Asian Knowledge and the Development of Calico Printing In
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
Indigo and the Tightening Thread 1 for the Journal of Weavers, Spinners and Dyers 231 Autumn 2009
Indigo and the Tightening Thread 1 For the Journal of Weavers, Spinners and Dyers 231 Autumn 2009 Jane Callender Natural indigo and synthetic Many varieties of indigo bearing plants flourish in indigo are both available to us. hot and temperate climates all over the world A key date in textile history is and more than one can be found in any one 1856 when 18 year old assistant region. The European indigo bearing plant is chemist William Perkins, Isastis Tinctoria, known as woad. stumbled upon, developed and Although there are an incredible number of patented the first synthetic species and subspecies, ‘indican’, the actual dyestuff from coal tar. ‘Perkins chemical source and precursor of indigo, a tiny Purple’ became known as organic molecule, is common to all. (A Large Mauvine. Later the German percentage in the woad precursor is also indican, chemist Adolf von Baeyer with Isatan B making up the rest) Consequently synthesized indigo which was ‘…..the resulting blue is indistinguishable even to sold on the open market in the specialist’ (Balfour-Paul) 1897. Astonishingly, the Harvesting the plants, extracting the indican molecular structure of natural present within the leaves and storage of the and synthetic indigo, as it was indigo pigment differs from country to country. then and as it is now, is the Though glycosides and enzymes vary, as does the same. alkalinity level and temperature of the water in which leaves are immersed, the following Dyeing can only be done graphics illustrates, in essence, the acquisition of with indigo in its soluble form natural indigo through fermentation. -
Folk Traditions of Carved Board Clamp Resist Dyeing in Zhejiang Province
8ISS Symposium-Panel on Clamp, Pole-Wrap, Tied-Resist Dyeing CHINESE BLUE & WHITE ITAJIME (JIAXIE): Folk Traditions of Carved Board Clamp Resist Dyeing in Zhejiang Province Tomoko TORIMARU Association of Fukuoka District Vocational Training, Fukuoka, Japan (Independent Scholar - History and Technology in Textiles: Japanese, Chinese, and other Traditional Asian Textiles) 1-5-10-501, Futsukaichiminami, Chikushino, Fukuoka, Japan, 818-0057 Email: [email protected] Abstract some efforts by local government to preserve this This is a report on our field studies taken to identify and vanishing practice, it simply cannot sustain itself without observe in China the process of itajime shibori, or carved sufficient demand. board clamp resist dyeing known as Jiaxie in Chinese and pronounced 'Kyokechi' in Japanese. There is very little In 2002 and 2003, we traveled to Yishan, Cangnan, known history of this craft as generally not much attention Zhejiang Province, and visited what is now officially is paid in China to their folk traditions. designated ―Zhongnuo Minjian Gongyi Jiaxie Zuofang,‖ or roughly 'Chinese People's Art Craft Jiaxie Studio'. The 1. Introduction name suggests an effort by local government to preserve Chinese jiaxie, pronounced ―kyokechi‖ in Japanese and the area's folk craft traditions. There, we observed jiaxie known as itajime shibori, is a type of carved board clamp master, Mr. Xunlang Xue. As a sign of the times, Mr. Xue resist dyeing. Different from wax or paste resist, jiaxie performs his craft only on request as there is hardly any employs resists made of carved wooden boards. In this need nor much demand for him to sustain a regular technique, cloth is sandwiched tightly between two boards practice. -
Adire Cloth: Yoruba Art Textile
IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida Editor/Outreach Director: Agnes Ngoma Leslie Layout & Design: Pei Li Li Assisted by Kylene Petrin 427 Grinter Hall P.O. Box 115560 Gainesville, FL. 32611 (352) 392-2183, Fax: (352) 392-2435 Web: http://nersp.nerdc.ufl.edu/~outreach/ Center for African Studies Outreach Program at the University of Florida The Center is partly funded under the federal Title VI of the higher education act as a National Resource Center on Africa. As one of the major Resource Centers, Florida’s is the only center located in the Southeastern United States. The Center directs, develops and coordinates interdisci- plinary instruction, research and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in schools from K-12, colleges, universities and the community. Below are some of the regular activities, which fall under the Outreach Program. Teachers’ Workshops. The Center offers in- service workshops for K-12 teachers on the teaching of Africa. Summer Institutes. Each summer, the Center holds teaching institutes for K-12 teachers. Part of the Center’s mission is to promote Publications. The Center publishes teaching African culture. In this regard, it invites resources including Irohin, which is distributed to artists such as Dolly Rathebe, from South teachers. In addition, the Center has also pub- Africa to perform and speak in schools and lished a monograph entitled Lesson Plans on communities. -
Only DTG Digital Offers the Largest Range of Printing Areas for Finished Garments Or Fashion Panels the RIGHT MACHINE for YOUR APPLICATION
INKJET TEXTILE PRINTERS www.dtgdigital.com Only DTG Digital offers the largest range of printing areas for finished garments or fashion panels THE RIGHT MACHINE FOR YOUR APPLICATION BED SIZE - ACCOMMODATES MULTIPLE PLATEN CONFIGURATIONS MAKING CUSTOMERS successful for over a decade Designed to suit most common cut material sizes in fashion products. DTG Digital has made it its mission to help companies with the Heavy duty production to finished most diverse range of textile printing equipment become more garments for greater production profitable. through-put. How do we accomplish this? With innovative inkjet engineering solutions systematically designed to meet the needs of our customers. There are more than 8,000 machines installed around the world, which is testimony to our expertise and our customer’s confidence in us. As the largest manufacturer of textile printing equipment in our category we also have a global network of M2 subsidiaries, distribution and service support centres at our 604 x 420mm disposal. This guarantees local availability, whether it’s pre-sales application tests, on-site installation or service requests. This M4 network also allows us to implement large international customer 860 x 604mm projects quickly and economically. [extendable to 2m] M6 MSERIES INDUSTRIAL 1100 x 980mm The DTG M-Series range of Direct to Garment Inkjet printers delivers the industries most advanced print platform engineered specifically for textile applications. The service is unbelievable - Greater resolutions and ink drop technologies are delivered I have owned a few machines now through an entirely new firmware – print a completely new range and never experienced such good of products with scalable platens from 2-12 shirts, print all over service, and not only good service jeans, hoodies or clothing panels from one printer series! It’s but a genuine desire to help with problems and grow our business entirely flexible, engineered for production, and will grow with you. -
July 1909 : Bulletin of the United States Bureau of Labor, No. 83
DEPARTMENT OP COMMERCE AND LABOR BULLETIN OF THE BUREAU OF LABOR NO. 8 3 -JULY, 1909 ISSUED EVERY OTHER MONTH WASHINGTON GOVERNMENT PRINTING * OFFICE 1909 Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis CONTENTS. Page. Women’s trade union movement in Great Britain, by Katherine Graves Busbey, A. B.: History of the movement........ ........................................ .............................. 1-5 Obstacles to organization of women................................................................. 5-10 Occupations temporary..................... ...................................................... 6 Low wages and low standard of living.................................................... 6,7 Class distinctions........................................................................................ 8,9 Liability to victimization and apathy...................................................... 9,10 Attitude of male trade unionists to organization of wom en ........................ 11-18 Growth of organization among women workers............................................ 18-22 Results of organization of women workers......................................................22-32 Aid secured through legal proceedings....................................................22,23 Recent legislation.........................................................................................23-25 Crusade against living-in and truck -
Education Teacher’S Kit
Industrial Heritage - The Textile Industry Education Teacher’s Kit Background There is archaeological evidence of textile production in Britain from the late-prehistoric period onwards. For many thousands of years wool was the staple textile product of Britain. The dominance of wool in the British textile industry changed rapidly during the eighteenth century with the development of mechanised silk production and then mechanised cotton production. By the mid-nineteenth century all four major branches of the textile industry (cotton, wool, flax, hemp and jute and silk) had been mechanised and the British landscape was dominated by over 10,000 mill buildings with their distinctive chimneys. Overseas competition led to a decline in the textile industry in the mid-twentieth century. Today woollen production is once again the dominant part of the sector together with artificial and man-made fibres, although output is much reduced from historic levels. Innovation Thomas Lombe’s silk mill, built in 1721, is regarded as the first factory-based textile mill in Britain. However, it was not until the handloom was developed following the introduction of John Kay’s flying shuttle in 1733 that other branches of the textile industry (notably cotton and wool) became increasingly mechanised. In the second half of the eighteenth century, a succession of major innovations including James Hargreaves’s spinning jenny (1764), Richard Arkwright’s water frame (1769), his carding engine (1775), and Samuel Crompton’s mule (1779), revolutionised the preparation and spinning of cotton and wool and led to the establishment of textile factories where several machines were housed under one roof. -
UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická Fakulta
UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra asijských studií Estetické vnímání krásy ženy v Japonsku Aesthetic perception of woman´s beauty in Japan Bakalářská diplomová práce Autor práce: Pomklová Lucie Vedoucí práce: Mgr. Sylva Martinásková - ASJ Olomouc 2013 Kopie zadání diplomové práce Prohlašuji, že jsem diplomovou práci vypracovala samostatně a uvedla veškeré použité prameny a literaturu V Olomouci dne _______________________ Poděkování: Na tomto místě bych chtěla velice poděkovat Mgr. Sylvě Martináskové za konzultace, ochotu, flexibilitu při řešení jakýchkoliv problémů a odborné vedení mé práce. Díky jejím cenným radám a podnětům mohla tato práce vzniknout. Ediční poznámka Ve své práci používám anglický přepis japonských názvů společně se znaky nebo slabičnou abecedou, které budu užívat u ér, období, uvedených japonských termínů a jmen osob. Japonská jména uvádím v japonském pořadí čili první příjmení a za ním teprve následuje jméno osobní, ženská jména jsou uvedena v nepřechýlené podobě. Pro obecně známá místní jména či termíny, u kterých je český přepis již pevně stanoven pravidly českého pravopisu, používám tento do češtiny přejatý tvar. Kurzívu budu používat pro méně známé termíny, názvy ér a období a také pro citace. Používám citační normu ISO 690. Obsah 1 Úvod ................................................................................................................................... 8 2 Protohistorické období .................................................................................................. -
Batik of Java: Global Inspiration Maria Wronska-Friend the Cairns Institute, James Cook University, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Batik of Java: Global Inspiration Maria Wronska-Friend The Cairns Institute, James Cook University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wronska-Friend, Maria, "Batik of Java: Global Inspiration" (2018). Textile Society of America Symposium Proceedings. 1080. https://digitalcommons.unl.edu/tsaconf/1080 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). Batik of Java: Global Inspiration Maria Wronska-Friend [email protected] Batik, the resist-dyeing technique of patterning cloth through the application of wax, has been known since antiquity in several parts of the world, but it reached its highest level of complexity on the island of Java. While deeply embedded in local traditions and associated with the beliefs, philosophy, and social order of Java, during the last two centuries batik has become a powerful cultural intermediary connecting Indonesia with other parts of the world. -
Intertextile Home Textiles Autumn Edition 2020 Shanghái 24-26 De Agosto De 2020
INFORME IF DE FERIA 2020 Intertextile Home Textiles Autumn Edition 2020 Shanghái 24-26 de agosto de 2020 Oficina Económica y Comercial de la Embajada de España en Shanghái INFORME IF DE FERIA 31 de agosto de 2020 Shanghái Este estudio ha sido realizado por Vicente López-Trompo, Daniel Bajo la supervisión de la Oficina Económica y Comercial de la Embajada de España en Shanghái http://china.oficinascomerciales.es Editado por ICEX España Exportación e Inversiones, E.P.E., M.P. NIPO: 114-20-024-0 IF INTERTEXTILE HOME TEXTILES - AUTUMN EDITION 2020 Índice 1. Perfil de la feria 4 2. Ficha técnica 5 2.1. Descripción y evolución de la feria 6 2.1.1. Expositores 6 2.1.2. Productos presentados 8 3. Tendencias y novedades presentadas 9 3.1. Participación española 10 4. Recomendaciones 11 5. Anexos 12 5.1. Expositores de Intertextile 12 5.1.1. Empresas internacionales 12 5.1.2. China, Hong Kong y Taiwán 13 3 Oficina Económica y Comercial de la Embajada de España en Shanghái IF INTERTEXTILE HOME TEXTILES - AUTUMN EDITION 2020 1. Perfil de la feria Intertextile Shanghai Home Textiles es una feria dedicada a la exhibición de telas y accesorios dentro del sector textil, especializada en materiales para el uso en hogar (cortinas, tapizados, ropa de cama, etc.). Las ferias de INTERTEXTILE comenzaron en 1995 celebrando ediciones de primavera y de otoño desde entonces. CARTEL DE LA FERIA INTERTEXTILE SHANGHAI HOME TEXTILES 2020 Fuente: Intertextile 4 Oficina Económica y Comercial de la Embajada de España en Shanghái IF INTERTEXTILE HOME TEXTILES - AUTUMN EDITION 2020 2. -
Toile De Jouy Museum
Toile de Jouy Museum Press Release The Museum’s Collections The Museographic Itinerary A Specialised Archive Collection A Short History Toile de Jouy in keeping with the style of today “Toile de Jouy”, a term with a double meaning Printing Techniques Wood block Copper plate Copper roller Practical information Château de l’Eglantine 54, rue Charles de Gaulle - 78350 Jouy-en-Josas - France Téléphone: + 33 1 39 56 48 64 • Fax: + 33 1 39 56 17 98 The Museum’s Collections The Toile de Jouy Museum, created in 1977, and dedicated to the activity of the Jouy factory and textile printing, was trasferred to a XIXth century château in 1991, to which a contemporary building was added. More than 30 000 original toile de Jouy designs exist. They are of two kinds: polychrome floral designs (les Indiennes) and monochrome scenes with figures. A fair place should be restored to the floral designs. To the collective memory, “toile de Jouy” evokes the monochrome scenes with figures. These toiles were mainly used for furnishing and decor ation, and therefore preserved in attics. Forgotten for many years, then rediscovered, they reappeared in their original colours, as if they had just been printed. The polychrome designs, mostly of floral inspiration, were, on the contrary, used predominantly for clothing (as well as fur nishing). Caracos, petticoats, scar ves, waistcoats, ne cker chiefs o ften e nde d up as r ags. Acc or ding to known de sign ar chives and prints, 30 000 motifs were created for block printing (wood block) as compared with 650 for copper.