Design and Development of an Instrument for Testing Electrical Insulation of Technical Textiles
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Stretching Unprimed Vs. Pre-Primed Canvas for Painting
INFORMATION JUST PAINT SHEETS 8/07 No. 3 Developed in collaboration with Conservator James Bernstein and Golden Artist Colors, Inc. Stretching Unprimed vs. Pre-primed Canvas for Painting Pre-stretching traditional size. A stretched linen canvas by the weave in an unfavorable position. It is itself on a humid day would become taut. wisest to pre-stretch as a separate step. This Unprepared Canvas When there is an animal glue size on a linen aligns the weave as fabric tension is For ultimate fabric choice, unprimed canvas, the animal glue swells and the canvas estimated. If a fabric is very responsive, the canvas offers the most possibilities. The becomes less tight. Conversely, a linen first stretching may be done barehanded artist is not limited by the variety or size of canvas by itself on a dry day would become (without pliers), as the canvas should not fabrics available pre-primed. limp. However, animal glue under dry initially be stretched too taut. Allowance has If starting with unprepared linen, cotton, conditions shrinks and becomes taut. Thus to be left for subsequent wetting and rinsing or other fabric for painting, preliminary the opposite natural behaviors of linen and that will tighten the fabric significantly preparation of the canvas is essential. A animal glue are dynamically opposed and (albeit temporarily). common misunderstanding is that the help hold each other in tow. The pre-stretched canvas should be application of size or ground layer coatings This dynamic is not as well balanced for gradually and uniformly moistened and then will correct or compensate for all sorts of cotton canvas. -
Jennifer Brunton 2017
The Zibby Garnett Travelling Fellowship Report by Jennifer Brunton MLitt Technical Art History. The Cleveland Museum of Art, Ohio, USA. th th 9 July – 16 July 2017. Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Table of Contents Introduction 1 1.1 Overview 1 1.2 Budget 2 Placement Overview 3 2.1 Cleveland 3 2.2 The Cleveland Museum of Art 4 3.1 Learning Objectives 4 4.1 Day 1: Stretching the First Canvas 6 4.2 Day 2: Part One. Working on a Glue Size Recipe 8 4.2.1 Day 2: Part Two: Preparing a Glue Ground Layer 10 4.3 Day 3: The Second Canvas and WOW! 11 4.3.1 WOW! (Wade Oval Wednesday) 13 4.4 Day 4: Experimenting with Ground Recipes 13 4.5 Day 5: Last Day and Boiling the Third Canvas 14 4.6 Back in Glasgow: Stretching the Huckaback Canvas 16 Conclusion 19 Acknowledgements 20 Appendix 1 21 Appendix 2 22 Appendix 3 24 Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Image Credits All images not credited are copyright of the author, with permission from The Cleveland Museum of Art, Ohio. Figure 1. http://www.lib.utexas.edu/maps/world_cities/cleveland.jpg Figure 2. http://www.clevelandart.org/sites/default/files/images/homepage- feature/full/BannerBenefit_desktop.jpg Figure 22. http://www.universitycircle.org/events/2017/06/14/wow-wade-oval-wednesdays Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Introduction. 1.1 Overview. My name is Jennifer Brunton, I am 22 years of age, and currently studying for a post- graduate degree in Technical Art History at the Centre for Textile Conservation and Technical Art History at the University of Glasgow. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
Opportunities for Export of Mmf Textiles to Kenya and Ethiopia
Vol. No.5 | Issue No.10 | January, 2017 | ` 50/- | MUMBAI R.N.I. No. MAHENG / 2012 / 45923 Published on 20th January, 2017 (Pages : 36) OPPORTUNITIES FOR EXPORT OF MMF TEXTILES TO KENYA AND ETHIOPIA Kenya and Ethiopia the two potential and untapped markets for Synthetic and Blended textiles from India KENYA AT A GLANCE Population 46.05 million 2015 expanded remarkably and so has investment in this sector. Kenya’s textile exports to the US increased from US$ 39.5 GDP (US$) 63.40 billion 2015 million in 1999 to US$ 277 million in 2004. GDP growth 5.6% 2015 Existing textile and apparel firms in the country produce Inflation 6.6% 2015 a large variety of products. Spinning firms produce yarn GNI Per Capita (US$) 1,340 2015 (including industrial) and sewing thread while integrated mills Introduction produce a wide variety of products including yarn, fabrics Kenya is one of the major Cotton growing countries in (knitted and woven), canvas, school and travelling bags, the African region. Cotton production offers the greatest blankets, sweaters, shawls, uniforms, towels, baby nappies potential for increased employment, poverty reduction, rural and knitted garments of mostly cotton. development and income generation in the country. The sub- Structure of the Textile Sector sector has been identified as one that could help bring rapid Kenya has 52 textile mills, of which only 15 are currently economic development and reduce poverty in the country. operational and they operate at less than 45 percent of It has therefore been classified as a core industry by the total capacity. -
Annual Report 2019-20
MINISTRY OF TEXTILES ANNUAL REPORT 2019-20 MINISTRY OF TEXTILES ANNUAL REPORT 2019-20 INDEX 1 OVERVIEW 1 2 FUNCTIONS & ORGANISATIONAL SET-UP 9 3 EXPORT PROMOTION 27 4 RAW MATERIAL SUPPORT 30 5 SUPPORT FOR TECHNOLOGY UP-GRADATION 54 6 SUPPORT FOR TRAINING AND CAPACITY BUILDING 59 7 SUPPORT FOR INFRASTRUCTURE 76 8 RESEARCH & DEVELOPMENT IN TEXTILE SECTOR 78 9 TECHNICAL TEXTILES 81 10 SECTORAL SCHEME 86 11 TEXTILE PROMOTION IN NORTH EASTERN REGION 124 12 ICT INITIATIVES IN TEXTILES 131 13 RAJBHASHA 133 14 WELFARE MEASURES FOR SC/ST/WOMEN AND PERSONS WITH DISABILITY: 135 15 VIGILANCE ACTIVITIES 138 MINISTRY OF TEXTILES OVERVIEW 1.1 The Indian textile industry is one of the largest in the world 1.3 Raw Material Support with a large unmatched raw material base and manufacturing strength across the value chain. It is the 2nd largest manufacturer a. Cotton: and exporter in the world, after China. The share of textile and clothing Cotton is one of the most important cash crops and accounts for in India’s total exports stands at a significant 12 % (2018-19). India around 25% of the total global fibre production. In the raw material has a share of 5 % of the global trade in textiles and apparel. The consumption basket of the Indian textile industry, the proportion of uniqueness of the industry lies in its strength both in the hand-woven cotton is around 60%. The consumption of cotton is more than sector as well as in the capital intensive mill sector. The mill sector 300 lakh bales (170 kg each) per year. -
Glossary of Terms
Glossary of Terms Areal Density : It is the weight of fabric per unit area. Assortment : It is the selection and classification of raw jute according to fibre characteristics prior to packing or baling. Bag - A Twill : A double warp hemmed twill bag of 112 X 67.5 cm size and weighing 1190 g with three blue stripes woven along the length of the bag and used for packing sugar. Bag - B Twill : A double warp hemmed twill sacking bag measuring 112 X 67.5 cm and weighing 1020 g has the capacity of holding 95 kg of foodgrains. With three blue stripes woven along the length of the bag and is used for packing foodgrain. Due to ILO stipulation, a new type of B.Twill bag has been developed with 50 kg capacity, dimensions 94 X 57 cm and bag weight of 665 g. Bale (Kutcha) : A package of raw jute consists of various morahs, usually weighing 130 kg to 150 kg and sometimes only 55 kg It is bound with jute ropes. Bale ( Pucca) : It is hydraulically pressed bale of raw jute usually bound with jute ropes. Its standard size is ( 120 X 45 X 50 ) cm having net weight of 180 kg. Bale ( Fabric or Jute Bags) : A rectangular or square pressed, rigid package, containing jute fabrics or bags, covered with bale covering with outer layer stiched and bounded by metal hoopes in conformity with the relevant specifications. The bales containing jute bagging do not have bale covering. Batch : A quantity of raw jute selected from various asoortments to produce yarn of desired type of quality. -
A Review on Drapeability of Natural Fibre-Made Fabrics
American Journal of Engineering Research (AJER) 2014 American Journal of Engineering Research (AJER) e-ISSN : 2320-0847 p-ISSN : 2320-0936 Volume-03, Issue-03, pp-346-358 www.ajer.org Research Paper Open Access A Review on Drapeability of Natural Fibre-made Fabrics Dr. Swapan Kumar Ghosh1, Chinmoy Dey2, Kalyan Ray Gupta3 1Associate Professor, Department of Jute and Fibre Technology, University of Calcutta,35, Ballygunge Circular Road, Kolkata- 700019, West Bengal, India 2Junior Research Fellow, Department of Jute and Fibre Technology,University of Calcutta, 35, Ballygunge Circular Road, Kolkata- 700019, West Bengal,India 3Assistant Professor, Department of Jute and Fibre Technology, University of Calcutta,35, Ballygunge Circular Road, Kolkata- 700019, West Bengal, India Abstract: - Amongst the different property parameters of the produced fabric, drapeability of fabric is one of the crucial parameters with respect to end uses. It is the ability of fabric to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. During the application of different fabrics, both in industrial and apparel sector, it has been observed that the ability of the fabric to assume a graceful appearance of the contour is very vital conveying the significance of drapeability of the fabric. With the growing environmental concerns and eco-sustainability, the global emphasis is towards the application of eco- concordant, bio-degradable, renewable green products and this has inclined towards the natural fibre-made fabrics scoring them over their manmade counter parts and making them a natural choice for the mankind. The natural fibre-made fabrics have proven records of efficacy to prove their mettle match with manmade fabrics in different areas of application. -
Flexible Supports
MATERIALS INFORMATION and TECHNICAL RESOURCES for ARTISTS - Flexible Supports There are pros and cons to all solid and flexible supports. Generally speaking, an ideal support will be able to withstand fluctuations in RH and temperature, possess an adequate level of absorbency and/or tooth, and will not become brittle or fragile with age. One drawback that is often associated with flexible supports is that they are more susceptible to being damaged by physical contact (e.g. tears, impact cracks, punctures, etc.) In addition, flexible supports are more likely to respond to changes in the environment, giving rise to draws in the corners, an overall loss of tension, and other planar deformations. Such damages can lead to both short and long term condition issues and can affect the stability of the paint and ground layers. Because of these issues, artists are highly encouraged to affix protective backing boards to the reverse of their paintings. Rigid supports, on the other hand, are less likely to withstand physical damage. Although some will still react to changes in the environment (e.g. warping, cracking, etc.), there are steps that artists can take to mitigate these problems. One such method is to adhere a fabric support over the face of the rigid panel. This allows the paint/ground layers to remain somewhat flexible should the rigid support exhibit warping and/or cracking. Rigid supports can also be cradled, particularly if they are large in size, to counteract possible warping or other types of planar deformations. FLEXIBLE SUPPORTS Canvas The use of fabric supports for painting dates to Greek and Roman times. -
Featured Color: CHAR-BLACK TRIB 3413C BELLA + CANVAS UNISEX TRIBLEND SHORT-SLEEVE T-SHIRT Fabric: 3.8 Oz., 50% Polyester, 25% Co
3413C BELLA + CANVAS UNISEX TRIBLEND SHORT-SLEEVE T-SHIRT Fabric: • 3.8 oz., 50% polyester, 25% combed and ringspun cotton, 25% rayon • 40 single 3.8 oz. • Black Heather Triblend: 70% combed ring-spun cotton, 15% polyester, 15% rayon Features: • Retail fit • Unisex sizing • Sideseamed Sizes: XS-4XL MSRP: Call for pricing 37 Available Colors Featured Color: CHAR-BLACK TRIB Blue True Aqua Trblnd Royal Triblend Sea Teal Steel Green Triblend Blu Denim Navy Navy Triblend Trbldn Triblend Solid Purple Berry Nvy Triblend Triblend Red Cardinal Maroon Triblend Trblnd Triblend Clay Orange Yllw Triblend Triblend Gld Oatmeal Brown Ath Triblend Triblend Grey Grey Char-black Sd Triblend Trib Dark Blk Sld Mint Hthr Blk Triblend Green Grass Emerald Triblend Grn Triblend Solid Wht Ice Wht Flck Blue Mauve Olive Peach Triblend Triblend Triblend Solid Red 3413C BELLA + CANVAS UNISEX TRIBLEND SHORT-SLEEVE T-SHIRT Product Specifications S M L XL 2XL - - - - - BODY LENGTH 0 0 0 0 0 - - - - - BODY WIDTH 18 20 22 24 26 - - - - - FULL BODY LENGTH 28 29 30 31 32 - - - - - NECK CIRCUMFERENCE 7 7.25 7.5 7.75 8 - - - - - SLEEVE LENGTH 8.25 8.63 9.13 9.63 10.25 - - - - - How to Measure BODY LENGTH: Lay garment flat (face down). Measure from center back neckline seam straight down to bottom of the front hem. BODY WIDTH: Lay garment flat. 1" below the armhole flat measure the garment across the chest. FULL BODY LENGTH: Lay garment flat(face down). Measure from center back neckline seam straight down to back bottom hem. NECK CIRCUMFERENCE: Lay collar open. -
November 2019 International Trade Compliance Update
International Trade Compliance Update (Covering Customs and Other Import Requirements, Export Controls and Sanc- tions, Trade Remedies, WTO and Anti-Corruption) Newsletter | November 2019 In This Issue: World Trade Organization (WTO) World Customs Organization (WCO) Other International Matters North America Asia-Pacific Please see our Webinars, Meetings, Seminars section for contact and regis- Europe, Middle East and North Africa tration information for the remaining webinars in our 16th annual Global Trade and Supply Chain Webinar Series entitled, “2019: What's Up in Africa (except North Africa) International Trade? Keeping up to Speed on Evolving Challenges,” as Newsletters, reports, articles, etc. well as links to past webinars. Webinars, Meetings, Seminars, etc. In addition, there are links to the video recordings, PowerPoints and handout WTO TBT Notifications materials for the 2018 Year-End Import/Export Review in Santa Clara as well as Presentation Materials from the Asia Pacific International Commer- CBSA Advance Rulings cial and Trade Client Conference (Tokyo November 2018). CBP Rulings: Downloads and Searches CBP Rulings: Revocations or Modifi- cations To keep abreast of international trade-related news, visit our blogs: European Classification Regulations For International Trade Compliance Updates, please regularly visit https://www.internationaltradecomplianceupdate.com/. Amendments to the CN Explanatory Notes For additional articles and updates on trade sanctions and export controls, please visit: http://sanctionsnews.bakermckenzie.com/ regularly. Section 337 Actions For resources and news regarding international trade, particularly in Asia, please Antidumping, Countervailing Duty visit our Trade Crossroads blog at http://tradeblog.bakermckenzie.com/. and Safeguard Investigations, Or- ders & Reviews To see how BREXIT (the UK exiting the EU) may affect your business, visit https://brexit.bakermckenzie.com/. -
How to Needlepoint
How to Needlepoint A quick guide for the on the go learner to get started stitching By Casey Sheahan What is needlepoint? Needlepoint is a type of embroidery where wool, cotton or silk is threaded through an open weave canvas. Needlepoint can be used to create many different objects, crafts or art canvases. Sources : Colorsheets, Viviva, and Shovava. “What Is Needlepoint? Learn the DIY Basics to Begin This Fun and Colorful Craft.” My Modern Met, 9 Sept. 2018, https://mymodernmet.com/what-is-needlepoint/. The Editors of Encyclopaedia Britannica. “Needlepoint.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 Sept. 2019, https://www.britannica.com/art/needlepoint#:~:targetText=Needlepoint as it is known,the foundation for the embroidery Needlework has been around for centuries. Throughout history we have seen a variety of different types History of of stitching. Tapestries have been found dating back to the 15th century Needlepoint and needlepoint was even found in the cave of a Pharaoh. In the 17th century when upholstered furniture became pooular. Source: “The English Needlepoint.” Ghorbany, https://ghorbany.com/inspiration/the-english-needlepoint. Getting Started Now that you know a little more about the history of needlepoint, you will start collecting your materials to begin stitching. Getting Started Material Options: Threads and Yarns Althea DeBrule outlines some of the most common types of threads used in needlepoint. Persian Yarn: By far the most popular yarn used for needlepoint. Persian wool can be be purchased in hundreds of colors from delicate hues to bold shades. Tapestry Yarn: Tapestry wool is a single strand thread that cannot be separated for fine stitching. -
Theoretical Framework: on Culture and Work 8
Tattered Cloth Tells More: Women‟s Work and Museum Representation by Elise Weinstein Dintsman A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Sociology and Equity Studies in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Elise Weinstein Dintsman 2012 Tattered Cloth Tells More: Women‘s Work and Museum Representation Doctor of Philosophy 2012 Elise Weinstein Dintsman Department of Sociology and Equity Studies in Education University of Toronto Abstract The past two decades posed some challenges for the museum world. Questions about the production of meaning, museum relationships with community groups, and the politics of representation in exhibitions, occupy both museum practitioners and scholars. These questions are further related to the general issues that are at the forefront of contemporary society, which include problems of social inclusion, cultural diversity and social equity (Sandell, 2002; 2007). Most of the discussion has been framed around racial, ethnic and cultural communities and their access to and participation in museum programming. Gender relations and feminist issues have been largely overlooked (Conlan and Levin, 2010: 308). This study considers the representation of women‘s work in museums. In particular, I examine portrayals of ―culture‖ and ―work‖ in women‘s textile production. Museum literature has documented the subordination (or absence) of women and their work in exhibitions and the hegemonic, patriarchal approach within which they were represented (Porter, 1996; Levin, 2010). ii Using an ethnographic case study of a museum dedicated to textile collection, I suggest seeing this museum as a potential challenge to mainstream museums‘ traditional approach and silence on the women‘s work that has created most textiles on display.