Trapunto and Shadow Trapunto Tutorials  2018 Geta Grama; 2

Total Page:16

File Type:pdf, Size:1020Kb

Trapunto and Shadow Trapunto Tutorials  2018 Geta Grama; 2 Trapunto and Shadow Trapunto Tutorials Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 2 In just a few words, TRAPUNTO means a quilt design raised with an additional layer of batting and with a pronounced “stuffed” effect. SHADOW TRAPUNTO is a trapunto stitched on a sheer fabric. Some quilters use batiste, I use organza. Thread for stitching the trapunto design For stitching the design through fabric and batting you need water soluble thread. Use it in the needle and in the bobbin. If you don’t have water-soluble thread at hand, you could try the technique with invisible (monofilament) thread. Trapunto Batting For the trapunto design, use a high loft, fluffy polyester batting, like Poly-fil Hi Loft by Fairfield, Hobbs Poly Down Plus or Quilters Dream Puff. The thicker the batting, the better the visual effect given by trapunto, but keep in mind that a batting that is too thick is harder to trim and it also makes the final quilting a little more difficult. You can use cotton batting or cotton-polyester blend, as well. The felt-like batting (like cotton) is harder to cut away than the fluffy polyester batting. If you have a low loft batting, you can use two layers. See in these pictures the batting I usually use for trapunto/shadow trapunto. Sewing machine needles I use Topstitch or Jeans needles for sewing the trapunto design and for the final quilting. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 3 Cutting the batting away If this task scares you, here are 3 tips that make it easier. 1. Fabric Starch the fabric used for trapunto; cutting the batting away is easier and with fewer chances to clip the fabric if the fabric is stiff – so starch it WELL. 2. The scissors This thread snip (thread clipper) is the best tool for trimming the batting. I did not even try other scissors, because it is fantastic. The short blades allow better control while trimming, meaning- again- fewer chances to clip the fabric. Keep always the fabric flat while you trim the batting. 3. Holes in fabric (or organza) No matter how carefully you trim the batting away, sometimes the fabric gets clipped. Do not worry, you will cover the hole with a dense quilting, in the final quilting stage. But before that, thread a needle with a contrasting thread and tie a knot near the hole; this will remind you where the hole is and that you have to repair it. Final quilting For the final quilting, I find the quilting is easier if you use a cotton batting in the middle of the quilt sandwich. How to make trapunto quilts Materials List for this small sample – top fabric, batting (cotton), backing :16”x 16” – additional layer of batting for trapunto: 14”x14” – washable marker Print the design at the end of this file (the last two pages). Tape the pages together. To easily tape one page to another, remove the right margin of the first page (cut on the red dashed line) and tape the first page to the second page, and so on across the row. Use a similar method to tape the rows together (if the pattern has more pages). Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 4 Transfer the design to fabric, using a washable marker. Pin the trapunto batting to the back of the marked fabric. Stitch on the design lines, through the 2 layers. Use the water soluble thread. Stitching on the right side of fabric Stitching on the wrong side of fabric Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 5 Trim the batting away as close to the stitching line as possible. Then make the usual sandwich for a quilt: add batting and backing then quilt. For the trapunto design, stitch on top of the previous stitching done with water- soluble thread or just a little outside the stitching line. Keep the batting enclosed by stitching. On the background, a dense stippling works just fine. Then wash the quilt to get rid of the washable thread and the marking lines. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 6 The design looks great- stitched twice, but outlined with a single stitching line, after washing. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 7 Here is another example of trapunto (the design is from my Happy Heart appliqué pattern) Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 8 How to make shadow trapunto quilts Materials List for this small sample – organza, top fabric, batting, backing :16”x 16” – additional layer of batting for trapunto: 14”x14” Organza There are many types of organza on the market, the best one used for this technique has a stiff, crisp feel and it doesn't stretch excessively. This technique is not only about the raised, puffy effect, it's also about the contrast between the white of the batting and the fabric underneath. That's why you don't necessarily have to use the thickest batting, a medium loft batting works as well. The fabric underneath the organza+trapunto design must be bold and bright. Print the design. Use for printing a thin paper – it is easy to stitch through and tears away easily. Place the organza over the batting. Add the paper pattern on top of (organza+batting) and pin through all the layers. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 9 Stitch on the lines through all the layers, using water soluble thread. Stitch with small stitches. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 10 Remove the paper. Here is the stitching on the front side. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 11 And the stitching on the back. Cut the batting away around the design. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 12 Now lay under the organza+trapunto design the layers of a regular quilt: top fabric +batting +backing. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 13 Quilt as desired through all the layers. On the trapunto design, stitch on top of the previous stitching done with water-soluble thread or just a little outside the stitching line. Keep the batting enclosed by stitching. Usually I use white thread for this stitching. On the background, stitch a dense quilting. Then wash the quilt. Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 14 Here is another example of shadow trapunto (design from my applique Peppermint Candy pattern). Trapunto and Shadow Trapunto Tutorials 2018 Geta Grama; https://www.getasquiltingstudio.com/ 15 Print the designs on the next pages. Design #1 and Design #2:14’’; Design #3: 10’’ Enjoy your new quilts! Geta Geta’s website: www.getasquiltingstudio.com Email Geta: [email protected] ------------------------------------------------------- Copyright Information: © 2018 Geta Grama This pattern is for your personal use only! Copying and distributing of this pattern is prohibited. For other quilt and bag pattern ideas, please visit my pattern store. Click on the image below. 2 1’’ x 1’’ 1 Use a ruler to measure the square to verify that printout is correctly sized. 4 3 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 2 1’’ x 1’’ 1 14'’ design Use a ruler to measure the square to verify that printout is correctly sized. 4 3 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 2 1’’ x 1’’ 1 Use a ruler to measure the square to verify that printout is correctly sized. 4 3 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 2 1’’ x 1’’ 1 Use a ruler to measure the square to verify that printout is correctly sized. 4 3 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 1’’ x 1’’ 2 1 Use a ruler to measure the square to verify that printout is correctly sized. 3 4 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 14'’ design 1’’ x 1’’ 2 1 Use a ruler to measure the square to verify that printout is correctly sized. 3 4 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 1’’ x 1’’ 2 1 Use a ruler to measure the square to verify that printout is correctly sized. 3 4 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 1’’ x 1’’ 2 1 Use a ruler to measure the square to verify that printout is correctly sized. 3 4 Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 10'’ design 1’’ x 1’’ 1 2 Use a ruler to measure the square to verify that printout is correctly sized. Copyright 2018 Geta Grama www.GetasQuiltingStudio.com 10'’ design 1’’ x 1’’ 1 2 Use a ruler to measure the square to verify that printout is correctly sized. Copyright 2018 Geta Grama www.GetasQuiltingStudio.com.
Recommended publications
  • BED BANK County Is Declared a Disaster Area in Wake of Hurricane
    Weather ~" Distribution Fair today; high about 70. BED BANK Today Cloudy tonight, low 60. Chance of rain tomorrow; high, 60s. 16,250 MONDAY THROUGH TttlDAY-EST. Wl See weather and tides page 2, 35 C P E E K VOL. 83, NO. 53 Iisucd Dally, Monday through Friday, entered as Second Clasi Matter RED BANK, N. J., THURSDAY, SEPTEMBER 15, 1960 7c PER COPY R Y S, F R PAGE ONE at the Post OHlce at Red Bank. N. J., under the Act of March 3, 1879. Soviet Attack County Is Declared On Dag Poses A Disaster Area In Crisis for UN Wake of Hurricane UNITED NATIONS, N. Y. (AP)-.The United Nations faced a major crisis today as a result of a slashing Soviet attack on Secre- tary General Dag Hammarskjold and his Congo policies. Officials Inspect Damage, A wide-open break was threatened virtually on the eve ol Soviet Premier Nikita S. Khrushchev's appearance here. The Western powers, led by Ethel Plan U.S., State Aid Bills the United States, prepared to rally to Hammarskjold's sup- Three major developments took place yesterday AF Finds in the aftermath of Hurricane Donna. port in another round of Se- •Is. New curity Council meetings begin- Rep. James C. Auchincloss toured scenes of storm ning this morning on the cha- destruction in the Bayshore, and announced that Mon- otic Congo situation. Missing The Soviet attack, more bitter Threat mouth County has been declared a disaster area, along than any ever made by a big with Atlantic, Cape May and Ocean Counties.
    [Show full text]
  • Identifying Textile Types and Weaves 1750-1950 DATS in Partnership with the V&A
    Identifying Textile Types and Weaves 1750-1950 DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Textile Types and Weaves 1750-1950 Text copyright © DATS, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name taught by Sue Kerry and held at Birmingham Museum and Art Gallery Collections Centre on 29th November 2007. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Printed Textiles in Dress 1740 -1890 Identifying Handmade and Machine Lace Front Cover - English silk tissue, 1875, Spitalfields. T.147-1972 , Image © V&A Images / Victoria and Albert Museum 2 Identifying Textile Types and Weaves Contents Page 2. List of Illustrations 1 3. Introduction and identification checklist 3 4. Identifying Textile Types - Fibres and Yarns 4 5. Weaving and Woven Cloth Historical Framework - Looms 8 6. Identifying Basic Weave Structures – Plain Cloths 12 7. Identifying Basic Weave Structures – Figured / Ornate Cloths 17 8.
    [Show full text]
  • A Digital Textile Printer to Aid in the Product Development Process
    FROM CONCEPT TO CREATION: A DIGITAL TEXTILE PRINTER TO AID IN THE PRODUCT DEVELOPMENT PROCESS Dr. Sherry Schofield Dr. Jessica Ridgway Retail, Merchandising and Product Development – College of Human Sciences PROJECT DESCRIPTION The proposed funding from the Student Technology Fee will be used to purchase a wide- format digital ink-jet fabric printer which will provide students the unique opportunity to print their own developed creative ideas using this cutting edge textile printing technology. Our goal with this project is to further integrate current industry technologies into the Retail, Merchandising, and Product Development (RMPD) course curriculum. Within the textile and apparel industry, when a new product is being developed, often the designer is forced to use the available prints that were designed by someone else. This process can limit the designer’s ability to create a truly unique product or garment and to the designer is not able to design from initial concept to final product. Today’s technology is changing this process; with the introduction of digital textile printers, designers can take part in the entire product development process starting with textile design. With the incorporation of a digital printer and the accompanying software into the RMPD textile lab, our students will have the ability to experience a similar concept to product process with the creation of his or her own sample fabric, which could ultimately result in new and unique products. Furthermore, the use of a digital textile printer affords students the ability to incorporate technology into the product development process. This not only emulates current industry practices, but also allows for further exploration in product development.
    [Show full text]
  • Rhyming Dictionary
    Merriam-Webster's Rhyming Dictionary Merriam-Webster, Incorporated Springfield, Massachusetts A GENUINE MERRIAM-WEBSTER The name Webster alone is no guarantee of excellence. It is used by a number of publishers and may serve mainly to mislead an unwary buyer. Merriam-Webster™ is the name you should look for when you consider the purchase of dictionaries or other fine reference books. It carries the reputation of a company that has been publishing since 1831 and is your assurance of quality and authority. Copyright © 2002 by Merriam-Webster, Incorporated Library of Congress Cataloging-in-Publication Data Merriam-Webster's rhyming dictionary, p. cm. ISBN 0-87779-632-7 1. English language-Rhyme-Dictionaries. I. Title: Rhyming dictionary. II. Merriam-Webster, Inc. PE1519 .M47 2002 423'.l-dc21 2001052192 All rights reserved. No part of this book covered by the copyrights hereon may be reproduced or copied in any form or by any means—graphic, electronic, or mechanical, including photocopying, taping, or information storage and retrieval systems—without written permission of the publisher. Printed and bound in the United States of America 234RRD/H05040302 Explanatory Notes MERRIAM-WEBSTER's RHYMING DICTIONARY is a listing of words grouped according to the way they rhyme. The words are drawn from Merriam- Webster's Collegiate Dictionary. Though many uncommon words can be found here, many highly technical or obscure words have been omitted, as have words whose only meanings are vulgar or offensive. Rhyming sound Words in this book are gathered into entries on the basis of their rhyming sound. The rhyming sound is the last part of the word, from the vowel sound in the last stressed syllable to the end of the word.
    [Show full text]
  • Caring for Your Textile Heirlooms Marjorie M
    FSC2-707 Caring for Your Textile Heirlooms Marjorie M. Baker, Extension Associate for Clothing and Textiles eirlooms are treasured keepsakes of the past. They Types of Damage Hserve as records of family history, strengthen fam- Light, high temperature, high humidity, sealed environ- ily and cultural ties, and bring to mind special events. ments, abrasion, soil and dust, insects, and rodents are Heirlooms might be photographs, books, souvenirs, all harmful to textiles. mementos, or objects used by ancestors. Often these heirlooms include textile objects, either an art form such Light. The ultraviolet rays in all types of light cause textile as a woven or embroidered wall-hanging or an article of fibers to weaken and dyes to fade. Both direct and indi- clothing such as a christening gown or wedding dress. rect sunlight are harmful, as well as light from artificial lighting sources, such as indoor incandescent bulbs and Original cost is not the crucial factor determining fluorescent light tubes. Therefore, a dark storage spot is whether your item is an heirloom. Your textile may be best. Limit light exposure while objects are on display, an heirloom whether it is a common and avoid direct sunlight completely. household item or a more expensive article used only for special occasions. Serious damage to High temperature. High tempera- Many common, everyday objects tures cause brittleness of fibers and have a great deal of meaning and may textiles may be caused often are accompanied by excess dry- reflect more clearly the customs and by improper methods ness. Avoid any storage area where culture of a particular age than an ex- fluctuations of temperature occur, as pensive item used only once.
    [Show full text]
  • Party Girl Paillettes
    Page 1 Thursday s MEN’S: s DENIM: Contemporary Zegna brands get creative to EYE: Sandra profits fall, buck downturn, page 12. Bernhard on but company comedy, sees growth s Kabbalah and potential, FINANCIAL: Roberto Kathy Griffin, page 3. Cavalli flip-flops on page 4. sale of a stake, page 3. Women’sWomen’s Wear Wear Daily Daily • The• The Retailers’ Retailers’ Daily Daily Newspaper Newspaper • Tktktktk• June 4, tk,2009 tktk • $3.00• $3.00 WSportswear/Men’swDTHURSdAY Partyheddeck Girl Diane von Furstenberg packed plenty of fun into a resort lineup that worked a festive palette, colorful polkadots and flirty dresses, such as this printed chiffon dress sprinkled with confetti paillettes. For more, see pages 8 to 10. Avoiding Distractions: Men’s Brands Retrench, Focus on Core Products By Brenner Thomas and Jean E. Palmieri Men’s wear companies are working on their core. Picky consumers, risk-averse retailers and a cutthroat adherence WwD to the bottom line have prompted Men’s many vendors to focus on heritage, brand-identifying products as they downplay product extensions or ancillary classifications. JA Apparel, the company that operates the Joseph Abboud brand, is farming out major categories to licensees in order to focus on its classic clothing business. Luxury outerwear maker Belstaff beefed up its core offering of iconic waxed motorcycle jackets by creating an in-stock program. And island lifestyle company Tommy Bahama has seen a renewed vigor for its camp shirts, the product that See Vendors, Page6 o EN t A CEN y ALA t by PHOTO BY BY PHOTO photo 3x14 (left) WWD.COM WWDTHURSDSportswearAY FASHION ™ 8 Resort continues with looks from Calvin Klein, A weekly update on consumer attitudes and behavior based Diane von Furstenberg, Carolina Herrera and more.
    [Show full text]
  • Textiles: the Whole Story: Uses * Meanings * Significance Pdf, Epub, Ebook
    TEXTILES: THE WHOLE STORY: USES * MEANINGS * SIGNIFICANCE PDF, EPUB, EBOOK Beverly Gordon | 304 pages | 03 Feb 2014 | Thames & Hudson Ltd | 9780500291139 | English | London, United Kingdom Textiles: The Whole Story: Uses * Meanings * Significance PDF Book Woven Fabric A trade name for a cloth patented in Britain in , which was first manufactured in Rachel Russ rated it it was amazing Feb 04, I think this post will be very useful for the newbie in the industry of textile and fabrics. The breadth of this book is so much fun. Fibres most often have to be SPUN together in yarns before they can be made into fabrics. Woven Fabric Chenille is a heavyweight, rough woven fabric often used for upholstery, curtains, and cushions. Nice u r post…and its helpfull information in fabric business…thank you so much……. In the end, we are all connected! Contents List 1. The ties that bind; The social meanings of textiles 4. Hi , This is Khaled. Chintz is a variation of Calico Fabric. Books by Beverly Gordon. No trivia or quizzes yet. Sewing Tools — TheBoneGeneration 4 months ago. Wool is not really very strong as this article states — in fact it is the weakest of the natural fibres. The denim fabric is generally colored with indigo dye to create blue jeans though jeans denoted a distinct lighter cotton textile. There are many other construction methods used for making industrial use fabrics. However non-woven Rayon fabric is similar to paper. May 31, Suzanne added it Shelves: textiles. Register Now. Nov 06, Sarah rated it really liked it Shelves: art-or- design.
    [Show full text]
  • Fashion and Trends
    Module 3: Fashion and Trends 40 .Fashion Store Assistant & Personal Shopper 3.1 History of Fashion One of the most important aspects of a personal shopper is to have a solid base of knowledge on the broad concepts of fashion, its origin and evolution. Although at first glance fashion can seem casual, spontaneous or inspired by creative designers, especially over past decades, fashion is actually a much deeper phenomenon. When looked at from a historical perspective, fashion is closely linked to socio-economic development and reflects the historical events of the era it’s born in. By looking at the evolving story of fashion from the late 1800s to today you’ll see how different historical periods have influenced and shaped it. You’ll have a broad knowledge of the origins of all trends and see how we’ve come to the present day styles. 1900: Belle Époque 41 Fashion Store Assistant & Personal Shopper 1900s, the Belle Epoque Although the French had been enjoying a period of splendour known as the Belle Epoque since 1870, it was not until 1900 that the rest of Europe caught the contagious optimism and cheerfulness that spread from Pari-sian society. It started a period of social well-being and distinctive style. After the death of Queen Victoria in Britain in 1901, her successor, King Edward VII welcomed a more joyful, sociable life and so Britain was one of the first countries to adopt this new way of being. Paris set the benchmark for excellence in the world of couture with fashion houses like Callot Soeurs, Doucet, Paquin and Drecoll.
    [Show full text]
  • Identifying Woven Textiles 1750-1950 Identification
    Identifying Woven Textiles 1750–1950 DATS in partnership with the V&A 1 Identifying Woven Textiles 1750–1950 This information pack has been produced to accompany two one-day workshops taught by Katy Wigley (Director, School of Textiles) and Mary Schoeser (Hon. V&A Senior Research Fellow), held at the V&A Clothworkers’ Centre on 19 April and 17 May 2018. The workshops are produced in collaboration between DATS and the V&A. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying woven textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the wider public and is also intended as a stand-alone guide for basic weave identification. Other workshops / information packs in the series: Identifying Textile Types and Weaves Identifying Printed Textiles in Dress 1740–1890 Identifying Handmade and Machine Lace Identifying Fibres and Fabrics Identifying Handmade Lace Front Cover: Lamy et Giraud, Brocaded silk cannetille (detail), 1878. This Lyonnais firm won a silver gilt medal at the Paris Exposition Universelle with a silk of this design, probably by Eugene Prelle, their chief designer. Its impact partly derives from the textures within the many-coloured brocaded areas and the markedly twilled cannetille ground. Courtesy Francesca Galloway. 2 Identifying Woven Textiles 1750–1950 Table of Contents Page 1. Introduction 4 2. Tips for Dating 4 3.
    [Show full text]
  • 2016 Proceedings Vancouver, British Columbia in the Recent Years
    ! ! 2016! Proceedings Vancouver, British Columbia ! ! ! Hyperresonance Lushan Sun, Auburn University, USA Keywords: New technologies, couture techniques, sustainability Bust-34” Waist-25” Hip-35” In the recent years, the application of digital textile printing technology has been widely used in various forms of textile and apparel design in customizing product. Many designers today, such as Marry Katrantzou and Alexander McQeeen, have utilized engineered print method to strategically position images to create optical illusion using manipulated dimension and scale. However, such approach is mainly applied on solid fabrics for high color contrast and 3D visual effect. Limited explorations have been done in applying engineered prints on multilayered translucent fabrics. Artist such as Nimmalaikaew, on the other hand, explored portraits on layers of netting and tulle to create 3D and seemingly moving visual outcomes (2014). Such technique involves painting a digital image onto each layer of fabric and manipulating the dimensionality and lighting among images in each layer (Sierzputowski, 2014). As a result, the illusion created reflects image shift and distortion based on the viewer’s position. For this design case study, the aim was to develop 3D visual illusion in a wearable ensemble through applying engineered digital imagery on silk organza using digital textile printing technology. This design research also explored the designer’s spatial perception in the 2D computer-aided design (CAD) process as well as relevant problem solving approach in such technique. In addition, the goal was also to explore a unique silhouette for formal wear that is appropriate for such three-dimensional effect. The overall design was inspired by the ethereal effect of tree branches and glass windows during daylight in creating a visual hyperresonance.
    [Show full text]
  • Ancient Indian Texts of Knowledge and Wisdom
    Newsletter Archives www.dollsofindia.com The Saree - The Very Essence of Indian Womanhood Copyright © 2013, DollsofIndia A saree or sari is a long strip of unstitched cloth, which is draped by Indian women – it practically typifies Indian women and showcases the vast diversity of Indian culture as a whole. The word "Sari" is derived from the Sanskrit and the Prakrit (pre-Sanskrit language) root, "Sati", which means, "strip of fabric". Interestingly, the Buddhist Jain works, the Jatakas, describe women’s apparel, called the "Sattika", which could well have been similar to the present-day saree. Another fact is that the end of the saree that hangs downward from the shoulder is called the Pallav. Experts believe that the name came to be during the reign of the Pallavas, the ruling dynasty of ancient Tamilnadu. A saree typically ranges from six to nine yards in length and can be worn in several ways, depending upon the native of the wearer and her outlook on current fashion. Usually, a saree is tucked in at the waist and is then wrapped around the body with pleats in the center, the other end draped loosely over the left shoulder, showing the midriff. This apparel is also popular in Pakistan, Bangladesh, Nepal, Bhutan, Myanmar, Sri Lanka, Singapore and Malaysia. This very feminine garment is worn over a petticoat, also referred to as a lehenga in the North, a paavaadai in the South, a parkar or ghaghra in the West and a shaya in the East. It is worn along with a bodice or blouse, called the choli (in North India) or ravikkai (in South India).
    [Show full text]
  • Digital Textiles™
    Digital Textiles™ Following is a list of images included in Digital Textiles™. Most images are shown in two magnifications, and more than one example is shown of some, resulting in well over 1500 images in the complete set. So while this list does contain the repetition of multiple examples or magnifications, it should give you a good idea as to the content and coverage of the topic of textiles offered by Digital Textiles™. Volume 1: Natural Fibers PART 1: COTTON AND OTHER SEED HAIR FIBERS Cotton boll Photomicrographs of cotton fiber Photomicrographs of cotton fiber—cross section Picker lap Card sliver Drawn sliver Roving Filling yarn (untreated) Warp yarn (treated) Greige goods Bleached goods Dyed and finished goods Printed and glazed goods Pima cotton Organically colored cotton boll Organically colored cotton sliver Organically colored cotton knit Egyptian cotton organically colored washcloth Certified organically grown cotton t-shirt Organically colored, organically grown cotton So-called “green” cotton Recycled denim pencil and paper Cotton terry cloth Cotton batik Cotton shirting Cotton denim Cotton corduroy Cotton lace “Tussah” cotton Cotton drapery Mercerized cotton upholstery Cotton carpet Coir rug Kapok fiber Milkweed floss Volume 1: Natural Fibers PART 2: FLAX AND OTHER BAST FIBERS, AND MISC. CELLULOSICS Unbleached flax top Photomicrographs of flax fibers Photomicrographs of flax fibers—cross section Bleached flax top Handkerchief linen Linen damask Linen drapery Linen upholstery Ramie sliver Photomicrograph of cotton and ramie
    [Show full text]