DOCSLIB.ORG

Download Com/Customization Form

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Com/Customization Form CUSTOMIZATION Customized in the U.S.A. CUSTOMIZATION OVER 500 CUSTOMIZABLE STYLES TO CHOOSE FROM or over 40 years we have designed CUSTOMIZATION quality furniture, lighting, and Faccessories that are timeless and command attention. Our diverse assortment features unparalleled craftsmanship, sophistication, and emphasis on natural materials developed specifically to make a statement. Each piece is the culmination of extensive development, travel, and refinement fueled by two generations of passion for design. Together, from our San Francisco Bay headquarters, we continue to create pieces that are both of the moment in style while remaining rooted in the PALECEK tradition of quality and artistry. We view each piece as a unique work of art and hope you are inspired along the way. CUSTOMIZATION PROGRAM PALECEK CUSTOMIZATION PROGRAM How to write an order... PALECEK is proud to be your design resource for customization and personalization offering the largest selection of natural fiber and wood frames in the industry. We invite you to discover the possibilities using PALECEK finishes, textures, nail heads, and upholstery in PALECEK Fabrics or our COM/COL Program (Customers Own Material or Leather). Choose from the many ways PALECEK allows you to make any piece of furniture your own. FRAME OPTIONS Each frame is labeled with icons indicating the available customization options for that item. PALECEK allows 1you to choose from a variety of paintable wood frames available in smooth or distressed textures. Choose from a large assortment of paintable wicker and rattan frames. Select your four digit frame for customization. SMOOTH DISTRESSED FINISH OPTIONS WOOD: Select your two digit finish from our domestically produced water-based, UV enhanced 2PALECEK finishes. Combine your four digit frame number + two digit finish number to order your six digit frame. WICKER OR RATTAN: Select your two digit finish from our domestically produced water-based, UV enhanced PALECEK finishes. Combine your four digit frame number + two digit finish number to order your six digit frame. PAVILION SIDE CHAIR NO. 7975+ 2 DIGIT FINISH CODE UPHOLSTERY OPTIONS CUSHION: Each item is available with standard or deluxe cushions. Outdoor icon indicates 3outdoor cushion and frame. Select your four digit cushion from pricelist or website. NAIL HEADS: PALECEK offers a selection of the most popular nail heads to adorn your wood frame. Use our CUSTOMIZATION FORM to view nail heads and specify your selection. FABRIC OPTIONS PALECEK FABRIC: For your convenience we stock a broad range of fabrics and leathers. 4Select the PALECEK of your two digit fabric or leather choice. Combine your four digit cushion number + two digit fabric number to order your six digit cushion/upholstery. COM/COL PROGRAM: By providing your own fabric or leather you can increase customization potential. Our master upholsterers will execute your vision whether using multiple fabrics, contrasting bands, or contrasting welts. Combine your four digit cushion number + CODE 99 for one COM fabric or CODE 68 for two or more COM fabrics or COL. EXAMPLE: REQUIRED 6 DIGIT FRAME + 6 DIGIT CUSHION #1 #2 #3 #4 FRAME FINISH UPHOLSTERY FABR IC 4 DIGIT 2 DIGIT 4 DIGIT 2 DIGIT FRAME FINISH CUSHION FABRIC LYON SQUARE BACK ARM CHAIR NO. 7977+ 2 DIGIT FINISH CODE WOOD FINISHES 05 WHITE 05 WHITE SMOOTH DISTRESSED 61 VINTAGE SAND 61 VINTAGE SAND SMOOTH DISTRESSED JB WHITEFIELD WASH JB WHITEFIELD WASH SMOOTH DISTRESSED 55 VINTAGE WHITE 55 VINTAGE WHITE SMOOTH DISTRESSED 23 BELGIAN GREY 23 BELGIAN GREY Bay Tree Side Table SMOOTH DISTRESSED as shown no. 7047-JA JA MARSH NATURAL JA MARSH NATURAL 63 DARK WALNUT 63 DARK WALNUT SMOOTH DISTRESSED SMOOTH DISTRESSED 38 MUSHROOM 38 MUSHROOM 78 ANTIQUE BROWN 78 ANTIQUE BROWN SMOOTH DISTRESSED SMOOTH DISTRESSED JD WHALE35 COCOA COVE GREY 35 COCOA 66 ESPRESSO 66 ESPRESSO SMOOTH DISTRESSED SMOOTH DISTRESSED 60 PORCHJA MARSH DEEP BLUE 60 PORCH DEEP BLUE JC BLACKS BEACH JC BLACKS BEACH SMOOTH DISTRESSED SMOOTH DISTRESSED 87 PORCH BLUE 87 PORCH BLUE KB MIDNIGHT KB MIDNIGHT SMOOTH DISTRESSED SMOOTH DISTRESSED These images represent PALECEK wood finish colors. There may be slight variations in color due to the natural characteristics of various wood species. PAINTABLE FINISH OPTIONS WICKER & RATTAN FINISHES 21 COASTAL BLUE 60 PORCH DEEP BLUE Burnett Swivel Stool as shown no. 7772-38, pg. 229 Burnett 24" Counter Swivel Stool as shown no. 7775-KB, pg. 153 Burnett 30" Swivel Barstool as shown no. 7776-61, pg. 153 20 COASTAL GREEN 87 PORCH BLUE 91 RUSTIC ORANGE 05 GLOSS WHITE 68 PORCH WHITE 32 EUROPEAN WHITE 55 VINTAGE WHITE JB WHITEFIELD WASH 37 COASTAL GREY 23 BELGIAN GREY 38 MUSHROOM JA MARSH NATURAL JC BLACKS BEACH 04 FLAT BLACK 35 COCOA 61 VINTAGE SAND 84 UMBER 63 DARK WALNUT 78 ANTIQUE BROWN KB MIDNIGHT 66 ESPRESSO 27 SUNRISE 57 CINNABAR RED These images represent PALECEK wicker and rattan finish colors. There may be slight variations in color due to the natural characteristics of various rattan species. PAINTABLE FINISH OPTIONS FABRICS 4B KN OTTOMAN STRIPE G GRADE DOUBLE RUB: 42,000 4G KN PERSIMMON SPLASH C GRADE DOUBLE RUB: 15,000 3F MACKINAW G GRADE DOUBLE RUB: 40,000 Conrad Arm Chair, Gold as shown no. 7562-55+8613-3Q, pg. 123 chromis pumice Conrad Dining Table, Gold 2F JM LA JOLLA as shown no. 7728-55, pg. 174 LINE FLOWER • G GRADE DOUBLE RUB: 5,000 3P JM SAND BRANCHES 3Q JM CHROMIS PUMICE 3N JM UPSTREAM MIST 2G JM ARROWHEAD D GRADE D GRADE D GRADE E GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 DOUBLE RUB: 51,000 FABRIC OPTIONS 01 CANVAS NATURAL 17 LINEN BISQUE 72 OATMEAL MATKA 3W COCONUT CHENILLE A GRADE B GRADE B GRADE C GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 40,000 DOUBLE RUB: 39,000 DOUBLE RUB: 40,000 67 NATURAL TWILL 41 MICROSUEDE OYSTER 1E OYSTER HOPSACK 1G TEXTURED TAUPE A GRADE C GRADE G GRADE D GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 100,000 DOUBLE RUB: 25,000 DOUBLE RUB: 15,000 1H IVORY BASKET WEAVE 1D NEW HOPSACK 73 CUSTARD RAFFIA 31 LINEN NATURAL D GRADE D GRADE B GRADE D GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 25,000 DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 95 LINEN ECRU 3T SAFFRON 3K PEACOCK BLUE 4E KN CARRIBEAN IKAT B GRADE G GRADE G GRADE B GRADE DOUBLE RUB: 9,000 DOUBLE RUB: 25,000 DOUBLE RUB: 30,000 DOUBLE RUB: 50,000 4H JM MYSTO OYSTER 4C KN LINEN CHARCOAL 4D KN SMOKEY QUARTZ B GRADE G GRADE G GRADE DOUBLE RUB: 30,000 DOUBLE RUB: 51,000 DOUBLE RUB: 33,000 OUTDOOR / INDOOR FABRICS 64 SAILCLOTH SALT 89 IVORY 19 ECRU C GRADE C GRADE C GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 DOUBLE RUB: 25,000 4F KN BOOMERANG 15 STONEWASH 16 NAVY 76 HAMPTON STRIPE D GRADE C GRADE B GRADE E GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 3X NATURAL SAND WEAVE 3Z SAND STONE 3Y GREY SAND WEAVE C GRADE D GRADE C GRADE DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 DOUBLE RUB: 15,000 LEATHERETTES 3R SAND SHAGREEN 21 SANDSTONE D GRADE B GRADE DOUBLE RUB: 100,000 DOUBLE RUB: 100,000 HIDES 25 CHEETAH HIDE 2W ONYX HIDE M GRADE M GRADE LEATHERS 52 CREAM WHITE 2K JM OCEAN BLUE 88 POWDER BLUE M GRADE M GRADE L GRADE 3H ADMIRAL BLUE LEATHER 39 SUNSET 48 CINNAMON 2S SIREN RED LEATHER M GRADE M GRADE M GRADE L GRADE 57 CASHEW 91 BUFF SAND 75 BUTTERSCOTCH 1S BUTTERNUT M GRADE M GRADE M GRADE L GRADE 63 SADDLE 87 BOMBER BROWN 1Q SLATE 74 CROCODILE M GRADE L GRADE L GRADE M GRADE 96 CHOCOLATE 93 ESPRESSO 1R CHARCOAL 40 BLACK M GRADE M GRADE L GRADE M GRADE STANDARD CUSHION 1 1 1 3 2 2 DELUXE CUSHION STANDARD CUSHION STANDARD CUSHION 2 4 3 DELUXE CUSHION STANDARD CUSHION OUTDOOR CUSHION PALECEK Deluxe Cushions combine the finest The Standard cushion is constructed for those All outdoor furniture comes with specific quality materials to provide soft conforming who desire a firm seat. outdoor cushionsDELUXE unless specified CUSHION with DELUXE CUSHION comfort with broad styling flexibility. a COM form. 1. MUSLIN WRAPDELUXE CUSHION w/ WELT 1. COTTON TICKING The cushion is covered with a shell of muslin. 1. POLYESTER FIBER WRAP ® Special down proof cotton ticking allows ample This is the makeup of the cushion prior to the QuickDryFoam is wrapped with polyester fiber air permeability throughout each cushion. fabric cover. material. ® 2. CLUSTER FIBER FILL 2. DACRON FIBER WRAP 2. QUICKDRYFOAM ® The fill is 100% Dacron polyester “Comfort A Dacron (polyester) fiber is wrapped around QuickDryFoam is composed of large reticulated Cluster”. These clusters of microfibers group the foam to create softness yet maintains the cell that allows it to dry quickly after getting together to give the feel of down. The “Comfort firmness in the cushion. wet. It uses UREGARD in-built anti-microbial Cluster” has no odor or proteins to support protection. It will prohibit growth of common 3. POLYURETHANE FOAM micro-organisms, making it allergy free. The fiber molds and fungus inside the outdoor cushions PALECEK uses High Resilience Foam. DELUXE CUSHION w/ WELT DELUXE CUSHION w/ WELT is manufactured to specifications the ensure even when left outdoor for long period of time. It is the highestDELUXE quality foam CUSHION available and w/ SPRING consistency, unlike natural fill blends that vary meets California technical bulletin 117-2013 3. SPECIAL ORDER in cleanliness and content. Cluster fiber should flammability requirements without flame retar- If you require outdoor cushions on indoor be frequently fluffed like down to maintain loft.
Load more

Recommended publications
  • The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe, with Particular Reference to Hungary
    m^mt&'i HISTORY, TECHNOLOGY, AND ART MONOGRAPH 4 P.S. m Ro -co 664 ;c\j no. 4 ; co |o s- I The Influence of ico Ottoman Turkish Textiles and Costume in Eastern Europe Digitized by the Internet Archive in 2012 with funding from Royal Ontario Museum http://archive.org/details/influenceofottomOOgerv The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary History, Technology, and Art Monograph 4 The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary Veronika Gervers Royal Ontario Museum Publication date: 5 October 1982 Suggested citation: ROM HTA Monogr. Royal Ontario Museum Publications in History, Technology, and Art The Royal Ontario Museum publishes two series in the fields of history, technology, and art: Monographs, a numbered series of original publications, and Papers, a numbered series of primarily shorter original publications. All manuscripts considered for publication are subject to the scrutiny and editorial policies of the Art and Archaeology Editorial Board, and may be subject to review by persons outside the museum staff who are authorities in the particular field involved. Royal Ontario Museum Art and Archaeology Editorial Board Chairman/Editor: A. J. Mills Associate Editor: E. J. Keall Associate Editor: M. Allodi The late Dr. Veronika Gervers was Associate Curator in the Textile Department of the Royal Ontario Museum. Cover: Detail of an embroidered cover. Turkish. 17th century. See Figures 32 and 33. Canadian Cataloguing in Publication Data Gervers, Veronika, 1939-1979. The influence of Ottoman Turkish textiles and costume in Eastern Europe (History, technology and art.
    [Show full text]
  • Turkish Style: a Short Review from Ottoman Clothing and Textile Design in Sixteen Century Miniatures
    Current Trends in Fashion Technology & Textile Engineering ISSN: 2577-2929 Short Communication Curr Trends Fashion Technol Textile Eng Volume 1- Issue 5 - December 2017 DOI: 10.19080/CTFTTE.2017.01.555571 Copyright © All rights are reserved by Şükriye Yüksel Turkish Style: A Short Review from Ottoman Clothing and Textile Design in Sixteen Century Miniatures Şükriye Yüksel* İnönü Cad, İTÜ Gümüşsuyu Kampüsü, Turkey Submission: October 16, 2017; Published: December 04, 2017 *Corresponding author: Şükriye Yüksel, Textile Tech & Design, İnönü Cad, İTÜ Gümüşsuyu Kampüsü, No 65 Taksim, Beyoğlu, Turkey, Tel: ; Email: Abstract th In this presentation, by examination of the Turkish painting art in 16 century Ottoman thminiatures, which is the most important evidence of Turkish clothing style, to display the taste of Ottoman Turks’s clothing and the textile design in the history. Unique beauty of the textile design and printing details of the Ottoman Caftans in the 16 century miniature collection provide information about the style and technique of fabrics in the history. The aim of this presantation may be the inspiration and enlighment to the new gener- ation textile trends through past, especially driven from the samples of Turkish miniature art and expose admired colors and the design of historicKeywords: clothing. Fashion history; Miniature art; Ottoman textiles; Caftans Introduction and admired by the other Countries in the World [1]. Textiles used as diplomatic gifts, produced in the Ottoman Empire with the beauty of its unique design and colors (Figure 1-3). Figure 1: Nakkaş Osman painted, Selim II. in his royal tent, re- ceiving the commander of Ottoman Army in Belgrade.
    [Show full text]
  • Kilts & Tartan
    Kilts & Tartan Made Easy An expert insider’s frank views and simple tips Dr Nicholas J. Fiddes Founder, Scotweb Governor, Why YOU should wear a kilt, & what kind of kilt to get How to source true quality & avoid the swindlers Find your own tartans & get the best materials Know the outfit for any event & understand accessories This e-book is my gift to you. Please copy & send it to friends! But it was a lot of work, so no plagiarism please. Note my copyright terms below. Version 2.1 – 7 November 2006 This document is copyright Dr Nicholas J. Fiddes (c) 2006. It may be freely copied and circulated only in its entirety and in its original digital format. Individual copies may be printed for personal use only. Internet links should reference the original hosting address, and not host it locally - see back page. It may not otherwise be shared, quoted or reproduced without written permission of the author. Use of any part in any other format without written permission will constitute acceptance of a legal contract for paid licensing of the entire document, at a charge of £20 UK per copy in resultant circulation, including all consequent third party copies. This will be governed by the laws of Scotland. Kilts & Tartan - Made Easy www.clan.com/kiltsandtartan (c) See copyright notice at front Page 1 Why Wear a Kilt? 4 Celebrating Celtic Heritage.................................................................................................. 4 Dressing for Special Occasions..........................................................................................
    [Show full text]
  • I Was Tempted by a Pretty Coloured Muslin
    “I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) .
    [Show full text]
  • Tartans: Scotland’S National Emblem
    ESTABLISHED IN 1863 Volume 149, No. 3 November 2011 TARTANS: SCOTLAND’S NATIONAL EMBLEM Tartan has without doubt become one of the most important sym- Inside this Issue bols of Scotland and Scottish Heritage and with the Scots National Feature Article…….….....1 identity probably greater than at any time in recent centuries, the po- Message from our tency of Tartan as a symbol cannot be understated. However, it has President….......................2 also created a great deal of romantic fabrication, controversy and Upcoming Events…….....3 speculation into its origins! name, history and usage as a Clan or Family form of identification. The Chicago Fire and The Celebration of St. An‐ drewʹs Day .……….……4 Gifts to the Society……...8 Flowers of the For‐ est……………..…..…….9 BBC Alba Scottish Tradi‐ tional Music Awards…..10 Banquet & Ball….….12‐15 Tartan is a woven material, generally of wool, having stripes of different colors and varying in breadth. The arrangement of colors is alike in warp and weft ‐ that is, in length and width ‐ and when woven, has the appearance of being a number of squares intersected by stripes which cross each other; this is called a ‘sett’. By changing the colors; varying the width; depth; number of stripes, differenc‐ (Continued on page 4) November 2011 www.saintandrewssociety‐sf.org Page 1 A Message from Our President The Saint Andrew's Dear Members and Society Society of San Francisco Friends: 1088 Green Street San Francisco, CA The nominating committee met to 94133‐3604 (415) 885‐6644 select Society Officers to serve for Editor: William Jaggers 2012.
    [Show full text]
  • NFHS Basketball Equipment/Apparel Specifications 2020-2021
    NFHS Basketball Equipment/Apparel Specifications 2020-2021 IESA Sleeves/Tights/Compression Shorts 3-5-3: Arm sleeves, knee sleeves, lower leg sleeves, compression shorts and tights are permissible. • Anything worn on the arm and/or leg is a sleeve, except a knee brace, and must meet the color restrictions. • Sleeves/tights, compression shorts shall be black, white, beige or the predominant color of the jersey and the same color sleeves/tights must be worn by teammates. • All sleeves/tights, compression shorts must be the same solid color and must be the same color as any headband or wristband worn. • Sleeves/tights and compression shorts must meet the logo requirements. See NFHS Rule 3-6. • Note: A brace is defined as anything worn for a medical purpose to increase stability. In general, it is made of neoprene or elastic knit with an insert embedded to support the joint. It may or may not have a hinge and/or straps or an opening over the knee cap. Wristbands and Headwear 3-5-4: Wristbands and headwear must meet the following guidelines: • Headbands and wristbands may be white, black, beige or the predominant color of the jersey and must be the same color for each item and all participants. They must also be the same color as any sleeve/tights worn. • A headband is any item that goes around the entire head. It must be a circular design without extensions. If worn, only one headband is permitted, it must be worn on the forehead/crown. It must be nonabrasive and unadorned and may be a maximum of 3 inches wide.
    [Show full text]
  • Put It in the Books
    AMERICAN GROWN | SUPERIOR | RARE | AUTHENTIC NOVEMBER 2020 In This Edition PAGE 1-2 Put It In The Books Supima Harvest Symposium ---------------------------- PAGES 3-4 Supima Holiday Shopping Guide ---------------------------- PAGE 5 Memoriam: Supima Photographer William Helburn Market Update ---------------------------- PAGE 6 Put It In The Books Licensing Update STAY CONNECTED or the past 15 years, SUPIMA® has been inviting brands and retailers to the cotton fields for an experience like no other. With a worldwide pandemic and strict social distancing measures in place, this year’s harvest celebration looked a 66TH SUPIMA little different. ® ANNUAL MEETING FSUPIMA just wrapped up its first-ever virtual Supima Harvest Symposium. The three-day event was an immersive experience that saw over 150 viewers from Supima’s family of licensed Please join us for the 66th Supima Annual brands and retailers across the world participating in a comprehensive workshop chronicling the Meeting. Given the current challenges we all Supima growing and processing cycle from seed to bale. face with the pandemic and social distancing, With Supima’s President & CEO, Marc Lewkowitz opening the symposium with a keynote ad- Supima will be holding this year’s meeting via dress, the overriding themes of this year’s program were authenticity, partnership and change. Zoom on Tuesday, December 8 from 1 p.m. Lewkowitz recognized the challenges the industry faces and reinforced the company’s commit- to 3 p.m. PST. Members and all segments of ment to working with its partners across the supply chain to help drive the conversation to fair the industry will have the opportunity to learn about Supima’s current and future activities.
    [Show full text]
  • A Comparison of the Patterns Formed by Primary Textile Structures and Their Photographic Abstraction
    Rochester Institute of Technology RIT Scholar Works Theses 9-22-1976 A comparison of the patterns formed by primary textile structures and their photographic abstraction Pamela Perlman Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Perlman, Pamela, "A comparison of the patterns formed by primary textile structures and their photographic abstraction" (1976). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Thesis Proposal for the Master of Fine Arts De gree Collee;e of Fine and Applj_ed .Arts Rochester Institute of Technology Title: A Comparison of the Fatterns Formed by Primary Textile structures and their Phot ographic Abstraction Submitted by: Pamela Anne Perlman Date: September 22, 1976 Thesis Co mm it te~: Nr . Donald Du jnowski I-Ir. I,l az Lenderman hr. Ed 1iiller Depart~ental Approval : Date :-:--g---li6~-r-71-b-r-/ ----- ---------~~~~~'~~~r------------------------- Chairman of the School for American Craftsme:l: ___-r-----,,~---- ____ Da t e : ---.:...,'?7~JtJ--J7~i,-=-~ ___ _ Chairr.ian of the Gr3.duate Prog:rarn: ------------------------~/~~/~. --- Date: ___________________~ /~~,~~;j~~, (~/_' ~i~/~: 7 / Final Committee Decision: Date: ----------------------- Thesis Proposal for the Master of Fine Arts Degree College of Fine and Applied Arts Rochester Institute of Technology Title: A Comparison of the Patterns Frmed by Primary Textile Structures and their Photographic Abstraction My concern in textiles is with structure and materials. I v/ould like to do v/all hangings based on primary textile structures such as knotting, looping, pile, balanced weaves, and tapestry.
    [Show full text]
  • The Chemistry of Inkjet Inks for Digital Textile Printing - Review
    BEST: International Journal of Management, Information Technology and Engineering (BEST: IJMITE) ISSN (P): 2348-0513, ISSN (E): 2454-471X, Vol. 4, Issue 5, May 2016, 61-78 © BEST Journals THE CHEMISTRY OF INKJET INKS FOR DIGITAL TEXTILE PRINTING - REVIEW BENJAMIN TAWIAH 1, EBENEZER K. HOWARD 2 & BENJAMIN K. ASINYO 3 1 Key Laboratory of Eco-Textiles, Jiangnan University, Ministry of Education, Wuxi, Jiangsu, China 1, 2, 3 Department of Industrial Art (Textiles), Kwame Nkrumah University of Science and Technology, PMB - Kumasi, Ghana ABSTRACT Inkjet inks are the most important component in inkjet printing. The formulation and chemistry of inks determine the printing quality as well as jetting characteristics. Digital printing technology has transformed textiles printing with significant success in terms of print speed, print head technology and color gamut. Nonetheless, ink penetration and its related quality problems are still receiving a high level of attention by researchers around the globe to develop superior inks that can surpass the quality of prints obtained by the conventional methods of printing. This review seeks to take a perfunctory look at the various ink chemistries being developed to address the color related problems in digital textiles inkjet printing and the various pretreatment technologies available for ensuring excellent K/S and color fastness as well as jetting behavior of Newtonian inkjet inks in DOD drop formation. In addition, various issues relating to quality of digital inkjet printer fabrics and ink development have been highlighted. Significant strides have been made in the quest for environmentally friendly universal inks that can print all textiles substrate. KEYWORDS: Inkjet Ink, Dye, Pigment, Digital Printing, Textile INTRODUCTION Inkjet printing has become the new frontier in textile printing, offering advantages in process efficiency, ease of use, cost effectiveness and environmental impact (Pekarovicova 2016a, Magdassi 2010).
    [Show full text]
  • Judging Wool and Mohair
    AS3‐4.058 Judging Wool and Mohair Contents WOOL ........................................................................................ 3 Shrinkage and Yield .................................................................... 4 Scoring ........................................................................................ 4 Bulkiness ............................................................................ 5 Length ................................................................................ 5 Soundness and Purity ......................................................... 5 Quality ................................................................................ 7 Character ............................................................................ 7 Color ................................................................................... 7 MOHAIR .................................................................................... 7 Grading ....................................................................................... 7 Scoring ........................................................................................ 7 Fineness and Uniformity .................................................... 7 Staple Length.................................................................... 10 Character .......................................................................... 10 Softness ............................................................................ 10 Luster ..............................................................................
    [Show full text]
  • Recording, Digital Restoration Andtextile Facsimile
    RECORDING, DIGItaL RESTORatION AND TEXTILE FacsIMILE OF A VERDURE taPESTRY at MUSEO CERRALBO, MADRID Location: Stove room at Museo Cerralbo, Madrid Author: Anonymous Dated: 18th century Mesurements: 283 x 437 cm Materials: Wool and silk Description: Tapestry fragment with a central composition consisting in two birds (a ma- caw and a peacock), framed with a traditional verdure decoration of plants, flowers and trees aligned to the vanishing point, with a landscape of mountains and a stream in the distance. CONTENTS 1.The tapestry at the Cerralbo Museum 3 2. Moving the Tapestry 4 3. Photographic documentation before cleaning process 6 4. Condition Report 9 5. Treatment 13 6. Colour Digitalisation 15 7. Composite Image Stitching 18 8. Lucida 3D Scanner 19 9. Digital Restoration 22 10. Printing 25 11. Colour recovery 36 1. THE TAPESTRY AT THE CERRALBO MUSEUM The Cerralbo Museum was originally a palace, built in the 19th century by the Marquis of Cerralbo, established as both a family residence and a gallery in which to exhibit their collection. The Marquis donated his palace, along with its collections, to Patrimonio Nacional. Due to poor conditions, some pieces had to be removed from their original location within the palace. This was the case for this verdure tapestry which could be found hanging as a curtain ‘in order to create a dark and romantic atmosphere’. The Instituto del Patrimonio Cultural de España commissioned Factum Arte to make a facsimile that would hang in the tapestry’s original location. The project was divided into five steps: -Cleaning the original tapestry at the Real Fábrica de Tapices.
    [Show full text]
  • A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition
    A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition Introduction There does not seem to have been any distinctive everyday dress for Christian pastors up until the 6th century or so. Clergy simply wore what was common, yet muted, modest, and tasteful, in keeping with their office. In time, however, the dress of pastors remained rather conservative, as it is want to do, while the dress of lay people changed more rapidly. The result was that the dress of Christian pastors became distinct from the laity and thus that clothing began to be invested (no pun intended) with meaning. Skipping ahead, due to the increasing acceptance of lay scholars in the new universities, the Fourth Lateran council (1215) mandated a distinctive dress for clergy so that they could be distinguished when about town. This attire became known as the vestis talaris or the cassock. Lay academics would wear an open front robe with a lirripium or hood. It is interesting to note that both modern day academic and clerical garb stems from the same Medieval origin. Councils of the Roman Catholic church after the time of the Reformation stipulated that the common everyday attire for priests should be the cassock. Up until the middle of the 20th century, this was the common street clothes attire for Roman Catholic priests. The origin of the clerical collar does not stem from the attire of Roman priests. It’s genesis is of protestant origin. The Origin of Reformed Clerical Dress In the time of the Reformation, many of the Reformed wanted to distance themselves from what was perceived as Roman clerical attire.
    [Show full text]