e air conditioning fabrics<br />
f curtain nets 5 negative ions attract floating<br />
g anti-static fabric pollen <strong>and</strong> dust<br />
finish 6 prevents dry atmosphere <strong>and</strong><br />
damps down dust<br />
7 traps airborne dust from<br />
windows<br />
7 How might a garment be cleaned in ancient Rome,<br />
in the Middle Ages, <strong>and</strong> in 1900?<br />
PROJECT<br />
Some people <strong>and</strong> things get dirtier than others. Some<br />
fabrics give the impression of being dirtier than others<br />
when this is not the case. Study these problems <strong>and</strong><br />
suggest actions which could be taken to minimize these<br />
effects.<br />
© 1984 Nuffield-Chelsea Curriculum Trust
1 Select the odd one out in each of the following lists.<br />
In each case explain your choice.<br />
a Lenor, Comfort, Bounce, Softlan.<br />
b Persil, Dreft, Daz, Surf.<br />
c Bold, Ariel, Fairy, Biotex.<br />
d Radox, Calgon, Washing Soda, Permutit.<br />
2 Select the odd one out in each of the following lists.<br />
In each case, explain your choice.<br />
a automatic, twin tub, wash boiler, machine <strong>and</strong><br />
wringer.<br />
[Q) B om El<br />
b<br />
c laundry, laundrette, dry cleaner, laundress.<br />
d chlorine, perborate, fluorescer, peroxide.<br />
3<br />
a Explain the significance of the following symbols.<br />
® ®<br />
b What may happen to clothes if they are washed<br />
when they should only be dry cleaned?<br />
c Suggest why some people try to avoid taking articles<br />
to be dry cleaned.<br />
d What alternative action could they take?<br />
4<br />
a List the actions you must take before h<strong>and</strong>ing over<br />
your garment to the dry cleaner.<br />
b List the things you must do if you are using a coinoperated<br />
machine to dry clean garments yourself.<br />
c Underline the points which are common to both a<br />
<strong>and</strong> b.<br />
d What special care must you take if doing your own<br />
dry cleaning?<br />
5 Many people do laundry work at home.<br />
a List the factors essential for effective cleaning.<br />
b Why is rinsing particularly important? What steps<br />
should you take to ensure that it is carried out<br />
effectively?<br />
6 Explain the following with reference to the water<br />
supply:<br />
a soap scum<br />
b temporary hardness<br />
c permanent hardness<br />
d fur or scale.<br />
7 Explain the following with reference to modern<br />
detergent powders:<br />
a wetting agent<br />
b emulsification<br />
c suspension<br />
d bio prewash<br />
e lather improver<br />
f fluorescer.<br />
8<br />
a What do the letters HLCC st<strong>and</strong> for?<br />
b Fill in the missing information on these labels <strong>and</strong><br />
suggest one article on which each one might be found.<br />
MACHINE HAND WASH<br />
Spin or wring<br />
MACHINE HAND WASH<br />
Warm<br />
9 Discuss the washing of the following articles,<br />
explaining how any problems can be prevented:<br />
a acrylic knitwear<br />
b polyester/cotton sheets<br />
c woollen jumpers.<br />
10 List six different cleaning situations. State the<br />
cleaning product you would use for each.<br />
PROJECTS<br />
List equipment which can be used for doing the<br />
laundry at home <strong>and</strong> find out the current price of<br />
these items in your district.<br />
Find out the different methods available for borrowing<br />
the money to buy large equipment for laundry in the<br />
home.<br />
What would be your priorities in buying the equipment<br />
you think necessary?<br />
© 1984 Nuffield-Chelsea Curriculum Trust