Bead Weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof
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Inkjet Printing-A Revolutionary Ecofriendly Technique for Textile Printing
Indian Journal of Fibre & Textile Research Vol. 26. March-June 2001. pp. 156-161 Inkjet printing-A revolutionary ecofriendly technique for textile printing Sanjay Gupta" National In stitute of Fash ion Technology. Hauz Khas, Ne w Dcl hi 110016, India Some of thc aspects of inkjct or di gital printing, such as com pari son bctwecn conventional and di gita l printing. di git al printing systcms, suitablc inks bascd on dyes and pi gments, colour man agc ment software, application and iuture scope of digit al printing, arc brieny discussed in view of the demand-activated manufac turing architect to satisfy th e chan gin g fa shi on trends and new market requ irements. Keywords: Inkjet printing, Rotary scrcen printing, Textile printing 1 Introduction has been pushing the print production towards th e In ITMA 1999, an array of diffe rent technologies developing countries. As a result, Far East has the fo r di gital printing on fabric was presented. Though major share of 50% with the USA hav ing only II % the idea had been around for nearly IS years, it was and the EU, 15 %. A major reason for thi s shift is th e not until now th at equipment adequate enough for long, polluting and capital intensive nature of production on tex til es was show n. However, th e conventional tex tile printin g. Di gital printing has the 'different competing technologies th at were di splayed potential to reverse this trend. showed a lack of clear-cut direction and served onl y Changing fas hion trend s an d new market to confuse buyers, most of wh om were un exposed and requirements are also pushing th e dri ve for digital un ed ucated about the capabilities of these printing. -
Woven Silks Glenna Teague North Carolina State University
International Textile and Apparel Association 2014: Strengthening the Fabric of our Profession, (ITAA) Annual Conference Proceedings Association, Legacy and Friendships! Jan 1st, 12:00 AM Woven Silks Glenna Teague North Carolina State University Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Teague, Glenna, "Woven Silks" (2014). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 115. https://lib.dr.iastate.edu/itaa_proceedings/2014/design/115 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Charlotte, North Carolina 2014 Proceedings Woven Silks Glenna Teague, North Carolina State University, USA Woven, Silk, Design, Innovative The purpose of this design was to create a modern looking garment by using a fusion of both new and old age textile and apparel design skills. Hand weaving is a lost art form that needs to be revived by students and young textile professionals, thus being part of the inspiration for this garment. Inspiration was also drawn from a colorful piece of artwork at the North Carolina Museum of Art. Frank Philip Stella’s Raqqa II is a fusion of bright, vibrant colors that seamlessly intertwine, following the curves and edges of the canvas. I believe that the shapes formed by the bands of color, mirror the shape of the model’s body because of the form fitting dress. -
History of Weaving
A Woven World Teaching Youth Diversity through Weaving Joanne Roueche, CFCS USU Extension, Davis County History of Weaving •Archaeologists believe that basket weaving and weaving were the earliest crafts •Weaving in Mesopotamia in Turkey dates back as far as 7000 to 8000 BC •Sealed tombs in Egypt have evidence of fabrics dating back as far as 5000 BC •Evidence of a weavers workshop found in an Egyptian tomb 19th Century BC •Ancient fabrics from the Hebrew world date back as early as 3000 BC History of Weaving (continued) •China – the discovery of silk in the 27th Century BCE •Swiss Lake Dwellers – woven linen scraps 5000 BCE •Early Peruvian textiles and weaving tools dating back to 5800 BCE •The Zapotecs were weaving in Oaxaca as early as 500 BC Weavers From Around the World Master weaver Jose Cotacachi in his studio in Peguche, Ecuador. Jose’s studio is about two and a half miles from Otavalo. Weavers making and selling their fabrics at the Saturday market in Otavalo, Ecuador. This tiny cottage on the small island of Mederia, Portugal is filled with spinning and weaving. Weavers selling their fabrics at an open market in Egypt. The painting depicts making linen cloth, spinning and warping a loom. (Painting in the Royal Ontario Museum.) Malaysian weavers making traditional Songket – fabric woven with gold or silver weft threads. A local Tarahumara Indian weaving on a small backstrap loom at the train station in Los Mochis. Weavers In Our Neighborhood George Aposhian learned Armenian pile carpets from his father and grandparents who immigrated to Salt Lake City in the early 1900’s. -
Textile Printing
TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik. -
Use and Applications of Draping in Turkey's
USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION DUYGU KOCABA Ş MAY 2010 USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY DUYGU KOCABA Ş IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES MAY 2010 Approval of the Graduate School of Social Sciences ...................................................... Prof. Dr. Cengiz Erol Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ...................................................... Prof. Dr. Tevfik Balcıoglu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adaquate, in scope and quality, as a thesis for the degree of Master of Design. ...................................................... Asst. Prof. Dr. Şölen Kipöz Supervisor Examining Committee Members Asst. Prof. Dr. Duygu Ebru Öngen Corsini ..................................................... Asst. Prof. Dr. Nevbahar Göksel ...................................................... Asst. Prof. Dr. Şölen Kipöz ...................................................... ii ABSTRACT USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION Kocaba ş, Duygu MDes, Department of Design Studies Supervisor: Asst. Prof. Dr. Şölen K İPÖZ May 2010, 157 pages This study includes the investigations of the methodology and applications of draping technique which helps to add creativity and originality with the effects of experimental process during the application. Drapes which have been used in different forms and purposes from past to present are described as an interaction between art and fashion. Drapes which had decorated the sculptures of many sculptors in ancient times and the paintings of many artists in Renaissance period, has been used as draping technique for fashion design with the contributions of Madeleine Vionnet in 20 th century. -
“Direct Pattern on Loom”-An Innovative Method of Garment Construction
Science ile & xt Ukey et al., J Textile Sci Eng 2013, 3:2 e E T n f g i DOI: 10.4172/2165-8064.1000131 o n l e a e n r r i n u Journal of Textile Science & Engineering g o J ISSN: 2165-8064 Research Article OpeOpen nAccess Access “Direct Pattern on Loom”-An Innovative Method of Garment Construction Pravin Ukey*, P V Kadole and Sarika Borikar Department of Textiles (Fashion Technology) DKTE’s Textile & Engineering Institute, Ichalkaranji, (M.S) India Abstract The impact of the fast fashion phenomenon is seen both in apparel and textile manufactures since the manufacturing time of apparels is considered as the most potential factor in reducing the overall time of the fashion cycle. In addition to the need for reduction in lead time, there is an increase in levels of quality expectations, resulting in higher cost of manufacture. Hence, in the present scenario, for high fashion garments, there is a need for technology which can minimize lead time and fabric losses, in addition to the production of garments as per the requirement of the customers in a short span of time. A DPOL (Direct Pattern on Loom) method for weaving fabric in the shape of garment panels (pieces) finished at the edges that could considerably reduce fabric loss and lead time is developed by using the electronic jacquard weaving machine. The main aim of the project is to study the feasibility of the production of Direct pattern on Loom especially on jacquard and to check the lead time required with conventional and this modern method. -
Iroquois Beadwork Teachers Guide
This is an older Teacher Guide made into a PDF for our new Societies and Territories site at http://societies.learnquebec.ca Note also, the new location for the Iroquois Beadwork Kids’ Zone ! at http://blogdev.learnquebec.ca/societies/iroquois-beadwork-kids-zone/ Home Many First Nations in Québec and Canada have lonG practiced beadwork. This art has become a very real tradition for two Iroquois nations in particular, the Mohawks, who live near Montreal, and the Tuscaroras, who live on the American side of NiaGara Falls. This website and the McCord Museum exhibition that inspired it - Across Borders: Beadwork in Iroquois Life - are based mainly on the beadwork of these two nations. The photoGraphs and the imaGes of beaded objects, which are a combination of old and new, show that the art of beadwork not only has a lonG history but is still very much alive today. In order to reflect this reality, a number of objects were made especially for the Across Borders: Beadwork in Iroquois Life exhibition which was held last year at the McCord Museum and is now travelling to various locations in North America. The exhibition is orGanized and circulated by the McCord Museum, Quebec, and the Castellani Art Museum of Niagara University, NY, in collaboration with the Kanien'kehaka Raotitiohkwa Cultural Center, Kahnawake, the Tuscarora Nation community beadworkers within New York State, and the Royal Ontario Museum, Toronto. This project is beinG developed by teachers and consultants in partnership with the McCord Museum and the Kanien'kehaka Raotitiohkwa Cultural Center. Iroquois Beadwork: General Overview What initiated the project? The project was initiated when Ann Cohen, pedaGoGical consultant at Sir Wilfrid Laurier School Board, toured the Across Borders Iroquois Beadwork exhibition at the McCord Museum in 1999. -
Reflecting Noble Luxury and Refinement, New Lightweight Wool Materials Are of Key Interest to Designers, Retailers and Bespoke Tailors
Reflecting noble luxury and refinement, new lightweight wool materials are of key interest to designers, retailers and bespoke tailors. Beyond demanding perfected fits and wool’s signature aesthetic, discerning consumers expect emotional, sensorial tactility in garments. Responding to luxury market demands, leading Italian and English spinners and weavers are introducing exclusive fine-micron yarns and fabrics, derived from rare Australian merino. Stylesight explores Baruffa Group’s finest wool yarns for first-class sweater knits, cut-and-sew jersey, and wovens. Vogue Australia December 2012 / Elizabeth Debicki in wool, on location at Haddon Rig, a Merino wool farm in New South Wales. With seductive, magnetic charm, lighter weight but often still densely constructed wovens and knits are key on men and women's runways and at textile trade shows. Wool—traditionally a winter fiber—evolves with cutting-edge superfine qualities from 150s and 180s up to 250s. Offering noble refinement and unique trans-seasonal possibilities, wool moves beyond its pastime connotations. Gossamer knits / Posh mesh / Lightweight jerseys / Dense, hefty yet lightweight wools Finest wool Fabrics F/W 13 Dormeuil Limited Edition - finest wool yarns Zegna Baruffa Lane Record Bale - finest wool fabric Loro Piana Borgosesia Finest wool Fabrics Taylor & Lodge Meticulous fiber selection from choice breeds, along with revolutionary spinning and weaving technologies, is core to new noble wool productions. Wools characterized by strength, elasticity, fluidity, low pilling and -
Beadweaving Brilliance : Make Beautiful Jewelry As You Learn Off-Loom Techniques Pdf, Epub, Ebook
BEADWEAVING BRILLIANCE : MAKE BEAUTIFUL JEWELRY AS YOU LEARN OFF-LOOM TECHNIQUES PDF, EPUB, EBOOK Kumiko Mizuno Ito | 82 pages | 01 Nov 2007 | Kodansha | 9784889962253 | English | United States Beadweaving Brilliance : Make Beautiful Jewelry as You Learn Off-Loom Techniques PDF Book You'll then finish it off with a cascade of luscious fringe. Construct this piece with a unique bead stitch that has many possibilities for creating additional distinctive jewelry. More information about this seller Contact this seller 9. This is a great class for using up all those leftover beads as well as your bead soup. Just in time for holiday hand-made-gift-making, comes this beautifully illustrated book that shows crafters how to create colorful and unique beaded accessories. Depending on your background, you may be approaching this with some ideas in mind. Crystal Puffy Heart. Color selection and bead compatibility will be discussed as we "Twist and Swirl" through a fun-filled day of beading, support, and friendship. Free U. Where do I go to learn? The half-hitch knot is most commonly use to end and add new beading thread. Learn how your comment data is processed. Other editions. Or, create your own fringe with pearls, crystals, and your imagination. Lori rated it liked it Aug 16, This unique project is a combination of some basic techniques. Refresh and try again. See Privacy Policy here. Rating details. Bibliografische Informationen. Copyright Guide to Beadwork. But until that is ready, you can find out a little more and get some links to tutorials. It has so many pretty items to make. -
Jewelry Making & Beading
Jewelry Making & Beading by Chris Franchetti Michaels Teach Yourself VISUALLY™ Jewelry Making & Beading Copyright © 2007 by Wiley Publishing, Inc., Hoboken, New Jersey. All rights reserved. Published by Wiley Publishing, Inc., Hoboken, New Jersey No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per- copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions. Wiley, the Wiley Publishing logo, Teach Yourself VISUALLY, and related trademarks are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book. The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. -
Making Beaded Jewelry 11 Free Seed Bead Patterns and Projects Ebook
Making Beaded Jewelry: 11 Free Seed Bead Patterns and Projects Copyright © 2012 by Prime Publishing, LLC All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews. Trademarks are property of their respective holders. When used, trademarks are for the benefit of the trademark owner only. Published by Prime Publishing LLC, 3400 Dundee Road, Northbrook, IL 60062 – www.primecp.com Free Jewelry Making Projects Free Craft Projects Free Knitting Projects Free Quilt Projects Free Sewing Projects Free Crochet Afghan Patterns Free Christmas Crafts Free Crochet Projects Free Holiday Craft Projects Free DIY Wedding Ideas Free Kids’ Crafts Free Paper Crafts 11 Free Seed Bead Patterns and Projects Letter from the Editors Hey beading buddies, Confession time: How many of you have an overflowing supply of seed beads? It’s OK; we’re all guilty. It’s the mark of a true beader! But every once in a while, you need to clear out the seed bead stash (before it threatens to bury you alive), right? Well with that in mind, we’ve collected 11 amazing seed bead jewelry patterns and projects to help you keep your bead hoarding tendencies at bay! From stunning necklaces, to fabulous earrings, and with plenty of gorgeous cuffs and bracelets in between, we’ve got all the jewelry patterns you need to say “Sayonara!” to that infinite seed bead abyss that is currently swallowing your craft room. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated.