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Woven Fabrics
Fabric – Woven Fabrics WOVEN FABRICS Fabrics are made of yarns by weaving them in different combinations. It is mostly done by interlacing two sets of yarn or thread made of fibers called the warp and weft of the loom. It only stretches in the bias directions, between the warp and weft directions, unless the threads are elastic. Lengthwise stronger vertical yarns with more twist are Warp or Picks while widthwise filling yarns are termed as weft or ends. Sidewise edge of fabric is termed as Selvedge. THREE BASIC WEAVES There are three main types of weave: Plain, Twill and Satin Plain weave is a basic weave which is made when the thread is woven on one up and one down principle, some plain weave fabrics are Chambray, Chiffon, Gingham, and Organza etc. Twill weave is made when the thread is placed by varying the order of interlacing the yarns so that diagonal parallel lines are produced across the fabric. Satin Weave is a weave made when each warp yarn floats over four filling yarns and interlaces with fifth filling yarn. Plain weave Twill weave Satin weave Fabric – Weft Knit Fabrics Knitted Fabrics Knitting is the process of construction of a fabric by interlocking loops of yarn by means of hooked needles. Knitted fabric consists of horizontal rows known as courses and vertical columns of loops known as Wales. Knitted fabrics are porous having insulated air pockets giving warmth when worn. Knitted fabrics are very absorbent, wrinkle resistant and lightweight. They shrink more than woven fabrics unless shrink- proofing techniques are used. -
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. -
Miscellaneous Works Tobias Smollett
MISCE LLA NE OU S WORKS O T BI S MO . A S LLE TT, M . D WITH M E M O I R S H IS LIFE A N D W R ITINGS, R OBE R T AN DE R SON , M . D . TH E SIXTH EDITION, IN SIX VOLUMES. ME V VOLU . CON TAINING T E D TURE S OF SIR A U CE GRE A VES H A VEN L N LO T , AN D TRAVELS TH R OUGH FRANCE AND ITALY . E DINBURGH P RIN TE D F OR TIR L ING L D HIL L C A N D FAIRE AI R N E P TE R O . S S A , E 19 , A A N DE R O N E D IN B GH ' J C U THI LL L A CK I N GTO N ! S , U R ; w . O I R ID O E , . , , H A R D ING H U GH E MA V O R J O N B ALDWIN C R A DO CK J O Y , S , , a; E S , , . S . R . C H O L E Y G . C O W I . N D H . R I D G. M AC K I E A U E R w . E , S , E a; c o , R . S S , , A N D T. J . A LL MA N L O N DO N W I L O N O N Y O RK R . MI LL I KE N 4 , ; S Q S S, ; A N D J C U MMING D L . -
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]. -
THE LEICESTERSHIRE ARCHJEOLOGICAL and HISTORICAL SOCIETY 1967-68 President Professor Jack Simmons, M.A., F.R.HIST.S., F.R.S.L
THE LEICESTERSHIRE ARCHJEOLOGICAL AND HISTORICAL SOCIETY 1967-68 President Professor Jack Simmons, M.A., F.R.HIST.S., F.R.S.L. * President-Emeritus Colin D. B. Ellis, Esq., C.B.E., M.C., M.A., F.S.A, * Vice-Presidents Kathleen, Duchess of Rutland The Hon. Lady Martin The Right Reverend The Lord Bishop of Leicester, D.D. The High Sheriff of Leicestershire The Right Worshipful The Lord Mayor of Leicester The Very Reverend H. A. Jones, B.SC. Victor Pochin, Esq., C.B.E., M.A., D,L., J.P. A. Bernard Clarke, Esq. Levi Fox, Esq., M.A., F.S.A. Professor W. G. Hoskins, M.A., M.Sc., PH,D. Miss K. M. Kenyon, C.B.E., M.A., D.LITT., F.B.A., F.S.A, Mrs. F. E. Skillington * Officers Hon. Secretaries: James Crompton, Esq., M.A., B.LITT., F.R.HIST.S., F.S.A, (Minutes) Miss Mollie P. Rippin, B.A. (General) Miss Winifred A. G. Herrington (Excursions) Hon. Treasurer : C. L. Wykes, Esq., F.C.A. (resigned 30 April 1968) Hon. Auditor: Lieut.-Col. G. L. Aspell, T.D., D.L., F.C.A. Hon. Editor: James Crompton, Esq., M.A., B.LITT., F.R.HIST.S., F.S.A. Hon. Librarian: F. S. Cheney, Esq. * Trustees of the Leicestershire Archawlogical and Historical Society J. E. Brownlow, Esq. Colin D. B. Ellis, Esq., C.B.E., M.C., M.A., F.S.A, J. N. Pickard, Esq., J.P. J. R. Webster, Esq. c. L. Wykes, Esq., F.C.A. * Trustees of the Leicestershire Archceological Research Fund 0. -
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. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
7. Industrial and Modern Resource
Chapter 7: Industrial Period Resource Assessment Chapter 7 The Industrial and Modern Period Resource Assessment by Robina McNeil and Richard Newman With contributions by Mark Brennand, Eleanor Casella, Bernard Champness, CBA North West Industrial Archaeology Panel, David Cranstone, Peter Davey, Chris Dunn, Andrew Fielding, David George, Elizabeth Huckerby, Christine Longworth, Ian Miller, Mike Morris, Michael Nevell, Caron Newman, North West Medieval Pottery Research Group, Sue Stallibrass, Ruth Hurst Vose, Kevin Wilde, Ian Whyte and Sarah Woodcock. Introduction Implicit in any archaeological study of this period is the need to balance the archaeological investigation The cultural developments of the 16th and 17th centu- of material culture with many other disciplines that ries laid the foundations for the radical changes to bear on our understanding of the recent past. The society and the environment that commenced in the wealth of archive and documentary sources available 18th century. The world’s first Industrial Revolution for constructing historical narratives in the Post- produced unprecedented social and environmental Medieval period offer rich opportunities for cross- change and North West England was at the epicentre disciplinary working. At the same time historical ar- of the resultant transformation. Foremost amongst chaeology is increasingly in the foreground of new these changes was a radical development of the com- theoretical approaches (Nevell 2006) that bring to- munications infrastructure, including wholly new gether economic and sociological analysis, anthropol- forms of transportation (Fig 7.1), the growth of exist- ogy and geography. ing manufacturing and trading towns and the crea- tion of new ones. The period saw the emergence of Environment Liverpool as an international port and trading me- tropolis, while Manchester grew as a powerhouse for The 18th to 20th centuries witnessed widespread innovation in production, manufacture and transpor- changes within the landscape of the North West, and tation. -
How Phasic™ Technology Works
PMS 301 PMS Process Blue PMS 110 PMS 107 PMS 301 PMS Process Blue HOW PHASIC™ TECHNOLOGY WORKS PHASE BASE LAYER FABRIC WEIGHTS 180 Phasic™ base layer technology is engineered for superior performance during stop-and-go interval activities. Phase garments are designed to retain less moisture and dry faster, keeping PHASE SL PHASE SV PHASE AR the user drier and more comfortable. PMS 301 Superlight base layer for high SeverePMS 152 base layer for high All-roundPMS 110 base layer for high PMS Process Blue output interval activities in outputPMS 136 interval activities in outputPMS 107 interval activities in warmer weather. cold weather. cold weather. Moisture Wicking 100% Hydrophobic Bi-component Phi Yarns Yarns Structure STAGE 1 - ACTIVE/WICKING PHASE STAGE 2 - INTENSE/DISPERSION PHASE STAGE 3 - REST/DRYING PHASE Entering an active phase, Phi yarns rapidly pull moisture Phi yarns work to disperse moisture across the entire Hydrophobic yarns, along with the broadly dispersed moisture away from the skin while the hydrophobic yarns stay dry. garment, helping to regulate body temperature. PMS 110 from the Phi yarns, combine to allow Phasic™ fabric to dry quickly Hydrophobic yarns stay dry and limit the fabric’s ability PMS 107 during a rest phase, keepingPMS theCool user Gray warm 8 and comfortable.PMS 152 TECHNICAL INFO to hold moisture. PMS Cool Gray 3 PMS 136 PMS 152 PMS 136 PMS Cool Gray 8 PMS Cool Gray 3 COMPOSITE GORE® FABRIC TECHNOLOGY PMS Cool Gray 8 PMS Cool Gray 3 ALPHA COMP HOODY / ALPHA COMP PANT LITHIC COMP HOODY / LITHIC COMP PANT GORE® FABRIC TECHNOLOGY GORE® FABRIC TECHNOLOGY FORTIUS™ 1.0 TRUSARO™ MAPP-MERINO ADVANCED INSULATED STORMHOOD™ ROLLTOP™ CLOSURE TECHNOLOGIES AND PERFORMANCE PROGRAM Insulated hood designed for full weather protection. -
Fall Caps Product Name Six Panel Low Profile Pro Style Cap Description Low Fitting, Structured Six Panel Corduroy Pro Style Cap
Fall Caps Product Name Six Panel Low Profile Pro Style Cap Description Low fitting, structured six panel corduroy pro style cap. 100% Cotton. Features low profile, firm front panel and metal press buckle with antique brass finish closure. Material Cotton CPN 6213887 Color Navy Imprint Method Digital Printing, Embroidery, Full Color Heat Transfer, Screen Printed Plastisol Heat Transfer, Unimprinted, Imprint Charges: Change of Ink/Thread ‐ $16.667, Imprint Charges: Set Up Charge ‐ $41.667, Screen Charge, Imprint Charges: Re order Charge ‐ $16.667, Imprint Charges: PMS Matching Charge ‐ $25.00, Imprint Charges: Running Charge ‐ $16.667, Imprint Charges: Running Charge ‐ $15.00, Imprint Charges: Change of Ink/Thread ‐ $10.00, Imprint Charges: Re order Charge ‐ $41.667, Imprint Charges: Running Charge ‐ $13.25, Imprint Charges: Set Up Charge ‐ $83.333, Imprint Charges: Digitizing Charge ‐ $13.333 Production Time 3 ‐ 13 business days Six Panel Low Profile Pro Style Cap Quantity 12 144 576 1440 Price $3.833 $3.667 $3.583 $3.50 Price Includes Blank product. 10/31/2016 | Page: 2 Product Name Low profile (unstructured) washed corduroy cap Description Add a unique piece of fashion wear to your store shelves with this cap. Constructed from corduroy, this cap has a distressed look with a frayed crown and bill. Zig zag stitches on the bill complete the look. The design is an unstructured low profile. Included is a self‐fabric strap with a Velcro closure. Please be aware that not all printing methods are available on all products. Please contact us for -
Tippecanoe County - Warrant Recall Data As of June 1, 2015
TIPPECANOE COUNTY - WARRANT RECALL DATA AS OF JUNE 1, 2015 Name Last Known Address at Time of Warrant Issuance ABBOTT, RANDY CARL STRAWSTOWN AVE NOBLESVILLE IN ABDUL-JABAR, HAKIMI SHEETZ STREET WEST LAFAYETTE IN ABERT, JOSEPH DEAN W 5TH ST HARDY AR ABITIA, ANGEL S DELAWARE INDIANAPOLIS IN ABRAHA, THOMAS SUNFLOWER COURT INDIANAPOLIS IN ABRAMS, SCOTT JOSEPH ABRIL, NATHEN IGNACIO S 30TH ST LAFAYETTE IN ABTIL, CHARLES HALSEY DRIVE WEST LAFAYETTE IN ABUASABEH, FAISAL B NEIL ARMSTRONG DR WEST LAFAYETTE IN ABUNDIS, JOSE DOMINGO LEE AVE COOKVILLE TN ACEBEDO, RICARDO S 17TH ST LAFAYETTE IN ACEVEDO, ERIC JAVIER OAK COURT LAFAYETTE IN ACHOR, ROBERT GENE II E COLUMBIA ST LOGANSPORT IN ACOFF, DAMON LAMARR LINDHAM CT MECHANICSBURG PA ACOSTA, ANTONIO E MAIN STREET HOOPESTON IL ACOSTA, MARGARITA ROSSVILLE IN ACOSTA, PORFIRIO DOMINGUIEZ N EARL AVE LAFAYETTE IN ADAMS JR, JOHNNY ALLAN RICHMOND CT LEBANON IN ADAMS, KENNETH A W 650 S ROSSVILLE IN ADAMS, MATTHEW R BROWN STREET LAFAYETTE IN ADAMS, PARKE SAMUEL N 26TH ST LAFAYETTE IN ADAMS, RODNEY S 8TH ST LAFAYETTE IN ADAMSON, JOSHUA PAUL BUNTING LN LAFAYETTE IN ADAMSON, RONALD LEE SUNSET RIDGE DR LAFAYETTE IN ADCOX, SCOTT M LAWN AVE WEST LAFAYETTE IN ADINA-ZADE, ABDOUSSALAM NORTH 6TH STREET LAFAYETTE IN ADITYA, SHAH W WOOD ST WEST LAFAYETTE IN ADKINS, DANIEL L HC 81 BOX 6 BALLARD WV ADKINS, JARROD LEE S 28TH ST LAFAYETTE IN ADRIANSON, MARK ANDREW BOSCUM WINGATE IN AGEE, PIERE LAMAR DANUBE INDIANAPOLIS IN AGUAS, ANTONIO N 10TH ST LAFAYETTE IN AGUILA-LOPEZ, ISAIAS S 16TH ST LAFAYETTE IN AGUILAR, FRANSICO AGUILAR, -
IS 2173 (1991): Handloom Melton (Shoddy) Cloth [TXD 8: Handloom and Khadi]
इंटरनेट मानक Disclosure to Promote the Right To Information Whereas the Parliament of India has set out to provide a practical regime of right to information for citizens to secure access to information under the control of public authorities, in order to promote transparency and accountability in the working of every public authority, and whereas the attached publication of the Bureau of Indian Standards is of particular interest to the public, particularly disadvantaged communities and those engaged in the pursuit of education and knowledge, the attached public safety standard is made available to promote the timely dissemination of this information in an accurate manner to the public. “जान का अधकार, जी का अधकार” “परा को छोड न 5 तरफ” Mazdoor Kisan Shakti Sangathan Jawaharlal Nehru “The Right to Information, The Right to Live” “Step Out From the Old to the New” IS 2173 (1991): Handloom melton (shoddy) cloth [TXD 8: Handloom and Khadi] “ान $ एक न भारत का नमण” Satyanarayan Gangaram Pitroda “Invent a New India Using Knowledge” “ान एक ऐसा खजाना > जो कभी चराया नह जा सकताह ै”ै Bhartṛhari—Nītiśatakam “Knowledge is such a treasure which cannot be stolen” Indian Standard HANDLOOM SHODDYMELTONCLOTH ( First Revision ) UDC 677-3-064 ( shoddy ) BUREAU OF INDIAN STANDARDS MANAK BHAVAN, 9 BAHADUR SHAH ZAFAR MARG NEW DELHI 110002 May 1991 Price Group 2 Handloom and Khadi Sectional Committee, TXD 8 FOREWORD This Indian Standard ( First Revision ) was adopted by the Bureau of Indian Standards, after the draft finalized by the Handloom and Khadi Sectional Committee had been approved by the Textile Division Council.