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UPMSP Hand Block Printing study materials
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UPMSP Hand Block Printing practice questions

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Question 1Introduction to Hand Block Printing and Historical/Traditional Context

In traditional hand block printing, what is the primary function of the wooden block (chhapa)?

  1. Heating the fabric before it enters the dye bath
  2. Measuring the length of cloth before printing
  3. Storing the mordant between printing sessions
  4. Carrying a carved motif that transfers dye or pigment onto the cloth Correct answer.

Explanation

The block is the printing tool itself: its raised carved surface is coated with colour paste and pressed onto the fabric, leaving the motif. Blocks are typically made of seasoned wood such as teak or sheesham so they resist warping and hold fine detail.

Question 2Introduction to Hand Block Printing and Historical/Traditional Context

Which printing tradition is most closely associated with the Sanganer and Bagru areas near Jaipur?

  1. Kantha embroidery of Bengal
  2. Batik wax-resist of Java
  3. Rajasthani hand block printing Correct answer.
  4. Kalamkari pen work of Andhra Pradesh

Explanation

Sanganer and Bagru are historic Rajasthani centres where hand block printing on cotton has been practised for centuries. Sanganer is especially known for fine floral butis on light grounds, while Bagru is associated with earthy reds, blacks and dabu mud-resist work.

Question 3Introduction to Hand Block Printing and Historical/Traditional Context

What does the term 'rekh' refer to in the vocabulary of hand block printing?

  1. The final washing stage after printing
  2. The outline block used to define the edges of a motif Correct answer.
  3. The wooden table on which cloth is pinned
  4. The thickening agent added to the dye paste

Explanation

Rekh means 'line' and denotes the outline block that draws the contour of a design. Printers lay down the rekh first, then fill it with the datta or gad block carrying the background colour or interior detail.

Question 4Introduction to Hand Block Printing and Historical/Traditional Context

A printer needs a background fill that sits inside an already printed outline. Which block type is used for this?

  1. The border block (bel)
  2. The rekh outline block
  3. The signature block (chaap)
  4. The datta or gad fill block Correct answer.

Explanation

The datta, also called gad, is the filler block that lays colour inside the outline created by the rekh. Accurate registration between rekh and datta is what produces clean, sharp motifs.

Question 5Introduction to Hand Block Printing and Historical/Traditional Context

Which fibre has historically been the most common base cloth for traditional Indian hand block printing?

  1. Polyester
  2. Wool
  3. Cotton Correct answer.
  4. Mulberry silk

Explanation

Cotton takes mordants and natural dyes reliably and was widely available, so it became the classic ground for block printing in Rajasthan and Gujarat. Silk is printed too but is costlier and less typical for everyday yardage.

Question 6Introduction to Hand Block Printing and Historical/Traditional Context

In the dabu technique, what role does the mud or clay paste play?

  1. It bleaches the ground cloth to white
  2. It fixes the dye permanently to the fibre
  3. It adds a glossy sheen to the finished fabric
  4. It acts as a resist that prevents dye from reaching covered areas Correct answer.

Explanation

Dabu is a resist-printing method in which a paste of clay, gum and other materials is printed or applied to block out dye. The cloth is then dyed, and the resist is later washed away to reveal the reserved pattern.

Question 7Introduction to Hand Block Printing and Historical/Traditional Context

What is the purpose of the long printing table covered with layered cloth in a block-printing workshop?

  1. To provide a slightly resilient, evenly padded surface for sharp impressions Correct answer.
  2. To serve as a drying oven for the printed cloth
  3. To hold the dye bath during dyeing
  4. To store finished fabric before dispatch

Explanation

The table is padded with layers of cloth or felt topped by a washable cover, giving a resilient surface so the block presses evenly into the fabric. The printer works along the table, aligning each impression with register marks.

Question 8Introduction to Hand Block Printing and Historical/Traditional Context

Which historical route is most often credited with spreading block-printed cotton textiles from India toward Europe?

  1. The Silk Road's northern branch through Siberia
  2. The trans-Saharan trade across the Sahara
  3. Overland caravan routes through Central Asia only
  4. Maritime trade through ports such as Surat and Masulipatnam Correct answer.

Explanation

Indian printed and painted cottons reached Europe largely through maritime trade via ports on the western and Coromandel coasts. These textiles, often called chintz or indiennes in Europe, influenced local textile industries and even led to import restrictions.

Question 9Introduction to Hand Block Printing and Historical/Traditional Context

What does the term 'buti' describe in traditional printed textile design?

  1. A large central medallion covering the whole field
  2. A wide decorative border along the selvedge
  3. A diagonal stripe running across the fabric
  4. A small, isolated floral or dot motif scattered across the field Correct answer.

Explanation

Buti refers to small single motifs, often floral, spaced across the ground cloth. When such motifs are arranged in a dense overall layout they may be called buta or butis depending on scale and regional usage.

Question 10Introduction to Hand Block Printing and Historical/Traditional Context

Why are blocks carved in reverse, with the motif appearing recessed rather than raised?

  1. So less dye is absorbed by the wood
  2. So the block can be used for both printing and stamping wax
  3. So the block lasts longer before recarving
  4. So the colour sits on the raised areas and prints the motif correctly Correct answer.

Explanation

The block face carries the motif on its raised surface while the background is carved away. Colour paste applied to the raised areas transfers the design, so the carver must think in mirror image and in relief.

Question 11Introduction to Hand Block Printing and Historical/Traditional Context

Which natural thickener is traditionally used to give body to a block-printing paste so it does not bleed?

  1. Gum arabic or gum from local trees Correct answer.
  2. Common salt
  3. Castor oil
  4. Lime powder

Explanation

Gums such as gum arabic, and regional alternatives, are cooked into the paste to give viscosity so the impression stays crisp. Without a thickener the colour would wick into the fibres and blur the motif edges.

Question 12Introduction to Hand Block Printing and Historical/Traditional Context

A workshop wants a deep, fast red using traditional methods rather than synthetic dye. Which mordant-dye pairing is the classic route?

  1. No mordant followed by direct application of cochineal
  2. Tannin mordant followed by turmeric dye
  3. Alum mordant followed by alizarin or madder dye Correct answer.
  4. Iron mordant followed by indigo dye

Explanation

Alum mordant printed on cotton, then dyed with madder or alizarin, yields the characteristic fast reds of traditional printing. Iron mordant with a tannin-rich substance typically produces blacks and greys instead.

Question 13Introduction to Hand Block Printing and Historical/Traditional Context

What is the traditional function of the 'saa' or printer's aid used to lift and reposition the block during printing?

  1. It helps the printer strike the block evenly and lift it cleanly Correct answer.
  2. It smooths the fabric on the table
  3. It measures the distance between repeats
  4. It grinds the dye paste before use

Explanation

Printers use a mallet or a padded striking aid to tap the block so the paste transfers evenly, then lift it cleanly. Consistent striking pressure is a core skill, since uneven pressure produces patchy impressions.

Question 14Introduction to Hand Block Printing and Historical/Traditional Context

Which statement best explains why hand block printing is described as a 'repeat' process?

  1. The cloth must be dyed repeatedly to achieve depth of colour
  2. The same block is impressed many times in a planned sequence to build the design Correct answer.
  3. The printer repeats the washing stage after every colour
  4. The block must be recarved after each metre of cloth

Explanation

A design is built by printing the same block at regular intervals, then adding further blocks for outline, fill and border. Registration between successive impressions determines whether the final pattern looks continuous and professional.

Question 15Introduction to Hand Block Printing and Historical/Traditional Context

How does the historical Bagru style differ from Sanganer in terms of typical colour palette and ground?

  1. Bagru uses only indigo on silk; Sanganer uses only gold leaf on wool
  2. Bagru relies on screen printing; Sanganer relies on digital printing
  3. Bagru favours earthy reds, blacks and cream grounds with dabu resist; Sanganer favours fine florals on white grounds Correct answer.
  4. Bagru prints exclusively geometric patterns on polyester; Sanganer prints figurative scenes on leather

Explanation

Bagru is known for natural earthy dyes, black and red outlines, and dabu mud-resist work on cream grounds. Sanganer is associated with delicate floral butis and butas on a bright white ground with fine outlines.

Question 16Introduction to Hand Block Printing and Historical/Traditional Context

What is the main reason printed cloth is washed after the resist and excess paste are removed?

  1. To shrink the fabric to its final size
  2. To make the fabric waterproof
  3. To set the colours permanently by chemical reaction with water
  4. To remove unfixed dye and paste so colours are clear and fast Correct answer.

Explanation

Washing removes residual paste, thickener and unfixed dye, which otherwise dulls the pattern and rubs off in use. The result is a cleaner ground and better contrast between printed and unprinted areas.

Question 17Tools, Equipment, and Workshop Safety

In hand block printing, which tool is used to hold the wooden block and press it evenly onto the fabric?

  1. A metal roller mounted on a frame
  2. The printer's hand or a padded mallet on the block back Correct answer.
  3. A squeegee pulled across the screen
  4. A spray gun connected to an air compressor

Explanation

The block is pressed by hand or struck lightly on its back with a padded mallet so the dye transfers evenly. Squeegees, rollers and spray guns belong to screen printing, rotary printing and spraying methods, not block printing.

Question 18Tools, Equipment, and Workshop Safety

What is the main purpose of the printing table (table pad) in a hand block printing workshop?

  1. To provide a flat, slightly resilient surface so the block makes full contact Correct answer.
  2. To store the carved blocks when not in use
  3. To wash the fabric between impressions
  4. To heat the fabric so the dye cures instantly

Explanation

The table is covered with a thick felt or blanket layer under a cloth, giving a slightly soft, level surface. This allows the block to press into the fabric evenly and produce a sharp, complete impression.

Question 19Tools, Equipment, and Workshop Safety

Which colour tray is normally used together with the wooden block during printing?

  1. A dry wooden board with no padding
  2. A sealed glass jar of thick paste
  3. A shallow tray lined with a dye-soaked cloth or sponge Correct answer.
  4. A deep bucket of undiluted pigment

Explanation

The colour tray holds a pad of cloth or sponge soaked with dye paste so the block can pick up an even film of colour. A shallow, evenly saturated pad gives consistent impressions.

Question 20Tools, Equipment, and Workshop Safety

Why must the carved wooden printing block be stored flat and away from direct sunlight?

  1. To make the block heavier for better pressure
  2. To allow the block to absorb moisture from the air
  3. To keep the carved design sharp by bleaching it
  4. To prevent warping and cracking of the timber Correct answer.

Explanation

Wood expands and contracts with moisture and heat, so uneven drying or strong sun can warp or split a block. Flat, shaded storage keeps the block true and protects the fine carved edges.

Question 21Tools, Equipment, and Workshop Safety

Which personal protective equipment is most important when handling dye powders and mordants in the workshop?

  1. A dust mask, gloves and eye protection Correct answer.
  2. Ear defenders only
  3. Steel-toed boots only
  4. A leather apron without gloves

Explanation

Dye powders and mordants can be inhaled as dust or irritate skin and eyes, so a dust mask, gloves and goggles are the basic protection. Hearing and foot protection are relevant to other hazards but do not address chemical exposure.

Question 22Tools, Equipment, and Workshop Safety

What is the correct action before starting to print on a fresh length of fabric on the table?

  1. Fold the fabric in several layers under the block
  2. Pin or gum the fabric taut and smooth so it cannot shift Correct answer.
  3. Wet the fabric thoroughly so it slides freely
  4. Leave the fabric loose to allow movement

Explanation

The fabric must be stretched flat and fixed so it does not move between impressions. Any shift causes misregistration and blurred, doubled prints.

Question 23Tools, Equipment, and Workshop Safety

A printer notices that the block is picking up too much dye paste and the impressions are blotchy. What is the most appropriate adjustment?

  1. Add more paste to the centre of the pad
  2. Spread the paste more thinly and evenly on the colour tray pad Correct answer.
  3. Use a deeper tray with a thicker sponge
  4. Press the block harder into the tray

Explanation

Blotchy prints from excess paste are corrected by evening out and thinning the layer on the pad so the block takes a uniform film. Adding paste or pressing harder increases the overload.

Question 24Tools, Equipment, and Workshop Safety

Why is a separate registration mark or guide line used along the table edge in repeat block printing?

  1. To mark where the block should be cleaned
  2. To indicate the drying time of the fabric
  3. To measure the length of paste used per print
  4. To align each impression so the repeat pattern stays in register Correct answer.

Explanation

Registration guides let the printer place each block in exactly the same position relative to the previous impression. This keeps the repeating design continuous and correctly aligned.

Question 25Tools, Equipment, and Workshop Safety

Which practice best protects the fine carved surface of a wooden printing block during use?

  1. Scrubbing the carving with a stiff wire brush after every print
  2. Cleaning paste off promptly with a soft cloth and drying it before storage Correct answer.
  3. Soaking the block in water overnight
  4. Stacking blocks face-down on top of each other

Explanation

Paste left to dry hardens in the fine lines, and harsh scrubbing or soaking damages the wood. Prompt, gentle cleaning and thorough drying preserve the carving.

Question 26Tools, Equipment, and Workshop Safety

A workshop stores concentrated mordant solutions in unlabelled bottles near the printing table. What is the correct corrective action?

  1. Move the bottles to a higher shelf above the table
  2. Cover the bottles with cloth to hide them
  3. Label every container clearly and store chemicals away from the printing area Correct answer.
  4. Mix the bottles together to reduce their number

Explanation

Unlabelled chemicals risk mistaken use and accidental contact, so each container must be identified and kept apart from the work area. Clear labelling and separation are basic chemical-safety controls.

Question 27Tools, Equipment, and Workshop Safety

What is the main reason for wearing gloves when handling freshly printed fabric before it is dried or steamed?

  1. To prevent the fabric from stretching
  2. To speed up the drying of the paste
  3. To make the colours brighter
  4. To avoid transferring paste and to protect skin from mordants Correct answer.

Explanation

Fresh paste can transfer from hands to other areas and mordants may irritate skin, so gloves protect both the print and the worker. Gloves have no effect on colour brightness or drying speed.

Question 28Tools, Equipment, and Workshop Safety

Which condition most affects the drying time of block-printed fabric hung in the workshop?

  1. Air circulation and humidity in the drying area Correct answer.
  2. The type of scissors used to cut cloth
  3. The number of blocks stored on the shelf
  4. The colour of the block handle

Explanation

Drying depends mainly on airflow, temperature and humidity around the fabric. Still, humid air slows evaporation and can cause paste to spread or smudge.

Question 29Tools, Equipment, and Workshop Safety

A printer wants to check whether a new block has been carved to the correct depth for clean printing. Which method is most suitable?

  1. Weigh the block on a balance
  2. Take a test impression on scrap cloth and inspect the detail Correct answer.
  3. Smell the wood of the block
  4. Measure the block's overall length with a tape

Explanation

A test impression on spare cloth shows whether the background areas are cut deep enough and whether the design prints cleanly. Physical dimensions or weight do not reveal carving quality.

Question 30Tools, Equipment, and Workshop Safety

Why should the printing table be covered with a fresh protective cloth before a new design is started?

  1. To reduce the weight of the fabric
  2. To make the table softer so the block sinks deeper
  3. To prevent old paste from marking the new fabric and to keep the surface clean Correct answer.
  4. To change the colour of the new paste

Explanation

Residue from previous work can transfer onto the new fabric and spoil the print, so a clean cover protects the goods. The cover also keeps the working surface free of dried paste and grit.

Question 31Tools, Equipment, and Workshop Safety

In a workshop, a printer develops a skin rash after handling mordant paste with bare hands for several days. Which control should have been in place first?

  1. Moving the printing table nearer the window
  2. Increasing the printing speed
  3. Providing suitable gloves and training in their use Correct answer.
  4. Replacing wooden blocks with metal ones

Explanation

Dermal exposure to mordants is prevented at source by suitable gloves and instruction in their correct use. Speeding up work, changing block material or moving the table does not stop skin contact.

Question 32Tools, Equipment, and Workshop Safety

Which combination correctly matches a tool with its function in a block printing workshop?

  1. Steamer - carves the design into the block
  2. Colour tray with pad - holds dye paste for inking the block Correct answer.
  3. Squeegee - presses the wooden block onto cloth
  4. Padded mallet - washes printed fabric

Explanation

The colour tray with its soaked pad supplies an even film of paste to the block. The other pairings attach tools to tasks they do not perform in block printing.

Question 33Tools, Equipment, and Workshop Safety

A workshop's floor becomes slippery from spilled paste and water near the printing table. What is the correct immediate response?

  1. Cover the spill with a cloth and leave it
  2. Continue printing and clean up at the end of the day
  3. Clean the spill at once and mark the area until it is dry Correct answer.
  4. Move the table over the spill

Explanation

Slips are a leading workshop injury, so spills must be removed immediately and the wet area kept clear until dry. Deferring cleaning or hiding the spill leaves the hazard active.

Question 34Tools, Equipment, and Workshop Safety

An artisan plans to print a fine-line motif with a newly carved block. Which factor most directly determines whether the fine lines will transfer cleanly?

  1. The number of workers in the workshop
  2. The colour of the table cover cloth
  3. The brand of the storage shelf
  4. The depth of the background carving and the consistency of the paste Correct answer.

Explanation

Clean fine lines depend on background areas being cut deep enough to avoid unwanted contact and on paste thick enough to cling without spreading. These two factors control the sharpness of the impression.

Question 35Tools, Equipment, and Workshop Safety

Two printers use the same dye paste but one gets sharp impressions and the other gets blurred edges. Which difference best explains the result?

  1. The second printer's fabric was not fixed taut on the table Correct answer.
  2. The second printer used a lighter-coloured block
  3. The second printer worked in a larger room
  4. The second printer used a different brand of scissors

Explanation

A loose fabric shifts under the block, so the paste smears and edges blur even with identical paste. Block colour, room size and scissors do not affect the sharpness of the impression.

Question 36Tools, Equipment, and Workshop Safety

A workshop must store both clean printing blocks and containers of mordant solution in a small room. Which arrangement best meets safety and tool-care needs?

  1. Seal chemicals in labelled, closed containers on a low, separate shelf away from the blocks Correct answer.
  2. Stack blocks on top of the chemical containers
  3. Place open chemical trays directly beneath the block rack
  4. Hang the blocks over the open mordant buckets to drip-dry

Explanation

Sealed, labelled chemicals kept apart from the blocks prevent contamination, spills and fumes reaching the wood. Blocks stored above open chemicals risk drips and damage.

Question 37Fabrics, Preparation, and Pre-treatment

In hand block printing, which natural fibre is a cellulose fibre that absorbs water-based dye paste readily and therefore needs careful pre-treatment to control bleeding?

  1. Wool
  2. Polyester
  3. Cotton Correct answer.
  4. Silk

Explanation

Cotton is a cellulose fibre with high moisture absorbency, so aqueous dye pastes spread easily along the yarn unless the cloth is properly washed, desized and mordanted. This absorbency is why cotton preparation focuses on removing starch and natural waxes before printing.

Question 38Fabrics, Preparation, and Pre-treatment

Which pre-treatment step removes the sizing starch applied to grey cotton fabric during weaving so that dye paste can penetrate the fibres evenly?

  1. Bleaching
  2. Mercerising
  3. Scouring
  4. Desizing Correct answer.

Explanation

Desizing specifically targets the starch or size film left from weaving, using enzymes or dilute acid to break it down so it washes away. Without this step the size forms a barrier that blocks paste penetration and causes patchy prints.

Question 39Fabrics, Preparation, and Pre-treatment

Why is singeing of cotton fabric carried out before printing?

  1. To shrink the fabric so the repeat length stays constant
  2. To burn off protruding surface fibres for a smooth printing surface Correct answer.
  3. To add a starch coating that holds the dye paste
  4. To increase the weight of the cloth per square metre

Explanation

Singeing passes the cloth over a flame or hot plate to burn away loose protruding fibres, giving a smooth surface. A smooth surface lets the block sit flat, so the printed impression has crisp edges instead of fuzzy ones.

Question 40Fabrics, Preparation, and Pre-treatment

What is the main purpose of scouring cotton fabric in preparation for hand block printing?

  1. To remove natural waxes, pectins and oils so the cloth wets out uniformly Correct answer.
  2. To print the outline design before filling colours
  3. To fix the mordant permanently onto the fibre
  4. To impart a permanent lustre and strength to the yarn

Explanation

Scouring uses alkali and detergent to strip natural waxes, pectins and oils from the grey cloth so it absorbs water and dye paste evenly. Uniform wetting is essential because dry or water-repellent patches reject the paste and print unevenly.

Question 41Fabrics, Preparation, and Pre-treatment

A printer finds that dye paste bleeds into the fabric along the edges of the block impression. Which preparation defect is the most likely cause?

  1. Incomplete removal of size leaving uneven absorbency Correct answer.
  2. Cloth that has been mercerised under tension
  3. Excessive bleaching that has whitened the cloth
  4. Fabric that has been singed too smoothly

Explanation

Residual size creates zones of different absorbency, so paste wicks unevenly and spreads past the impression edge. Complete desizing and even scouring give a uniform surface that limits capillary spread and keeps edges sharp.

Question 42Fabrics, Preparation, and Pre-treatment

Why is grey cotton fabric usually given a mild alkali boil (scouring) rather than being printed immediately after desizing?

  1. To set the colour of the fabric before printing
  2. To increase the thickness of the yarn so the block sits higher
  3. To reduce the moisture regain of the cotton
  4. To remove natural waxes that would otherwise resist the aqueous paste Correct answer.

Explanation

Desizing removes added starch but leaves the natural waxes and pectins that make raw cotton water-repellent. An alkali scour removes these so the paste wets the fibre uniformly and the print is even.

Question 43Fabrics, Preparation, and Pre-treatment

What is the role of a mordant applied to fabric before printing with natural dyes?

  1. To soften the water used in the dye bath
  2. To form a bond between the dye and the fibre so the colour is fast Correct answer.
  3. To thicken the dye paste so it does not spread
  4. To bleach the ground cloth prior to printing

Explanation

A mordant is a metal salt that binds to both the fibre and the dye, forming an insoluble complex inside the fibre. This complex gives the printed colour its wash and light fastness, and different mordants can also shift the shade obtained.

Question 44Fabrics, Preparation, and Pre-treatment

Which preparation sequence is most appropriate for cotton cloth intended for block printing with reactive dyes?

  1. Scour, print, desize, bleach, dry
  2. Bleach, singe, print, scour, dry
  3. Singe, desize, scour, bleach, wash and dry Correct answer.
  4. Desize, print, singe, scour, dry

Explanation

Preparation always precedes printing, and the conventional order is singe, desize, scour, bleach and wash before drying. Printing before desizing or scouring would leave barriers and waxes that prevent even dye uptake.

Question 45Fabrics, Preparation, and Pre-treatment

What is the purpose of mercerising cotton fabric before hand block printing?

  1. To burn off surface fuzz from the cloth
  2. To remove starch size from the warp yarns
  3. To fix the mordant onto the fibre
  4. To swell the fibres with caustic soda, improving lustre and dye uptake Correct answer.

Explanation

Mercerising treats cotton under tension with strong caustic soda, swelling the fibres and improving lustre, strength and dye absorption. Because uptake is more uniform, mercerised cloth often gives brighter, more even block prints.

Question 46Fabrics, Preparation, and Pre-treatment

A printer wishes to obtain sharp-edged impressions on cotton. Which combination of preparation steps best supports this goal?

  1. Singeing and thorough desizing before printing Correct answer.
  2. Desizing followed by starching to stiffen the surface
  3. Scouring followed by immediate printing while damp
  4. Bleaching and mercerising under slack tension

Explanation

Singeing removes surface fuzz and desizing removes the size film, together producing a smooth, evenly absorbent surface. This lets the block sit flat and the paste stay within the impression, giving crisp edges.

Question 47Fabrics, Preparation, and Pre-treatment

Why must bleached cotton be thoroughly washed and neutralised before printing with reactive dyes?

  1. Residual bleach reduces the moisture regain of the fibre
  2. Residual alkali or bleach can react with the dye and cause uneven or off-shade prints Correct answer.
  3. Residual bleach makes the fabric too heavy for the printing table
  4. Residual alkali prevents the thickener from dissolving in water

Explanation

Reactive dyes react with cellulose under alkaline conditions, so leftover alkali from bleaching can trigger premature or uneven fixation. Residual bleach can also oxidise the dye, so the cloth is washed and neutralised to give a controlled, even reaction.

Question 48Fabrics, Preparation, and Pre-treatment

Which fabric property is most directly improved by singeing before block printing?

  1. Surface smoothness Correct answer.
  2. Tensile strength
  3. Dimensional stability
  4. Colour fastness to washing

Explanation

Singeing burns away protruding fibres, so the most direct effect is a smoother surface. Strength, fastness and stability depend on other processes such as mercerising, dye fixation and relaxation.

Question 49Fabrics, Preparation, and Pre-treatment

In traditional mordant printing, what is the function of the 'thickener' such as gum in the printing paste?

  1. To bind the dye chemically to the cellulose fibre
  2. To increase the temperature of the paste during steaming
  3. To bleach the fabric during printing
  4. To give the paste viscosity so the impression stays sharp and does not spread Correct answer.

Explanation

The thickener raises the viscosity of the paste so it sits on the fabric surface, holds the block impression and does not wick into the cloth. It is later washed out, so it must not interfere with dye fixation.

Question 50Fabrics, Preparation, and Pre-treatment

A batch of cotton shows uneven dye pick-up in the form of darker and lighter patches after block printing. Which preparation fault should be investigated first?

  1. Uneven scouring or desizing leaving variable absorbency Correct answer.
  2. Use of a wooden block instead of a metal one
  3. Over-singeing of the fabric surface
  4. Printing at a slow table speed

Explanation

Patchy dye pick-up usually reflects variable absorbency across the cloth, which points to uneven scouring or incomplete desizing. When some areas still carry wax or size, they take up less paste and appear lighter.