First Supplement to General Order No. 179, Dated September 10, 1931
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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. -
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. -
How to Slip Knot & Chain Stitch
How to Slip Knot & Chain Stitch Appearance in pattern - ch Crochet usually begins with a series of chain stitches called a beginning or foundation chain. A slip knot is the first step in most crochet projects. We will begin by making a slip knot on the crochet hook about 6 inches from the free end of the yarn. You will first start by creating a loop with the yarn. Be sure that the free end of the yarn is dangling behind your loop (see illustration 3). Insert the crochet hook through the center of the loop and hook the free end (see illustration 4). Pull this through and up onto the working area of the crochet hook (see illustration 5). Pull the free yarn end to tighten the loop (see illustration 6). The loop on the crochet hook should be firm, but loose enough to slide back and forth easily on the hook. Be sure you still have about a 6-inch yarn end. Once you have the yarn wrapped, hold the base of the slip knot with the thumb and index finger of your left hand. Step 2: Bring the yarn over the crochet hook from back to front and hook it (see illustration 8). Draw hooked yarn through the loop of the slip knot on the hook and up onto the working area of the crochet hook (see arrow on illustration 9); you have now made one chain stitch (see illustration 10). Step 3: Again, hold the base of the slip knot and bring the yarn over the crochet hook from back to front (see illustration 11). -
Sheep Breeding Technology
NATIONAL RESEARCH INSTITUTE OF ANIMAL PRODUCTION Sheep breeding technology Training materials of project IMPROFARM - Improvement of Production and Management Processes in Agriculture Through Transfer of Innovations, Leonardo da Vinci Transfer of Innovations programme, number 2011-1-PL1-LEO05-19878 www.improfarm.pl This project has been funded with support from the European Commission. This publication reflects the views only of the author and the Commission cannot be held responsible for any use which may be made of the information contained therein. Content 1. Animal physiology ........................................................................................................................................................... 7 1.1 Naming of particular groups of sheep ..................................................................................................................................................................... 11 1.1 General bio-breeding characteristics of the sheep .................................................................................................................................................. 11 2. Types of utility ............................................................................................................................................................... 14 2.1 Woolly sheep ......................................................................................................................................................................................................... -
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. -
Concession Contract Format
SAMPLE CONCESSION CONTRACT FOR Historic-Style Candy Store AT Columbia State Historic Park STATE OF CALIFORNIA – NATURAL RESOURCES AGENCY DEPARTMENT OF PARKS AND RECREATION PARTNERSHIPS OFFICE 1416 NINTH STREET, 14TH FLOOR SACRAMENTO, CA 95814 Historic-Style Candy Store Concession Contract Columbia State Historic Park Historic-Style Candy Store SAMPLE CONCESSION CONTRACT INDEX 1. DESCRIPTION OF PREMISES ............................................................................ 2 2. CONDITION OF PREMISES ................................................................................ 2 3. TERM ................................................................................................................... 2 4. RENT .................................................................................................................... 3 5. GROSS RECEIPTS .............................................................................................. 5 6. USE OF PREMISES ............................................................................................. 6 7. INTERPRETIVE SETTINGS AND COSTUME ..................................................... 7 8. RATES, CHARGES AND QUALITY OF GOODS AND SERVICES ..................... 8 10. ALCOHOLIC BEVERAGES .................................................................................. 9 11. HOUSEKEEPING, MAINTENANCE, REPAIR AND REMOVAL........................... 9 12. RESOURCE CONSERVATION .......................................................................... 11 13. HAZARDOUS SUBSTANCES -
A Plantation Family Wardrobe, 1825 - 1835
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 A Plantation Family Wardrobe, 1825 - 1835 Jennifer Lappas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2299 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. 1 The Carter Family Shirley Plantation claims the rightful spot as Virginia’s first plantation and the oldest family-run business in North America. It began as a royal land grant given to Sir Thomas West and his wife Lady Cessalye Shirley in 1613 and developed into the existing estate one can currently visit by 1725. The present day estate consists of the mansion itself and ten additional buildings set along a Queen Anne forecourt. These buildings include a Root Cellar, Pump House, two-story Plantation Kitchen, two story Laundry, Smokehouse, Storehouse with an Ice House below, a second Storehouse for grain, Brick Stable, Log Barn and Pigeon House or Dovecote. At one time the Great House was augmented by a North and a South Flanker: they were two free standing wings, 60 feet long and 24 feet wide and provided accommodations for visitors and guests. The North Flanker burned and its barrel-vaulted basement was converted into a root cellar and the South Flanker was torn down in 1868. -
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. -
Grace of Movements Top Fi08001 Table of Contents
SEWING INSTRUCTIONS GRACE OF MOVEMENTS TOP FI08001 TABLE OF CONTENTS METHODOLOGY . 3 Symbology . 3 Suggested equipment . 4 Things you need . 5 Pattern pieces . 6 Sewing technology . 7 How to read instructions . 10 SEWING . 11 1. Chest darts . 11 2. Waist darts . 12 3. Placket right . 13 4. Buttonholes . 15 5. Open the buttonhole . 19 6. Placket le . .20 7. Side seams . 21 8. Shoulder seams . 23 9. Double-fold hem . 24 10. Collar . 27 11. Continuous bound placket. 30 12. Sleeve . 34 13. 36 14. Sewing botons . 41 15. Det . .44 16. Detachable collar . 53 SEWING SUGGESTION . 60 GLOSSARY . 66 Grace of movements top FI08001 Page 2 Table of contents METHODOLOGY SYMBOLOGY PATTERN MARKINGS SEWING LINE CUTTING LINE CENTER LINE FOLD LINE PLACEMENT LINE GRAINLINE GATHER STRETCH BUTTONHOLE BUTTONHOLE BUTTON PLACEMENT NOTCH SEAM STRUCTURE INTERFACING FABRIC ZIPPER SERGE CENTER LINE SERGER STITCH SEWING LINE FOLD LINE Grace of movements top METHODOLOGY FI08001 Page 3 Symbology SUGGESTED EQUIPMENT Sewing machine Iron Sewing Board Serger Universal foot Overedge foot Serger foot Bobbins Dressmaking Sewing needle for Seam ripper Rotary cutter shears hand stitch 9 8 7 3 6 5 4 2 3 2 1 1 Thread snips Tailors chalk; Safety pin Ruler soap or fabric pen 3” 4 8 3” 1” 1” 1 1 4 2 1 8 1” 1” 4 1” 8 5” Tape measure Pins Seam gauge Machine needle Buttonhole foot Buttonhole Cutter Sewing thread Sleeve Board Grace of movements top METHODOLOGY FI08001 Page 4 Suggested equipment THINGS YOU NEED • Fabric • Serger threads • Fusible interfacing • 3/8” (1 cm) Buttons • Sewing -
Exhibition Catalog
The Missouri Historic Costume and Textile Collection presents FASHIONING A COLLECTION: 50 Years 50 Objects March 7 – May 20, 2017 State Historical Society of Missouri Gallery FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Missouri Historic Costume and Textile Collection Department of Textile and Apparel Management College of Human Environmental Sciences University of Missouri State Historical Society of Missouri FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Curated by Nicole Johnston and Jean Parsons The Missouri Historic Costume and Textile Collection was established in 1967 by Carolyn Wingo to support the teaching mission of the Department of Textile and Apparel Management within the College of Human Environmental Sciences at the University of Missouri. MHCTC received its first donation of artifacts from the Kansas City Museum in Kansas City, Missouri and has grown to include over 6,000 items of apparel, accessories and household textiles donated by alumni, faculty and friends. Curator Laurel Wilson guided and nurtured the collection for over half of the Collection’s fifty years, and today, the MHCTC collects and preserves clothing and textiles of historic and artistic value for purposes of teaching, research, exhibition and outreach. This exhibit celebrates the variety and mission of the collection, and is thus organized by the three branches of that mission: education, research and exhibition. It was a challenge to choose only 50 objects as representative. We have chosen those objects most frequently used in teaching and are student favorites, as well as objects used in research by undergraduate and graduate students, faculty, and visiting scholars. Finally, favorites from past exhibits are also included, as well as objects and new acquisitions that have never been previously exhibited. -
State of North Carolina
STATE OF NORTH CAROLINA Division of Purchase and Contract Invitation for Bid #: 202100307 Uniform Contract North Carolina State Parks Date Issued: April 26, 2021 Bid Opening Date: May 7, 2021 At 2:00 PM ET Direct all inquiries concerning this IFB to: Nicole Mathis State Procurement Manager Email: [email protected] STATE OF NORTH CAROLINA Invitation for Bids # 202100307 For internal State agency processing, including tabulation of bids in the Interactive Purchasing System (IPS), provide your company’s Federal Employer Identification Number or alternate identification number (e.g. Social Security Number). Pursuant to G.S. 132-1.10(b) this identification number shall not be released to the public. This page will be removed and shredded, or otherwise kept confidential, before the procurement file is made available for public inspection. This page shall be filled out and returned with your bid. Failure to do so shall be sufficient cause to reject your bid. ______________________________________________________ Vendor Name ___________________________________________________ Vendor # Note: For your bid to be considered, your company (you) must be a North Carolina registered vendor in good standing. You must enter the vendor number assigned through eVP (Electronic Vendor Portal). If you do not have a vendor number, register at: https://vendor.ncgov.com/vendor/login ELECTRONIC RESPONSES ONLY WILL BE ACCEPTED FOR THIS SOLICITATION STATE OF NORTH CAROLINA Division of Purchase and Contract Refer ALL Inquiries regarding this IFB to: Invitation -
CHAIN STITCH FORMATION: STITCH CLASS - 100 Dr
CHAIN STITCH FORMATION: STITCH CLASS - 100 Dr. Bhupinder Kaur1, Dr. Chanchal2 1,2Department of Fabric and Apparel Science, Institute of Home Economics, Delhi University (India) ABSTRACT Stitch class 100 are formed with one or more needle threads, and are characterized by intra-looping. Intra-loping the passing of a loop of thread through another loop by the same thread. It is very economical, flexible but unravels too easily. It is mainly used for basting, button sewing and hemming operations. keywords- Stitch class, Stitch class 100 I. INTRODUCTION – STITCH CLASS 100 A stitch may be formed without material, inside the material, through material and on material. Stitch class 100 are formed with one or more needle threads, and are characterized by intra-looping. Intra-loping the passing of a loop of thread through another loop by the same thread (Fig 1). It is very economical, flexible but unravels too easily. It is used for basting button sewing, bag closing, hemming, padding operations, snap fasteners, cuff tacks etc. This stitch class may be further classified as class 101, 102, 103, 104, 105,107 and 108. Fig 1 Intralooping Source: http://www.textileschool.com/articles/97/different-kind-of-stitches II. FORMATION OF DIFFERENT TYPES OF STITCHES OF THIS CLASS Stitch class 101 is formed using one needle thread (1), a loop of which is passed through the material from the needle side and intra-looped in the other side. 223 | P a g e Name of Needle Total Needle Bobbin Eye Looper / Spreader Bed type Feed type stitch Threads Thread thread Blind Lopper Single thread 1 1 1 0 1 0 Cylindrical Bed Compound chain stitch feed Stitch class 102 is formed using two-needle thread (1and 2), loops of which are passed through the material from the needle side.