“Direct Pattern on Loom”-An Innovative Method of Garment Construction
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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. -
Study on Improving the Production Rate by Rapier Looms in Textile Industry Aby Chummar, Soni Kuriakose, George Mathew
ISSN: 2277-3754 ISO 9001:2008 Certified International Journal of Engineering and Innovative Technology (IJEIT) Volume 2, Issue 7, January 2013 Study on Improving the Production Rate by Rapier Looms in Textile Industry Aby Chummar, Soni Kuriakose, George Mathew the company. It is mainly manufactured by the shuttle looms. Abstract— In India the textile industry is growing very fast. Conventional shuttle looms are mainly used during the Most of the earlier established textile industries are using weaving process in the industry. All these shuttle looms are conventional shuttle looms for the production of the cloth. But the too old. In these present conventional shuttle looms, it is advancement in the technology made the textile industry more competitive. The effective usage of the new methods of the necessary to pass a shuttle weighing around half a kilogram weaving technology, which is more energy efficient, makes the through the warp shed to insert a length of weft yarn which production more economical. It is found out that the usage of the weighs only few grams. The shuttle has to be accelerated conventional looms badly affects the cloth production. This study rapidly at the starting of picking cycle and also to be focuses on identifying the problems associated with the low decelerated, stopped abruptly at the opposite end. This production by the shuttle loom and suggesting suitable methods process creates heavy noise and shock and consumes by which these problems can be reduced. considerable energy. Beat-up is done by slay motion which again weighs a few hundred kilograms. The wear life of the Index Terms—Greige Fabric Picks, Rapier Loom, Shuttle Loom. -
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. -
E Mb R O Id Erie's
) 12 TITE OMAHA DAILY BEE: FJITDAY, ATOIL 24. 1903. n xt a n es n n n sa m n m m j a ti 6 Friday Is Remnant Day 1 li.iL.0V.?W,:,:.:1 V Valnes Offer IlrlnK This Ad Mb Omaha's rnre Food Center. jjjj I v y I ed Yon 'II Find P With Yoir. il Yon Can't Du- rry la a Restaurant on 2d Floor i i mm ( Itrm Where dainty meals are served R plicate Else on Monry Paver N dm NEW WHITE GOODS at moderate prices. U trhcre. TMB RKLIABL.R STOftS for You. PRETTY NEW WASH FABRICS Open 7 a. m. Closes 7 p. m. J? ' ' AN KOLA COFFEE. Go on Sale Friday in Basement If 'you are paying 35c a pound jv for your coffee and not getting $ In the Famous Domestic Room Ankola you are not getting your O Bargain Friday in the Wide Lingerie Cloth, the finest and most desirable, cloth money's worth. 25,000 yards of Mill Lengths and Remnants from our Rcady-to-We- ar made for undermuslins and lingerie dresses. r FISH DEPARTMENT Cools Dept. High Grade Wash Goods and White Goods Departments. Daby Halibut, lb. .. .12 Vic Regular 25c value, Friday off the bolt; at, yard. .16 2v Brings These Two Rattling 50c AND 39c WASH GOODS 12iac, 15c, 19c . AND 25c Fresh Lake Trout, lb 17Vcsg 9 V to Pretty Plaid and Striped Voiles with mercerized embroid Fine Fresh Croppies, lb 14cJJ Good Bargains V YARD WASH GOODS, YD., Fancy Cod Fish, (middles) lb.lScy v 10c 5c Ib.-lOcJ- Arnold's Printed Sllka, 60c value; 6,000 In Mill Lengths ered effects that are new. -
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 -
Textile Periods in Ancient Peru: Ii Paracas Caverns and the Grand Necropolis
TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M O';EALE- UNRERSITY OF CFORNIA PUBLTICATIONS IN EwasN AROOY AND ETENOLOG#Y Volnme 39, No. 2, pp. 14>202, plates 1-6, 20 figures in text ,, ,, .. vE \ . # :. UNIVERSITY 0t CALIP6RNIA PRESS BERKELEY AND tOS ANGBLES 1942 TEXTILE PERIODS IN ANCIENT PERU: II PARACAS CAVERNS AND THE GRAND NECROPOLIS BY LILA M. O'NEALE UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES 1942 UNIVERSITY Or CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOGY AND ETHNOLOGY EDITORS: A. L. KRoEBER, R. H. LoWIE, T. D. MCCowN, R. L. OLSON Volume 39, No. 2, pp. 143-202, plates 1-5, 20 figures in text Submitted by editors March 12, 1941 Issued October 23, 1942 Price, 75 cents UNIVESITY OF CALIFORNIA PRESS BERKELEY, CALIFORNIA CAM1BRDGE UNIVERSITY PRESS LONDON, ENGLAND PRINTED IN THE UNITED STATES OF AMERIOA CONTENTS PAGE METHOD AND MATERIAL ..................................................... 143 Revisions . ............................................................... 144 Paracas time periods: Caverns and Necropolis ................................ 145 TRAITS COMMON TO ALL PERIODS .............................................. 148 Paracas yarns . .......................................................... 149 Paracas loom types ....................................................... 151 Technical processes at Paracas ............................................. 152 Warp-weft techniques ................................................... 152 Plain weaves ................. ...................................... -
Make Your Own Cardboard Loom
Make Your Own Cardboard Loom Overview Though hand weaving was not as prevalent in the 1830s as it had been in the late 18th century, there were still people in rural communities who practiced the art of weaving on a loom. Participants in this activity will make their own simple loom from cardboard and try out a weaving project! Background Wool comes from sheep. Sheep were sheared by hand with a pair of shears (they look like big scissors). Sturbridge farmers clipped between 7000 and 9000 pounds of wool in 1835! The wool was then picked and cleaned, carded, spun, and woven into cloth. OSV’s sheep are bred to resemble the types of sheep you might have seen in New England during the time period. Before the Industrial Revolution, all cloth was woven on a loom, operated by a person. At OSV, you can see costumed historians making fabric on a loom at the Fenno House. Supplies ● Piece of cardboard--it doesn’t matter how big your cardboard is. It can be a square or a rectangle, long or wide. ● Scissors ● Ruler ● Pencil ● Yarn for weaving ● String for warping ● Fork (optional) ● Blunt sewing needle OR popsicle stick/small piece of cardboard to act as a shuttle Directions 1. Lay your ruler along the top of the cardboard. Use your pencil to make marks every ¼”. You will also want your notches to be about ¼” deep, so you can draw a full line if it will help you make the cuts all the same length. 2. Repeat step 1 along the bottom of your cardboard. -
"Pictures Made of Wool": the Gender of Labor at the Bauhaus Weaving Workshop (1919-23)
Tai Smith - "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) Back to Issue 4 "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) by T'ai Smith © 2002 In 1926, one year after the Bauhaus had moved to Dessau, the weaving workshop master Gunta Stölzl dismissed the earlier, Weimar period textiles, such as Hedwig Jungnik’s wall hanging from 1922 [Fig. 1], as mere “pictures made of wool.”1 In this description she differentiated the early weavings, from the later, “progressivist” textiles of the Dessau workshop, which functioned industrially and architecturally: to soundproof space or to reflect light. The weavings of the Weimar years, by contrast, were autonomous, ornamental pieces, exhibited in the fashion of paintings. Stölzl saw this earlier work as a failure because it had no progressive aim. The wall hangings of the Weimar workshop were experimental—concerned with the pictorial elements of form and color—yet at that they were still inadequate, without the larger, transcendental goals of painting, as in the Bauhaus painter Wassily Kandinsky’s Red Spot II from 1921. Stölzl assessed the earlier, “aesthetic” period of weaving as unsuccessful, because its specific strengths were neither developed nor theorized. Weaving in the early Bauhaus lacked its own discursive parameters, just as it lacked a disciplinary history. Evaluated against the “true” picture, painting, weaving appeared a weaker, ineffectual medium. Stölzl’s remark references a fundamental problem that goes unquestioned in the literature concerning the Weimar Bauhaus weaving workshop and the feminized status of the medium. -
Newsletter 39
77 ` DIARY DATES – (WHAT’S ON) LFHHS IRISH ANCESTRY GROUP The Gazette All meetings held at The LFHHS Resource Centre, 2 Straits, Oswaldtwistle. § www.lfhhs-pendleandburnley.org.uk Advice & Research Workshop Pendle & Burnley Saturday 14th August 2010, 1 pm to 4.30 pm Branch Issue 39 - July 2010 § Irish War Memorials Mike Coyle Saturday 9th October 2010, 1pm to 4.30pm Inside this Issue Archive Closures & News 14 LancashireBMD 3 Programme 3 § Advice & Research Workshop Diary Dates 2 Lancashire R.O. 15 Query Corner 18 Saturday 4th December 2010, 1 pm to 4.30 pm Federation News 15 Library 3 Society Resource Centre 2 Enquiries – Shaun O'Hara, 8 Liddington Close, Newfield Park, Blackburn, Heirs House, Colne 14 News from TNA 13 Society Special offer 3 BB2 3WP. e-mail: [email protected] Heritage Open Days List 18 Probate Records in 15 Sutcliffes of Pendleton 4 LFHHS CHORLEY BRANCH "Celebration of Family History" Nelson and areas around Astley Hall, Chorley PR7 1NP Saturday 7th August 2010 11am to 5 pm Admission Free HERITAGE OPEN DAYS 9th to 12th September 2010 THE NATIONAL FAMILY HISTORY FAIR Explore the heritage buildings in our area or even further afield – Barnoldswick, Newcastle Central Premier Inn, Newbridge St., Newcastle Upon Tyne, NE1 8BS Blackburn, Blackpool, Chorley, Fleetwood, Lancaster, Nelson, Ormskirk, Preston. Saturday 11th September 2010, 10am to 4pm See the website http://www.heritageopendays.org.uk/directory/county/Lancashire Admission £3, Children under 15 free for a list of many of the places that will be open. Examples in our area DONCASTER LOCAL HISTORY FAIR Queen Street Mill Textile Museum, Queen Street, Harle Syke, Burnley BB10 2HX Doncaster Museum and Art Gallery, Chequer Road, Doncaster, DN1 2AE open Sun 12th September, 12noon to 5pm Saturday, 18th September 2010, Gawthorpe Hall, Padiham open Sun 12th September, 1pm to 4.30pm 10am to 4pm St Mary's Church, Manchester Road, Nelson and Higherford Mill, Barrowford NORTH MEOLS (SOUTHPORT) FHS ANNUAL OPEN DAY open Thurs 9th September to Sunday 12th September 11am to 4 pm on all days. -
Weaving As Binary Art and the Algebra of Patterns
TEXTILE Cloth and Culture ISSN: 1475-9756 (Print) 1751-8350 (Online) Journal homepage: http://www.tandfonline.com/loi/rftx20 Weaving as Binary Art and the Algebra of Patterns Ellen Harlizius-Klück To cite this article: Ellen Harlizius-Klück (2017) Weaving as Binary Art and the Algebra of Patterns, TEXTILE, 15:2, 176-197, DOI: 10.1080/14759756.2017.1298239 To link to this article: http://dx.doi.org/10.1080/14759756.2017.1298239 Published online: 12 May 2017. Submit your article to this journal Article views: 11 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rftx20 Download by: [Deutsches Museum] Date: 06 June 2017, At: 07:07 Weaving as Binary Art and the Algebra of Patterns Abstract o refer to the Jacquard loom as thread is to be picked up or not. Ta precursor of the computer is Weaving has therefore been a a common narrative in histories binary art from its very beginning, of computing beginning with Ada applying operations of pattern Lovelace comparing the punched algebra for millennia. Jacquard’s card operated loom with the cards were the end of this story calculating engine designed by rather than its beginning, reducing Charles Babbage: “We may say the weaver to an operator who most aptly that the Analytical had to step on a single treadle Engine weaves algebraical patterns repeatedly. This article argues just as the Jacquard-loom weaves that algebra is already involved flowers and leaves.” But this does in operating shafts or heddles not mean that Jacquard invented on ordinary looms, that this the algebra of patterns.