Yellowing of Textiles
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Library Author List 12:2020
SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Abel, Isabel Multiple Harness Patterns Weaving Instruction Adelson, Laurie Weaving Tradition of Highland Bolivia Ethnic Textiles Adrosko, Rita Natural Dyes and Home Dyeing Dyeing Adrosko, Rita Natural Dyes in the United States Dyeing Ahnlund, Gunnila Vava Bilder (Swedish Tapestry) Ethnic Textiles Albers, Anni On Designing Design Albers, Anni On Weaving General Weaving Albers, Josef Interaction of Color Design Alderman, Sharon D. Handwoven, Tailormade Clothing Alderman, Sharon D. Handweaver's Notebook General Weaving Alderman, Sharon D. Mastering Weave Structures Weaving Patterns Alexander, Marthann Weaving Handcraft General Weaving Allard, Mary Rug Making Techniques and Design Rug Weaving Allen, Helen Louise American & European Hand Weaving General Weaving American Craft Museum Diane Itter: A retrospective Catalog American Tapestry American Tapestry Biennial I Tapestry Alliance American Tapestry American Tapestry Today Tapestry Alliance American Tapestry Panorama of Tapestry, Catalog Tapestry Alliance American-Scandinavian The Scandinavian Touch Ethnic Textiles Foundation Amos, Alden 101 Questions for Spinners Spinning 1 SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Amsden, Charles A. Navaho Weaving Navajo Weaving Anderson, Clarita Weave Structures Used In North Am. Coverlets Weave Structures Anderson, Marilyn Guatemalan Textiles Today Ethnic Textiles Anderson, Sarah The Spinner’s Book of Yarn Designs -
You Wove That on What??? Stretching the Limits of a Rigid Heddle Loom
You Wove that on What??? Stretching the Limits of a Rigid Heddle Loom Matthew Williams This book is for sale at http://leanpub.com/rigid-heddle This version was published on 2013-04-19 This is a Leanpub book. Leanpub empowers authors and publishers with the Lean Publishing process. Lean Publishing is the act of publishing an in-progress ebook using lightweight tools and many iterations to get reader feedback, pivot until you have the right book and build traction once you do. ©2012 - 2013 Matthew Williams Tweet This Book! Please help Matthew Williams by spreading the word about this book on Twitter! The suggested hashtag for this book is #rigidheddle. Find out what other people are saying about the book by clicking on this link to search for this hashtag on Twitter: https://twitter.com/search/#rigidheddle Contents Why? ................................................ i The Good ............................................ i The Bad ............................................. i The Ugly ............................................. ii A Weaving Prayer ........................................ ii Tools ................................................ 1 Sticks ............................................... 1 Tools for Warping ........................................ 2 The Others ............................................ 2 The Most Important Tool of All ................................ 3 Direct Warping .......................................... 4 Warping ............................................. 4 Winding ............................................ -
University of Huddersfield Repository
University of Huddersfield Repository Redmore, Nicola Open to change: Embracing nature and the fragility of design. An investigation into outdoor seating materials through the practice of leno weaving. Original Citation Redmore, Nicola (2014) Open to change: Embracing nature and the fragility of design. An investigation into outdoor seating materials through the practice of leno weaving. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/23669/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Open to change: Embracing nature and the fragility of design. An investigation into outdoor seating materials through the practice of leno weaving. Nicola Redmore A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Masters by Research June 2014 Abstract The research documented in this thesis investigates the potential of leno woven fabrics to be developed for outdoor seating use, and to understand the influence that hand- weaving of these fabrics has on the design process for the commercial textile designer. -
Washington, Saturday, /Wne 2, 1945
- » *1 IITTM» I FEDERAL %REGISTER '9 3 4 ^ VOLUME 10 NUMBER 110 * Un it e d % Washington, Saturday, /wne 2, 1945 Regulations [WFO 75-2a] CONTENTS Part 1410—Livestock and Meats REGULATIONS AND NOTICES TITLE 7—AGRICULTURE SCHEDULE OF GOVERNMENT BEEF PURCHASE Alien Property Custodian : AND SET ASIDE PERCENTAGES . Vesting orders: Page Chapter XI—War Food Administration Pursuant to the provisions of War Food Bamberg, Marie___________ 6524 (Distribution Orders) Order No. 75-2, as amended (supra), and Bollerslev, Carrie E___1____ 6524 [WFO 109, as Amended, Termination] to effectuate the purposes thereof, it is Hahn, Marie______________ 6527 hereby ordered as follows: Koelsch, Louis_____________ 6525 Kuehl, Gustav_____________ 6525 Part 1490—Miscellaneous F ood § 1410.27 • Establishment of base pe Products Ludde, Robert, and Robert riod; establishment of beef purchase and Bernherd Ludde________ 6526 SOLUBLE COFFEE AND SOLUBLE COFFEE set aside, percentages—(a) Definitions. Lukitsch, Joseph___________ 6526 PRODUCTS The terms used herein shall have the Merkel, Else_______________ 6528 meaning set forth for such terms in War Miklosovitz .Elsie__________ 6528 War Food Order No. 109, as amended Food Order No. 75, as amended (10 F.R. Muller, Johann, et al______ 6526' (9 F.R. 9134; 10 F.R. 103), is terminated 4649), and War Food Order No. 75-2, as Reindl, John___________ _ 6527 as of 12:01 a.m., e.w.t., June 1, 1945, amended. Zoberbier, Carl-___________ 6528 but all soluble coffee and all soluble coffee (b) Base period; current rate of Customs Bureau: products set aside, at the effective time slaughter. The month of June 1944 is Airports of entry, redesignation. -
Novel Weaving Technology for the Manufacture of 2D Net Shape Fabrics for Cost Effective Textile Reinforced Composites
AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0005 © AUTEX NOVEL WEAVING TECHNOLOGY FOR THE MANUFACTURE OF 2D NET SHAPE FABRICS FOR COST EFFECTIVE TEXTILE REINFORCED COMPOSITES Duy Minh Phuong Vo, Gerald Hoffmann, Chokri Cherif Institute of Textile Machinery and High Performance Material Technology (ITM), Technische Universität Dresden, 01062 Dresden, Germany, Tel: +49 351 463 34693 Corresponding author e-mail: [email protected] Abstract: Despite significant weight and performance advantages over metal parts, today’s demand for fiber-reinforced polymer composites (FRPC) has been limited mainly by their huge manufacturing cost. The combination of dry textile preforms and low-cost consolidation processes such as resin transfer molding (RTM) has been appointed as a promising approach to low-cost FRPC manufacture. This paper presents an advanced weaving technique developed with the aim to establish a more cost-effective system for the manufacture of dry textile preforms for FRPC. 2D woven fabrics with integrated net shape selvedge can be obtained using the open reed weave (ORW) technology, enabling the manufacture of 2D cut patterns with firm edge, so that oversize cutting and hand trimming after molding are no longer required. The introduction of 2D woven fabrics with net shape selvedge helps to reduce material waste, cycle time and preform manufacturing cost significantly. Furthermore, higher grade of automation in preform fabrication can be achieved. Keywords: 2D net shape weaving with firm edge; ORW technology; woven fabrics for cost effective composites 1. Introduction fibers are delivered in rolls with constant width. Depending on the composite end product, those fabrics are cut into The use of fiber-reinforced polymer composites (FRPC) patterns with particular shape that will be stacked and joined in structural components has been attractive to many into a matched preforming tool to meet the mechanical and industry sectors for decades because of their high strength- structural requirements. -
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. -
Basic of Textiles
BASIC OF TEXTILES BFA(F) 202 CC 5 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Fiber Study 5-64 2. Fiber and its Classification 65-175 3. Yarn and its Types 176-213 4. Fabric Manufacturing Techniques 214-260 5. Knitted 261-302 UNIT Fiber Study 1 NOTES FIBER STUDY STRUCTURE 1.1 Learning Objective 1.2 Introduction 1.3 Monomer, Polymer, Degree of polymerization 1.4 Student Activity 1.5 Properties of Fiber: Primary & Secondary 1.6 Summary 1.7 Glossary 1.8 Review Questions 1.1 LEARNING OBJECTIVE After studying this unit you should be able to: ● Describe the Natural Fiber. -
IO033542 1961 HIM-C.Pdf
PRG. 60A(2) (N)jlOOO CENSUS OF INDIA 1961 VOLUME XX-PART VII-A-No. 2 HIMACHAL PRADESH Rural Craft Survey THE ART OF WEAVING Field Investigation and Draft by LAKSHMI CHAND SHARMA Editor RAM ~HANDRA PAL SINGH of the Indian Administrative Service Superintendent of Census Operations Himachal Pradesh, Simla-5. 1968 PRINTED IN INDIA bY THE CAMBRIDGE PRINTING WORKS, DELHI. AND PUBLISHED BY THE MANAGER OF PUBLICATIONS, CIVIL LINES, DELHI. Contents PAGFS FOREWORD iii PREFACE vii 1. WOOL, WOOLLENS AND OTHER TEXTILES Clothings-Religious tinge and Superstitions- Woollens today. 2. THE SPINNERS AND WEAVERS 5 Training of craftsmen-Training in silk rearing at Government Centre. 3. WEAVER'S WORKSHOP. 8 Workshop-Tools and equipment (i) Toolsfor preparing the yarn. (ii) Tools for preparing warp. (iii) Loom and its parts. (iv) Other accessories 4. RAW MATERIALS 16 Cotton-wool-sheep shearing-Silk-Facilities offered by the Government-Experimental Trials with mulberry varieties-Silk weaving-Pashmina-Sheli-Goat hair. 5. PREPARATION OF YARN 28 Rearing and shearing-washing-teasing-spinning-Twisting of thread into two ply-Preparation of Pashmina yarn-Goat hair spinning--Count ofyarn. 6. WEAVING PROCESSES 32 Calculation in w.eaving-Preparation of warp-Removing the warp threads-Threading the Headles-Reeding- The tie-up operation Preparation of weft-Weaving-Loom for Kharcha making-Sizing -Milling-Dying-Basic weaves-Plain weave-twill weave. 7 . VARIETIES IN F ABRI CS 42 Woollen fabrics- Traditional designs -Modern designs-Goat hair fabrics-Cotton fabrics. B. ECONOMY OF WEAVERS 48 Wages. ApPENDIX I 50 ApPENDIX II 61 "India is set on her own industrial collaboration and I have little doubt that she will progressively be an industrialised country, but I do hope that this process will not put an end to the handlooms of India. -
Schacht Guide to the Rigid Heddle Loom Projects Tips Inspiration
The Schacht Guide to the Rigid Heddle Loom Projects Tips Inspiration Accent: Using hemp rope (ours is from the hardware store) or thick linen, stitch accent lines using a running stitch. Make Chunky Plaid Pillow 52" of braid or twisted rope trim using the Schacht Incredible Rope Machine. Assembly: Mark the center of the length of the fabric, zigzag on either side of the cutting line and cut apart for two equal pieces. With right sides together, stitch around all four sides, leaving at least an 8” opening for the pillow form. Turn the fabric right side out, insert the form and hand stitch the opening closed, leaving a ½" hole. Stuff the end of the trim into the hole and stitch the trim all the way around the pillow. Insert the other end into the hole and stitch the hole closed. Weave Structure: Plain weave Finished Size: 12½" x 12½" Equipment: 15" Cricket Loom, 5-dent reed, 2 stick shuttles, tapestry needle, sewing machine (you can also hand stitch), 12" pil- low form. Optional: Incredible Rope Machine Yarn: Brown Sheep Lamb’s Pride Bulky 175 yds or 2 skeins (4 oz/125 yd per skein) of M-11 White Frost and 60 yds (1 skein) of M57 Brite Blue. You’ll also need a small amount of hemp rope or heavy linen yarn Big yarns and a mega plaid design make this pillow fast to warp and quick to weave. It’s easy to sew, for the stitched accents and rope trim. too. Designed by Jane Patrick and Stephanie Flynn Sokolov. -
Lexique-Anglais-Francais.Pdf
Description Terme anglais Terme français Description française anglaise Laine entière, pure, non 100% wool Only wool, pure. laine 100% mélangée. 4 box loom métier à 4 boîtes métier à tisser à 4-box loom quatre boîtes above the knee au dessus du genou Action d’user. Enlèvement The act of polishing, abrasion abrasion par raclage superficiel de grinding. certains tissus. The ability of a fabric to withstand loss of appearance, utility, La solidité d’un tissu, abrasion résistance à pile or surface through comment il conserve ou perd resistance l’abrasion the destructive action ses propriétés face à l’usure. of surface wear and rubbing. A mechanical instrument that tests a Instrument pour mesurer la fabric’s resistance to abrasion tester abrasimètre résistance à l’usure et au the destructive actions temps des tissus. of surface wear and rubbing. coton hydrophile absorbant cotton (ouate) Qui absorbe les liquides, les absorbent Able to absorb. absorbant gaz, les radiations. absorbent cotton- ouate hydrophile wool This fabric don’t permit Tissu qui n’est pas absorbent fabric the passage of a fluid tissu absorbant imperméable, qui absorbe through its substance. les liquides. Qui ne représente pas le monde sensible (réel ou Having only intrinsic imaginaire); qui utilise la abstract form with little or no abstrait (dessin) matière, la ligne et la pictural representation. couleur pour elles-mêmes. Dessin sans référence à la réalité concrète. abstract design dessin abstrait Motif sans référence à la Motif without pictural abstract motif motif abstrait réalité concrète. Motif non- representation. figuratif. Substance qui accélère une réaction. Substance chimique Something that utilisée pour augmenter la accelerant accélérateur accelerate a reaction. -
Final Thesis-Bales.Docx
PROJECT PENELOPE: LEARNING FROM THE LOOM by Lydia Bales A CREATIVE THESIS Presented to the Department of Architecture and Allied Arts and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2017 An Abstract of the Thesis of Lydia Bales for the degree of Bachelor of Arts in the Department of Architecture and Allied Arts to be taken June 2017 Title: Project Penelope: Learning from the Loom Approved: _______________________________________ Jovencio de la Paz This thesis explores the interdisciplinary nature of textile and the value of learning traditional methods for modern application. The structure combines scholarship and personal practice to describe weaving methodology and examine technological advances in the field of jacquard. The basic vernacular of weaving is analyzed and expanded to explore the ways in which jacquard elevates those ideas to expose new opportunities for creativity and ingenuity. Ideas of self and industry are explored on a personal level through the addition of personal weaving projects which illustrate the processes discussed throughout various stages of design. This thesis synthesizes global thinking to engineer effective approaches to integrating technology with traditional practice to further enhance the connection between weaving and technology. ii Acknowledgements I would like to thank Jovencio de la Paz, Dr. Mossberg, and Beth Esponette for their support of my work in Eugene and with this thesis. I would additionally like to thank Barbara Pickett and Eva Basile for their excellence in teaching and deep knowledge of weaving, who taught me everything I know about jacquard. It is with the most sincere of gratitude that I thank these individuals. -
Emilia Second Heddle
Emilia Using Emilia’s second heddle With two heddles on your Emilia Weaving with finer loom, you can yarns is one of the weave patterns uses of the second like lace weaves, heddle. Here is a double weave and scarf on the loom krokbragd. with two size 10 heddles, with the warp sett at 20 yarns per inch. The brackets have two settings for To warp the loom, follow the weaving the two sheds. instructions which came with your There is a hole provided on your loom. Use the original heddle to loom for the brackets for the second space the warp threads. After heddle. Tighten the knob to make beaming the warp, thread the original the bolt tight against the loom heddle according to your draft, frame. threading the eyes of the heddle and leaving the extra threads in the slots. To thread the second heddle, place the heddle in the lower position and tie it in place. For some weaves it may be easier to thread if the heddle is placed lower on the table so that the first heddle threading is easily seen. Follow your draft to thread the heddle. This side view shows how the Tie up as usual and follow your draft extra brackets are mounted. instructions for the weaving. Wool and cotton Scarf Plain weave with differential shrinkage for Texture Warp: 2 ¾ ounces total weight ,1 skein Mora 20/2 wool, one tube 20/2 egyptian cotton, both from Sweden. Wound 246 ends. Threaded 12 wool, 12 cotton, repeat, ending with wool. 10 dent reed , 9 ½ inches wide Wool Scarf in Twill From VÄV magazine article 3/94 Weave: three shaft twill Warp and weft: Tuna 6/2 wool, from Sweden.