LIQUID FUSE SOLUTIONS AND METHODS OF USE THEREOF

Abstract

Compositions and methods directed to aqueous solutions containing acacia gum powder are provided herein for use in treating the textile material and for use in producing textile based art objects.

Description

CROSS-REFERENCES TO RELATED APPLICATIONS

This application claims the benefit of priority to U.S. Provisional Application No. 61/684,348 filed on Aug. 17, 2012, the contents of which is incorporated herein by reference.

BACKGROUND OF THE INVENTION

Art objects can be made from textiles, such as certain types of fabrics. In order to produce high quality textile based art objects, it is desirable to be able to cut the fabric or other textile based material neatly with a finished edge and to gather and shape the material into certain art forms which are pleasing to view and display. In addition, it is desirable for the treated material to remain soft to the touch and pliable to allow shaping or other manipulation in the production of the objects while still holding their shape once production is complete. However, current textile based art objects and methods for producing such objects suffer from a number of limitations. For example, certain textiles, such as woven fabric, unravel and fray when cut on grain. Certain products are sold in stores to keep fabric from fraying; however, none of these products were specifically made to keep a swath of textile from fraying when cut. Other products are made to keep the edges of sewn seams from fraying, such as “Fray Check”, “Fray Stop”, Fray Block” and “Sprayway No Fray Spray No. 821”; however these are all sold to seal edges of sewn seams or buttonholes. U.S. Pat. No. 1,532,114 relates to a solution of sulfuric acid that claims to create “no fray” salvage when the fabric is submersed in the solution and then rinsed in water. However, this product is hazardous and is for industrial use only and therefore is unsuitable for constructing textile based art objects.

U.S. Pat. No. 2,281,830 relates to a process of treating textile fabric with a solution in which knits and woven fabrics are dipped and dried. Knits, such as stockings do not run, woven fabrics are stronger—less thread slip under stress. This solution uses aluminum stearate, butyl stearate, aroclor and benzol and cannot be used to keep cut fabric from fraying.

There are many fabric glues and stiffeners products that can be found in stores to stiffen fabrics such as Aleene's Fabric Stiffener and Draping Liquid, Stiffy Fabric Stiffener, and Stiffen Stuff. Although each of these products are used to stiffen and model textiles into shapes, the resulting items become very hardened and cannot be sewn by hand or machine. Hardened items cannot be gathered or manipulated into soft shapes necessary for successfully producing and selling textile based art objects.

Other textiles, such as calico and batik cottons, have a soft hand, but they are not rigid and do not have enough resiliency to hold gathers or shapes necessary for designed art objects.

In addition, the use of glue for adhering designed textile shapes and art objects on to other textiles, walls, mirrors or furniture is permanent. There is a need for a substance that bonds textiles to said surfaces and also allows the art to be removed without damage to said surfaces. The invention described herein addresses these limitations.

BRIEF DESCRIPTION OF THE INVENTION

The invention described herein is improved aqueous solutions that inhibit textile fibers from fraying when the treated textile material is cut on grain and used for sewing and constructing art objects. Also described herein are methods for using the improved solution to create textile based art objects and to methods of treating the textile material with the aqueous solutions to produce treated material that can more easily be cut, sewn, ironed or otherwise manipulated as compared to the non-treated material.

When working with textiles to produce art objects, fraying is a concern because the fraying edges of cut shapes can distort desired shapes and weaken cut textiles thereby producing an inferior and less desirable art object. The fuzzy appearance of fraying edges inhibits the ability of the user from producing any shape that the user so desires and also eliminates the choice to use single ply cut textiles for such art projects.

For the purpose of this application Liquid Fuse Solution is broadly defined as an aqueous solution that permeates fabric and once dried fuses or bonds textile fibers together inhibiting fabric from fraying and giving fabric a firmer hand. It has been discovered that by coating a swath of textile fabric with an aqueous solution, termed herein a Liquid Fuse Solution, comprising acacia tree gum powder mixed in different concentrations with water and other optional additives, produces a pliable sheet of fabric that has stronger resiliency, but is still soft enough to iron, cut and sew (with sewing machine or by hand) without fraying, or whereby fraying is kept to a minimum. These attributes allow the production of high quality textile based art objects due to the ease of using and cutting. The treated fabric is easy to cut to the desired shape, without fraying and can be easily manipulated into different shapes resembling various art objects, such as flowers, animals, mythical creatures, or any other textile based objects suitable for display or other appropriate use.

Also described herein are methods of using Liquid Fuse Solutions to produce textile based art objects and methods for producing art objects using such solutions. The textile material is coated with the appropriate concentration of Liquid Fuse Solution by applying, spraying, dipping, immersing or otherwise saturating the textile material in the solution. The excess solution is extruded out of the material and the treated material is then allowed to dry. The treated material can be easily air dried or can be dried by other means, such as heat, to accelerate the drying time.

Also described herein are methods of treating the textile material with Liquid Fuse Solutions to modify the properties of the material to allow easier handling, manipulation, sewing, ironing and finish of the treated material. The textile material is lightly coated or saturated, as desired, with the appropriate concentration of Liquid Fuse Solution by applying, spraying, dipping, immersing or otherwise saturating the textile material in the solution. The excess solution, if any, is extruded out of the material and the treated material is then allowed to dry. The treated material can be easily air dried or can be dried by other means, such as heat, to accelerate the drying time. The treated material can then be easily cut, sewn, ironed, handled or otherwise manipulated as desired for the specific use.

Different concentrations of acacia gum and water will result in different properties of the treated material. A solution with a lower concentration of acacia gum powder will produce a treated material which is generally soft and pliable. A solution with a higher concentration of acacia gum powder will produce treated material which is slightly stiffer and has a firmer hand on treated material once dried. This is optimal when fabric needs to hold a more ridged shape for certain aspects of certain art objects. This same concentration in solution can be used as an adhesive coating to adhere textiles to other textiles, walls, mirrors, and other solid surfaces.

The solutions are made from natural tree gum which is safe to use with no harmful chemicals. Another benefit of the solutions is that they are water soluble and not permanent. This means they can be washed out of fabrics or washed off solid surfaces without the damage associated with glues.

The treated fabric can be cut into shapes by any means necessary, such as using patterns or templates. Shapes can then be used as motifs or murals or sewn by hand or machine and constructed by sewing or the use of glue to create many different art objects. See examples below and figures showing a few different examples of art objects that can be created after treating fabric textiles with specific embodiments of the invention described herein; Liquid Fuse Solution 1 (LFS 1), Liquid Fuse Solution 2 (LFS 2) and Liquid Fuse Solution 3 (LFS3).

DETAILED DESCRIPTION OF THE INVENTION

The invention described herein is directed to improved aqueous solutions and methods of using the solutions to treat textile materials to increase the ease of handling, cutting, ironing and finishing the material and methods of using the solutions in the production, construction or manufacture of textile based art objects. The art objects can be made from single ply textiles. The designs for the art objects include, but are not limited to, two and three dimensional flowers, birds, animals, butterflies, insects, fish, dolls, mobiles, miniatures, art pictures, wall motifs and murals, constructed out of textiles. The most common textile fabric used, but not limited to, is quilting cotton calicos and batiks. Other textiles may be used and they include, but are not limited to, other cottons, silk, polyester, hemp and upholstery textiles.

One aspect of the invention provides for improved textile solutions, herein referred to as Liquid Fuse Solutions that inhibit textile fibers from fraying when textile is cut on grain for sewing and constructing art objects. When working with textiles, fraying is a concern because the fraying edges of cut shapes can distort desired shapes and weaken cut textiles. The fuzzy appearance of fraying edges is undesirable in textile based art objects and as a result, the use of single ply cut textiles for such art objects is difficult. One embodiment of the invention provides for an aqueous solution (water-based solution) containing between 6% and 70% w/v acacia gum powder.

In a preferred embodiment of the invention, the composition of Liquid Fuse Solution 1 contains between 30% and 35% w/v concentration of acacia gum powder in an aqueous solution. In an especially preferred embodiment, the aqueous solution contains 32% w/v acacia gum powder. The solution can be made by mixing the ingredients together in a container or plastic bag, shaking or mixing the solution well and allowing the solution to stand for approximately 4 hours. Optionally, other components used to enhance absorption, modify thickness of the solution, prevent bacteria and/or growth, preserve the solution for an extended period of time and/or add fragrance may be added to the composition. Optional components include Polysorbate 80, in an amount between 2.0% and 3.0% v/v to add thickness to the solution, preservatives, such as Kathon™ (The Dow Chemical Company) in an amount between 0.10% and 0.20% v/v to improve shelf life and inhibit bacteria growth and fragrance oils in an amount between approximately 0.30% to 0.40% v/v of pure fragrance oil.

In another preferred embodiment of the invention, the composition of Liquid Fuse Solution 2 contains between 60% and 70% w/v concentration of acacia gum powder in an aqueous solution. In an especially preferred embodiment, the aqueous solution contains 64% w/v acacia gum powder. The solution can be made by mixing the ingredients together in a container or plastic bag, shaking or mixing the solution well and allowing the solution to stand for approximately 4 hours. Optionally, other components used to enhance absorption, modify thickness of the solution, prevent bacteria and/or growth, preserve the solution for an extended period of time and/or add fragrance may be added to the composition. Optional components include Polysorbate 80, in an amount between 2% and 3% v/v to add thickness to the solution, preservatives, such as Kathon™ (The Dow Chemical Company) in an amount between 0.10% and 0.20% v/v to improve shelf life and inhibit bacteria growth and fragrance oils in an amount between approximately 0.30% to 0.40% v/v of pure fragrance oil.

In a another preferred embodiment of the invention, the composition of Liquid Fuse Solution 3 contains between 6% and 8% w/v concentration of acacia gum powder in an aqueous solution. In an especially preferred embodiment, the aqueous solution contains 7% w/v acacia gum powder. The solution can be made by mixing the ingredients together in a container or plastic bag, shaking or mixing the solution well and allowing the solution to stand for approximately 4 hours. Optionally, other components used to enhance absorption, modify thickness of the solution, prevent bacteria and/or growth, preserve the solution for an extended period of time and/or add fragrance may be added to the composition. Optional components include Polysorbate 80, in an amount between 2% and 3% v/v to add thickness to the solution, preservatives, such as Kathon™ (The Dow Chemical Company) in an amount between 0.10% and 0.20% v/v to improve shelf life and inhibit bacteria growth and fragrance oils in an amount between approximately 0.30% to 0.40% v/v of pure fragrance oil.

Another aspect of the invention provides for a method of using the Liquid Fuse Solutions in the construction of textile based art objects. In a preferred embodiment of the invention, a textile fabric is coated with Liquid Fuse Solution 1, for example by dipping the fabric in the solution and squeezing out the excess solution so that the solution is evenly distributed on the fabric. The coated fabric is then allowed to sufficiently dry so that the fabric is pliable, has strong resiliency, but is still soft enough to iron, cut and sew (with sewing machine or by hand) without fraying, or whereby fraying is kept to a minimum. It is preferred to iron the textile fabric flat while it is still damp. The textile fabric can now be cut, sewn and worked or manipulated into desired art object. This embodiment of the invention is set forth as a flow diagram in FIG. 1. Treatment will wash out with water and laundry soap.

In an especially preferred embodiment of the invention, the dried treated fabric is used to make various different types of art objects as described in more detail in FIGS. 2-4B. The dried treated fabric can be cut into shapes (using patterns or templates which is then used as motifs or murals or sewn by hand or machine and constructed by sewing or the use of glue to create many different art objects.

In yet another especially preferred embodiment of the invention, the textile based art objects are adhered to surfaces or other textiles by applying Liquid Fuse Solution 2 to the art object using an artist brush and applying the art object to the desired surface (hard surface or textile) press down and smooth it out evenly using brush. A sponge can be used to wipe any excess from surface. To remove the art object from the surface, use a wet sponge and water to saturate the art object and peel it off. The surface is easily wiped clean with a sponge to remove any residual solution.

In another preferred embodiment of the invention, a textile fabric is coated with Liquid Fuse Solution 2, for example by dipping the fabric in the solution and squeezing out the excess solution so that the solution is evenly distributed on the fabric. Liquid Fuse Solution 2 has a firmer hand on textile once dried. This solution is preferred when the fabric needs to hold a more ridged shape for certain aspects of certain art objects. In an especially preferred embodiment of the invention, the dried fabric is used to make various different types of art objects as described in more detail in FIGS. 5-8. This same concentration in solution can be used as an adhesive coating to adhere textiles to other textiles, walls, mirrors, and other solid surfaces.

Another aspect of the invention provides for a method of using the Liquid Fuse Solution 3 to treat a textile material by spraying the material then pressing with iron. The treated and ironed material results in a starch-like finish on the material. In a preferred embodiment of the invention, a textile fabric is coated with Liquid Fuse Solution 3, for example by spraying the fabric with the solution then pressing with an iron to give fabric a firmer hand that is softer than other Liquid Fuse Solution formulations. This makes Liquid Fuse Solutions 3 treated fabric easier to handle and sew; also makes pressing fabric easier and holds creases better. Treatment will wash out with water and laundry soap.

Preferred application of the solutions of the invention would be by using spray bottle to saturate fabric by spraying with solution; another application has been by pouring solution onto fabric to saturate it.

Components to make Liquid Fuse Solutions 1, 2 and 3 as described herein work extremely well. Other components used to enhance absorption or modify thickness of solutions and/or prevent bacteria growth may be added to components list if testing proves it to be useful in future. Other components not specifically described herein that serve the same purpose as those disclosed above are also contemplated within the invention.

DESCRIPTION OF THE DRAWINGS

FIG. 1, describes a flowchart of method (s) of making and using Liquid Fuse Solutions to produce textile based art objects.

FIG. 2, describes an example of instructions to create art objects. FIG. 2 depicts a cutting layout and assembly instruction to be used with fabrics treated with Liquid Fuse Solutions, used in various embodiments of the present invention. FIG. 2 also shows four separate fabric swaths treated with Liquid Fuse Solution 1, with sample pattern pieces shown, to be used as a template to cut treated fabric into the desired form.

FIGS. 3A and 3B depict photo examples and drawings of textile based art objects in the shape of flowers created using Liquid Fuse Solution 1 of the present invention. FIGURES show examples of textile based art objects in the shape of flowers—example finished embodiment using LFS1-flower created using single-ply fabric treated with Liquid Fuse Solution 1, example pattern and assembly. Finish art object includes buttons and fabric stem with internal wire for flexibility. Finished art is made from single-ply Liquid Fuse Solution 1 treated fabric that has a firm hand that extends petals and leaves for a more realistic dimensional appearance.

FIG. 4A depicts photos that show examples of three-dimensional birds—example finished embodiment 1—birds created using fabric treated with Liquid Fuse Solution 1, example pattern and assembly. Finished art object includes single-ply fabric treated with Liquid Fuse Solution 1, bead eyes and fabric legs with internal wire for flexibility.

FIG. 4B depicts photos that show examples of three-dimensional Wall Art, example embodiment 1, created on foam board covered with suede cloth. Pattern pieces are cut, using a template, from fabric treated with Liquid Fuse Solution 1. Template image is transferred to suede cloth covered foam board. Treated fabric pieces are then adhered in place using Liquid Fuse Solution 2 and trimmed with ribbon yarn. Three-dimensional Wall Art can also be created on painted stretched canvas board. Pattern pieces are cut from fabric treated with Liquid Fuse Solution 1, then adhered to painted canvas with Liquid Fuse Solution 2, then embroidered on to canvas.

FIGS. 5 & 6 depicts photos that show Mural Wall Motifs and Art, example embodiment 2. Fabric is first treated with Liquid Fuse Solution 1, then patterns are cut using template. Template image is transferred to wall to be used as a guide when cut fabric pieces are adhered to wall by coating back of cut fabric pieces with Liquid Fuse Solution 2.

FIG. 7 depicts a photo that shows an example of a three dimensional butterfly, example embodiment 2. Fabric is first treated with Liquid Fuse Solution 1, then patterns are cut using template. Then a portion of template image (butterfly body) is transferred to wall by coating back of cut fabric piece with Liquid Fuse Solution 2. Other portions are left unattached to wall whereby the wings extends freely for a more realistic dimensional appearance.

FIG. 8 depicts and illustration is of fabric flower made from a Hibiscus flower pattern. The flower stigma fabric is treated with Liquid Fuse Solution 2 to give it a very firm hand, giving fabric flower a more realistic dimensional appearance. The Hibiscus petal fabric (white) is treated with Liquid Fuse Solution 1 that was made with bleached acacia powder so as to not discolor light fabric. Acacia gum in its natural state is brownish which will tint fabric dark. Fabric Stigma is made rigid with Liquid Fuse Solution 2.

Example 1

Preparation and Use of Approximately One Gallon of Liquid Fuse Solution 1

The following components are combined with water to equal 3.19 liter aqueous solution: 1020.5 grams of acacia gum powder; 88.72 ml of polysorbate 80; 3.9 ml of the preservative/biocide Kathon™ (The Dow Chemical Company); and 9.86 ml fragrance oil. The aqueous solution is allowed to stand for 4 hours. Liquid Fuse Solution 1 is used to saturate the textile with by spraying with the solution or dipping the textile in a bowl or other container. Any excess solution is squeezed out of the fabric (reserve for future use) then treated material is allowed to air dry to damp on a line. It is best to iron textile flat while it is still damp. Textile can now be cut, sewn and worked or manipulated into desired art object. FIG. 2 illustrates the method of cutting pattern pieces and shows instructions to make dimensional art objects. FIGS. 3, 4 and 5 are photographed examples of art created using single-ply fabric treated with Liquid Fuse Solution 1.

Example 2

Preparation and Use of Approximately One Gallon of Liquid Fuse Solution 2

The following components are combined with water to equal 3.19 liters of aqueous solution: 2041 g of acacia gum powder; 88.72 ml of polysorbate 80; 3.9 ml of the preservative/biocide Kathon™ (The Dow Chemical Company); and 9.86 ml fragrance oil. The aqueous solution is allowed to stand for 4 hours. Liquid Fuse Solution 2 is used to saturate the textile with by spraying with the solution or dipping the textile in a bowl or other container. Any excess solution is squeezed out of the material (reserve for future use) then treated material is allowed to air dry to damp on a line. It is best to iron textile flat while it is still damp. Textile can now be cut and worked or manipulated into desired art object. For applying to hard surface, using an artist brush, apply Liquid Fuse Solution 2 on back side of cut object, apply cut object to surface (hard surface or textile) press down and smooth it out evenly using brush. Use sponge to wipe any excess from surface. To remove, use wet sponge and water to saturate motif and peel off. Wipe surface well with sponge to remove any residual solution. FIGS. 5 and 6 includes photographs of both cut art object logo and company name letters cut from Liquid Fuse Solution 2 treated single-ply fabric, and then applied to wall using Liquid Fuse Solution 2.

FIG. 7 includes a photo of a butterfly pattern, cut from Liquid Fuse Solution 2 treated single-ply fabric, and then the butterfly body (only) is applied to wall using Liquid Fuse Solution 2. The applied butterfly art allows the butterfly wings to be free form for a realistic dimensional appearance.

FIG. 8 illustration shows a stigma, from the hibiscus pattern, cut and assembled from fabric treated with Liquid Fuse Solution 2. The treated fabric has a very firm hand which holds the extension of the stigma for a realistic dimensional appearance.

Example 3

Preparation and Use of Approximately One Gallon of Liquid Fuse Solution 3

The following components are combined with water to equal 3.19 liters of aqueous solution: 225 g of acacia gum powder; 88.72 ml of polysorbate 80; 3.9 ml of the preservative/biocide Kathon™ (The Dow Chemical Company); and 9.86 ml fragrance oil. The aqueous solution is allowed to stand for 4 hours. Liquid Fuse Solution 3 is used as a fabric finish which is applied by lightly spraying fabric then ironing. Treated pressed fabric becomes crisper, less limp than untreated fabric making it easier to cut, iron, hold creases, handle and sew, while keeping a soft hand. Treatment will wash out with water and laundry soap.

Claims

1. A composition for use in the production of textile based art objects comprising an aqueous solution with between 6% w/v and 60% w/v acacia gum powder.

2. The composition of claim 1, wherein the concentration of acacia gum powder in the aqueous solution is between 6% and 8% w/v.

3. The composition of claim 1, wherein the concentration of acacia gum powder in the aqueous solution is between 30% and 35% w/v.

4. The composition of claim 1, wherein the concentration of acacia gum powder in the aqueous solution is between 60% and 70% w/v.

5. The composition of claim 1, wherein the composition optionally includes a preservative or biocide added to the solution in an amount between 0.10% and 0.20% v/v.

6. The composition of claim 5, wherein the optional biocide is Kathon™.

7. The composition of claim 1, wherein the composition optionally includes a thickener added to the aqueous solution in an amount between 2.0% and 3.0% v/v.

8. The composition of claim 7, wherein the optional thickener is polysorbate 80.

9. The composition of claim 1, wherein the composition optionally includes fragrance oil added to the solution in an amount between 0.30% to 0.40% v/v.

10. A method of treating a textile based material to modify the properties of the textile material to allow easier handling, manipulation and finishing of the treated material, the method comprising the steps of:

i. applying the composition of claim 2 to the textile material in a sufficient amount to lightly coat the textile material; and

ii. ironing or otherwise pressing said treated material to remove wrinkles or add creases as desired.

11. The method of claim 10, wherein the application of the composition of claim 2 to the textile material is accomplished by spraying with a spray bottle.

12. A method of making textile based art objects, the method comprising the steps of:

i. applying the compositions of claim 1 in a sufficient amount to saturate a textile based material, resulting in treated material;

ii. extruding any excess solution from said treated material;

iii. allowing sufficient time to pass such that said treated material is dry; and,

iv. cutting or forming said treated material into a desired shape and arranging said treated material in the desired art form.

13. The method claim 12, wherein the composition is applied using a spray bottle.

14. The method of claim 12, wherein, the treated material is allowed to dry for at least 4 hours.

15. The method of claim 12, wherein the textile based art object is in the form of flowers.

16. The method of claim 12, wherein the textile based art object is in the form of wall hangings or murals.

17. The method of claim 12, wherein method further comprises the step of attaching the textile based art objects to another surface or material using the aqueous solution of claim 4.