DOCSLIB.ORG

Double Corduroy Rag

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Double Corduroy Rag E-newes - coming to you monthly! Get connected: Visit schachtspindle.com for helpful Each issue includes a project, hints, project ideas, product manuals and informa- tion. Follow our blog, like us on Facebook, pin us on helpful tips & Schacht news. Pinterest, visit Schacht groups on Ravelry, follow us TM on Twitter. News from the Ewes DECEMBER 2014 Blanket Weaving in the Southwest. We What is a countermarche loom liked Loie Stenzel’s suggestion for us- and why do we love it for rugs? Project ing patterned as well as solid fabrics, Double Corduroy Rag Rug Before I tell you why we love our countermarche so I spent some time by Chase Ford Cranbrook loom for rug weaving, I want to give you familiarizing myself After weaving off the mohair blanket a very brief overview of three systems for creating with the color pal- sheds. on the Cranbrook Loom (see pictures ettes that appeared On jack looms, on our Facebook), Jane and I decided in the blankets in when the treadle is that a double corduroy rug would be Wheat’s book. I depressed, some shafts fun to try. Corduroy is a pile weave that found several colors raise and the others is created by weaving floats along with and prints of a light- remain stationary. Jack a ground weave. The floats are cut after weight 100% cotton looms are the most weaving to form the pile. Corduroy can fabric to sample Rug sample popular style of looms be either single or double. Generally, with. in the U.S. and is the system we use for our Wolf and Standard Floor Looms. Weavers love jack looms double corduroy is used by handweav- Sampling can seem like a hassle because they are easy to tie up and very flexible, ers because it is the denser of the two but it really is worth all the extra with each shaft working independently. weaves. Many variations are possible. work. I learned which colors worked For counterbalance looms, when a treadle is de- Peter Collingwood's Techniques of Rug well next to one another and which didn’t offer Weaving explores corduroy in detail and is an excel- pressed, some shafts lower (called a sinking shed) enough contrast, how long and are balanced by other shafts which automati- lent resource. the floats should be in cally go up. On a counterbalance loom, there are Sampling order to make the right rollers or pulleys that balance each other, so if for I began with a sample. For inspiration, I looked length pile, how best to cut example, shaft 1 and 2 lower, 3 and 4 automatically at Loie Stenzel’s “Madras Double Corduroy Rug” my weft strips to minimize go up. While counterbalance looms have a light trea- featured on page 16 of Handwoven’s Design Collection fraying. These are the dling action, they are not as flexible because shafts 8 (Interweave Press) as well as Joe Ben Wheat’s book things I learned just having must be balanced against each other. to do with the weaving! Chase threading the Cranbrook On countermarche looms, shafts are both raised 6x and lowered. The Cranbrook Loom has a set of over- Designing head jacks, which when the treadle is depressed, After finishing the sampler for this project, I the center lowers and the outside raises. There are decided which colors I liked together and set out Draft for rug two sets of lamms: the lower lamms connected to EPI: 4 designing the final rug. During my sampling, I found the overhead jacks and the upper lamms attached to PPI: 6 that by alternating colors on the odd and even pattern the bottom of the shafts. On a countermarche, you picks and alternating again every few repeats of my • tie both what goes up and what goes down (rising • Find out more at schachtspindle.com ©2014 Schacht Spindle Co., Inc. Schacht Spindle Co., Inc. 6101 Ben Place Boulder, CO 80301 303.442.3212 E-newes - coming to you monthly! What is a countermarche loom, continued Each issue includes a project, shafts are tied to the lower lamms; sinking shafts helpful tips & Schacht news. are tied to the upper lamms). For more on loom TM systems, see the excellent discussion in Warp- ing Your Loom & Tying on New Warps by Peggy Osterkamp. Double Corduroy, continued According to Peter Collingwood’s The Techniques For rug weaving, to make a solid and dense of Rug Weaving, it is a good idea to always thread a rug, you need a lot of tension. The Cranbrook treadling I could create a nice checkerboard pattern whole number of repeats or a whole number plus a loom serves well for with the floats. I decided to use this pattern as the half in order to avoid unnecessary complications. At this purpose. It is a main section of the rug with contrasting borders on 4 ends per inch, with 20 ends per repeat, the total heavy and sturdy loom either end. number of warp ends fit perfectly into 6 threading with a worm gear that Once I had a rough idea of what I wanted the rug repeats to give my desired weaving width of 30". The allows you to crank up to look like, I sat down with some graph paper and the tension incremen- block threading used in this rug has five warp ends started to play with proportions. I ended up using phi tally, as well as eas- on each shaft. An important thing to remember is (pronounced fee), a mathematical number not unlike ily loosen the tension Cranbrook worm gear that the length of the pile will be half the length of the pi to determine the size when the warp needs advancing. The swinging float because the float will be cut. A way to lengthen of my borders and central overhead beater can be adjusted to meet the fell the floats and make section. Phi, also known as at just the right angle. With the addition of the op- a deeper pile is to the “Golden Ratio”, is often tional beater weight, the beater powerfully packs manually pull up on used to determine propor- the weft without strenuous effort. Another feature each float as you we love about the Cranbrook for rug weaving is tions. It owes its popularity to weave. This will the locking treadles, which enable you to press the fact that many things in require more weft down on the treadle and slide it into a groove to nature, such as the leaves of and will be slower to hold it in place when you need to adjust the wefts plants, grow proportionally weave than simply in the shed. according to phi. I developed Rug on Cranbrook with temple throwing the shuttle In talking to our friend Tom Knisely, teacher a design of 12" long borders and rug weaver at The Mannings and author of and beating. on either end with a central Weaving Rag Rugs and several DVDs including section of 36". Developing the design Calculating Fabric Yardage Weave a Good Rug, he reminded us of the features I decided to make the hem on either side of the rug To determine how much yardage of each color I he loves: the tapered treadles which automatically 5" in order to have plenty to work with as the pile will would need for weft, I calculated the area of my sam- adjust the shed (generally Swedish style counter- determine how much of the hem is seen. I’d rather pler and learned that 2 yards of fabric would roughly marche looms require much knot-tying to adjust have a little extra waste than not enough woven. yield 252 sq. in. of tripled rag weft strips at 3/4" wide. the shed) and the convenient, pre-marked Texsolv Since the warp is all but invisible underneath the I tripled the weft in order to allow colors to blend cords that make tying the treadles to the lamms convenient and easy. rags, the only place it shows is in the hem at the more subtly as well as for added thickness. I then For more information on the Cranbrook loom, beginning and end of the rug. For this reason I chose calculated the area I wanted the final rug to be and now in its 85th year, go to schachtspindle.com/ a deep navy 8/4 poly-cotton rug warp that contrasted got 1800 sq. in. I then took the dimensions of each cranbrook. with the pile borders and matched the darker sec- section of color and calculated the area to know just Visit schachtspindle.com/newsletter for tions of the middle. how much of each color I needed. I added an extra • more project ideas and instructions. Find out more at schachtspindle.com ©2014 Schacht Spindle Co., Inc. Schacht Spindle Co., Inc. 6101 Ben Place Boulder, CO 80301 303.442.3212 E-newes - coming to you monthly! Inspiring Makers Each issue includes a project, One Post at a Time helpful tips & Schacht news. Historically, here at Schacht we haven’t TM blogged much, a few posts every month or even every month or so. This year, we decided Double Corduroy, continued warp is not caught from time to time. To remedy we wanted to connect more with our readers, this I simply paid attention to what was happening at yard or two to all of my numbers to be sure I’d have to provide content on our blog that was deeper the selvedges and placed my shuttle over or under enough.
Load more

Recommended publications
  • The Textiles of the Han Dynasty & Their Relationship with Society
    The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33
    [Show full text]
  • CATEGORY TITLE AUTHOR Basic Weaving/Techniques Mastering
    CATEGORY TITLE AUTHOR Basic Weaving/Techniques Mastering Weave Structures Alderman Basic Weaving/Techniques Textile Handbook Ame Basic Weaving/Techniques Shuttle Craft Book of American Handweaving Atwater Basic Weaving/Techniques Finishes in the Ethnic Tradition Baizerman Basic Weaving/Techniques Key to Weaving Black Basic Weaving/Techniques Book of Looms: History of Handloom Broudy Basic Weaving/Techniques Understanding Rayon Chenille Butler Basic Weaving/Techniques Learning to Weave Chandler Basic Weaving/Techniques Simple Weaving Chetwynd Basic Weaving/Techniques Craft of the Weaver Colllingwood Basic Weaving/Techniques All About Weaving: Comprehensive Guide to the Craft Creager Basic Weaving/Techniques Weaving: A Creative Approach for Beginners Creager Basic Weaving/Techniques Samplers You Can Use Drooker Basic Weaving/Techniques Easy Weaving With Supplemental Warps Essen Basic Weaving/Techniques Warping All by Yourself Garrett Basic Weaving/Techniques Next Steps in Weaving Graver Basic Weaving/Techniques Sectional Warping Made Easy Groff Basic Weaving/Techniques Weaving: A Handbook of the Fiber Arts Held Basic Weaving/Techniques Creative Weaving Howard Basic Weaving/Techniques Warp and Weave LeClerc Basic Weaving/Techniques Everybody's Weaving Book Lewis Basic Weaving/Techniques Hands on Weaving Liebler Basic Weaving/Techniques Weaver's Companion Ligon Basic Weaving/Techniques Manual of Helpful Hints forHandweavers Mannings Basic Weaving/Techniques Compendium of Finishing Techniques McEneely Basic Weaving/Techniques Weaving as an
    [Show full text]
  • 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.
    [Show full text]
  • Effects on Printing Quality According to Yarn Twist and Knitting Structure of Media in Digital Textile Printing(I)
    한국염색가공학회지 제22권 제3호 2010년 Textile Coloration and Finishing Vol. 22, No. 3, 2010 〈연구논문〉 DTP(Digital Textile Printing)에서 미디어의 원사꼬임 및 편성구조가 프린팅 Quality에 미치는 영향(I) 박순영†․전동원․박윤철1․이범수2 이화여자대학교 의류직물학과, 1한국생산기술연구원 융복합기술연구본부, 2한국생산기술연구원 경기기술지원본부 Effects on Printing Quality according to Yarn Twist and Knitting Structure of Media in Digital Textile Printing(I) Soon Young Park†, Dong Won Jeon, Yoon Cheol Park1 and Beom Soo Lee2 Dept. of Clothing and Textile, Ewha Womans University, Seoul 120-750, Korea 1Textile Fusion Technology R&D Dept., Institute of Industrial Technology(KITECH), Ansan 426-171, Korea 2e-Color Technology Service Center Dept., Institute of Industrial Technology(KITECH), Ansan 426-171, Korea (Received: March 28, 2010/Revised: July 16, 2010/Accepted: July 29, 2010) Abstract― Digital textile printing(DTP) is becoming more important because the production trend of textile printing goods is adapting to small-lot multiple items. Recently enhanced use of DTP is closely connected with production of high value-added products in fashion industry, which is also appropriate for quick response system(QRS). Quality of DTP depends on pre-treatment, after-treatment, ink, media, printer, etc. One of these parameters, Selection of good media is very important to obtain high quality of DTP products. Especially, the effects of media on printing quality of DTP according to yarn twist and structure of knitting fabric were examined in this study. Two types of yarn twist of 830 t.p.m and 1630 t.p.m for cotton knit were used and five types of media structures were knitted with single circular knitting machine.
    [Show full text]
  • Textile Preview Salesforce
    NEWSPAPER 2ND CLASS $2.99 VOLUME 75, NUMBER 39 SEPTEMBER 20–26, 2019 THE VOICE OF THE INDUSTRY FOR 74 YEARS RETAIL Nontraditional Retail Is Setting Trends in Retail Real Estate By Andrew Asch Retail Editor Representatives of some of the newest trends in retail took the stage at the I nternational Council of Shopping Centers’ W estern Conference Deal Making convention, which ran Sept. 16–1 at the Los Angeles Con ention Center in the city’s downtown. Speaking on the conference’s experiential-retail panel were Allison Samek, chief executive officer of F red Segal, and Tony Sekora, director of real-estate development at Nordstrom nc Samek said that the brand would build new stores overseas, a plan that was announced earlier this year when the retailer was acquired in March for an undisclosed amount by the brand-licensing agency G lobal cons. Retail Real Estate page 18 SUSTAINABILITY DuPont Sorona Makes a Sustainable-Apparel Connection With Farm- to-Table Food Sourcing the dark side By Dorothy Crouch Managing Editor Through establishing parallels between the locally sourced, slow-food movement and the slowing down of For her Spring 2020 collection, designer Dalia MacPhee made florals a bit apparel production from fast fashion, DuPont Sorona hosted an event on Sept. 11 to promote more-responsible approaches more magical by relying on season-appropriate prints in deeper hues. to fashion. Bringing together professionals from the apparel business, garment-industry watchdogs and environmental- MICHAEL BEZJIAN conservation organizations, Sorona illustrated how principles from farm-to-table food sourcing could be applied to fashion manufacturing.
    [Show full text]
  • Press Release a Continuous Thread: Navajo Weaving Traditions Bruce Museum, Greenwich, Connecticut August 18 – November 25, 2018
    Press Release A Continuous Thread: Navajo Weaving Traditions Bruce Museum, Greenwich, Connecticut August 18 – November 25, 2018 Third Phase Navajo Chief’s Blanket. Bruce Museum Collection 68.25.05. GREENWICH, CT, July 11, 2018 – On August 18, 2018, the Bruce Museum will open A Continuous Thread: Navajo Weaving Traditions. This exhibition will trace the history of the Navajo weaving tradition from the earliest Mexican-inspired Saltillo serapes, c. 1880, to mid-20th century pictorial rugs. Featuring a dozen items from the Museum’s Native American ethnographic collection – some of which have never been publicly exhibited – the exhibition will be on display in the Bantle Lecture Gallery through November 25, 2018. Navajo rugs are unique because their warp (the vertical strings on a loom) is one, long continuous piece of wool thread. Once the warp is set on the loom, the size of the rug cannot be altered. This weaving method requires the weaver to plan the design and pattern of the rug to fit precisely into the predetermined length of the rug. The ability to conceive and execute two-dimensional designs in extraordinary patterns and colors set Navajo weavers apart from the creators of other Native rugs and blankets. Knowledge of this traditional process is an important cultural tradition that has been maintained through intergenerational instruction and mentoring despite the obstacles of displacement, discrimination and isolation experienced by the Navajo Nation. Page 1 of 2 Press Release “The Najavo textile collection at the Bruce is extensive enough to illustrate the history of the weaving traditions and varied enough to demonstrate the artisanal skill of the weavers,” says Kirsten Reinhardt, Museum Registar and the organizer of this exhibition.
    [Show full text]
  • H'mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat
    International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 H’mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat CAT Village, Hoang Lien Commune, SAPA Town, Lao Cai Province, Vietnam Le Thi Hanh Lien1*, Nguyen Thi Hai Yen2, Dao Thi Luu3, Phi Thi Thu Hoang4, Nguyen Thuy Linh5 1, 2, 3, 4 Institute of Geography, Vietnam Academy of Science and Technology, 18 Hoang Quoc Viet Road, Nghia Do, CauGiay District, Ha Noi, Vietnam 5Management Development Institute of Singapore *Corresponding author: lehanhlien2017[at]gmail.com Abstract: Indigo dyeing and beeswax batik are the two traditional crafts that have long been associated with the H’Mong people in Sa Pa in general, Cat Cat village in particular and still preserved until the presentday. Through many stages of making indigo dye combined with sophisticated techniques and the ingenuity, meticulousness of the artisans in each motif and pattern, unique beeswax batik and indigo dyeing products have been created bringing the cultural identity of the H’mong people. These handicraft products have become a highlight to attract tourists to learn and discover local cultural values and they are meaningful souvenirs for visitors after each trip. In recent years, the development of the community-based tourism model in Cat Cat village has brought many benefits to the local community. Meanwhile, it has also contributed to creating opportunities for the development and restoration of H’mong traditional crafts. Keywords: indigo dyeing, beeswax batik, H’Mong, Cat Cat, Sa Pa 1. Introduction cultural and religious life of the H'Mong.
    [Show full text]
  • Sloppy Sweaters [And] Tweed Skirts:” Proposed Styles for the Wartime College Woman Jennifer M
    International Textile and Apparel Association 2013: Regeneration, Building a Forward Vision (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM We wore “sloppy sweaters [and] tweed skirts:” Proposed styles for the wartime college woman Jennifer M. Mower Oregon State University Elaine L. Pedersen Oregon State University Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Mower, Jennifer M. and Pedersen, Elaine L., "We wore “sloppy sweaters [and] tweed skirts:” Proposed styles for the wartime college woman" (2013). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 119. https://lib.dr.iastate.edu/itaa_proceedings/2013/presentations/119 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. New Orleans, Louisiana 2013 Proceedings We wore “sloppy sweaters [and] tweed skirts:”1 Proposed styles for the wartime college woman Jennifer M. Mower and Elaine L. Pedersen, Oregon State University Keywords: World War II, Historic analysis, Clothing needs By Fall 1943 about half of all U. S. college students were women as men left the campuses to fight in World War II. Because of this shift many U.S. colleges tailored their courses and programs to female students.2 National periodicals also focused attention on the co- eds. The purpose of this study was to examine proposed styles for college women during WWII to help historians analyze and put into context dress worn by college women during the war.
    [Show full text]
  • Advances in Carpet Manufacture
    SOFTbank E-Book Center Tehran, Phone: 66403879,66493070 For Educational Use. www.ebookcenter.ir Woodhead Publishing in Textiles: Number 87 Advances in carpet manufacture Edited by K. K. Goswami © SOFTbank2009 Woodhead E-Book Publishing Center Limited Tehran, Phone: 66403879,66493070 For Educational Use. www.ebookcenter.ir Published by Woodhead Publishing Limited in association with The Textile Institute Woodhead Publishing Limited, Abington Hall, Granta Park, Geat Abington Cambridge CB21 6AH, UK www.woodheadpublishing.com Woodhead Publishing India Private Limited, G-2, Vardaan House, 7/28 Ansari Road, Daryaganj, New Delhi ± 110002, India Published in North America by CRC Press LLC, 6000 Broken Sound Parkway, NW, Suite 300, Boca Raton, FL 33487, USA First published 2009, Woodhead Publishing Limited and CRC Press LLC ß Woodhead Publishing Limited, 2009 The authors have asserted their moral rights. This book contains information obtained from authentic and highly regarded sources. Reprinted material is quoted with permission, and sources are indicated. Reasonable efforts have been made to publish reliable data and information, but the authors and the publishers cannot assume responsibility for the validity of all materials. Neither the authors nor the publishers, nor anyone else associated with this publication, shall be liable for any loss, damage or liability directly or indirectly caused or alleged to be caused by this book. Neither this book nor any part may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, microfilming and recording, or by any information storage or retrieval system, without permission in writing from Woodhead Publishing Limited. The consent of Woodhead Publishing Limited does not extend to copying for general distribution, for promotion, for creating new works, or for resale.
    [Show full text]
  • Local Disadvantages and the Weaver's Wage in the British Cotton Industry
    Local Disadvantages and the Weaver's Wage in the British Cotton Industry K.C.Jackson Department of Textile Industries, University of Leeds, Leeds, LS2 9JT. 1 Introduction A recent paper in " Ars Textrina" [ 1 ] provided an assessment of the Uni­ form List,1 which was the basis for determining the piece-rate earnings of weavers in most sectors of the British cotton industry from 1892, until it was gradually superseded following the Second World War. Although the List introduced rigidities in the labour market, nominally it had the advantage for operatives and employers alike, of discouraging under­ cutting of selling prices on the basis of wage cuts during periods of poor trade. However, this safeguard did not survive the severe pressures of the interwar years, as the legalisation of the List in 1935 testifies [2]. Un­ der more favorable trading conditions, the List also reduced the chances of disputes arising from wage differentials between mills and between districts. While the Uniform List provided a focus for collective wage bar­ gaining at industry level between the Amalgamated Weavers' Associ­ ation (AWA) and the Cotton Spinners and Manufacturers' Association (CSMA), it was not applied universally, since there were sectors of cot­ ton weaving for which its provisions were not appropriate. Thus sepa­ rate arrangements evolved in the production of sheetings, the weaving 1 Although the term Uniform List is used throughout this paper, the discussion below relates also to the Colne List, which from 1892 to 1935 was the industry-wide basis for determining wages in the weaving of coloured fabrics. The original Uni­ form List and the Colne List formed the basis respectively of the Grey and Coloured Sections of the revised Uniform List of 1935.
    [Show full text]
  • The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity
    The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity by Tunde M. Akinwumi Department of Home Science University of Agriculture, Abeokuta, Nigeria Abstract The paper investigated the nature of machine-produced fabric commercially termed African prints by focusing on a select sample of these prints. It established that the general design characteristics of this print are an amalgam of mainly Javanese, Indian, Chinese, Arab and European artistic tradition. In view of this, it proposed that the prints should reflect certain aspects of Africanness (Africanity) in their design characteristics. It also explores the desirability and choice of certain design characteristics discovered in a wide range of African textile traditions from Africa south of the Sahara and their application with possible design concepts which could be generated from Macquet’s (1992) analysis of Africanity. This thus provides a model and suggestion for new African prints which might be found acceptable for use in Africa and use as a veritable export product from Africa in the future. In the commercial parlance, African print is a general term employed by the European textile firms in Africa to identify fabrics which are machine-printed using wax resins and dyes in order to achieve batik effect on both sides of the cloth, and a term for those imitating or achieving a resemblance of the wax type effects. They bear names such as abada, Ankara, Real English Wax, Veritable Java Print, Guaranteed Dutch Java Hollandis, Uniwax, ukpo and chitenge. Using the term ‘African Print’ for all the brand names mentioned above is only acceptable to its producers and marketers, but to a critical mind, the term is a misnomer and therefore suspicious because its origin and most of its design characteristics are not African.
    [Show full text]
  • Glossary of Carpet and Rug Terms
    Glossary of Carpet and Rug Terms 100% Transfer - The full coverage of the carpet floor adhesive into the carpet backing, including the recesses of the carpet back, while maintaining full coverage of the floor. Absorbent Pad (or Bonnet) Cleaning - A cleaning process using a minimal amount of water, where detergent solutions are sprayed onto either vacuumed carpet, or a cotton pad, and a rotary cleaning machine is used to buff the carpet, and the soil is transferred from the carpet to the buff pad, which is changed or cleaned as it becomes soiled. Acrylic/Modacrylic - A synthetic fiber introduced in the late 1940's, and carpet in the late 1950's, it disappeared from the market in the late 1980's due to the superior performance of other synthetics. Acrylics were reintroduced in 1990 in Berber styling to take advantage of their wool-like appearance. Modacrylic is a modified acrylic. While used alone in bath or scatter rugs, in carpeting it's usually blended with an acrylic. Acrylics are known for their dyeability, wearability, resistance to staining, color retention and resistance to abrasion. They're non-allergenic, mildew proof and moth proof. Adhesive - A substance that dries to a film capable of holding materials together by surface attachment. Anchor Coat - A latex or adhesive coating applied to the back of tufted carpet, to lock the tufts and prevent them from being pulled out under normal circumstances. Antimicrobial - A chemical treatment added to carpet to reduce the growth of common bacteria, fungi, yeast, mold and mildew. Antistatic - A carpet's ability to dissipate an electrostatic charge before it reaches a level that a person can feel.
    [Show full text]