An Indigo-Adire Workshop with the Man Who Could Be King
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Mud Cloth from Mali: Its Making and Use
ISSN 0378-5254 Tydskrif vir Gesinsekologie en Verbruikerswetenskappe, Vol 31, 2003 Mud cloth from Mali: its making and use Elsje S Toerien OPSOMMING INTRODUCTION Bogolanfini van Mali, beter bekend as mud cloth, The stark, geometric, black and white designs tradi- het in die laaste aantal jare bekendheid verwerf en tionally found on the mud cloths from Mali, can today daarby ook baie gewild geraak. be found on everything from clothing and furniture to book covers and wrapping paper. Along with kente Vir baie jare was dit nie duidelik hoe hierdie kleed- (from Ghana), mud cloth has become one of the best- stof gemaak is nie. Dit was algemeen aanvaar dat known African cloth traditions worldwide (Clarke, die ontwerpe deur 'n bleikingsproses verkry is. Van- 2001). Luke-Boone (2001:8) describes it as 'probably dag is dit bekend dat die ligte ontwerpe verkry word the most influential ethnic fabric of the 1990's'. The deur hulle met donker modder te omlyn en daarna designs have indeed become an important part of the die agtergrond in te vul. Afgesien van bogolanfini se modern ethnic look found in African-inspired fashions dekoratiewe waarde, het die verskillende motiewe today. ook simboliese waarde, en word verskillende kom- binasies gebruik om 'n geskiedkundige gebeurtenis te herdenk of 'n plaaslike held te vereer. In hierdie artikel word daar gekyk na die tegnieke wat gebruik word om bogolanfini te maak, na die betekenis van sommige motiewe, en die verskillen- de maniere waarop die tegnieke of motiewe gebruik word. Die redes vir die verhoogde belangstelling in, en vervaardiging van bogolanfini word ook aange- spreek. -
An Empirical Assessment of the Relationship Of
An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition. -
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity by Tunde M. Akinwumi Department of Home Science University of Agriculture, Abeokuta, Nigeria Abstract The paper investigated the nature of machine-produced fabric commercially termed African prints by focusing on a select sample of these prints. It established that the general design characteristics of this print are an amalgam of mainly Javanese, Indian, Chinese, Arab and European artistic tradition. In view of this, it proposed that the prints should reflect certain aspects of Africanness (Africanity) in their design characteristics. It also explores the desirability and choice of certain design characteristics discovered in a wide range of African textile traditions from Africa south of the Sahara and their application with possible design concepts which could be generated from Macquet’s (1992) analysis of Africanity. This thus provides a model and suggestion for new African prints which might be found acceptable for use in Africa and use as a veritable export product from Africa in the future. In the commercial parlance, African print is a general term employed by the European textile firms in Africa to identify fabrics which are machine-printed using wax resins and dyes in order to achieve batik effect on both sides of the cloth, and a term for those imitating or achieving a resemblance of the wax type effects. They bear names such as abada, Ankara, Real English Wax, Veritable Java Print, Guaranteed Dutch Java Hollandis, Uniwax, ukpo and chitenge. Using the term ‘African Print’ for all the brand names mentioned above is only acceptable to its producers and marketers, but to a critical mind, the term is a misnomer and therefore suspicious because its origin and most of its design characteristics are not African. -
The Chemistry of Inkjet Inks for Digital Textile Printing - Review
BEST: International Journal of Management, Information Technology and Engineering (BEST: IJMITE) ISSN (P): 2348-0513, ISSN (E): 2454-471X, Vol. 4, Issue 5, May 2016, 61-78 © BEST Journals THE CHEMISTRY OF INKJET INKS FOR DIGITAL TEXTILE PRINTING - REVIEW BENJAMIN TAWIAH 1, EBENEZER K. HOWARD 2 & BENJAMIN K. ASINYO 3 1 Key Laboratory of Eco-Textiles, Jiangnan University, Ministry of Education, Wuxi, Jiangsu, China 1, 2, 3 Department of Industrial Art (Textiles), Kwame Nkrumah University of Science and Technology, PMB - Kumasi, Ghana ABSTRACT Inkjet inks are the most important component in inkjet printing. The formulation and chemistry of inks determine the printing quality as well as jetting characteristics. Digital printing technology has transformed textiles printing with significant success in terms of print speed, print head technology and color gamut. Nonetheless, ink penetration and its related quality problems are still receiving a high level of attention by researchers around the globe to develop superior inks that can surpass the quality of prints obtained by the conventional methods of printing. This review seeks to take a perfunctory look at the various ink chemistries being developed to address the color related problems in digital textiles inkjet printing and the various pretreatment technologies available for ensuring excellent K/S and color fastness as well as jetting behavior of Newtonian inkjet inks in DOD drop formation. In addition, various issues relating to quality of digital inkjet printer fabrics and ink development have been highlighted. Significant strides have been made in the quest for environmentally friendly universal inks that can print all textiles substrate. KEYWORDS: Inkjet Ink, Dye, Pigment, Digital Printing, Textile INTRODUCTION Inkjet printing has become the new frontier in textile printing, offering advantages in process efficiency, ease of use, cost effectiveness and environmental impact (Pekarovicova 2016a, Magdassi 2010). -
African Lace
Introduction Does changing an original material destroy its traditional context? If a material assumes new meaning or significance in a new context, is this inherently an appropriation of the object? What loss does this cause, and is it a positive change, a negative one, or neither? This lexicon revolves around African Lace. Through an analysis of this particular material, I broadly explain, craftsmanship, authenticity and reasons behind an object’s creation, including why and how it is made, from which materials, and how the object translates into a specific environment. Various kinds of objects are created in and relate to specific places and time periods. If situated in an environment in which it did not originate, the meaning of an object changes. In fact, the object is used from a new perspective. Although it is possible to reuse an object as a source of inspiration or research, it cannot be used as it was in its previous context. Thus, it is necessary to rethink the authenticity of an object when it is removed from its past context. History is important and can explain a materials origin, and it therefore warrants further attention. A lack of knowledge results in a loss of authenticity and originality of a historical material. In view of this, I develop this Lexicon to elaborate on the importance of this historical attention. It is interesting to consider how an object can influence a user in relation to emotional or even material value. The extent of this influence is uncertain, but it is a crucial aspect since any situation could diminish the value and the meaning of an object. -
Indigo and the Tightening Thread 1 for the Journal of Weavers, Spinners and Dyers 231 Autumn 2009
Indigo and the Tightening Thread 1 For the Journal of Weavers, Spinners and Dyers 231 Autumn 2009 Jane Callender Natural indigo and synthetic Many varieties of indigo bearing plants flourish in indigo are both available to us. hot and temperate climates all over the world A key date in textile history is and more than one can be found in any one 1856 when 18 year old assistant region. The European indigo bearing plant is chemist William Perkins, Isastis Tinctoria, known as woad. stumbled upon, developed and Although there are an incredible number of patented the first synthetic species and subspecies, ‘indican’, the actual dyestuff from coal tar. ‘Perkins chemical source and precursor of indigo, a tiny Purple’ became known as organic molecule, is common to all. (A Large Mauvine. Later the German percentage in the woad precursor is also indican, chemist Adolf von Baeyer with Isatan B making up the rest) Consequently synthesized indigo which was ‘…..the resulting blue is indistinguishable even to sold on the open market in the specialist’ (Balfour-Paul) 1897. Astonishingly, the Harvesting the plants, extracting the indican molecular structure of natural present within the leaves and storage of the and synthetic indigo, as it was indigo pigment differs from country to country. then and as it is now, is the Though glycosides and enzymes vary, as does the same. alkalinity level and temperature of the water in which leaves are immersed, the following Dyeing can only be done graphics illustrates, in essence, the acquisition of with indigo in its soluble form natural indigo through fermentation. -
Utilization of Nigerian Made Fabrics for Garment Making Among Academic and Non Academic Female Staff in Enugu State
UTILIZATION OF NIGERIAN MADE FABRICS FOR GARMENT MAKING AMONG ACADEMIC AND NON ACADEMIC FEMALE STAFF IN ENUGU STATE BY AGBO BLESSING NONYELUM PG/M.Ed/12/64238 DEPARTMENT OF HOME ECONOMICS AND HOSPITALITY MANAGEMENT EDUCATION, UNIVERSITY OF NIGERIA, NSUKKA JUNE, 2017. TITLE PAGE UTILIZATION OF NIGERIAN MADE FABRICS FOR GARMENT MAKING AMONG ACADEMIC AND NON ACADEMIC FEMALE STAFF IN ENUGU STATE BY AGBO BLESSING NONYELUM PG/M.Ed/12/64238 A RESEARCH REPORT SUBMITTED TO THE DEPARTMENT OF HOME ECONOMICS AND HOSPITALITY MANAGEMENT, UNIVERSITY OF NIGERIA NSUKKA, IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTERS DEGREE IN CLOTHING AND TEXTILE JUNE, 2017 APPROVAL PAGE The project has been approved for the Department of Home Economics and Hospitality Management Education, University of Nigeria, Nsukka DR. MRS. N. M. EZE Prof. E. U. ANYAKOHA Supervisor Head of Department ________________________ ____________________________ External Examiner Internal Examiner _____________________________________ Prof. C.A. Igbo Dean, Faculty of Vocation and Technical Education CERTIFICATION AGBO, BLESSING NONYELUM, a Postgraduate student in the Department of Home Economics and Hospitality Management Education with Registration Number PG/M.ED/12/64238, has satisfactorily completed the requirements for the award of Masters Degree in Home Economics Education (Clothing and Textile). The work embodied in this project is original and has not been submitted in part or full for another diploma or degree in this or any other university. _________________________ ____________________________ AGBO, BLESSING N. DR. N.M. EZE Student Supervisor DEDICATION This research work is dedicated to Almighty God for granting me wisdom, guidance and protection throughout the period of this study. -
[Protec 1000 G Is a Decorative, Stipple, Gloss Epoxy Coating for Cast-In-Place Concrete Floors & Walls]
Protective Industrial Polymers - USA 09 96 13 Manufacturer’s Specification ANTIMICROBIAL GLASS CLOTH-REINFORCED SYSTEM August 13, 2015 This specification covers BrewSpec GlassMat Antimicrobial Glass Cloth-Reinforced System, a high-performance antimicrobial system consisting of an antimicrobial vertical-substrate concrete pretreatment, an antimicrobial block-filler, and antimicrobial flexible hybrid basecoat reinforced with glass cloth mat. A 2nd application of the flexible hybrid basecoat is applied, followed by an application of an antimicrobial glass and fiber-reinforced epoxy build coat. This base is top coated with a high-performance antimicrobial urethane. This smooth, clothe reinforced wall system is easy to wash and is suited for use in areas where superior chemical resistance, durability and UV-stability are crucial. 1.00 GENERAL 1.01 SECTION INCLUDES A. Preparation of concrete or block substrate B. Apply antimicrobial concrete/block pretreatment C. Apply antimicrobial concrete/block filler D. Apply antimicrobial hybrid basecoat E. Apply glass cloth mat F. Apply antimicrobial hybrid basecoat G. Apply antimicrobial glass and fiber-reinforced epoxy coating H. Apply antimicrobial urethane topcoat Specifier Notes: Edit the following list as required by the project. List other sections with work directly related to the floor coating. 1.02 RELATED SECTIONS A. Section 03 30 00 – Cast-In-Place Concrete: [existing or] new slab. B. Section 03 35 00 – Concrete Finishing: specific chemicals on slab. C. Section 03 39 00 - Concrete Curing D. Section 03 01 00 – Concrete Rehabilitation 1.04 REFERENCES STANDARDS A. For reference standards tests & results refer to Manufactures Product Data Sheets 1.05 ADMINISTRATIVE REQUIRMENTS A. Pre installation meeting call if needed. -
Wide Format Inkjets
APRIL 2004 Nicholas Hellmuth Updated January 2008 Direct Digital Printing on Fabrics with Wide Format Inkjets Contents Introduction 1 Ancient History: Electrostatic Printing 4 Inks for Textiles 4 Sources of inks 6 Inkjet Printers for direct printing on textiles 7 ColorSpan 7 Compedo 8 Hewlett-Packard DesignJet 9 Piezo-Electric Printhead Systems for Printing on Textiles 10 Mutoh 13 UJET MC2 from Yuhan-Kimberly 13 Italian retrofitting of Roland printers for textiles 17 Industrial Inkjet Textile Printers 17 This report has not been licensed to DuPont 17 any printer manufacturer, distributor, dealer, sales rep, RIP company, media, Steaming and Setting or ink company to distribute. So, if you the Colors When Printing Directly 19 obtained this from any company, you have a pirated copy. Washer and Dryer for finishing your inkjet textiles 20 Also, since this report is frequently Dye Sublimation and Heat Transfer 20 updated, if you got your version from Textiles and Fabric to Print On 21 somewhere else, it may be an obsolete edition. FLAAR reports are being updated Translucent Dacron 21 all year long, and our comment on that Colorfastness 22 product may have been revised positively or negatively as we learned more about UV-curable Inkjet Printers for Textiles 22 the product from end users. Further Information 22 To obtain a legitimate copy, which you Conferences on inkjet textiles 22 know is the complete report with nothing erased or changed, and hence a report Upcoming Evaluations 23 with all the original description of pros Glossary of Terms 23 and cons, please obtain your original and full report straight from Bibliography 24 www.FLAAR.org. -
Adire Cloth: Yoruba Art Textile
IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida Editor/Outreach Director: Agnes Ngoma Leslie Layout & Design: Pei Li Li Assisted by Kylene Petrin 427 Grinter Hall P.O. Box 115560 Gainesville, FL. 32611 (352) 392-2183, Fax: (352) 392-2435 Web: http://nersp.nerdc.ufl.edu/~outreach/ Center for African Studies Outreach Program at the University of Florida The Center is partly funded under the federal Title VI of the higher education act as a National Resource Center on Africa. As one of the major Resource Centers, Florida’s is the only center located in the Southeastern United States. The Center directs, develops and coordinates interdisci- plinary instruction, research and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in schools from K-12, colleges, universities and the community. Below are some of the regular activities, which fall under the Outreach Program. Teachers’ Workshops. The Center offers in- service workshops for K-12 teachers on the teaching of Africa. Summer Institutes. Each summer, the Center holds teaching institutes for K-12 teachers. Part of the Center’s mission is to promote Publications. The Center publishes teaching African culture. In this regard, it invites resources including Irohin, which is distributed to artists such as Dolly Rathebe, from South teachers. In addition, the Center has also pub- Africa to perform and speak in schools and lished a monograph entitled Lesson Plans on communities. -
Key Officers List (UNCLASSIFIED)
United States Department of State Telephone Directory This customized report includes the following section(s): Key Officers List (UNCLASSIFIED) 9/13/2021 Provided by Global Information Services, A/GIS Cover UNCLASSIFIED Key Officers of Foreign Service Posts Afghanistan FMO Inna Rotenberg ICASS Chair CDR David Millner IMO Cem Asci KABUL (E) Great Massoud Road, (VoIP, US-based) 301-490-1042, Fax No working Fax, INMARSAT Tel 011-873-761-837-725, ISO Aaron Smith Workweek: Saturday - Thursday 0800-1630, Website: https://af.usembassy.gov/ Algeria Officer Name DCM OMS Melisa Woolfolk ALGIERS (E) 5, Chemin Cheikh Bachir Ibrahimi, +213 (770) 08- ALT DIR Tina Dooley-Jones 2000, Fax +213 (23) 47-1781, Workweek: Sun - Thurs 08:00-17:00, CM OMS Bonnie Anglov Website: https://dz.usembassy.gov/ Co-CLO Lilliana Gonzalez Officer Name FM Michael Itinger DCM OMS Allie Hutton HRO Geoff Nyhart FCS Michele Smith INL Patrick Tanimura FM David Treleaven LEGAT James Bolden HRO TDY Ellen Langston MGT Ben Dille MGT Kristin Rockwood POL/ECON Richard Reiter MLO/ODC Andrew Bergman SDO/DATT COL Erik Bauer POL/ECON Roselyn Ramos TREAS Julie Malec SDO/DATT Christopher D'Amico AMB Chargé Ross L Wilson AMB Chargé Gautam Rana CG Ben Ousley Naseman CON Jeffrey Gringer DCM Ian McCary DCM Acting DCM Eric Barbee PAO Daniel Mattern PAO Eric Barbee GSO GSO William Hunt GSO TDY Neil Richter RSO Fernando Matus RSO Gregg Geerdes CLO Christine Peterson AGR Justina Torry DEA Edward (Joe) Kipp CLO Ikram McRiffey FMO Maureen Danzot FMO Aamer Khan IMO Jaime Scarpatti ICASS Chair Jeffrey Gringer IMO Daniel Sweet Albania Angola TIRANA (E) Rruga Stavro Vinjau 14, +355-4-224-7285, Fax +355-4- 223-2222, Workweek: Monday-Friday, 8:00am-4:30 pm. -
Pierce-Township.Pdf
Walking List CLERMONT (.ICO) PIERCE TWP Run Date:12/20/2017 SELECTION CRITERIA : ({voter.status} in ['A','I','P']) and {district.District_id} in [28] 304 INGRAM, SASHA M REP AA-A - AMELIA VILLAGE A 306 CROUCH, BARBARA A REP CANARY LN AMELIA 45102 306 CROUCH, GARY RALPH REP 307 TOPP, ASHLEY N NOPTY 4 KRUECK, KIMBERLY J REP 308 FAULKNER, CONSTANCE S NOPTY 4 KRUECK, THOMAS J REP 309 EBERT, BARBARA E NOPTY 8 JORDAN, JESSICA LYNN NOPTY 311 ROSS, DANIEL JAMES NOPTY 8 JORDAN, JUSTIN D NOPTY 311 ROSS, TARA CORINNE NOPTY DEER CREEK DR AMELIA 45102 312 HOWARD, DREW A NOPTY 313 MARSHALL, SUSAN MARIE REP 205 MOEHLMAN, BARBARA LEE NOPTY 314 VICARS, SHANE REP 205 WADDELL, LEA A REP 314 VICARS, TERRY LEE NOPTY 205 WADDELL, RICHARD ALLEN REP 315 GARRISON, GARY RICHARD NOPTY 205 WIGGINS, ALYSSA MARIE DEM 315 GARRISON, LAURA LEE NOPTY 205 WIGGINS, ZACHARY EDWARD DEM 316 CLARY, ZACHARY SCOTT NOPTY 207 SHANABROOK, JEFFREY D REP 316 HICKS, ALLISON S DEM 207 SHANABROOK, JODY LYNN REP 316 HICKS, ROBERT J DEM 209 JOHNSON, MARY A REP 318 BENDER, GARY K REP 211 HAYWARD, JAMES M NOPTY 318 BENDER, JESSICA LEE REP 211 HAYWARD, JENNIFER L NOPTY 211 HAYWARD, KYLE LEE NOPTY EASTRIDGE DR AMELIA 45102 211 HAYWARD, TYLER J NOPTY 1 DILLEY, ERICA NICOLE NP 211 SHOEMAKER, MICHELLE RENEE NP 1 KNIGHT, CHRIS M NOPTY 211 THOMAS, JUSTIN P NOPTY 2 CHEEK, ODUS NOPTY 213 LAYNE, GERACO S REP 3 GETTYS, ELENA N NOPTY 213 LAYNE, SELENA G REP 3 GETTYS, JOSHUA JUSTIN DEM 215 STRUB, AMANDA B NP 3 TAMAS, ELENA NOPTY 271 SMIT, MELISSA G NOPTY 3 TAMAS, ROMULUS DANIEL NP 273 PHIPPS, BEVERLEY