Glossary of Tapestry Terms
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Leaflet111.Pdf
United states Department of the Interior Fish and Wildlife Service Fishery Leaflet III 1/ Chicago 54, I'll. February 1945 FIGHTING FIBERS and COMPARABLE VALUES OF FIBERS FOR USE IN COMMERC III FISHERIES By Frank E. Firth* I. Fi£hting Fibers In 1941, "Manila," abaca fiber, became a Japanese prisoner. Sisal immediately came into prominence as a substitute for Manila, but competition for shipping space and risks invol ved in crossing the Caribbean and South Atlantic made it ,necessary to look for more accessible sources of this and other hard fibers. Hemp grown in Italy and Hungary, where abundant supplies have been obtained, is now serving the Axis, The extended fighting in Russia has greatly lessened the production of the fine hemp grown there, Jute from India has been partially cut off by action in the Orient, but recent victories in that area have resulted in a steadier supply. Flax from France and Belgium , abundant export centers still is imprisoned, Shipping space and geog raphy have thus had a great effect on our fiber supplies, Because of their importance to ') the military and to essential productioni/these fibers were early and wisely placed under the control of the War Production Board.~ More "Manila hemp, " which does not grow near Manila and is not hemp, has been used for marine cordage during the past 100 years than all other fibers combined. When the Philippines were invaded, the loss of this material was indeed serious, but the serviceability of the substitutas and blends over the last two years and the progress being made in new develop ments inspire confidence for the future . -
America's Hemp King Introduction
America's Hemp King by Dennis Rens, Grandson of Matt Rens 1995 Acknowledgments Author's Comments America's Hemp King Though the US. Hemp king was our granddad, we smoked corn silk when we were growing lads. Introduction I grew up literally surrounded by hemp. Raised on a Wisconsin dairy farm between Waupun and Brandon in the early 1940's, one of my earliest memories was that of me and my older brother Matt (not to be confused with my Grandpa Matt) trampling down patches of hemp in the middle of my dad, Dayton Rens', hemp field to create "rooms" for the house we were "building." I also remember that Dad wasn't too pleased when he stumbled on our creation one day. Something about mining his profit, as I recall! This was the stuff, you see, that they cut in the fall and then eventually took to Grandpa Matt Rens' Hemp Company just down the road on highway 49 where they turned it into fiber and then sold it to make such things as cords, rope, and thread. The Highway 49 hemp mill during its heyday It was only many years after his death in 1950 that I discovered that my Grandpa Matt was pretty famous in some circles and known widely as "America's Hemp King." In today's world when you tell somebody your grandfather was "America's Hemp King," your listener either draws a blank or gets that knowing smile on their face. You know the look. The one where they are a bit smug but a trifle sympathetic that you feel compelled to reveal your family's sordid history in the narcotics industry! Today when you hear of hemp, your mind --- if it registers at all ---jumps quickly to marijuana. -
A Special and Unusual Loom Frame from the First Half of the Nine
FINDING THE THREAD RESTORATION OF A PROFESSIONAL WEAVER'S LOOM Rabbit Goody A special and unusual loom frame from the first half of the nine teenth century now in the collection of the Ontario Agricultural Mu seum, Milton, Ontario,1 has provided an opportunity to examine some of the specialized equipment used by weavers in the nineteenth century to weave cloth with speed, intricate geometric patterns, and/or accommodate longer lengths of cloth. Surviving examples of cloth have made it apparent that trained weavers, weaving fancy cloth during the nineteenth century were using more complex equipment than that commonly associated with home textile produc tion. However, until now surviving examples of the equipment have been scarce. The museum's loom is one of a small number that can be linked to the production of the more complex cloths of this pe riod. At least, it has specialized equipment which professional weavers might choose to place on their looms. It is the most com plete example currently known. In their book, "Keep Me Warm One Night", Dorothy and Harold Burnham have identified this loom as being a professional weaver's loom because of its specialized features.2 It is being restored for the purpose of reproducing some of the more intricate cloth woven by professional weavers in the Niagara Peninsula. The survival of this loom frame, with its special features, has made it possible to set certain criteria for identifying other looms used by professionals and to corroborate the descrip tions of equipment and methods found in publications and manuscripts from the last half of the eighteenth century and early nineteenth century used to weave fancy cloth rapidly by profes sionals. -
Extract from Earth Guild's Tapestry Crochet Patterns
EXTRACT FROM EARTH GUILDS TIPS & NOTES TAPESTRY CROCHET PATTERNS: Crochet in a chair with arms that comfortably support your elbows, or at least that of your primary General Information arm. This will ease your shoulder, though it wont Color Changing do anything much for your wrist. a piece of Graph Paper When adding a new color, or a new strand of the same color, set it in as a second core yarn about six stitches before it becomes the working strand. Do TWISTING, AND WHAT TO DO ABOUT IT the same thing when you end a strand; carry it for Not as trivial as it might seem. about six stitches as an additional core before you When the colors are switched, the two strands cut it off. Leave a tail about half an inch long. Use wind around each other. This will happen it does your hook to pull tails to the front, a couple of rows not mean that you are doing something incorrectly. back into the web, so they wont get snagged as you When the twist becomes annoyingly snarly, and in work. Hanging there these ends can make it harder the way of the work, it needs to be undone. to see mistakes, or even how the design is building There are many ways to do this. While the up, so trim them or return them to the back when work is small and light, hold the two balls of yarn in youre a few rows further along. I prefer not to cut either hand, a foot or so apart. -
ROPE and TWINE INFORMATION
e and Twine miiiftifi tion The Chatfield & Woods Company Written by A. L. SYKES ROPE and TWINE INFORMATION COMPILED BY THE GHATFIELD & WOODS GO. CINCINNATI, OHIO BRANDS ...A ,<"^ The use of brands makes the necessity of under- standing qualities a simple matter. The best quality of our rope or twine will always be "Crown." The second quality will be "Gross." The next quality will be "Scepter." It is unnecessary for us to advise you of the import- ance of mentioning brands instead of grades. Any salesman can readily see the advantage of saying "This is our Scepter Brand" instead of "This is a third-grade rope." The grade of rope is the same whether it is called "Scepter" or "third-class," but the influence on the mind of the customer is not the same. The best quality of rope or twine that we can offer will be sold under the, "Grown Brand." The "Gross Brand" represents our intermediate grade, and is to be offered when the price of "Grown Brand" is too high and there is danger of losing the order. For those desirous of the cheapest quality we have our "Scepter Brand." By using these Brands in an intelligent way all dis- cussions of quality with the customer are done away. As you will find, very few people want to buy third class goods but want to imagine that they are buying first class goods at third class price— and it is not good policy to undeceive them. OCT 1 7 .J./ ©CI.A477065 TWINE AND ROPE INFORMATION ^^^>^HE history of Cincinnati and its nearby cities and suburbs ^J^ is most closely connected with the twine and rope in- dustry. -
Wadding, Felt and Nonwovens; Special Yarns; Twine, Cordage, Ropes and Cables and Articles Thereof
Chapter 56 Wadding, felt and nonwovens; special yarns; twine, cordage, ropes and cables and articles thereof Notes. 1.- This Chapter does not cover : (a) Wadding, felt or nonwovens, impregnated, coated or covered with substances or preparations (for example, perfumes or cosmetics of Chapter 33, soaps or detergents of heading 34.01, polishes, creams or similar preparations of heading 34.05, fabric softeners of heading 38.09) where the textile material is present merely as a carrying medium; (b) Textile products of heading 58.11; (c) Natural or artificial abrasive powder or grain, on a backing of felt or nonwovens (heading 68.05); (d) Agglomerated or reconstituted mica, on a backing of felt or nonwovens (heading 68.14); (e) Metal foil on a backing of felt or nonwovens (generally Section XIV or XV); or (f) Sanitary towels (pads) and tampons, napkins and napkin liners for babies and similar articles of heading 96.19. 2.- The term “felt” includes needleloom felt and fabrics consisting of a web of textile fibres the cohesion of which has been enhanced by a stitch-bonding process using fibres from the web itself. 3.- Headings 56.02 and 56.03 cover respectively felt and nonwovens, impregnated, coated, covered or laminated with plastics or rubber whatever the nature of these materials (compact or cellular). Heading 56.03 also includes nonwovens in which plastics or rubber forms the bonding substance. Headings 56.02 and 56.03 do not, however, cover : (a) Felt impregnated, coated, covered or laminated with plastics or rubber, containing 50 % or -
Rope Selection Guide Flyer 2018
ROPE SELECTION GUIDE INDUSTRY AT WORK MANILA SISAL Manila was once the preferred choice in Sisal fibers come from the agave and cordage before synthetic fibers were sisalana plants indigenous to the tropics. developed. Manila rope still maintains some Sisal fibers share many characteristics with advantages to synthetic fiber rope; it’s not manila, but only 80% of its tensile strength. affected by heat and has excellent It is less expensive than manila and makes resistance to UV (ultraviolet) rays. a good general-purpose rope. JUTE COTTON Jute is mainly used as a tying twine. It knots Cotton is a natural fiber, typically white in well, but due to its short fibers, does not color. Cotton cordage is soft, making it have the strength of manila or sisal. pleasant to handle. Excellent for making knots. POLYPROPYLENE POLYDAC Polypropylene rope is flexible and Polydac has the same qualities as lightweight. It is rot-proof and floats in polypropylene rope with the added water; it resists oil, water, gasoline and most features of resistance to abrasion and UV chemicals. Available twisted or braided, ray, as well as a softer feel. polypropylene rope is an economical general-purpose rope. POLYESTER NYLON Polyester is very strong and has excellent Nylon is known for its elasticity and resistance to abrasion. It stretches less than tremendous shock absorbing qualities. It nylon but does not absorb shock like nylon. has good abrasion resistance, is rot proof Great for marine or industrial applications, and resists UV, petroleum products and Resistant to UV rays, rot, petroleum most chemicals. Lasts 4-5 times longer products and most chemicals. -
You Wove That on What??? Stretching the Limits of a Rigid Heddle Loom
You Wove that on What??? Stretching the Limits of a Rigid Heddle Loom Matthew Williams This book is for sale at http://leanpub.com/rigid-heddle This version was published on 2013-04-19 This is a Leanpub book. Leanpub empowers authors and publishers with the Lean Publishing process. Lean Publishing is the act of publishing an in-progress ebook using lightweight tools and many iterations to get reader feedback, pivot until you have the right book and build traction once you do. ©2012 - 2013 Matthew Williams Tweet This Book! Please help Matthew Williams by spreading the word about this book on Twitter! The suggested hashtag for this book is #rigidheddle. Find out what other people are saying about the book by clicking on this link to search for this hashtag on Twitter: https://twitter.com/search/#rigidheddle Contents Why? ................................................ i The Good ............................................ i The Bad ............................................. i The Ugly ............................................. ii A Weaving Prayer ........................................ ii Tools ................................................ 1 Sticks ............................................... 1 Tools for Warping ........................................ 2 The Others ............................................ 2 The Most Important Tool of All ................................ 3 Direct Warping .......................................... 4 Warping ............................................. 4 Winding ............................................ -
20/04/2015 Slit Tapestry Red/Green
Lucy Dean Exercise: ‘Exploring modern art’ 20/04/2015 Slit Tapestry Red/Green (detail), 1927-28, by Gunta Stolzl "Slit Tapestry Red/Green" is manufactured from cotton, silk and linen and was designed to be a stand-alone piece. This is one of her Once the weaving workshop had most important works as it was been divided into two separate inspired by Goblins tapestries- departments at the new premises in monumental, highly stylised and Dessau; it allowed the students to brightly coloured works produced in embrace the artistic potential of the France from 1662 onwards. medium and push the boundaries of design. Some of her textile designs reference the influence of Paul The use of red and green dyes Klee; a Bauhaus master who The striking abundance provides a pleasant contrast and sympathi sed with the difficulties of pink/ flesh tones the vertical forms help to balance faced by the textile students. contrasts beautifully with the composition. There are a wide- the other grey greens. variety of curvilinear forms, checks Her combination of and chevrons which add interest This hand-woven tapestry colours show evidence and elevate the status of the of her studies during the represent s Stolzl’s unique approach tapestry. This results in a piece to manufacturing her textile pieces. Vorkus preliminary which is dynamic and appears to Stripes, squares, rectangles and course which was run by have a life of its own. The piece free-form designs are her hallmark; the renowned artist also evokes the energetic as is a confident use of colour. Johannes Itten’s. -
We Are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017)
“We are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017) by © Laura Marie Andrea Sanchini A thesis submitted to the School of Graduate Studies In partial fulfilment of the Requirements for the degree of Doctor of Philosophy Department of Folklore Memorial University December 3rd, 2018 St John’s Newfoundland Abstract This thesis is the story of how utilitarian material culture was transformed into a cottage industry, and eventually into high art. Chéticamp rug hooking is an artistic practice, one wrapped up in issues of taste, creativity, class and economics. Rug hooking in Chéticamp rose to prominence in the first half of the 20th century when Lillian Burke, a visiting American artist, set up a rug hooking cottage industry in the area. She altered the tradition to suit the tastes of wealthy patrons, who began buying the rugs to outfit their homes. This thesis examines design in rug hooking focusing on Chéticamp-style rugs. Captured within design aesthetics is what the rugs mean to both those who make and consume them. For tourists, the rugs are symbols of a perceived anti-modernism. Through the purchase of a hooked rug, they are able to bring home material reminders of their moment of experience with rural Nova Scotia. For rug hookers, rugs are a symbol of economic need, but also agency and the ability to overcome depressed rural economic conditions. Rug hooking was a way to have a reliable income in an area where much of the labour is dependent on unstable sources, such as natural resources (fishing, lumber, agriculture etc.). -
Textured Tapestry
Textured Created by Susan Beck Tapestry This small wall hanging is filled with simple techniques that create texture on fabric. Easy to make, each swatch is texturized in a unique way, then cut to a specific size. Backed with fusible fleece, the swatches are stitched together using the zigzag stitch for joining. Ribbon sashing covers the stitching and the outer edges are finished with bias binding (not shown). Finished size: 18” x 18” Supplies Machine & Accessories BERNINA 3 Series or 5 Series machine Pintuck Feet #30, #31, #32, #33* Edgestitch Foot #10/10C/10D Button Sew-On Foot #18 Clear Embroidery Foot #39/39C/39D Cutting & Preparation Secondary Bobbin Case Cut the following rectangles, using the fabrics of your Extra bobbin for elastic thread choice (see placement diagram on next page): Best Press Starch Alternative Steam-a-Seam 2 Lite—¼” wide - A: 14” x 6.5” *Directions call for Foot #30 and Foot #32 - B: Two, 5” x 8” each but all four (#30-33) may be used for variety - C: 11” x 5” - D: 8” x 8” Note: The rectangles Fabric & Notions - E: 8” x 8” will be cut to the final Five coordinating fabrics: ¼ yard of four; ⅝ yd of - F: 6.5” x 5” size after all textures one to be used for backing & binding - G: 15.5” x 5” have been created. Coordinating ribbon, ⅜” - ½” wide - H: 14” x 8” OESD Fuse & Fleece 2.0 and 4.0 Double Needles Cut the same size rectangles listed above from the Narrow cord such as perle cotton Fuse & Fleece but DO NOT fuse at this time. -
NEEDLEWORK / FIBER Introduction to Inkle Weaving
Inkle and Tablet Weaving Next Steps – Beyond the Basics A lecture and discussion class covering inkle and tablet (card) weaving techniques that go beyond warp based designs. Class will cover: Patterning using brocading and pickup work; adding beads, loops, bells, and fringe; adding and removing warp threads; using multiple shuttles. There are no hands on activity in the class; we’ll have descriptive handouts, samples, demos, and discussion. I. Who am I: Mistress Lynnette de Sandoval del Valle de los Unicornios … [email protected] II. Who are you? A. Lots of Inkle? B. Other weaving? C. Bring anything to share? III. Art vs. Functionality A. What does that mean? B. Who cares? C. Is inkle weaving Period? 1. The looms we use – no 2. Warp faced weaving – yes! D. What do you expect in the way of wear and tear IV. Adding stuff to the Warp and Weft threads A. Adding sticks / feathers / etc 1. Lay in while weaving 2. Sticks wider than loom 3. Should you glue at edge ???? 4. Christmas Tree 5. Spacing: Count Warp threads / measure B. Measure: Pre-measured / knotted non-stretch cord 1. Weaving Multiple, measured strips in one warping C. Concept: Secondary Weft 1. What is it? a) Additional Weft thread(s) 2. Why? a) Main Weft holds the weaving together b) Secondary Weft adds style elements 3. Disadvantages a) Adds thickness to rows 1) Use thinner / softer yarn if possible 2) Beat down harder b) Shows at salvages 1) Use same or complementary color if possible 2) Monofilament thread / fish line @Debbie Coyle (Unicorn Fiber Arts) & Angela of Rosebury p.