Adire Cloth: Yoruba Art Textile
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Batik Workshop
Batik Workshop Batik is one of the "resist" processes for making designs on fabric, like Tie Dye, Shibori, Serti technique, etc., using wax on fabric to prevent dye from penetrating the cloth. Wax is applied to fabric, followed by dye, perhaps in many successive layers in complex Batiks. Batik is especially unique because the wax will crackle during handling, either intentionally or not. On subsequent dye baths, the crackles in the wax fill in with darker colors. Batik can be done with many types of dye or fabric paints & waxes on cottons, silks and other natural fabrics, particularly the finer weaves for detail work. "Faux" batik employs types of water soluble resists that are easier to remove than wax (and safer to work with for children), but never quite achieve that beautiful crackling. In this example we will be using Dharma Pigment Dyes and Soy Wax, on cotton, but can be adapted to other fabrics or dyes. The basic principles remain the same. Introduction to Batik Batik masters employ a process of repeated waxing and tub dyeing to achieve the final result. This method requires mastery of color mixing and over dyeing, as each layer of dye is applied over the last, producing a mixed color. After many different applications, the background usually comes out dark brown, black, or gray. The waxed areas remain the lighter shades produced by each individual application and combinations thereof. The Tub Dye technique is described below in more detail. An easier method of batik, especially for beginners, is the Paint-on method. This method has fewer steps and allows for great variations of color and shade without having to master the complicated blending of successive layers of color. -
Improving the Fastness Properties of Cotton Fabric Through the Implementation of Different Mordanting Agents Dyed with Natural Dye Extracted from Marigold
American Journal of Polymer Science and Engineering Islam M, American Journal of Polymer Sciencehttp://www.ivyunion.org/index.php/ajpse/ and Engineering 2016, 4:8-16 Page 1 of 17 Research Article Improving the Fastness Properties of Cotton Fabric through the Implementation of Different Mordanting Agents Dyed with Natural Dye Extracted from Marigold Mazharul Islam1, K. M. Faridul Hasan1*, Hridam Deb1, Md Faisal Ashik2, Weilin Xu1 1 School of Textile Science and Engineering, Wuhan Textile University, Wuhan, China 2 School Chemistry and Chemical Engineering, Wuhan Textile University, Wuhan, China Abstract Extraction of natural dyes for the coloration of Textile substrate is one the most important research area to the researchers. It is tried to extract the natural dyes from marigold flower through using the different kinds of mordanting agents. In this research, a particular source is used for dyes extraction. Before the extraction Patel of the marigold flower was extracted and dried on sunlight, subsequently dried in room temperature due to preserve the natural colorant. The natural dyes were extracted by boiling the above substrates in water without any chemicals. As mordant, Potash Alum [K2Al2(SO4)3.24H2O], Ferrous Sulphate(FeSO4),Copper Sulphate (CuSO4),Nickel (II) Sulphate (NiSO4),Potassium Dichromate (K2Cr2O7),Stannous Chloride(SnCl2) were used. The mordanting procedures were followed same for all the experiments. The treatment runtime was 60 minute at 100oC. After mordanting each sample fabric was kept for 24 hours for conditioning and then the dyeing was done. But as there is no particular dyeing method for natural dyeing so it is followed some trial and some convenient methods were made after trial for several times. -
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. -
Islamic Art from the Collection, Oct. 23, 2020 - Dec
It Comes in Many Forms: Islamic Art from the Collection, Oct. 23, 2020 - Dec. 18, 2021 This exhibition presents textiles, decorative arts, and works on paper that show the breadth of Islamic artistic production and the diversity of Muslim cultures. Throughout the world for nearly 1,400 years, Islam’s creative expressions have taken many forms—as artworks, functional objects and tools, decoration, fashion, and critique. From a medieval Persian ewer to contemporary clothing, these objects explore migration, diasporas, and exchange. What makes an object Islamic? Does the artist need to be a practicing Muslim? Is being Muslim a religious expression or a cultural one? Do makers need to be from a predominantly Muslim country? Does the subject matter need to include traditionally Islamic motifs? These objects, a majority of which have never been exhibited before, suggest the difficulty of defining arts from a transnational religious viewpoint. These exhibition labels add honorifics whenever important figures in Islam are mentioned. SWT is an acronym for subhanahu wa-ta'ala (glorious and exalted is he), a respectful phrase used after every mention of Allah (God). SAW is an acronym for salallahu alayhi wa-sallam (may the blessings and the peace of Allah be upon him), used for the Prophet Muhammad, the founder and last messenger of Islam. AS is an acronym for alayhi as-sallam (peace be upon him), and is used for all other prophets before him. Tayana Fincher Nancy Elizabeth Prophet Fellow Costume and Textiles Department RISD Museum CHECKLIST OF THE EXHIBITION Spanish Tile, 1500s Earthenware with glaze 13.5 x 14 x 2.5 cm (5 5/16 x 5 1/2 x 1 inches) Gift of Eleanor Fayerweather 57.268 Heavily chipped on its surface, this tile was made in what is now Spain after the fall of the Nasrid Kingdom of Granada (1238–1492). -
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. -
WO 2013/148295 A2 3 October 2013 (03.10.2013) P O P CT
(12) INTERNATIONAL APPLICATION PUBLISHED UNDER THE PATENT COOPERATION TREATY (PCT) (19) World Intellectual Property Organization International Bureau (10) International Publication Number (43) International Publication Date WO 2013/148295 A2 3 October 2013 (03.10.2013) P O P CT (51) International Patent Classification: AO, AT, AU, AZ, BA, BB, BG, BH, BN, BR, BW, BY, D06M 15/19 (2006.01) BZ, CA, CH, CL, CN, CO, CR, CU, CZ, DE, DK, DM, DO, DZ, EC, EE, EG, ES, FI, GB, GD, GE, GH, GM, GT, (21) International Application Number: HN, HR, HU, ID, IL, IN, IS, JP, KE, KG, KM, KN, KP, PCT/US20 13/03 1830 KR, KZ, LA, LC, LK, LR, LS, LT, LU, LY, MA, MD, (22) International Filing Date: ME, MG, MK, MN, MW, MX, MY, MZ, NA, NG, NI, 15 March 2013 (15.03.2013) NO, NZ, OM, PA, PE, PG, PH, PL, PT, QA, RO, RS, RU, RW, SC, SD, SE, SG, SK, SL, SM, ST, SV, SY, TH, TJ, (25) Filing Language: English TM, TN, TR, TT, TZ, UA, UG, US, UZ, VC, VN, ZA, (26) Publication Language: English ZM, ZW. (30) Priority Data: (84) Designated States (unless otherwise indicated, for every 61/618,166 30 March 2012 (30.03.2012) US kind of regional protection available): ARIPO (BW, GH, GM, KE, LR, LS, MW, MZ, NA, RW, SD, SL, SZ, TZ, (71) Applicant: CELANESE INTERNATIONAL CORPOR¬ UG, ZM, ZW), Eurasian (AM, AZ, BY, KG, KZ, RU, TJ, ATION [US/US]; 222 W. Las Colinas Blvd., Irving, Texas TM), European (AL, AT, BE, BG, CH, CY, CZ, DE, DK, 75039 (US). -
Headwear How Do YOU Get Ahead? the TRICK to GETTING Ahead in TODAY’S VAST SEA of RETAIL IS to CAST a WIDE NET in ORDER to GATHER up ALL CUSTOMERS WHO ENTER YOUR SHOP
Headwear How do YOU get Ahead? THE TRICK TO GETTING Ahead IN TODAY’S VAST SEA OF RETAIL IS TO CAST A WIDE NET IN ORDER TO GATHER UP ALL CUSTOMERS WHO ENTER YOUR SHOP. OUR ALTERNATIVE GRAPHICS AND KNACK FOR PAIRING UP THE RIGHT ORNAMENTATION TECHNIQUE FOR EACH PIECE, SATISFIES CUSTOMERS OF ALL AGES AND TASTES. BAIT YOUR SHOPPERS WITH Ahead’s GREAT STYLING, MODERN FABRICS, AND ON TREND COLORS TO KEEP THOSE DOLLARS FROM SWIMMING AWAY. Ahead HAS BEEN SUCCESSFULLY FISHING IN THESE WATERS FOR OVER 20 YEARS... join us! Felt Appliqué Chain Stitch Direct Embroidery Printed Rubber Appliqué Bounce Stitch Printed Vintage Label Twill Patch Vintage Label w/Embroidery What drives Us to be Ahead? New Bedford Heritage: It’s in the Water & Soil! Farmers will tell you that the best tasting crops owe it to the water and soil. They discount, or perhaps don’t even realize, the know-how and work ethic that they inherited from those before them. The crew at Ahead is very similar. Hard work comes naturally to our staff as a result of the industries that their New Bedford ancestors pioneered. Today, the city’s thriving arts community helps to drive creativity within Ahead’s walls. In the 1800s, whale oil was After whaling, Textile mills After The Great Depression, used for lamps, candles, & boomed, & skilled workers 2/3s of New Bedford’s mills household items. The tireless from around the world mi- closed. Decades later, artists sailors of New Bedford’s grated to the area. By 1905, began gravitating to the whaling ships landed enough about 80% of the residents impoverished city in search Leviathans to make the city had arrived from Portugal, of inexpensive lofts. -
Mud Cloth from Mali: Its Making and Use
ISSN 0378-5254 Tydskrif vir Gesinsekologie en Verbruikerswetenskappe, Vol 31, 2003 Mud cloth from Mali: its making and use Elsje S Toerien OPSOMMING INTRODUCTION Bogolanfini van Mali, beter bekend as mud cloth, The stark, geometric, black and white designs tradi- het in die laaste aantal jare bekendheid verwerf en tionally found on the mud cloths from Mali, can today daarby ook baie gewild geraak. be found on everything from clothing and furniture to book covers and wrapping paper. Along with kente Vir baie jare was dit nie duidelik hoe hierdie kleed- (from Ghana), mud cloth has become one of the best- stof gemaak is nie. Dit was algemeen aanvaar dat known African cloth traditions worldwide (Clarke, die ontwerpe deur 'n bleikingsproses verkry is. Van- 2001). Luke-Boone (2001:8) describes it as 'probably dag is dit bekend dat die ligte ontwerpe verkry word the most influential ethnic fabric of the 1990's'. The deur hulle met donker modder te omlyn en daarna designs have indeed become an important part of the die agtergrond in te vul. Afgesien van bogolanfini se modern ethnic look found in African-inspired fashions dekoratiewe waarde, het die verskillende motiewe today. ook simboliese waarde, en word verskillende kom- binasies gebruik om 'n geskiedkundige gebeurtenis te herdenk of 'n plaaslike held te vereer. In hierdie artikel word daar gekyk na die tegnieke wat gebruik word om bogolanfini te maak, na die betekenis van sommige motiewe, en die verskillen- de maniere waarop die tegnieke of motiewe gebruik word. Die redes vir die verhoogde belangstelling in, en vervaardiging van bogolanfini word ook aange- spreek. -
3D Weaving Process : Development of Near Net Shape Preforms and Verification of Mechanical Properties
Vol. 34, No. 2, 96-100 (2021) DOI: http://dx.doi.org/10.7234/composres.2021.34.2.096 ISSN 2288-2103(Print), ISSN 2288-2111(Online) Paper 3D Weaving Process : Development of Near Net Shape Preforms and Verification of Mechanical Properties Vinzenz Klapper*,**,***, Kwang-Hoon Jo*, Joon-Hyung Byun*, Jung-Il Song**, Chee-Ryong Joe**† ABSTRACT: The lightweight industry continuously demands reliable near-net-shape fabrication where the preform just out-of-machine is close to the final shape. In this study, different half-finished preforms are made π-beams. Then the preforms are unfolded to make a 3D shape with integrated structure of fibers, providing easier handling in the further processing of composites. Several 3D textile preforms are made using weaving technique and are examined after resin infusion for mechanical properties such as inter-laminar shear strength, compressive strength and tensile strength. Considering that the time and labor are important parameters in modern production, 3D weaving technique reduces the manufacturing steps and therefore the costs, such as hand-lay up of textile layers, cutting, and converting into preform shape. Hence this 3D weaving technique offers many possibilities for new applications with efficient composite production. Key Words: 3D weaving, weave pattern, π-beam, T-joint 1. INTRODUCTION connection in position and length by the warp yarn is offering many possibilities to create 3D textile preforms. With 3D To reduce the product weight and material cost, the light- weaving techniques, many integrated structural solutions such weight industry is continuously demanding a preform that is as different beam types and stiffeners can be produced [4]. -
Dashikis Choose Your Perfect Fit
1 Dashikis Choose Your Perfect Fit S-XL Colors: 1X-6X Colors: Black Black/Blue Fuchsia Black/Dark Green Gold Black/Light Blue Green Black/Purple Light Blue Black/Red Maroon Black Red Blue Green Lime Military Green Mustard Red White/Lt Blue White/Lime White/Pink Yellow Mustard Blue Pink White/ Purple Traditional Print Dashiki - 3 Sizes King-Sized Dashikis Comes in sizes: Small (42”-44” chest), Choose from 1X, 2X, 3X, 4X, 5X, and 6X. Medium (46”-50” chest), and Large (48”-52” chest). 100% cotton. Made in India. C-U932 Made in Thailand. C-U918 Fitted Long Hoodie Elastic Sleeve Colors: Colors: Colors: Waist Burgundy Blue Black Green Light Blue Red Orange Lime Purple Maroon Yellow Orange Purple Red White / Black White / Blue Blue Gold Purple Traditional Elastic Dashiki Traditional Print Long-Sleeve Dashiki Trad Print Long Hoodie Up to a 42” bust, 32” long. Made in India Available in SM, MD, LG Available in LG, XL, 2X C-WS851 C-U940 C-U204 Colors: White Style 4 Navy Black Blue Brown Style 2 Black Batik Mud Print Mud Dashiki Lt. Blue Free size: Will fit up to a 52” bust and is 33” in length Embroidered Travelers Dashiki Kente Dashiki Fits up to a 50” chest. 35” length. 55% Fits up to 56” bust/chest measurement. with 19” sleeves. Plus size: Will fit up to a 56” bust and cotton/45% polyester. Made in India. C-U151 33” length. Made in India C-U920 is 36” in length with 20” sleeves. C-WH800 2 Best Sellers Black Red White/ Black/ White Black Light Blue White Blue Orange Traditional Print Luxury Skirt Set Polka Dot Maxi Skirt Mixed Print Denim Skirt - ASSORTED Make a bold statement with this traditional print It is 40” in length and fits up to a 48” elastic Fits up to 48” waist and is 41” long. -
An Empirical Assessment of the Relationship Of
An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition. -
The Influence of Woven Fabric Structures on the Continuous Dyeing of Lyocell Fabrics with Reactive Dyes
The Influence of Woven Fabric Structures on the Continuous Dyeing of Lyocell Fabrics with Reactive Dyes A thesis submitted by Uzma Syed In accordance with the requirements for the degree of Doctor of Philosophy Heriot-Watt University School of Textiles and Design Scottish Border Campus Galashiels November 2010 The copyright in this thesis is owned by the author. Any quotation from the thesis or use of any of the information contained in it must acknowledge this thesis as the source of the quotation or information. To my Parents and Grandparents ACADEMIC REGISTRY Research Thesis Submission Name: Uzma Syed School/PGI: School of Textiles and Design Version: (i.e. First, Final Degree Sought Doctor of Philosophy Resubmission, Final) (Award and Subject area) Declaration In accordance with the appropriate regulations I hereby submit my thesis and I declare that: 1) the thesis embodies the results of my own work and has been composed by myself 2) where appropriate, I have made acknowledgement of the work of others and have made reference to work carried out in collaboration with other persons 3) the thesis is the correct version of the thesis for submission and is the same version as any electronic versions submitted*. 4) my thesis for the award referred to, deposited in the Heriot-Watt University Library, should be made available for loan or photocopying and be available via the Institutional Repository, subject to such conditions as the Librarian may require 5) I understand that as a student of the University I am required to abide by the Regulations of the University and to conform to its discipline.