Illustrated Glossary of Textile Terms for Composites
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Natural Materials for the Textile Industry Alain Stout
English by Alain Stout For the Textile Industry Natural Materials for the Textile Industry Alain Stout Compiled and created by: Alain Stout in 2015 Official E-Book: 10-3-3016 Website: www.TakodaBrand.com Social Media: @TakodaBrand Location: Rotterdam, Holland Sources: www.wikipedia.com www.sensiseeds.nl Translated by: Microsoft Translator via http://www.bing.com/translator Natural Materials for the Textile Industry Alain Stout Table of Contents For Word .............................................................................................................................. 5 Textile in General ................................................................................................................. 7 Manufacture ....................................................................................................................... 8 History ................................................................................................................................ 9 Raw materials .................................................................................................................... 9 Techniques ......................................................................................................................... 9 Applications ...................................................................................................................... 10 Textile trade in Netherlands and Belgium .................................................................... 11 Textile industry ................................................................................................................... -
Traditions, Tourists, Trends Tracy P
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Traditions, Tourists, Trends Tracy P. Hudson University College London, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Hudson, Tracy P., "Traditions, Tourists, Trends" (2014). Textile Society of America Symposium Proceedings. 912. http://digitalcommons.unl.edu/tsaconf/912 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Traditions, Tourists, Trends Tracy P. Hudson That's rather abrupt, no subtitle. But obviously this is about textiles, and the interaction between these factors, which is too complex and multifaceted to encapsulate in an easy phrase. This paper begins with a series of questions and how they came up, and then looks at several different manifestations of this complex interaction in different parts of the world. It will end optimistically, with examples of success and an emphasis on the integrated quality of textile making, culture and identity. It's important to know what we're talking about when we say 'traditions' or 'traditional textiles.' The term can be problematic, but I'm using it to refer to a continuous set of practices embedded within a culture, or the textiles that grow from that ecosystem: the interaction of people, materials and environment. -
Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps University of California, Los Angeles, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln PreColumbian Textile Conference VII / Jornadas de Centre for Textile Research Textiles PreColombinos VII 11-13-2017 Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps University of California, Los Angeles, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/pct7 Part of the Art and Materials Conservation Commons, Chicana/o Studies Commons, Fiber, Textile, and Weaving Arts Commons, Indigenous Studies Commons, Latina/o Studies Commons, Museum Studies Commons, Other History of Art, Architecture, and Archaeology Commons, and the Other Languages, Societies, and Cultures Commons Phipps, Elena, "Andean Textile Traditions: Material Knowledge and Culture, Part 1" (2017). PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII. 10. http://digitalcommons.unl.edu/pct7/10 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps In PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII, ed. Lena Bjerregaard and Ann Peters (Lincoln, NE: Zea Books, 2017), pp. 162–175 doi:10.13014/K2V40SCN Copyright © 2017 by the author. Compilation copyright © 2017 Centre for Textile Research, University of Copenhagen. 8 Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps Abstract The development of rich and complex Andean textile traditions spanned millennia, in concert with the development of cul- tures that utilized textiles as a primary form of expression and communication. -
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 -
Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
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 -
Wavebid > Buyers Guide
Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified. -
Apparel, Made-Ups and Home Furnishing
Apparel, Made-ups and Home Furnishing NSQF Level 2 – Class X Student Workbook COORDINATOR: Dr. Pinki Khanna, Associate Professor Dept. of Home Science and Hospitality Management iii-i---lqlqlqlq----'k'k'k'k----dsUnzh;dsUnzh; O;kolkf;d f'k{kk laLFkku]';keyk fgYl , Hkksiky PSS Central Institute of Vocational Education, Shyamla Hills, Bhopal Student Workbook Apparel, Made-ups and Home Furnishing (Class X; NSQF Level 2) March, 2017 Publication No.: © PSS Central Institute of Vocational Education, 2017 ALL RIGHTS RESERVED ° No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronically, mechanical, photocopying, recording or otherwise without prior permission of the publisher. ° This document is supplied subject to the condition that it shall not, by way of trade, be lent, resold, hired out or otherwise disposed of without the publisher’s consent in any form of binding or cover other than that in which it is published. • The document is only for free circulation and distribution. Coordinator Dr. Pinki Khanna Associate Professor, Department of Home Science & Hospitality Management Production Assistant Mr. A. M. Vinod Kumar Layout, Cover Design and Laser Typesetting Mr. Vinod K. Soni, C.O. Gr.II Published by the Joint Director, PSS Central Institute of Vocational Education, Shyamla Hills, Bhopal-462 013, Madhya Pradesh, India Tel: +91-755-2660691, 2704100, Fax: +91-755-2660481, Web: http://www.psscive.nic.in Preface The National Curriculum Framework, 2005, recommends that children’s life at school must be linked to their life outside the school. This principle makes a departure from the legacy of bookish learning which continues to shape our system and causes a gap between the school, home, community and the workplace. -
The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2002 The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade Jacqueline Field University of Southern Maine Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Field, Jacqueline, "The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade" (2002). Textile Society of America Symposium Proceedings. 384. https://digitalcommons.unl.edu/tsaconf/384 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade by Jacqueline Field Haskell Silk Company founder, James Haskell, was a native of the Cape Anne, area of Massachusetts.1 In this locale his early career included service in numerous public and business capacities, not least as agent for The Rockport Steam Cotton Company, and as a State Senator.2 He was a man experienced in politics, finance and textile production. He moved to Maine in 1858 when he acquired the cotton mill at Saccarappa Falls, Westbrook.3 Under his management the mill, renamed The Westbrook Manufacturing Company, flourished and expanded. In 1874, his elder son, Frank Haskell, assumed the role of agent. At the same time James took advantage of, by now, well developed machine twist-making technology and launched into the youngest branch of the textile industry--silk. -
All Hands Are Enjoined to Spin : Textile Production in Seventeenth-Century Massachusetts." (1996)
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1996 All hands are enjoined to spin : textile production in seventeenth- century Massachusetts. Susan M. Ouellette University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Ouellette, Susan M., "All hands are enjoined to spin : textile production in seventeenth-century Massachusetts." (1996). Doctoral Dissertations 1896 - February 2014. 1224. https://scholarworks.umass.edu/dissertations_1/1224 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST c c: 315DLDb0133T[] i !3 ALL HANDS ARE ENJOINED TO SPIN: TEXTILE PRODUCTION IN SEVENTEENTH-CENTURY MASSACHUSETTS A Dissertation Presented by SUSAN M. OUELLETTE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 1996 History ALL HANDS ARE ENJOINED TO SPIN: TEXTILE PRODUCTION IN SEVENTEENTH-CENTURY MASSACHUSETTS A Dissertation Presented by SUSAN M. OUELLETTE Approved as to style and content by: So Barry/ J . Levy^/ Chair c konJL WI_ Xa LaaAj Gerald McFarland, Member Neal Salisbury, Member Patricia Warner, Member Bruce Laurie, Department Head History (^Copyright by Susan Poland Ouellette 1996 All Rights Reserved ABSTRACT ALL HANDS ARE ENJOINED TO SPIN: TEXTILE PRODUCTION IN SEVENTEENTH-CENTURY MASSACHUSETTS FEBRUARY 1996 SUSAN M. OUELLETTE, B.A., STATE UNIVERSITY OF NEW YORK PLATTSBURGH M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Barry J. -
Mermet Technical Fabric Guide
Mermet Technical Fabric Guide © 2017 Mermet Corporation Table of Contents 1. Intro.....................................................3 13. Determining Design Intent: Considerations................................31 2. Yarn and Fabric Properties...............4 14. Determining Design Intent: 3. Manufacturing Process.....................7 Fabric Applications........................33 4. Weaving and Knitting........................10 15. Interior and Exterior.......................36 5. Types of Weaves...............................12 16. Fabric Styles: High Performance..........................38 6. Fabric Orientation.............................15 17. Fabric Styles: 7. Solar Energy Spectrum....................18 Sustainable Fabrics........................42 8. Performance Analysis: 18. Fabric Styles: Thermal Properties...........................20 Decorative Fabrics.........................46 9. Performance Analysis: 19. Fabric Styles: Optical Properties.............................22 Conventional Fabrics.....................51 10. Measuring Brightness Levels........25 20. Fabric Styles: Privacy Fabrics...............................55 11. Glare................................................27 21. Common Certifications..................58 12. Acoustical Performance................29 Disclaimer and Notices Mermet's Technical Fabric Guide is protected by U.S. and International copyright protection laws. Reproduction, distribution, display and use of any content within this document is prohibited without written permission from Mermet. -
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.