Study of Reed on High Speed Weaving Machines
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Special and Unusual Loom Frame from the First Half of the Nine
FINDING THE THREAD RESTORATION OF A PROFESSIONAL WEAVER'S LOOM Rabbit Goody A special and unusual loom frame from the first half of the nine teenth century now in the collection of the Ontario Agricultural Mu seum, Milton, Ontario,1 has provided an opportunity to examine some of the specialized equipment used by weavers in the nineteenth century to weave cloth with speed, intricate geometric patterns, and/or accommodate longer lengths of cloth. Surviving examples of cloth have made it apparent that trained weavers, weaving fancy cloth during the nineteenth century were using more complex equipment than that commonly associated with home textile produc tion. However, until now surviving examples of the equipment have been scarce. The museum's loom is one of a small number that can be linked to the production of the more complex cloths of this pe riod. At least, it has specialized equipment which professional weavers might choose to place on their looms. It is the most com plete example currently known. In their book, "Keep Me Warm One Night", Dorothy and Harold Burnham have identified this loom as being a professional weaver's loom because of its specialized features.2 It is being restored for the purpose of reproducing some of the more intricate cloth woven by professional weavers in the Niagara Peninsula. The survival of this loom frame, with its special features, has made it possible to set certain criteria for identifying other looms used by professionals and to corroborate the descrip tions of equipment and methods found in publications and manuscripts from the last half of the eighteenth century and early nineteenth century used to weave fancy cloth rapidly by profes sionals. -
DOUBLE WEAVE on the KNITTERS LOOM
DOUBLE WEAVEon the KNITTERS LOOM Create this beautiful double weave shuttle holder on a Knitters Loom with double heddle kit. Double Weave on the Rigid Heddle or Knitters Loom Double Weave and Brooks Bouquet on the black pair down and the white pair up Rigid Heddle or Knitters Loom using the 12. Take 1 white end from the pair of white Second Heddle Kit. ends (choose the one that is to the top or left of the pair) and thread through the eye to the You will need left Loom: Rigid Heddle Loom 40cm (16ins) or Knitters Loom 30cm (12ins) Reed: 2 x 40/10cm (10dpi) Warp & Weft Yarns: Ashford McKenzie 4 ply (100% Merino; 385m/421yds;100gms net) White 5. Place the reed in the up position 1 ball, Black 1 ball 6. Place the second reed in the front heddle Other: Two pick-up sticks (or shuttles) rest position Warping 1. Place one reed in the back heddle rest position 2.Excluding the first three and last three slots, warp across reed in the normal way but place 13. Continue across the reed two loops in each slot (one loop of black and 14. Check there are no crosses between the one of white) reeds. If the ends are crossed remove and repeat step 11 and 12. Your threading will look 7. Drape all ends from the back reed over the front reed (this will help to make the threading easier) 8. Take the first group of 4 ends (2 white ends and 1 black end from the slot and 1 end from the eye to the right and thread all 4 ends through the slot directly in front in the front reed 3. -
Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’S Cotton Frontier C.1890-1950
Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’s Cotton Frontier c.1890-1950 By Jack Southern A thesis submitted in partial fulfillment for the requirements for the degree of a PhD, at the University of Central Lancashire April 2016 1 i University of Central Lancashire STUDENT DECLARATION FORM I declare that whilst being registered as a candidate of the research degree, I have not been a registered candidate or enrolled student for another aware of the University or other academic or professional institution. I declare that no material contained in this thesis has been used for any other submission for an academic award and is solely my own work. Signature of Candidate ________________________________________________ Type of Award: Doctor of Philosophy School: Education and Social Sciences ii ABSTRACT This thesis explores the evolution of identity and community within north east Lancashire during a period when the area gained regional and national prominence through its involvement in the cotton industry. It examines how the overarching shared culture of the area could evolve under altering economic conditions, and how expressions of identity fluctuated through the cotton industry’s peak and decline. In effect, it explores how local populations could shape and be shaped by the cotton industry. By focusing on a compact area with diverse settlements, this thesis contributes to the wider understanding of what it was to live in an area dominated by a single industry. The complex legacy that the cotton industry’s decline has had is explored through a range of settlement types, from large town to small village. -
The Textile Machinery Collection at the American Textile History Museum a Historic Mechanical Engineering Heritage Collection
THE TEXTILE MACHINERY COLLECTION AT THE AMERICAN TEXTILE HISTORY MUSEUM A HISTORIC MECHANICAL ENGINEERING HERITAGE COLLECTION Textiles are an important part of our everyday lives. They clothe and comfort us, protect our first-responders, Introduction filter the air in our automobiles, and form the core of the fuselage in our newest aircraft. We enjoy their bright colors, wrap up in their warmth, and seldom give a second thought to how they make bicycles stronger and lighter or how they might be used to repair our vital organs. As textiles have changed from the first simple twisted fibers to high-tech smart fabrics, the tools and machinery used to make them have evolved as well. Drop spindles and spinning wheels have given way to long lines of spinning frames. And looms now use puffs of air instead of the human hand to insert the weft thread in a growing length of fabric. During the eighteenth and nineteenth centuries, textile manufacture was the catalyst for the Industrial Revolution in America. It was the leading edge in the transformation from an agricultural to a manufacturing economy and started the move of significant numbers of people from rural areas to urban centers. With industrialization came a change in the way people worked. No longer controlled by natural rhythms, the workday demanded a life governed by the factory bell. On the consumer side, industrialization transformed textiles from one of a person’s most valuable possessions to a product widely available at incredibly low prices. For more than a century, textile mills in Great Britain and the United States dominated textile production and led the industrial revolution in both Europe and North America. -
Reed Mark of Fabric and Its Relation with Warp Tension at Beat-Up with Different Loom Settings
Indian Journal of Textile Research Vol.13,September 1988, Pp. 151-157 Reed Mark of Fabric and Its Relation with Warp Tension at Beat-up with Different Loom Settings S K NEOGI and P K BHATT ACHARYYA Indian Jute Industries' Research Association, 17 Taratola Road,Calcutta 700088, India Received 21 August 1987; revised and accepted 20 January 1988 Reed mark of jute fabric with plain weave, expressed as reed mark percentage ({tMP), has been studied with differ- ent loom parameters. Attempts have also been made to find out the relationships between RMP and (a) tension differ- ence between two warp shed lines at beat-up and (b) seepage of the fabric. RMP at fell varies in the same manner as that at grey state of fabric with different loom settings and the relationship between them is linear with correlation coeffi- cient of 0.96. RMP at grey state decreases with earlier shed timing, higher back rest position and change of leasing pat- tern of warp yarns from one-by-one to two-by-two. Beat-up tension difference varies inversely with RMP and the rela- tionship between them is linear with correlation coefficients of - 0.91 and - 0.76 for different shed timings and back rest positions respectively. Seepage of the fabric is directly related with RMP with correlation coefficient of 0.64. Keywords: Jute fabric, Loom setting, Reed mark, Warp tension 1 Introduction 2.1 Measurement of Reed Mark Reed mark or Reediness of fabric is one of the During weaving the warp and weft yarns interlace major faults and, therefore, needs proper care dur- at the fell to form a fabric and the resultant cover of ing weaving. -
NEEDLEWORK / FIBER Introduction to Inkle Weaving
Inkle and Tablet Weaving Next Steps – Beyond the Basics A lecture and discussion class covering inkle and tablet (card) weaving techniques that go beyond warp based designs. Class will cover: Patterning using brocading and pickup work; adding beads, loops, bells, and fringe; adding and removing warp threads; using multiple shuttles. There are no hands on activity in the class; we’ll have descriptive handouts, samples, demos, and discussion. I. Who am I: Mistress Lynnette de Sandoval del Valle de los Unicornios … [email protected] II. Who are you? A. Lots of Inkle? B. Other weaving? C. Bring anything to share? III. Art vs. Functionality A. What does that mean? B. Who cares? C. Is inkle weaving Period? 1. The looms we use – no 2. Warp faced weaving – yes! D. What do you expect in the way of wear and tear IV. Adding stuff to the Warp and Weft threads A. Adding sticks / feathers / etc 1. Lay in while weaving 2. Sticks wider than loom 3. Should you glue at edge ???? 4. Christmas Tree 5. Spacing: Count Warp threads / measure B. Measure: Pre-measured / knotted non-stretch cord 1. Weaving Multiple, measured strips in one warping C. Concept: Secondary Weft 1. What is it? a) Additional Weft thread(s) 2. Why? a) Main Weft holds the weaving together b) Secondary Weft adds style elements 3. Disadvantages a) Adds thickness to rows 1) Use thinner / softer yarn if possible 2) Beat down harder b) Shows at salvages 1) Use same or complementary color if possible 2) Monofilament thread / fish line @Debbie Coyle (Unicorn Fiber Arts) & Angela of Rosebury p. -
Glossary of Tapestry Terms
[This glossary is not meant to be all-inclusive, or the ultimate authority on definitions. It was developed from a few submitted glossaries and includes primarily words that refer directly to tapestry weaving. However, the glossary is meant to be useful. So with that objective, we would like to experiment with a “Wikipedia” style glossary. You can: • add a word and its definition. • add to, or modify the definition of one of the words already in the glossary. • submit a digital image to illustrate one of the terms. Submit your additions to: Mary Lane: [email protected] Thanks for helping out!] Glossary of Tapestry Terms Abrash – Slight variations in the weft color due to different dye lots, or to differences in dye absorption in the same dye lot. Arrondiment – (French) Soumak. Aubusson – (French) A city in France in which many commercial, low warp ateliers are located. The word is often used to refer, in a generic way, to low warp weaving. Awl – A pointed, metal instrument used for piercing small holes in leather, wood, etc. Weavers use awls to loosen, or pick apart, the densely packed weft and to manipulate the surface of the woven fabric. Basse-licier – (French) Low warp tapestry weaver. Basse lisse – (French) A low warp loom; low warp weaving. Bâton de croisure – (French) Shed stick. Battage – (French) A woven technique used for shading and transparencies in which the number of full passes of two or more colors changes in a proportional manner. Beams – Rollers on a loom, the warp beam holds the extra warp and the cloth beam holds the finished cloth. -
Dark Age Tablet Weaving
Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in Europe and Britain in the first millenium AD and is an excellent craft for historical re-enactors as it is portable, interesting, little known nowadays and you can make beautiful bands to decorate your outfit. However, creating replicas of Dark Age bands is challenging. Many of the surviving historic bands are difficult to weave, and so most re-enactors either buy in tablet-weaving or weave simplified bands, and may use patterns and techniques that aren't appropriate to the Dark Ages. The aim of this document is to describe the characteristic styles and methods of Dark Age tablet- weaving. There is also information about materials, equipment and tablet-weaving techniques. Perhaps the most striking theme of the historic bands is inventiveness, and the advantage of the historic techniques is that they allow the weaver to create a far wider range of patterns than the modern methods, which were mostly developed in the 19th and 20th centuries as tablet-weaving was 'rediscovered' in Europe1. This document isn't exhaustive, and I recommend that the interested reader explore further patterns and techniques. There are many good patterns available online. Just remember, as I once read on the internet, the first instruction in tablet weaving is “remove the cat”. Please contact me with any comments or corrections. -
Learn to Weave on the Knitters Loom
Learn to weave on the Knitters Loom spinning | weaving | carding | felting | knitting | dyeing Welcome to the wonderful world of weaving ... YOUR FIRST PROJECT – A SCARF You will need: Warp A pair of sharp scissors Use Ashford Tekapo in stripes of white, blue, yellow and green. A measuring tape Length – 2m (78ins) allowing 15cm (6ins) at each end for fringe Cardboard warp sticks Number of ends – 88 One long table or two smaller tables Finished width – 26cm (10¼ins) Yarn Weft For this project we have used Ashford Tekapo, a smooth Ashford Tekapo #206 Natural White. DK (double knit) sport weight yarn with a slightly textured handspun look, for the warp and the weft. Ashford Tekapo 8ply/DK yarn (100% wool, 200m/218yds, 100gm net) #206 Natural White, #230 Midnight Blue, #203 Butter, #221 Chartreuse. WARP AND WEFT These are two terms you will need to know as they form the basis of all weaving. The warp threads are put onto the loom first. They are held on the loom under tension between the front and back roller. The weft threads pass over and under the warp threads to form the woven fabric. warp weft SHED The shed is the opening formed in the warp, through which the shuttle passes. OPTIONAL ACCESSORIES Extra reeds 10, 20, 30, 40, 50 and 60 dents per 10cm (2.5, 5, 7.5, 10, 12.5 and 15 dents per inch), vari dent reed, loom stand, pickup sticks, shuttles, weaving needles, tapestry beater, warp thread weights, fringe twister. Knitters loom 30cm (12"), carry bag included, loom stand optional back roller warp stick ties handle cog pawl shuttles warp reed support block sticks clamps reed warping threading hook peg base cardboard warp sticks front roller warping peg THE LOOM The reed has large holes and slots to accommodate a larger The shuttle is used to carry the weft yarn from side to side to variety of yarns. -
A Textile Workshop from Roman Times: the Villa Dels Antigons
28 OPEN SOURCE LANGUAGE VERSION > CATALÀ A textile workshop from Roman times: the villa dels Antigons by Marta Prevosti Photographs: © Marta Prevosti I ntroduction 1 EPR VOSTI 2011. The Roman villa dels Antigons, in Reus, was one of the richest and most 2 JÁRREGA and PREVOSTI important agricultural concerns in the territory of the city of Tarraco. The farm 2011. was in operation between the second century BC and the seventh century AD. 3 ANZUEV LE LA 2010. 4 JÁRREGA and PREVOSTI In the Imperial Age a residence was built for the owner which, to judge from 2013. the findings of the archaeological excavations – remains of a nymphaeum (a 5 We thank Jaume Massó monumental fountain), baths, sculptures, marble and mosaics – must have been i Carballido, director of a Roman country palace. The site has been known since 1849 but it suffered the Salvador Vilaseca Archaeology Museum in large-scale damage in the 1950s; then, between 1977 and 1979, an animal feed Reus, for providing access to factory was built on top of it, almost destroying it completely. the materials. As is often the case with the finest villas of the Roman provinces, a thorough- going study of the site of Els Antigons reveals the reasons for its splendour. Many major economic activities have been identified1. First, four pottery kilns have been found, which would have made amphorae for storing wine2. This provides indirect evidence that the agriculture of the villa included wine production, and in fact remains of a cellar have also been found. There are also traces of iron-making, and the bones found in the excavations highlight the presence of significant level of livestock farming, particularly oxen3. -
Learn to Weave on the Table Loom Welcome to the Wonderful World of Weaving
Learn to weave on the Table Loom Welcome to the wonderful world of weaving ... Welcome to the wonderful world of weaving. You are starting an exciting journey of discovery and we know you will enjoy all the texture and colour, creativity and satisfaction that weaving will bring. We make a range of table looms. The four and eight shaft looms are available 40, 60 or 80cm (16, 24 or 32in) wide. There is also a 16 shaft table loom 60cm (24in) wide. This booklet shows our easy warping method and gives instructions for a first project. We used a 40cm (16in) table loom but the instructions apply to all our table looms. Happy weaving. Four Shaft 60cm (24in) pictured with optional stand Elizabeth and Richard Ashford and treadle kit Eight Shaft 40cm (16in) Sixteen Shaft 60cm (24in) pictured with optional stand and weft around a ruler or yarn gauge for Glossary one inch (25mm). The number of times the warp yarn wraps around the ruler is the correct sett. Before you begin your first project on the table loom, here is a Shafts(Harnesses) Frames which hold the heddles. Shaft one glossary of weaving terms you will need to know to get started. is the shaft closest (front) to the weaver. Shed Opening formed in the warp to allow the Beaming Winding the warp under tension onto the shuttle to pass. back roller. Shuttle Holds the weft yarn. Beater Frame holding the reed. Beats the weft Sleying Threading the warp ends through the thread into place. reed. Cross Sticks Sticks used to keep the warp threads in Threading Cross Made while winding the warp. -
The Textile Terminology in Ancient Japan
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 The exT tile Terminology in Ancient Japan Mari Omura Gangoji Institute for Research of Cultural Property Naoko Kizawa Gangoji Institute for Research of Cultural Property Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Omura, Mari and Kizawa, Naoko, "The exT tile Terminology in Ancient Japan" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 28. http://digitalcommons.unl.edu/texterm/28 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Textile Terminology in Ancient Japan Mari Omura, Gangoji Institute for Research of Cultural Property Naoko Kizawa, Gangoji Institute for Research of Cultural Property In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. Salvatore Gaspa, Cécile Michel, & Marie-Louise Nosch (Lincoln, NE: Zea Books, 2017), pp.