Print-through terms

The term textile printing is used to describe the production of colored designs or patterns on textile substrates through a combination of various mechanical and chemical means. In printing on textiles, a localized dyeing process takes place, whereby in general the chemical and physical parameters of dyeing apply. 

That curious occult philosophy which constitutes the basis of alchemy in the modern sense of the term, derived from the Greek neoplatonists and transmitted mainly through Arabian disciples, was to find a recrudescence with, if possible, more extravagant manifestations of credulity, mysticism and charlatanism in the western alchemists of the fourteenth to the eighteenth centuries, a development greatly fostered also by the revolt from authority which culminated in the Protestant Reformation and was facilitated by the printing press in the latter part of the fifteenth century. 

Another opportunity for change might be decorative. If labels are used and need to be retained then the method of printing should be discussed with the label manufacturer and examined in terms of print effect versus cost. The label substrate can help to create an impression of quality through the use of plastic, either in conjunction with paper in laminate form or in monolayer form. Whether the labels are pre-cut or reel-fed will also impact on whether the label can be a shaped patch label or is wrapped around the package. 

There are two reasons why artists are particularly vulnerable to diseases caused by exposure to toxic materials. First of all, artists, by the nature of their work, may have daily, long-term contact with materials that are highly toxic. Second, art materials are used as aerosols, powders, dusts, and in solution, from which maximum physical absorption and adsorption are possible. An artist can inhale aerosols. Powders and dusts are also inhaled and, in addition, can be absorbed through the skin. Solutions and many solvents evaporate into the air for the artist to inhale over long periods of time. This chemical assault, day after day, causes a variety of illnesses. In the following section on artists illnesses, all the chemicals cited are used by artists as they draw and paint, sculpt, work with metals, or develop and print photos—in general, as they engage in any art-associated activity. 

Post-printing nip capillary sorption of ink and ink vehicles is discussed using Lucas-Washburn theory and the influence of the rate of capillary sorption on ink holdout, show through and set off are discussed. Finally, the long-term migration of oil vehicles over fibre surfaces by spreading with the attendant loss of paper opacity is described. 

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