DOCSLIB.ORG

A Comparison of the Patterns Formed by Primary Textile Structures and Their Photographic Abstraction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparison of the Patterns Formed by Primary Textile Structures and Their Photographic Abstraction Rochester Institute of Technology RIT Scholar Works Theses 9-22-1976 A comparison of the patterns formed by primary textile structures and their photographic abstraction Pamela Perlman Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Perlman, Pamela, "A comparison of the patterns formed by primary textile structures and their photographic abstraction" (1976). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Thesis Proposal for the Master of Fine Arts De gree Collee;e of Fine and Applj_ed .Arts Rochester Institute of Technology Title: A Comparison of the Fatterns Formed by Primary Textile structures and their Phot ographic Abstraction Submitted by: Pamela Anne Perlman Date: September 22, 1976 Thesis Co mm it te~: Nr . Donald Du jnowski I-Ir. I,l az Lenderman hr. Ed 1iiller Depart~ental Approval : Date :-:--g---li6~-r-71-b-r-/ ----- ---------~~~~~'~~~r------------------------- Chairman of the School for American Craftsme:l: ___-r-----,,~---- ____ Da t e : ---.:...,'?7~JtJ--J7~i,-=-~ ___ _ Chairr.ian of the Gr3.duate Prog:rarn: ------------------------~/~~/~. --- Date: ___________________~ /~~,~~;j~~, (~/_' ~i~/~: 7 / Final Committee Decision: Date: ----------------------- Thesis Proposal for the Master of Fine Arts Degree College of Fine and Applied Arts Rochester Institute of Technology Title: A Comparison of the Patterns Frmed by Primary Textile Structures and their Photographic Abstraction My concern in textiles is with structure and materials. I v/ould like to do v/all hangings based on primary textile structures such as knotting, looping, pile, balanced weaves, and tapestry. They will be done in textured fibers with high contrasts of nega tive and positive areas. These pieces will be photographed and (photographically) silkscreened onto commercial or handwoven fabrics. The printing will involve dyeing, distortion of repeats, and painting. The pieces will be hiing as a series of two causing a comparison between the patterns formed by the techniques and materials of the original pieces and their abstraction in the second. The written thesis will be a developed statement of ideas, research and documentation of techniques and materials, and bibliography . ROCHESTER INSTITUTE OF TECHNOLOGY A COMPARISON OF THE PATTERNS FORMED BY PRIMARY TEXTILE STRUCTURES AND THEIR (PHOTOGRAPHICALLY) PRINTED ABSTRACTIONS A THESIS SUBMITTED TO THE FACULTY OF THE COLLEGE OF FINE AND APPLIED ARTS IN CANDIDACY FOR THE DEGREE OF MASTER OF FINE ARTS DEPARTMENT OF WEAVING AND TEXTILE DESIGN BY PAMELA ANNE PERLMAN ROCHESTER, NEW YORK APRIL, 1977 wYi- #> a ky:?- oy TABLE OF CONTENTS ACKNOWLEDGMENTS iii INTRODUCTION 1 CHAPTER ONE: MATIERE - THE INNER STRUCTURE OF MATERIALS k TWO: THE STRUCTURE OF CLOTH 7 THREE: THE STRUCTURE OF A ROOM '. 10 FOUR: THE STRUCTURE OF HANGING SILK 11 CONCLUSION 12 GLOSSARY Ik SELECTED BIBLIOGRAPHY 18 LIST OF ILLUSTRATIONS LENGTH BY WIDTH BY MEDIUM DEPTH DIMENSIONS 2k" 18" Xerox #1 . .. figure drawing, craypas x 22" 22" Xerox #2. .paper and cloth collage, acrylics, colored x pencils 22" 2k" 2" Xerox #3. .handmade felt/handspun cashmere and alpaca x x 35" kk" Xerox #k. .printed silk; halftone photography, cushing x dyes, procion dyes, pencil drawing 35" 70" Xerox . .printed #5. silk; halftone photography, cushing .... x dyes, inmont inks Xerox #6. .RIT Graduate Thesis Show Installation Shot with black and white photographs 36" 2k" Xerox #7. .figure drawing, black pencil, acrylics x k5" k5" Xerox #8. .woven cloth, hemp ikated with indigo, black .... x and white photographs, RIT Graduate Thesis Show Installation Shot 6" 6" Xerox #9. .detail of Xerox #8, illustration of the Log x Cabin color effect 22" 25" Xerox #10. .handwoven and printed cloth; silk, cotton and... x linen, halftone photography, cushing dyes, inmont inks 6" 6" Xerox #11. .detail of handwoven cloth; silk, cotton and x linen, cushing dyes kk" kk" Xerox #12. .printed silk; line photography, tie-dye with.... x cushing dyes, procion dyes 36" kk" Xerox #13. .printed silk; line photography, tie-dye with.... x cushing dyes, procion dyes 36" kk" with.... Xerox #14. .printed silk; line photography, tie-dye x cushing dyes, procion dyes 33" k6" x Xerox #15. .printed cotton sateen; line photography, tie-... dye with cushing dyes, procion dyes Xerox #16... RIT Graduate Thesis Show Installation Shot with black and white photographs LIST OF ILLUSTRATIONS (CONT.) MEDIUM LENGTH BY WIDTH BY DEPTH DIMENSIONS 36" 2k" Xerox #17. .figure drawing, black pencil, acrylics x 36" 2k" Xerox #18. .figure drawing, black pencil, acrylics x Xerox #19...black and white photographs of the room structures and printed silks; line photography, procion dyes 18" 2k" silk on left x 30" Ik" silk on right x 15" 22" Xerox #20. .four cyanotype blues, procion dyes each x 30" 22" Xerox #21. .figure drawing, black pencil, acrylics x 30" 22" Xerox #22. .collaged paper and wax paper with acrylics x and colored pencils 30" 22" Xerox #23- .collaged paper and wax paper with acrylics x and colored pencils JO" 22" Xerox #2k. .collaged paper and wax paper with acrylics x and colored pencils 30" 22" Xerox #25* . .figure drawing, acrylics and colored pencils... x Acknowledgments My graduate studies over the last three years encompasses intensive work in textiles; fiber analysis, structures of fabrics, dyes, printing techniques and figure drawing, painting and photography. My thesis is the culmination of this work. It was not my aim to reproduce historical textile structures nor exact photographic likenesses, but rather to extract from these mediums the means to create a body of work that dealt with the abstraction and comparison of materials and processes. I am sincerely thankful for the individuals on the Rochester Institute of Technology's College of Fine and Applied Arts faculty who encouraged me in this direction; my three advisors, Mr. Donald Bujnowski and Mr. Max Lenderman in the Textile Department and Mr. Ed Miller in the Painting Department. I would also like to thank Mr. Fred Lipp in the Painting Department, Miss Kathy Collins in the School of Photography and Mr. Dan Levine in the School of Printing. 1. Introduction This thesis work is two fold. The first part is a concern with the primary structure of a fabric (the way that the cloth is put together), the materials chosen for the piece and as a result of these two, the tactile effects evoked. Each fiber has a different grain, gloss, smooth ness, roughness and size. These qualities of fiber plus the structure of the cloth are the elements a weaver exploits to achieve nap and tactile sensibility; a desire to feel the cloth between the thumb and fingers and to run the palm over the surface. Through the usage of many different fibers in various cloth constructions I have come to think of the surface characteristics, the tactile sense, as means fully expressive as line and color. The second part of my thesis work is the desire to capture the tactile sense peculiar to a piece and isolate it, disregarding all I considered non-essential to the work, ie. color, length by width dimen sions, etc., photograph this characteristic and silkscreen the image onto cloth. I wanted to work with the original image in a new medium; I wanted to explore the potential of textile dyes and inks. I did three fiber pieces based on an interplay of the fabric structures and materials chosen; a handspun/felt tapestry, a plain woven piece of cloth and wood structures covered with polyethylene. The fourth piece was a drawing. I photographed the essence, that which spoke of the surface characteristics, and printed the image onto silk cloth. I used either line or halftone photography depending on the type of image I was seeking. I did not intend and could not reproduce realis tically what I had sensed in the original piece. The photosilkscreen image is by necessity an abstraction of the original in its reduction of a three dimensional shape to two. This is further compounded by its change of scale, negation of color to negative/positive and loss of detail. The silkscreen image becomes the given. It is a constant around which I attempted to reconstruct the original interplay of structure and material through its placement, choice of the size of the 2. cloth to be printed, dyeing and painting. The flat silk cloth became a base on which to express ideas. I did three or four printed silks for each of the four originals. The two processes are quite different. Whereas the original is an assembling of different materials to form an idea/shape/image, the printed cloth reinterprets the idea using a given shape and image. I was parallelling these two textile processes with collaged paper works and figure paintings (Xerox #1 and #2) . The collaged works were made up of an assembling of different papers and fabrics. The figure paintings are a combination of black line drawing, acrylics and colored pencils within the given format of a rectangular piece of paper. Because the model would change the pose quickly, perhaps twenty-five times in a session, it afforded me the opportunity to experiment continuously with an underlying structure and a combination of different line and paint qualities. I used both paper processes, but particularly the figure drawings, as a more immediate realization of the textile construction and dyeing/printing/painting processes. My original idea was to choose one of the printed silks and hang it as a pair with the original textile. I wanted to compare the shared pattern as it appeared in the two different processes. This necessitates an equal, although not the same, importance from each and commands a tension between the two pieces.
Load more

Recommended publications
  • Aldrich FT-IR Collection Edition I Library
    Aldrich FT-IR Collection Edition I Library Library Listing – 10,505 spectra This library is the original FT-IR spectral collection from Aldrich. It includes a wide variety of pure chemical compounds found in the Aldrich Handbook of Fine Chemicals. The Aldrich Collection of FT-IR Spectra Edition I library contains spectra of 10,505 pure compounds and is a subset of the Aldrich Collection of FT-IR Spectra Edition II library. All spectra were acquired by Sigma-Aldrich Co. and were processed by Thermo Fisher Scientific. Eight smaller Aldrich Material Specific Sub-Libraries are also available. Aldrich FT-IR Collection Edition I Index Compound Name Index Compound Name 3515 ((1R)-(ENDO,ANTI))-(+)-3- 928 (+)-LIMONENE OXIDE, 97%, BROMOCAMPHOR-8- SULFONIC MIXTURE OF CIS AND TRANS ACID, AMMONIUM SALT 209 (+)-LONGIFOLENE, 98+% 1708 ((1R)-ENDO)-(+)-3- 2283 (+)-MURAMIC ACID HYDRATE, BROMOCAMPHOR, 98% 98% 3516 ((1S)-(ENDO,ANTI))-(-)-3- 2966 (+)-N,N'- BROMOCAMPHOR-8- SULFONIC DIALLYLTARTARDIAMIDE, 99+% ACID, AMMONIUM SALT 2976 (+)-N-ACETYLMURAMIC ACID, 644 ((1S)-ENDO)-(-)-BORNEOL, 99% 97% 9587 (+)-11ALPHA-HYDROXY-17ALPHA- 965 (+)-NOE-LACTOL DIMER, 99+% METHYLTESTOSTERONE 5127 (+)-P-BROMOTETRAMISOLE 9590 (+)-11ALPHA- OXALATE, 99% HYDROXYPROGESTERONE, 95% 661 (+)-P-MENTH-1-EN-9-OL, 97%, 9588 (+)-17-METHYLTESTOSTERONE, MIXTURE OF ISOMERS 99% 730 (+)-PERSEITOL 8681 (+)-2'-DEOXYURIDINE, 99+% 7913 (+)-PILOCARPINE 7591 (+)-2,3-O-ISOPROPYLIDENE-2,3- HYDROCHLORIDE, 99% DIHYDROXY- 1,4- 5844 (+)-RUTIN HYDRATE, 95% BIS(DIPHENYLPHOSPHINO)BUT 9571 (+)-STIGMASTANOL
    [Show full text]
  • Instant Conductors
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2015 Instant Conductors Mary Petralia University of Central Florida Part of the Creative Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Petralia, Mary, "Instant Conductors" (2015). Electronic Theses and Dissertations, 2004-2019. 1466. https://stars.library.ucf.edu/etd/1466 INSTANT CONDUCTORS by MARY PETRALIA A.A. Eastern Florida State College, 2008 B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2015 Major Professor: Russ Kesler © 2015 Mary Petralia ii ABSTRACT Instant Conductors is a collection of poems meant to engage the reader in conversation about the imperfect nature of the world in relation to the imperfect nature of readerly experience. Walt Whitman wrote, “I have instant conductors all over me whether I pass or stop / they seize every object and lead it harmlessly through me.” And so the things on these pages are intent on transmitting what one experiences in the minutiae of memory and routine: the sounds that surround a blackwater tidepool, what one imagines happens behind the closed doors of the friendly neighbors, or what’s heard in the whispers of an elderly man sitting in a waiting room.
    [Show full text]
  • The Tustenegee 14 How Has Pioneer Linens Lasted 100 Years? ‘It Feels Like Home
    The Tustenegee 14 How has Pioneer Linens lasted 100 years? ‘It feels like home by Jan Tuckwood, Palm Beach Post Writer Re-printed with permission by The Palm Beach Post When Toby Keller’s daughter, Chelsea, got engaged, Keller knew what they must do: Go to Pioneer Linens so the bride-to-be could learn how a proper lady handles proper linens. There was just one woman who could teach her: Penny Murphy, president of Pioneer and Keller’s longtime friend. Drawing of the original Pioneer Linens storefront. Courtesy Penny Murphy. 15 April 2012 Linens are Murphy’s lineage, after all. From hardware store can run a profitable business.” She is the granddaughter of the man to luxury linens boutique Daughter Penny had no intention of who founded Pioneer 100 years ago Pioneer opened in 1912, the same running the store at all. She earned and the daughter of the dapper George year the Titanic sank, taking so many a master’s degree in early childhood Greenberg, the “Mayor of Clematis Victorian traditions of civility down with education and ran a school for several Street,” who ran Pioneer for 60 years it. years in Wellington. When her three and turned it into a destination. For Lake Worth was barely settled, let children - Alan, 31, Marissa, 29, and young ladies like Chelsea, this is a rite of alone civil, when Max Greenberg Camille, 26 - were born, she became “the passage: You get the diamond ring, then opened his “Pioneer Hardware” store ultimate room mother,” volunteering and you get the Pioneer lesson.
    [Show full text]
  • Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept
    DOCUMENT RESUME ED 048 223 SP 007 137 TITLE Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept. of Education, Toronto. PUB LATE 67 NOTE 34p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS Clothing Instruction, *Curriculum Guides, Distributive Education, *Grade 11, *Grade 12, *Hcme Economics, Interior Design, *Marketing, Merchandising, Textiles Instruction AESTRACT GRADES OR AGES: Grades 11 and 12. SUBJECT MATTER: Fashicn arts and marketing. ORGANIZATION AND PHkSTCAL APPEARANCE: The guide is divided into two main sections, one for fashion arts and one for marketing, each of which is further subdivided into sections fcr grade 11 and grade 12. Each of these subdivisions contains from three to six subject units. The guide is cffset printed and staple-todnd with a paper cover. Oi:IJECTIVE3 AND ACTIVITIES' Each unit contains a short list of objectives, a suggested time allotment, and a list of topics to he covered. There is only occasional mention of activities which can he used in studying these topics. INSTRUCTIONAL MATERIALS: Each unit contains lists of books which relate either to the unit as a whole or to subtopics within the unit. In addition, appendixes contain a detailed list of equipment for the fashion arts course and a two-page billiography. STUDENT A. ,'SSMENT:No provision. (RT) U $ DEPARTMENT OF hEALTH EOUCATION & WELFARE OFFICE OF THIS DOCUMENTEOUCATION HAS BEEN REPRO DUCED EXACT' VAS RECEIVED THE PERSON OR FROM INAnNO IT POINTSORGANIZATION ()RIG IONS STATED OF VIEW OR DO NUT OPIN REPRESENT OFFICIAL NECESSARILY CATION
    [Show full text]
  • I Was Tempted by a Pretty Coloured Muslin
    “I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) .
    [Show full text]
  • 1917-11-16 [P 12]
    M tion of Women's CIntis, and Miss experiences In practical study of so- classes, for eocîîi] service workers; Nielsen and Vlggo Jacobaen. Thai Cornelia of Whittier cial conditions In New York as local conditions will be reviewed, sta- Bradford, House, RED CROSS HOME SERVICE City, VALHALLA ODD FELLOWS banquet will start at S o'clock and aA did Mrs. E. F. Spofford, who has been tistics gathered and general prepara- Jersey City. elaborate menu baa been Dr. Anna Howard Shaw will be the taking a course of Instruction in the tion made for effective handling of promised. I HAS INITIAL MEETING of home many cases whloh later will need the TOMORROW Besides members at th#* i. at mass also. The scope NIGHT many SUFFRAGISTS headliner tonight's meeting metropolis BANQUET as of this in the assembly chamber at the State service work was outlined, it attention department meeting last night there were several· The Initial meeting of the Red Valhalla No. Odd Fel- on "Woman touches the lires of families of all Among those present were repre- Lodge 275, from House. She will speak Cross home service department, held visitors General Morgan LodgreJ Patriots and War Service." Address- who are engaged In the nation's serv- sentatives from the Board of Educa- lows, at its meeting last con- of South and Essex last night at St. Peter's parish house, night Amboy County j es The of looking after tion, Board of Health, City Poor De- also will be made by Congressman was was re- ice. necessity ferred the second on three Lodge of Ra.hway.
    [Show full text]
  • Eco-Friendly Functional Resist Printing for Viscose Fabrics
    International Design Journal Volume 10 Issue 2 Article 35 2020 Eco-Friendly Functional Resist Printing for Viscose Fabrics Abeer Ibrahim Fathallah; Textile Printing, Dyeing and Finishing Department, Faculty of Applied Arts, Helwan University, [email protected], [email protected] El-Amir M. Emam; Textile Printing, Dyeing and Finishing Department, Faculty of Applied Arts, Helwan University., [email protected] Mahmoud A. Ali Textile Printing, Dyeing and Finishing Department, Faculty of Applied Arts, Helwan University., [email protected] Follow this and additional works at: https://digitalcommons.aaru.edu.jo/faa-design Part of the Art and Design Commons Recommended Citation Fathallah;, Abeer Ibrahim; Emam;, El-Amir M.; and Ali, Mahmoud A. (2020) "Eco-Friendly Functional Resist Printing for Viscose Fabrics," International Design Journal: Vol. 10 : Iss. 2 , Article 35. Available at: https://digitalcommons.aaru.edu.jo/faa-design/vol10/iss2/35 This Article is brought to you for free and open access by Arab Journals Platform. It has been accepted for inclusion in International Design Journal by an authorized editor. The journal is hosted on Digital Commons, an Elsevier platform. For more information, please contact [email protected], [email protected], [email protected]. 387 Abeer Fathllah et al. Eco-Friendly Functional Resist Printing for Viscose Fabrics Abeer I. Fathallah, Textile Printing, Dyeing and Finishing Department, Faculty of Applied Arts, Helwan University, [email protected] El-Amir M. Emam Textile Printing, Dyeing and Finishing Department, Faculty of Applied Arts, Helwan University. Mahmoud A. Ali Textile Printing, Dyeing and Finishing Department, Faculty of Applied Arts, Helwan University. Abstract: Keywords: This study focused on demonstrates improving the antibacterial activity and Eco-Friendly, White Resists white resist printing for viscose fabrics in one step.
    [Show full text]
  • Colour and Textile Chemistry—A Lucky Career Choice
    COLOUR AND TEXTILE CHEMISTRY—A LUCKY CAREER CHOICE By David M. Lewis, The University of Leeds, AATCC 2008 Olney Award Winner Introduction In presenting this Olney lecture, I am conscious that it should cover not only scientific detail, but also illustrate, from a personal perspective, the excitement and opportunities offered through a scientific career in the fields of colour and textile chemistry. The author began this career in 1959 by enrolling at Leeds University, Department of Colour Chemistry and Dyeing; the BSc course was followed by research, leading to a PhD in 1966. The subject of the thesis was "the reaction of ω-chloroacetyl-amino dyes with wool"; this study was responsible for instilling a great enthusiasm for reactive dye chemistry, wool dyeing mechanisms, and wool protein chemistry. It was a natural progression to work as a wool research scientist at the International Wool Secretariat (IWS) and at the Australian Commonwealth Scientific Industrial Research Organisation (CSIRO) on such projects as wool coloration at room temperature, polymers for wool shrink-proofing, transfer printing of wool, dyeing wool with disperse dyes, and moth-proofing. Moving into academia in 1987 led to wider horizons bringing many new research challenges. Some examples include dyeing cellulosic fibres with specially synthesised reactive dyes or reactive systems with the objective of achieving much higher dye-fibre covalent bonding efficiencies than those produced using currently available systems; neutral dyeing of cellulosic fibres with reactive dyes; new formaldehyde-free crosslinking agents to produce easy-care cotton fabrics; application of leuco vat dyes to polyester and nylon substrates; cosmetic chemistry, especially in terms of hair dyeing and bleaching; security printing; 3-D printing from ink-jet systems; and durable flame proofing cotton with formaldehyde-free systems.
    [Show full text]
  • C-20 Second Year Diploma Curriculum Textile Technology
    Government of Karnataka Department of Collegiate and Technical Education C-20 Second Year Diploma Curriculum Textile Technology Curriculum Development Cell, DTE 2021-22 Government of Karnataka DEPARTMENT OF COLLEGIATE AND TECHNICAL EDUCATION Curriculum Structure III Semester Scheme of Studies- Diploma in Textile Technology CIE SEE Hours per week Marks Marks Sl.No. Course Code Course Name /week L T P Credits Max Min Max Min Teaching CIE marks) Grade Point Total Marks Department Min Marks for SGPA and CGPA Assigned Grade Total contact hrs Course Category / Passing (including Integrated Courses 1 PC/TX 20TX31P YARN MANUFACTURE-II 3 1 4 8 6 60 24 40 16 100 40 2 PC/ TX 20TX32P FABRIC FORMING-I 3 1 4 8 6 60 24 40 16 100 40 3 PC/ TX 20TX33P COLORATION OF TEXTILES 3 1 4 8 6 60 24 40 16 100 40 4 PC/ TX 20TX34P TEXTILE TESTING-I 3 1 4 8 6 60 24 40 16 100 40 Audit Course Both SGPA & CGPA 5 AU/KA 20KA31T !ಾ#ತ% &ಂಚನ-II/ ಬಳ/ೆ ಕನ2ಡ-II 2 0 0 2 2 50 20 - - 50 20 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 Textile Technology CIE SEE Hours per week Marks Marks Sl.No. Course Code Course Name Category / /week L T P Credits Max Min Max Min Teaching CIE marks) Grade Point Total Marks Department Min Marks for SGPA and CGPA Assigned Grade Total contact hrs Course
    [Show full text]
  • Synthesis of Novel Reactive Dyes for Textile Applications CHEMISTRY
    Synthesis of Novel Reactive Dyes for Textile Applications By Umme Habibah Siddiqua (M.Phil UAF) 2009-ag-107 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILISOPHY IN CHEMISTRY DEPARTMENT OF CHEMISTRY AND BIOCHEMISTRY FACULTY OF SCIENCES UNIVERSITY OF AGRICULTURE FAISALABAD 2016 i ii iii My Affectionate Parents Whose esteemed love enabled me to get the success and whose hearts are always beating to wish for me maximum felicity in life. iv v ACKNOWLEDGEMENT All praises to Almighty ALLAH, the creator, dominant, self existing and sustainer, who enabled me to accomplish this project and all respect is for his last Prophet MUHAMMAD (Peace and Blessing of Allah Be Upon Him) who is forever a torch of guidance and knowledge in our life. I pay my humble gratitude to my worthy supervisor Dr. Shaukat Ali, Dept. of Chemistry, University of Agriculture, Fasisalabad and Co-Supervisor Dr. Tanveer Hussain, Dept. of Textile Processing, National Textile University, Faisalabad for their absorbing attitude, constant guidance, timely suggestions, inspiration and encouragement throughout my studies. I offer my cordial and profound thanks to Prof. Dr. Haq Nawaz Bhatti Chairman, Dept. of Chemistry, University of Agriculture, Fasisalabad and Prof. Dr. Asgher Bajwa for their co-operation, valuable suggestions and guidance during my research and compilation of my thesis. I am lucky enough to have the support of many good friends. Special thanks are extended to Asma Hanif, Anum Sahar, Asma Tufail, Sana Sadaf, Sana Nosheen, Shazia Muzzafar for their prayers, moral support and sincere suggestions. I want to express my gratitude, deep appreciation and very special thanks to Textile processing staff of the National Textile University, Faisalabad, without their help, moral support and encouragement it would not be possible for me to complete my degree in such a good way.
    [Show full text]
  • Volume Iy. Washington City, D. 0., March 29,1874. Number 4
    VOLUME IY. WASHINGTON CITY, D. 0., MARCH 29,1874. NUMBER 4. SENATE, Wednesday, Mar«h 28.—Mr. Hamlin in- out, which were all that the subject Is capable of. that Messrs. E. V. Hermangc and James R. Brewer had THE CAPITAL, troduced a bill to amend the act to incorporate the LOCKWOOD, HUFTY & TAYLOR, «23 Pennsylvania One Is that the effect-of the bill will be to postpone formed a copartnership for conducting It in the future, avenue, have received, and will open to-morrow, many National Union Savings Bank of the District of Co- PUBLISHED WEEKLY the resumption of specie payments and settled values The New» Is daily improving, its circulation Is steadily novelties in fancy goods for ladles and gentlemen's BT THE lumbia. indefinitely; and the other is that the people de- on th« lucrease, and its value as an advertising medium wear. Ladles wishing fancy articles for the coming The first important matter under discussion was thus enhanced. CAPITAL PUBLISHING COMPANY, mand of Congress to perform just such a foolish Easter festivities can purchase them of this firm at very the finance bill, to provide for the redemption and thing, and so it must be done. CAPITAL BITS. reasonable prices. 027 D Street, Washington, D, C. reissue of United States notes, and for free banking. There was no vote had, and the Senate adjourned The Cathedral Is to have a new organ at a cost appro: The novelties just received comprise plain and fancy Mr. Schurz moved to amend the bill by fixing the imating $10,000.
    [Show full text]
  • African Lace
    Introduction Does changing an original material destroy its traditional context? If a material assumes new meaning or significance in a new context, is this inherently an appropriation of the object? What loss does this cause, and is it a positive change, a negative one, or neither? This lexicon revolves around African Lace. Through an analysis of this particular material, I broadly explain, craftsmanship, authenticity and reasons behind an object’s creation, including why and how it is made, from which materials, and how the object translates into a specific environment. Various kinds of objects are created in and relate to specific places and time periods. If situated in an environment in which it did not originate, the meaning of an object changes. In fact, the object is used from a new perspective. Although it is possible to reuse an object as a source of inspiration or research, it cannot be used as it was in its previous context. Thus, it is necessary to rethink the authenticity of an object when it is removed from its past context. History is important and can explain a materials origin, and it therefore warrants further attention. A lack of knowledge results in a loss of authenticity and originality of a historical material. In view of this, I develop this Lexicon to elaborate on the importance of this historical attention. It is interesting to consider how an object can influence a user in relation to emotional or even material value. The extent of this influence is uncertain, but it is a crucial aspect since any situation could diminish the value and the meaning of an object.
    [Show full text]