Textile Printing
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Indigenising the Interior of Some Selected Hotels in Enugu Metropolis Through the Production of Textile, Using Igbo Motifs
International Journal of Art and Art History December 2020, Vol. 8, No. 2, pp. 24-39 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v8n2p3 URL: https://doi.org/10.15640/ijaah.v8n2p3 Indigenising the Interior of Some Selected Hotels in Enugu Metropolis through the Production of Textile, using Igbo Motifs Adaeze Q. Silas-Ufelle1 and Pius A. Ntagu2 Abstract It was observed that interior of hotels in Enugu metropolis are predominantly adorned with foreign fabrics that do not reflect the culture of the host communities. The essence of actualizing and stabilizing the economy, especially the hospitality industry in Enugu metropolis implies employing all workable parameters that can restructure the cultural and economic growth of the people positively. Therefore, there is need to indigenize the interiors of hospitality industry in Enugu using Igbo traditional motifs. Selected hotels were used to mirror this attenuation by employing the Igbo unique traditional symbols and mural designs to acculturate their interior environments. Qualitative research was adopted and snowball sampling was used for the selection of hotels. As a studio area, the work employed the transfer of developed designs on fabrics with the aids of batik, tie-dye and screen printing method of fabric production. The final fabric works were produced to satisfy the various end uses relevant to hotel interiors and to provide materials for documentations as a means of projecting the esteemed culture of Enugu metropolis in particular and Ndigbo in general. The studio experimentation employed mixed media and construction techniques. -
Care Label Recommendations
CARE LABEL RECOMMENDATIONS RECOMMENDED CARE FOR APPAREL PRODUCTS Fiber content, fabric construction, color, product construction, finish applications and end use are all considered when determining recommended care. Following are recommended care instructions for Nordstrom Products, however; the product must be tested to confirm that the care label is suitable. GARMENT/ CONSTRUCTION/ FIBER CONTENT FABRICATION CARE LABEL Care ABREVIATION EMBELLISHMENTS Knits and Sweaters Acetate/Acetate Blends Knits / Sweaters K & S Dry Clean Only DCO Acrylic Sweater K & S Machine Wash Cold, Gentle Cycle With Like Colors Only Non-Chlorine Bleach If Needed MWC GC WLC ONCBIN TDL RP CIIN Tumble Dry Low, Remove Promptly Cool Iron If Needed Acrylic Gentle Or Open Construction, Chenille K & S Turn Garment Inside Out Or Loosely Knit Machine Wash Cold, Gentle Cycle With Like Colors TGIO MWC GC WLC ONCBIN R LFTD CIIN Only Non-Chlorine Bleach If Needed Reshape, Lay Flat To Dry Cool Iron If Needed Acrylic / Rayon Blends Sweaters / Gentle Or Open K & S Professionally Dry Clean Construction, Chenille Or Loosely Knit Short Cycle, No Steam PDC SC NS Acrylic / Wool Blends Sweaters with Embelishments K & S Hand Wash Cold, Separately Only Non-Chlorine Bleach If Needed, No Wring Or Twist Reshape, Lay Flat To Dry Cool Iron If Needed HWC S ONCBIN NWOT R LFTD CIIN DNID Do Not Iron Decoration Acrylic / Wool Blends Sweaters K & S Hand Wash Cold, Separately Only Non-Chlorine Bleach If Needed Roll In Towel To Remove Excess Moisture Reshape, Lay Flat To Dry HWC S ONCBIN RITTREM -
Alum Mineral and the Importance for Textile Dyeing
Current Trends in Fashion Technology & Textile Engineering ISSN: 2577-2929 Mini-Review Curr Trends Fashion Technol Textile Eng Volume 3- Issue 4 - April 2018 Copyright © All rights are reserved by Ezatollah Mozaffari DOI: 10.19080/CTFTTE.2018.03.555619 Alum Mineral and the Importance for Textile Dyeing Ezatollah Mozaffari* and Bijan Maleki Imam khomeini international university, Qazvin, Iran Submission: Published: April 25, 2018 *Corresponding April author: 10, 2018; Email: Ezatollah Mozaffari, Imam khomeini International University, Qazvin, Iran, Tel: +9828-33901133; Abstract The importance of alum as a natural mordant in textile dyeing is explained. The history of alum mineral processing was reviewed to emphasise on the heritage knowledge inherited by current trends in fashion technology and textile engineering. The review will also demonstrate the conservative environmental preservation nature of alum mineral as mordant. The need for modern evaluation of natural dyes and mordants will be highlighted. Keywords: Alum; Mordant; Industrial heritage Introduction the calcined mass the calcined shale was barrowed to a series Alum was known as one of the most imperative components of stone leaching pits nearby with typical dimensions of 9 x of textile industry before the introduction of chemical dyes in 4.5 x 1.5m. Fresh liquid was added to the leaching tanks and the process repeated for several weeks. The waste solids were alum quarrying and trade in several geographical areas [1]. In the 1850s. Its significance could be explored when studying the literature, interesting notes on alum as a mordant for textile liquor from leaching rose to 1.12, indicating 12 tons of dissolved dyeing of yarn, cloth and leather in North America, China, Libya, eventually dug out and discarded. -
1 SUMMARY the Shibori, Batik and Ikat Techniques Are Known As Resist
SIMBOL ŞI TEHNICĂ ARHAICĂ-RAPEL ÎN CREAłIA CONTEMPORANĂ BITAY ECATERINA 1 SUMMARY The Shibori, Batik and Ikat techniques are known as resist dyeing techniques. „Shibori” is actually an old name of the Tie-dye technique, a widespread expression in the hippie communities of the 60’s – 70’s period, when this technique had a great success also among the fashion designers, making a spectacular comeback, after a long period of sporadic isolation in certain areas of the world, especially in Japan, Africa and South America. The first textiles found by archaeologists are so old that we may say that world history could be read in the nations’ textiles. The rise of the civilizations and the fall of the empires are woven and printed on the scarves and the shrouds of the great conquests main characters. Archaeological diggings revealed signs of these traditions of 5000 years old. Religion, traditions, myths, superstitions and rituals are closely related to the textiles belonging to many nations of Eastern Asia, Asia Minor, and of the Pacific Islands, their aesthetic value being, more than once, secondary. CHAPTER 1 THE SHIBORI TECHNIQUE The origin of the word “Shibori” is the verb “shiboru” which means to wring, to twist, to press. Even if “shibori” refers to a particular group of resist dyeings, the word’s origin suggests the cloth manipulation process and it can comprise modern methods of dyeing which involve the same type of cloth treatment, possibly without pigments or treatment with pigments applied by using totally different methods than the ancient ones. Shibori can be divided in many ways: according to the areas where it is used, such as Japan, China, India, Africa, Indonesia, South America or according to the details usesd in the technique. -
Batik Wax Instructions
Instructions Batik Wax Batik: A History Although its exact origin is uncertain, the earliest known batiks were discovered in Egyptian tombs dating back to the 4th century BCE. Wax-resist techniques were probably developed independently by disparate cultures throughout the ancient world. By the seventh century AD, patterning fabric using resists such as wax was a widespread practice throughout Asia and Africa and was perhaps most fully developed as an artform in Indonesia, where batik predates written records. By the thirteenth century, it became a highly respected art form and pastime for the women of Java and Bali, as recognizable motifs, patterns and colors became signifiers of one’s family and geographical area. Distinct styles and traditions proliferated and spread with the exchange of cultures through trade and exploration (see the “inland” and “coastal” batiks of Java, for instance — the two traditions couldn’t be more different). In the seventeenth century, as the world grew smaller, batik was introduced in Holland and other parts of Europe, where it became increasingly fashionable. Europeans and Americans traveling and living in the East encountered the ancient process and brought it back to their homelands — and spread it to colonies far away — where new traditions of batik branched out. Today, art schools across the United States and Europe offer batik courses as an essential part of their textile curricula. For more tips and techniques see www.jacquardproducts.com JACQUARD PRODUCTS Manufactured by Rupert, Gibbon & Spider, Inc. Healdsburg, CA 95448 | www.jacquardproducts.com | 800.442.0455 Batik Instructions Preparing and designing your fabric All new fabrics must be washed with hot soapy water, rinsed and dried to remove factory-applied sizings which may inhibit color penetration. -
The Maiwa Guide to NATURAL DYES W H at T H Ey a R E a N D H Ow to U S E T H E M
the maiwa guide to NATURAL DYES WHAT THEY ARE AND HOW TO USE THEM WA L NUT NATURA L I ND IG O MADDER TARA SYM PL O C OS SUMA C SE Q UO I A MAR IG O L D SA FFL OWER B U CK THORN LIVI N G B L UE MYRO B A L AN K AMA L A L A C I ND IG O HENNA H I MA L AYAN RHU B AR B G A LL NUT WE L D P OME G RANATE L O G WOOD EASTERN B RA ZIL WOOD C UT C H C HAMOM IL E ( SA PP ANWOOD ) A LK ANET ON I ON S KI NS OSA G E C HESTNUT C O C H I NEA L Q UE B RA C HO EU P ATOR I UM $1.00 603216 NATURAL DYES WHAT THEY ARE AND HOW TO USE THEM Artisans have added colour to cloth for thousands of years. It is only recently (the first artificial dye was invented in 1857) that the textile industry has turned to synthetic dyes. Today, many craftspeople are rediscovering the joy of achieving colour through the use of renewable, non-toxic, natural sources. Natural dyes are inviting and satisfying to use. Most are familiar substances that will spark creative ideas and widen your view of the world. Try experimenting. Colour can be coaxed from many different sources. Once the cloth or fibre is prepared for dyeing it will soak up the colour, yielding a range of results from deep jew- el-like tones to dusky heathers and pastels. -
Spring Twenty Two Women's Headwear
SPRING 2022 SPRING TWENTY TWO WOMEN’S HEADWEAR & APPAREL DONE PROPER NH SPRING 2022 WOMEN THIS SEASON WE CELEBRATE THE NEW EXPLORERS. THE COLLECTION IS INSPIRED BY VINTAGE MILITARY AND WORKWEAR SILHOUETTES, BLENDED WITH SPRING THE JOYFUL RETRO AESTHETIC OF THE 1970’S. WOMEN 2022 WITH A PALETTE OF CLASSIC SEASONAL COLORS AND PRINTS, WE SET OUT TO DESIGN A RANGE THAT BALANCES STYLE THAT IS AT HOME ON CITY STREETS, OR THE ROADS LESS TRAVELED. SPRING 2022 2 SPRING 2022 3 RANCHER COLLECTION JO RANCHER RANCHER COLLECTION SPRING 2022 4 SPRING 2022 5 JO STRAW RANCHER RANCHER COLLECTION A NEW ICON | ELEGANT SILHOUETTE | PREMIUM DETAILS SPRING 2022 6 SPRING 2022 7 RENO FEDORA RANCHER COLLECTION REFINED AND RESPONSIBLY SOURCED | PREMIUM DETAILS AND FINISHES SPRING 2022 8 SPRING 2022 9 JO RANCHER RANCHER COLLECTION THE RANCHER REBORN | CRUELTY-FREE WOOL CONSTRUCTION SPRING 2022 10 SPRING 2022 11 JO RANCHER (10cm/4” Brim) XS-S-M-L (6_-7-7_-7_) • 100% wool felt • Metal headwear plaque • Adjustable Velcro strap under sweatband • Grosgrain outside band and brim taping DOVE WASHED NAVY/NAVY *BLACK 11035-DOVE 11035-WSNVY 11035-BLACK RANCHER COLLECTION BRASS 11035-BRASS PRODUCT PAGE JOANNA FELT HAT (10cm/4” Brim) XS-S-M-L (6_-7-7_-7_) • 100% wool felt • Grosgrain band • Metal headwear plaque • Adjustable Velcro strap under sweatband *BLACK PHOENIX ORANGE MOJAVE 10783-BLACK 10783-PHEOR 10783-MOJAV SPRING 2022 12 SPRING 2022 13 JOANNA PACKABLE HAT DUKE COWBOY HAT (7.5cm/3.5” Brim) (7.5cm/3” Brim) XS-S-M-L (6_-7-7_-7_) XS-S-M-L-XL (6¾-7-7¼-7½-7¾) • 100% wool felt • 100% wool felt • Grosgrain band • 5mm Grosgrain band • Metal headwear plaque • Metal headwear plaque • Adjustable Velcro strap under • D2 sweatband *BLACK MERMAID CASA BLANCA BLUE *BLACK COFFEE 10628-BLACK 10628-MERMD 10628-CABLB 10998-BLACK 10998-COFFE RENO FEDORA COHEN COWBOY (9cm/3. -
Evaluation of Independent Mesh Modeling for Textile Composites
EVALUATION OF INDEPENDENT MESH MODELING FOR TEXTILE COMPOSITES A Thesis by JEFFREY SCOTT MCQUIEN Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Chair of Committee, John D. Whitcomb Committee Members, Mohammad Naraghi Terry Creasy Head of Department, Rodney Bowersox May 2017 Major Subject: Aerospace Engineering Copyright 2017 Jeffrey Scott McQuien ABSTRACT The Independent Mesh Method (IMM) was used to analyze stress distributions within a unit cell model for a symmetrically stacked plain weave textile composite. Results from these analyses were compared to those of conventional finite element analyses, which are well established. Preliminary comparisons showed extreme dis- agreement between the two methodologies. Further investigation into the source of these differences led to significant corrections to the IMM implementation. After these updates, much better agreement between the two methodologies was observed; however, noticeable differences were still present. The remaining differences were characterized using a simple two-inclusion model upon which the impacts of the penalty displacement method, which the IMM relies upon heavily, were more appar- ent. It was shown that the implementation of the penalty displacement method for maintaining approximate displacement continuity between two surfaces induces sig- nificant error in stress distributions close to the interface. While these effects are less noticeable in the plain weave model, they are still present and diminish the fidelity of stress information in important tow-matrix interface regions, prohibiting the reliable prediction of damage initiation and growth. ii DEDICATION This thesis is dedicated to my father, without whom, it would have never been. -
H'mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat
International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 H’mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat CAT Village, Hoang Lien Commune, SAPA Town, Lao Cai Province, Vietnam Le Thi Hanh Lien1*, Nguyen Thi Hai Yen2, Dao Thi Luu3, Phi Thi Thu Hoang4, Nguyen Thuy Linh5 1, 2, 3, 4 Institute of Geography, Vietnam Academy of Science and Technology, 18 Hoang Quoc Viet Road, Nghia Do, CauGiay District, Ha Noi, Vietnam 5Management Development Institute of Singapore *Corresponding author: lehanhlien2017[at]gmail.com Abstract: Indigo dyeing and beeswax batik are the two traditional crafts that have long been associated with the H’Mong people in Sa Pa in general, Cat Cat village in particular and still preserved until the presentday. Through many stages of making indigo dye combined with sophisticated techniques and the ingenuity, meticulousness of the artisans in each motif and pattern, unique beeswax batik and indigo dyeing products have been created bringing the cultural identity of the H’mong people. These handicraft products have become a highlight to attract tourists to learn and discover local cultural values and they are meaningful souvenirs for visitors after each trip. In recent years, the development of the community-based tourism model in Cat Cat village has brought many benefits to the local community. Meanwhile, it has also contributed to creating opportunities for the development and restoration of H’mong traditional crafts. Keywords: indigo dyeing, beeswax batik, H’Mong, Cat Cat, Sa Pa 1. Introduction cultural and religious life of the H'Mong. -
Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education
Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education 14 October 2011 On October 14, 2011, the Rice Design Alliance submitted an award submission to the American Institute of Architects for “Collaborative Achievement in Research, Dissemination, and Education.” Along with our organization’s “Biography,” a “Statement of Contributions,” and 15-pages of “Exhibits,” the RDA submission was nominated by Raymond Brochstein, FAIA with five support letters from John Kaliski, AIA, Nonya Grenader, FAIA, David Lake, FAIA, Jay Baker, FAIA, and Edward M. Baum, FAIA. Captured on the following page are a few quotes from these AIA colleagues and RDA supporters. SUBMISSION COMMITTEE Barbara Amelio, Kimberly Hickson, Lonnie Hoogeboom, Craig Minor, Suzy Minor, Danny Samuels, Carrie Glassman Shoemake STAFF Kathryn Fosdick, Raj Mankad, Katie Plocheck, Linda Sylvan “The Rice Design Alliance has been at the forefront of thinking about the future of the built environment and how cities and buildings must be sustainable. RDA has a regional reach beyond Houston, including Austin, Corpus Christi, Galveston and my town, San Antonio. RDA’s audience is not limited to design professionals. It is inclusive, open, and inviting. I have friends who are developers, lawyers, teachers, and artists who routinely attend their events because of the inspirational, informative content. RDA’s commitment to excellence and their success in expanding the audience elucidates how good design benefits all of us and the natural realm. “The Rice Design Alliance was conceived by David Crane who was Dean of the Rice University School of Architecture in 1972. -
Leafing Through History
Leafing Through History Leafing Through History Several divisions of the Missouri Botanical Garden shared their expertise and collections for this exhibition: the William L. Brown Center, the Herbarium, the EarthWays Center, Horticulture and the William T. Kemper Center for Home Gardening, Education and Tower Grove House, and the Peter H. Raven Library. Grateful thanks to Nancy and Kenneth Kranzberg for their support of the exhibition and this publication. Special acknowledgments to lenders and collaborators James Lucas, Michael Powell, Megan Singleton, Mimi Phelan of Midland Paper, Packaging + Supplies, Dr. Shirley Graham, Greg Johnson of Johnson Paper, and the Campbell House Museum for their contributions to the exhibition. Many thanks to the artists who have shared their work with the exhibition. Especial thanks to Virginia Harold for the photography and Studiopowell for the design of this publication. This publication was printed by Advertisers Printing, one of only 50 U.S. printing companies to have earned SGP (Sustainability Green Partner) Certification, the industry standard for sustainability performance. Copyright © 2019 Missouri Botanical Garden 2 James Lucas Michael Powell Megan Singleton with Beth Johnson Shuki Kato Robert Lang Cekouat Léon Catherine Liu Isabella Myers Shoko Nakamura Nguyen Quyet Tien Jon Tucker Rob Snyder Curated by Nezka Pfeifer Museum Curator Stephen and Peter Sachs Museum Missouri Botanical Garden Inside Cover: Acapulco Gold rolling papers Hemp paper 1972 Collection of the William L. Brown Center [WLBC00199] Previous Page: Bactrian Camel James Lucas 2017 Courtesy of the artist Evans Gallery Installation view 4 Plants comprise 90% of what we use or make on a daily basis, and yet, we overlook them or take them for granted regularly. -
Double Corduroy Rag
E-newes - coming to you monthly! Get connected: Visit schachtspindle.com for helpful Each issue includes a project, hints, project ideas, product manuals and informa- tion. Follow our blog, like us on Facebook, pin us on helpful tips & Schacht news. Pinterest, visit Schacht groups on Ravelry, follow us TM on Twitter. News from the Ewes DECEMBER 2014 Blanket Weaving in the Southwest. We What is a countermarche loom liked Loie Stenzel’s suggestion for us- and why do we love it for rugs? Project ing patterned as well as solid fabrics, Double Corduroy Rag Rug Before I tell you why we love our countermarche so I spent some time by Chase Ford Cranbrook loom for rug weaving, I want to give you familiarizing myself After weaving off the mohair blanket a very brief overview of three systems for creating with the color pal- sheds. on the Cranbrook Loom (see pictures ettes that appeared On jack looms, on our Facebook), Jane and I decided in the blankets in when the treadle is that a double corduroy rug would be Wheat’s book. I depressed, some shafts fun to try. Corduroy is a pile weave that found several colors raise and the others is created by weaving floats along with and prints of a light- remain stationary. Jack a ground weave. The floats are cut after weight 100% cotton looms are the most weaving to form the pile. Corduroy can fabric to sample Rug sample popular style of looms be either single or double. Generally, with. in the U.S. and is the system we use for our Wolf and Standard Floor Looms.