DOCSLIB.ORG

Methodology for Evaluation of Fabric Geometry on the Basis of the Fabric Cross-Section

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Methodology for Evaluation of Fabric Geometry on the Basis of the Fabric Cross-Section Brigita Kolčavová Sirková, Monika Vyšanská Methodology for Evaluation of Fabric Geometry on the Basis of the Fabric Cross-Section Technical University of Liberec, Abstract Faculty of Textile Engineering, A woven fabric structure is defined by mutual threads interlacing in the fabric as well as the Department of Textile Technology, basic parameters of the fabric. The interrelation among fabric parameters can be obtained Liberec, Czech Republic, by considering a geometrical model of the fabric and specific experimental methods. The E-mail: [email protected], geometrical model is mainly concerned with the shape taken up by the yarn in the warp or [email protected] weft cross-section of the fabric. This article provides a possible methodology for evaluation of geometric parameters of threads in the real longitudinal and transverse cross-sections of fabric. From an individual cross-section of the fabric using image analysis it is possible to define the diameter of threads, their deformation, thread spacing, the maximum displace- ment (height of binding wave) of the thread axis, the angle of the thread axis (interlacing angle), the length of the thread axis in the cross-section of the fabric, the crimp of threads in the fabric, and the real shape of the binding wave through wave coordinates. The pa- rameters mentioned are possible to use as input for mathematical modelling of the fabric structure and for prediction of mechanical and end-use properties of fabrics. Key words: fabric geometry, interlacing, cross-section, waviness, height, binding waves. the mechanical and end-use properties The thread density and its cover factor n Introduction of fabrics such as handle, elongation, of the fabrics are limited by the possible crimp, maximal density, and weight [1, mutual positions of the warp and weft All the process of weaving is binding 6]. The fabric structure also determines threads in the space of the binding cell [3, point formation. Their dimensions and the weavability of fabrics and weav- 18]. The mutual positions of the threads tension gradually change from the cloth ing process. To describe the dependen- in the woven fabric create and describe fell in the forming zone to as far as some cies among the fabric structure, weaving the spatial geometry of the interlacing of place of the steady state in the fabric. process and resultant fabric properties, it the woven fabric. Each irregularity in the balance of the is not possible to operate with theoretical variable forces, in the deformation of the models only. In some cases it is neces- binding point (cell), in the accessibility sary to operate with empirical findings Geometry of woven fabric of the sets, in the stability of the weav- which have an acceptable table format – description of basic ing etc. can be deduced from the descrip- or mathematical formulation. The same parameters tion of the mutual relations between the fabric construction (identical density, tension and geometrical changes in the The basic geometrical characteristics of material, yarn count) woven in different binding cell [2 - 5]. For the weave of the the fabric structure of the binding cell are conditions or on different weaving looms fabric, it is characteristic that its pattern possible to summarise as a vector of the can have different variations in the spa- of binding is repeated regularly (periodi- input geometric structural parameters [1]. tial geometry of woven fabric. Empirical cally) across the whole fabric width and This vector consists of the parameters is continuous. In the forming zone it is findings are possible to use not only for mentioned: [dwarp, weft (yarn diameter); possible to evaluate changes in the inter- determination of the fabric structure but hwarp, weft (height of the binding wave), lacing which are given by the different they also establish a basis for calculation ewarp, weft (relative waviness), Dwarp, warp as well as weft tension. In a steady of selected fabric properties, for a de- weft (thread’s sett), A (weft distance), B state it is necessary to respect the regular- scription of various changes in the fabric (warp distance), Lwarp, weft (length of ity of the thread interlacing. This regular- geometry, etc. yarn between yarn intersections), Cwarp, ity defines the final quality of woven fab- weft (crimp of threads), t (thickness of a ric; cross sections in this case have to be The foundation for a study of the ar- fabric). In real woven fabric it generally identical. Each irregularity or difference eal geometry of fabric is the binding cell does not apply that the warp and weft in the cross section determines the fabric (the crossing of an end and pick) in a binding points lie in the same plane [2], fault. The structure of the woven fabric is plan view [11]. The initial idea of the see balanced and unbalanced fabric in usually defined by the weave, the mate- areal structure is a model of woven fab- Figures 1 & 2 (see page 42). rial of the yarn, thread density, and yarn ric which has crossing points formed in count [4]. These specifications determine one plane. This geometry operates with The interlacing of one end and pick creates the areal geometry of woven fabric. Ar- hundred-per-cent cover of the fabric and the binding cell of the woven fabric. The eal geometry defines only some selected with the possibility of mutual recalcula- size of the binding cell is defined by the properties of the fabric. A significant role tion of thread densities and yarn count for actual spacing of the weft and warp yarn. in describing woven fabric behaviour is the same cover factor of the fabric and The spacing of the weft yarn presents played by the three-dimensional geom- weaving resistance. This creates a false the depth of the binding cells along the etry. The spatial geometry is affected by impression that it is possible to weave longitudinal axis and the spacing of the the type and adjustment of the weaving however dense woven fabric in any com- warp yarn presents the binding cell in loom. The fabric geometry influences bination of the warp and weft density. the direction of the transverse axis. The Kolčavová Sirková B, Vyšanská M. Methodology for Evaluation of Fabric Geometry on the Basis of the Fabric Cross-Section. 41 FIBRES & TEXTILES in Eastern Europe 2012; 20, 5(94): 41-47. the limits of possible fabric densities, about the stability of the weaving etc. can be deduced from the description of mutual relations between tension and geometrical changes in the binding cell. The condition of the mathematical for- mulation of the binding wave and yarn cross-section for individual interlacing is given in [2]. Many attempts have been made to find a suitable model describ- ing the binding cell, i.e. to express math- Figure 1. Geometry of the unit cell for non- Figure 2. Geometry of the unit cell for bal- balanced woven fabric in plain weave [2]. anced woven fabric in plain weave [2]. ematically the shape of the binding wave in a given thread crossing in a fabric in a steady state. The Peirce model [12, 27], hyperbolic model, and sine shape are the models most used, which are related to plain weave, as is known. The model must be equally operative, and must de- scribe the binding repeat of the threads of both sections (longitudinal and transverse sections) as well as the influence of the bending rigidity and material profile on the shape of the threads interlacing in the Figure 3. Definition of the binding wave for the longitudinal and transverse fabric cross- passage from the right side on the reverse section [2]. side of the fabric and by contraries [1]. general formulation of thread spacing is The height of the binding wave hwarp and Previous geometric models result from given by Equations 1 and 2. hweft is given by Equations 5 - 6. initial geometric assumptions about yarn axes and cross-sections [2]. The central 1 weft distance = = axes of the binding wave are formed only (1) hwarp ewarp .d s (5) Dweft [piks/100mm mm]] h = (1− e ). d from abscissas or from ring arches and weft warp s (6) abscissas, from other curves. The yarn d + d 1 d = warp weft (7) cross-section at the binding points of the warp distance = (2) s D [ends / 100100mm mm]] 2 fabric is possible to substitute by circular warp The thickness of the woven fabric t is or other shapes [14]. For calculation of thread spacing for oth- the double value of the maximum from er than plain kinds of interlacing [1], i.e. values h +d /2 and h +d /2 [3]. We can The problems with the application of bindings where many combinations of 0 0 u u express the thickness of the fabric by the Peirce’s model [12] or other models are non-interlacing (floating) threads exist in following Equation 8. in the description of some real parameters an interlacing of warp or weft, it is pos- of the woven fabric (values dwarp, dweft, sible to use Equations 3 and 4. 100 2 2 hwarp, hweft, etc.) which usually we do ( ) − ( ) 2hwarp d warp 2hweft d weft .n 2 . 4. d s d s not know. Estimation of these geometric D t = (d wrp + d weft ).max + , + 2 + + + + weft distance = d warp d weft d warpparametersd weft d warpcan bed weftrealised d bywarp usingd weft im - 2 − 2 + − pp 1 . 4. (d s ) (d s ) d 2 .(n2 pp 1 ). age analysis through fabric cross-section (3)2h d 2h d 100 2 2 warp warp weft weft t.n=2 (d. 4.
Load more

Recommended publications
  • Cremation Grave Textiles Examples from Vendel Upper Class in the Vendel and Viking Periods
    Journal of Nordic Archaeological Science 13, pp. 59–74 (2002) Cremation grave textiles Examples from Vendel upper class in the Vendel and Viking Periods Anita Malmius Few are aware of the fact that organic material such as textiles and leather can survive in cremation graves. Even fewer are aware that charred textile fragments contain almost the same information as unburnt prehistoric textiles. This fact provides the opportunity for comparing textiles from different groups in society, for studying textile development, and for gaining access to a much greater textile material based on the numerous crema- tion graves. In this article the outfits of the men buried in the cremation graves in “Vendla’s Mound”, dated to the Vendel and Viking Periods, are compared with those buried in the contemporaneous boat-graves in Vendel. Introduction strong materialistic attitudes to death and life thereafter. The In an overview of Scandinavian textile- and leatherworking, buried person has been provided with a full set of equipment Eva Andersson (1995: 16) observes that the textile craft for the after-life. Thanks to the custom of equipping the tends to be mentioned only in passing in the archaeological dead with rich grave-goods, we can today obtain insights literature and research discussions, and that dress is primar- into some aspects of the culture of buried persons. But only ily seen as a complement to buckles and other ornaments. certain categories of objects have been laid down in the The reason for this would seem to be ‘the shortage of finds graves – already their contempories made choices as to what and other evidence’, but also, ‘poor knowledge of what has was at the time considered suitable and representative.
    [Show full text]
  • Sett Decisions
    TRANSCRIPT Sett Decisions Before we begin weaving cloth, there is a bit of crucial information that we need that determines the feel and the function of the fabric, and that is sett. Sett is to weaving what gauge is to knitting. In knitting, you can take a yarn, say like a fingering weight yarn, and you can knit it on tiny, skinny needles to produce tiny, little stitches that will produce a very tight, firm fabric. That might be suitable for something like socks, like I knit my socks on 2.25 millimeter needles and I make a fabric that’s so firm and stiff that it can stand up like cardboard. You want that because that kind of fabric that is firm and stuff affords a certain kind of durability that you want for your socks. You may not want that kind of durability for any other garment that you’re gonna be wearing. So you can take that same fingering weight yarn and then knit it on much larger size needles and produce a larger stitch which then produces a loose, draped, soft fabric that is perfect for a shawl. It’s the same idea with weaving. Sett is kind of like gauge. Think about the range of fabrics that you could create with a loom. Think about a very firm, stiff, durable, tightly woven fabric. What would that be good for? That might be good for something like upholstery fabric something that needs a lot of durability. And think about something like the cloth that you wear in your shirt.
    [Show full text]
  • 'How the Corpse of a Most Mighty King…' the Use of the Death and Burial of the English Monarch
    1 Doctoral Dissertation ‘How the Corpse of a Most Mighty King…’ The Use of the Death and Burial of the English Monarch (From Edward to Henry I) by James Plumtree Supervisors: Gábor Klaniczay, Gerhard Jaritz Submitted to the Medieval Studies Department and the Doctoral School of History Central European University, Budapest in partial fulfillment of the requirements for the degree of Doctor of Philosophy CEU eTD Collection Budapest 2014 2 Table of Contents TABLE OF CONTENTS .................................................................................................... 2 TABLE OF FIGURES ........................................................................................................ 3 ABBREVIATIONS ............................................................................................................ 4 INTRODUCTION .............................................................................................................. 6 1. ‘JOYFULLY TAKEN UP TO LIVE WITH GOD’ THE ALTERED PASSING OF EDWARD .......................................................................... 13 1. 1. The King’s Two Deaths in MS C and the Vita Ædwardi Regis .......................... 14 1. 2. Dead Ends: Sulcard’s Prologus and the Bayeux Tapestry .................................. 24 1. 3. The Smell of Sanctity, A Whiff of Fraud: Osbert and the 1102 Translation ....... 31 1. 4. The Death in Histories: Orderic, Malmesbury, and Huntingdon ......................... 36 1. 5. ‘We Have Him’: The King’s Cadaver at Westminster .......................................
    [Show full text]
  • Most of the Main Window Is Naturally Used for Drawing Your Pattern
    WeavePoint 7 Version 7.0 User’s Guide Copyright © 1998-2011 B.T. Myhre/AVL Looms, Inc All rights reserved B.T. Myhre | www.weavepoint.com www.avlusa.com | AVL Looms, Inc WeavePoint License Agreement and Warranty Program License You have the non exclusive right to use WeavePoint on a single computer. You may not install this program on more than one computer, or use it over a network, without the written permission from B.T. Myhre by a multi-user, network or site license. As an exception to the above, you may install this program on more than one computer, as long as it under no circumstance is used on more than one computer at the same time. For example, if you have one computer at the workshop and one at home, you can use the program on both computers, but only if no other person can use the program in the workshop when you may use it at home. If more than one person want to use the program independently, each user must have a license. You may not modify or translate the software in any way or manner. No part of this manual may be reproduced or transmitted in any form or by any means. Electronic, mechanical, by photocopying or otherwise without the prior written consent of B.T. Myhre. Backup and Transfer You may make one archival copy of WeavePoint for the sole purpose of backing up the software for your own use. You may sell the program with your license right to another party. If you sell your license, you must transfer the complete program with disks and documentation, including any existing backup copy.
    [Show full text]
  • Proceedings of the 2Nd Biennial Research Through Design Conference | RTD 2015
    2121STST CENTURYCENTURY MAKERSMAKERS ANDAND MAMATERIALITIESTERIALITIES Proceedings of the 2nd Biennial Research Through Design Conference | RTD 2015 Scott, J. 2015. Mutate: The Evolution of a Responsive Knit Design System. In: Proceedings of the 2nd Biennial Research Through Design Conference, 25-27 March 2015, Cambridge, UK, Article 5. DOI: 10.6084/m9.figshare.1327974. Mutate: The Evolution of a Responsive Knit Design System Jane Scott hygromorph, and the hierarchical nature of plant materials. This framework is mapped against the fundamental components of a knitted fabric to establish a hierarchical model of knitting. Using this model a collection Textile Futures Research Centre, Central Saint Martins, University of The Arts, of knitted prototypes, constructed exclusively from natural fibres have London, UK been developed. These fabrics transform from 2D to 3D in response to [email protected] changing moisture levels. Whilst potential applications span the textiles sector, the impact of this Abstract: This smart textile design research is located at the intersection of research is more profound. This work represents a shift in thinking about biomimicry and responsive material systems. Using the inherent properties responsive textiles. Rather than applying complex synthetics or e-textiles, of natural fibres and knit structure, the aim is to develop responsive knitted my practice re-examines natural fibres and textile processes. Through the fabrics, which question the conventional material systems necessary for systematic application of a hierarchical model derived from biomimicry, smart textile design. a zero energy, 100% natural, responsive material system has been established. The work is informed by biological models derived from biomimetic research. Underpinning design research is a functional analysis of the Keywords: Knitting; Biomimicry; Responsive material systems; Smart responsive capacities of plants.
    [Show full text]
  • Department of Collegiate and Technical Education, Government of Karnataka 1
    Government of Karnataka DEPARTMENT OF COLLEGIATE AND TECHNICAL EDUCATION Curriculum Structure III Semester Scheme of Studies- Diploma in Apparel Design and Fabrication Technology CIE SEE Hours per week Marks Marks Sl. Course Code No. Course Name L T P Max Min Max Min Course Category / Teaching Department hrs Total contact /week Credits Total Marks for Min Marks (including Passing marks) CIE Assigned Grade Grade Point and CGPA SGPA Integrated Courses 1 PC/FT 20FT31P Pattern Illustration-III 3 1 4 8 6 60 24 40 16 100 40 PC/FT 2 20FT32P Surface Embellishment -I 3 1 4 8 6 60 24 40 16 100 40 3 PC/FT 20FT33P Yarn Science 3 1 4 8 6 60 24 40 16 100 40 CGPA 4 PC/FT 20FT34P CAD 3 1 4 8 6 60 24 40 16 100 40 Audit Course Both SGPA & & Both SGPA ಚನ-II/ ಬಳ哆ﲂಸಾ郍ಯ ಸ 5 AU/KA 20KA31T 2 0 0 2 2 50 20 - - 50 20 ಕನನ ಡ-II Total 14 4 16 34 26 290 116 160 64 450 180 *PC: Programme Core:: AU-Audit Course:: KA: Kannada:: L: Lecture:: T: Tutorial:: P: Practice Department of Collegiate and Technical Education, Government of Karnataka 1 Government of Karnataka DEPARTMENT OF COLLEGIATE AND TECHNICAL EDUCATION Curriculum Structure IV Semester Scheme of Studies- Diploma in Apparel Design and Fabrication Technology CIE SEE Hours per week Marks Marks Sl. Course Code No. Course Name L T P Max Min Max Min Course Category / Teaching Department hrs Total contact /week Credits Total Marks for Min Marks (including Passing marks) CIE Assigned Grade Grade Point and CGPA SGPA Integrated Courses 1 PC/FT 20FT41P Pattern Illustration - IV 3 1 4 8 6 60 24 40 16 100 40 2 PC/FT 20FT42P
    [Show full text]
  • The Bayeux Tapestry: Norman and English Perspectives Intertwined
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2004 The Bayeux Tapestry: Norman and English Perspectives Intertwined Maria Dajcar University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the European History Commons Recommended Citation Dajcar, Maria, "The Bayeux Tapestry: Norman and English Perspectives Intertwined. " Master's Thesis, University of Tennessee, 2004. https://trace.tennessee.edu/utk_gradthes/4652 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Maria Dajcar entitled "The Bayeux Tapestry: Norman and English Perspectives Intertwined." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History. Robert Bast, Major Professor We have read this thesis and recommend its acceptance: ARRAY(0x7f6ff822e9e0) Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Maria Dajcar entitled "The Bayeux Tapestry: Norman and English Perspectives Intertwined". I have examined the final paper copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History.
    [Show full text]
  • A Methodology for Analysis of Historic Textiles Ancon, Peru
    AN ABSTRACT OF THE THESIS OF Sally Jo Ishikawa for the degree of Master of Arts in Interdisciplinary Studies in the co-departments of Apparel, Interiors, and Merchandising, Museum Studies, and Anthropology, presented on May 5, 1989. Title: A Methodology for Analysis of Historic Textiles: Ancon, Peru Redacted for privacy Abstract approved: r Dr. LoErna Simpson Twenty-four woven Pre-Columbian textiles in the Apparel, Interiors and Merchandising Department (AIM)of Oregon State University were reported to be from Ancon, Peru. A methodology was developed to confirmthe exact provenance of the AIM textiles. Technical fabrication characteristics were utilized to describe certain known Ancon woven textiles and to analyze the twenty-fourAIM textiles; then comparisons were attempted between thetwo groups to determine if internal patternsfor each were identical. A literature and collection survey identified ten documented reports of known Ancon woven textiles. The previously recorded information of the known Ancon pieces was summarized. Technical fabrication characteristics for each AIM textile were observed and recorded. The technical fabrication characteristics included weave structure, thread count, fiber content, direction ofspin, ply, degree of twist, yarn diameter, color andmotif. Frequencies and especially developed analysis tools were utilized to identify internal patterns. Hypothesis 1 stated that information about the technical fabrication elements of Ancon woven textilesin certain other collections can be organized intointegrated patterns. Hypothesis 1 was not supported because data recorded on Ancon woven textiles was incomplete,and therefore only able to give limited frequencies. Hypothesis 2 was supported: The twenty-four woven Pre-Columbian textiles from the Costume and Textile Collection of the Apparel, Interiors andMerchandising Department of Oregon State University will havesimilar patterns in technical fabrication elements.
    [Show full text]
  • Course Template
    Curriculum Revision for B. Tech. (Textile Technology) Programme Dept. of Textile Technology Indian Institute of Technology Delhi 2013-2014 Tentative Schedule of Undergraduate Courses (The courses in red colour are the Institute core and programme linked core courses. These slots are fixed by The Institute.) Sem Lecture lecture lecture lecture Lecture/ Other Other Other L T P TOTAL Other I Maths-1 / 2 EE / CS PH / CY Mechanics Intro. to Graphics / Language / (3-1-0)4 (3-0-2)4 (3-0-4)5 / NONE Engg / Prog Prod. Real. None (3-0-2)4 (0-0-2)1 (0-0-4)2 (0-0-4)2 II Maths-2 / 1 CS / EE CY / PH NONE / Intro to Prod Real./ Language / (3-1-0)4 (3-0-2)4 (3-0-4)5 Mechanics Engg/ Prog Graphics None (3-0-2)4 (0-0-2)1 (0-0-4)2 (0-0-4)2 III PL EA/EA PL EA/ES Poly. Chem. PL EA/ES Text. fibres HUL ?? AML120 AML130 / (3-0-0)3 AML150 / (2-0-2)3 (3-0-2)4 (3-1-2)5 (3-1-2)5 IV Yarn Manf.-I Fabric Tech. TP &F Biology Structure Yarn Manf. Fabric Prep. & (3-0-0)3 Manf. I (3-0-0)3 (3-0-2)4/ Env. Property Lab -I Manf. Lab I Finishing Lab (3-0-0)3 (2-0-0)2 (3-0-0)3 (0-0-2)1 (0-0-2)1 (0-0-3)1.5 V Yarn Manf.-II Fabric Tech. Tex.
    [Show full text]
  • Making Sense of the Bayeux Tapestry Anna C
    Introduction: making sense of the Bayeux Tapestry Anna C. Henderson There is no university with a department of Bayeux Tapestry studies. Instead scholars write about the Tapestry from within history or art history departments, or as specialists in literature or archaeology. The Tapestry is likely to be only one element within our domain of scholarly interests. It may or may not be crucial to our day jobs. But as an interdisciplinary object the Tapestry is able to command a different range of significance for each of us. As we celebrate Gale Owen-Crocker’s long, energetic and collabora- tive career, I want to use this introduction as an exercise in thinking about the ways in which scholars and their subjects are brought together. In his influential book and television series, Ways of Seeing (1972),1 John Berger argues that, ‘We only see what we look at. To look is an act of choice. As a result of this act, what we see is brought within our reach’. Looking, according to this interpretation, is individuated, active and results in an act of composition, since what we choose to see will form our world view. He goes on to make the point that in the act of grasping our own powers of perception we become aware that others’ viewpoints may differ from our own. Dialogue is a matter of attempting to explain and bridge that gap. Maggie Humm talks in similar terms about a form of selective listening: Lectures only move us in relation to our own academic memories and academic desires and can then help us structure a sense of our academic identity.
    [Show full text]
  • Models for Shear Properties/Behavior of Dry Fibrous Materials at Various Scales: a Review Elena Syerko, Sébastien Comas-Cardona, Christophe Binetruy
    Models for shear properties/behavior of dry fibrous materials at various scales: a review Elena Syerko, Sébastien Comas-Cardona, Christophe Binetruy To cite this version: Elena Syerko, Sébastien Comas-Cardona, Christophe Binetruy. Models for shear properties/behavior of dry fibrous materials at various scales: a review. International Journal of Material Forming, Springer Verlag, 2015, 8 (1), pp.1-23. 10.1007/s12289-013-1138-7. hal-01687980 HAL Id: hal-01687980 https://hal.archives-ouvertes.fr/hal-01687980 Submitted on 19 Jan 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Models for shear properties/behavior of dry fibrous materials at various scales: a review Elena Syerko · Sébastien Comas-Cardona · Christophe Binetruy Abstract During forming operations of dry fibrous mate- Introduction rials in order to get the composite preforms, the defor- mation mode is substantially determined by the occurring The formability of composite parts is substantially deter- shear strains. Consideration of the material shear response mined by the mechanical response to loading of the dry namely from the theoretical point of view has gained high reinforcements – fibrous materials. During the forming importance because multi-scale nature and anisotropy of of composites, the reinforcements undergo high tensile fibrous materials complicates their experimental investiga- stresses and large strains, and the strains are mainly asso- tion, which raises the question of the tests realizability, ciated with the in-plane shear mode.
    [Show full text]
  • — the Unwound Yarn Birth and Development of Textile Tools
    THE UNWOUND YARN e-ISSN 2610-9336 Antichistica 18 ISSN 2610-881X Studi orientali 8 — The Unwound Yarn SPINAZZI-LUCCHESE Birth and Development of Textile Tools Between Levant and Egypt Chiara Spinazzi-Lucchesi Edizioni Ca’Foscari The Unwound Yarn Antichistica Studi orientali Collana diretta da Lucio Milano 18 | 8 Antichistica Studi orientali Direttore scientifico Lucio Milano (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Claudia Antonetti (Università Ca’ Foscari Venezia, Italia) Filippo Maria Carinci (Università Ca’ Foscari Venezia, Italia) Ettore Cingano (Università Ca’ Foscari Venezia, Italia) Joy Connolly (New York University, USA) Andrea Giardina (Scuola Normale Superiore, Pisa, Italia) Marc van de Mieroop (Columbia University in the City of New York, USA) Elena Rova (Università Ca’ Foscari Venezia, Italia) Fausto Zevi (Sapienza Università di Roma, Italia) Direzione e redazione Dipartimento di Studi Umanistici Università Ca’ Foscari Venezia Palazzo Malcanton Marcorà Dorsoduro 3484/D, 30123 Venezia e-ISSN 2610-9336 ISSN 2610-881X URL http://edizionicafoscari.unive.it/it/edizioni/collane/antichistica/ The Unwound Yarn Birth and Development of Textile Tools Between Levant and Egypt Chiara Spinazzi-Lucchesi Venezia Edizioni Ca’ Foscari - Digital Publishing 2018 The Unwound Yarn. Birth and Development of Textile Tools Between Levant and Egypt Chiara Spinazzi-Lucchesi © 2018 Chiara Spinazzi-Lucchesi for the text © 2018 Edizioni Ca’ Foscari - Digital Publishing for the present edition cb Quest’opera è distribuita con Licenza Creative Commons Attribuzione 4.0 Internazionale This work is licensed under a Creative Commons Attribution 4.0 International License Qualunque parte di questa pubblicazione può essere riprodotta, memorizzata in un sistema di recupero dati o trasmessa in qualsiasi forma o con qualsiasi mezzo, elettronico o meccanico, senza autorizzazione, a condizione che se ne citi la fonte.
    [Show full text]