Alaris Capture Pro Software

Total Page:16

File Type:pdf, Size:1020Kb

Alaris Capture Pro Software CONTENTS 1. Production of Textile/Fabric 1-24 2. Selection of Dyes 25-55 3. Printing and Flocking 56-110 N 4. Comparative Characteristics 111-137 5. Insulation Fabrics 138-164 -1 - .'O / •• 4 \ UNIT Production of Textile/Fabric 1 NOTES PRODUCTION OF TEXTILE/FABRIC STRUCTURE 1.1 Learning Objective 1.2 Introduction 1.3 Fabric Production 1.4 Producing Textiles for Fibre Yarns 1.5 Producing Textiles for Stretch Yarns 1.6 Producing Textiles for Heat Set Thermo Plastic Yarns 1.7 Producing Textiles for Elastometric Yarns 1.8 Producing Textiles for Bi-component Yarns 1.9 Producing Textiles for Bi-Constitute Yarns 1.10 Producing Textiles for Chemical Treated Natural Fibre Yarns 1.11 Bulk Yarns 1.12 Student Activity 1.13 Summary 1.14- Glossary 1.15 Review Questions 1.1 LEARNING OBJECTIVES After completion of this unit, you should be able to: ' • Define different types of yams • Describe the methods of producing textiles for different types of yarns • Define the Bi-component yarns • Explain Bi-constitute yarns • • Discuss about chemical treated natural fiber yarns • Learn about the bulk yams and lube bulk yarns.' 1.2 INTRODUCTION We all know that food, clothing and shelter are the three basic necessities of life. We eat food to survive and.protect ourselves from diseases we need a Self-Inutructional Material 1 Fabric Production house to live in. Why do we wear clothes? We wear clothes for protection and Processing against climate, for modesty and beauty, and also to show our status. The material that we use for clothing is called fabric. Suppose, we go to a shop to buy fabric for our dress, we will see a variety of fabrics there. NOTES Have you ever wondered as to what these fabrics are made ot? Why are some clothes warm, some rough and others soft? Why do some fabrics go bad after washing while others remain the same? How do you get variety in fabrics? This unit fii’st gives you brief information on the methods of fabric formation. The unit also gives information about the meaning and different tybes of fibers. It also tells you about how to use the burning test to identify various fibers. The unit also highlights the characteristics of fibers. The unit also defines yarn and its different types; 1.3 FABRIC PRODUCTION 1.3.1 Meaning of Fabric The term ‘fabric’ doesn't need any explanation because you all know what it means. Fiber (American English) or Fibre (International English) are hair-like materials (they look like threads) that form the building blocks from which yarn and fabric are made. So we can describe fabric as: Fabric is a material that can be used to maJce clothing or household articles. Sometimes we see the seat of a chair or a couch weaved with nylon or cotton thread. These are made with tape - when two sets of tapes are interlaced with each other at right angles. Similarly a fabric is also made by interlacing two sets of yams at right angles. This whole process of interlacing two sets of yams at right angles to make a fabric is called weaving. Weaving is the process in which the weaver interlaces two sets of yarns at right angles.to each other to form a fabric. Weaving is done on looms. Hand operated looms are called handlooms and power operated ones are called power looms. Weaving is also done by fitting one set of yarns on the loom which forms the length of the fabric. These are called the warps. The other set of yarns interlaced at right angles with the warps, are called wefts. The yarns can be interlaced in many different ways. These different ways of interlacing of yarns is called weaving. There are many types of weaves used to make different kinds of fabrics like cambric, popline, matt, satin, velvet, towels, denims, etc. Blending is the process of making thread from more than one kind of fibres. You all must have heard of fabrics with names like terecot and cotswool. These are the names of mixed fabrics. Cotsu^ooZ is a mixture of cotton and wool, and terewool of wool and terene.'At the yarn stage itself, two types of fibres are mixed, pulled out and twisted together to form the yarn.. 2 Si3?/-In.s{ritc(!OT!aI Maleriol So the question comes how the fabric is prepared? Take a cloth Production of and pull out a thread. Untwist to loosen this thread. You will see that Textile/Fabric it is made up of smaller threads or hair like strands. Pull out one of these. This single hair like strand is called a fibre. NOTES A fibre actually is a hair like strand from which all types of fabrics are made. Then question arises how many_ types of fibres are there? 1.3.2 Classification of Fibres It is usually seen that the fibres of a thread may be made of wool or cotton. You may pull fibres from a ball of cotton. On pulling you see that these fibres are very short. These are called staple fibres. If you pull fibres from a nylon, fabric, you will find that these are long fibres. Such fibres are called filament fibres or simply filaments. Hence, you can classify fibres into two groups. • Short fibres -also called • Staple fibre • Long fibres -also called - Filament fibre The classification of fibres can also be done on the basis of their origin! For example, 1. Natural Fibres:'The fibres which are obtained from natural sources are called natural fibres, for example, fibres from plants and animals. Some more examples of fibres from natural sources are cotton, Jute, silk, wool, etc, The natural fibres are further divided into two categories: • 'Vegetable Fibres: As is understood from the name vegetable fibres are obtained from different plants. Some are well known and useful to man. For example, cotton, jute and coir. Cotton is obtained from seed of the plant, jute is obtained from the stem of a plant and coir is the outer covering of coconut. • Animal Fibres: The animal fibres are obtained from different animal sources. For example, we get wool from sheep and goat. 'We get wool from their hair. Wool can also be obtained from the hair of rabbits and camels. Another animal fibre you all are familiar with is silk. It is the secretion of an insect called the silk worm. 2. Man-made Fibres: Unlike the natural fibres these type of fibres ate obtained from chemical substance. These are called manmade fibres. They are rayon, polyester, nylon, acrylic (cashmilon) etc. So this may be called the second way to classify fibres? For example; • Natural fibres -are obtained from- Plants and animals • Man-made fibres -are obtained from - Chemical substances The classification of fibres can be better understood from the chart given below; Self-Instructional Materia! 3 <• li. :i: « 3 ! • *•;Z-. h r>. > •. y ! Fabric Pr'Oduction 'and Pi'ocessing. FIBRE _4 ) . Onbasisofleasth, On basis of brigm i-, *> NOTES T I 'f- > •* ■ '.Naniral ’ ■ ^ • StaJjle Obtirt) 'riiauirntdoiig)^--' . r I n I . I' e.g. A-s- ■ . ■Ve'getables •animals' , I > / eoftou; Sillc, . e.g. ^ • 'tRaybn ' • Nylon, Cotton Jute- . 'VVoelSilk Polyester Acn’lk. Kylon. Wool. RayoHj . •/f . Polyester, Polyester' Cotton, - Wool, Acrylic • - Jute, -Silk i r Figure 1.1; Classification of Fibre ■ SynthetiC'is .^iiotheT-,‘nafi®, for'-manmade*fabrics-. When'yO!as:go. to the market to buy fabrics,‘yoU'must;'have heard frdmi.the?shopke^er'-±h&t‘it-is.-a synthet-iomaterial. D'on-;t:get‘^isturh:ed..-The firskinan-inatietfi medSiiknbytfnVas • ,* ■ rayon^and was .produced.iin;the'4'atter- part oEil9th.,■.centui;y>.vManMiiade fibres ' ; are generally filament fibrpy,-Qther,example,s.are-nylon, pblyes. ietr, and acrylic: ; ' rf t] lil it, l: ,» ■ - -fc ?* j . r. ■ *' ,A k' <. ■fv ... Mari-made (kits 'Technicallexiilej ieGtirMld9y''.-'-5;:. Staple fibre'processing I .Medidattexfltes -1 . ■ I • ^ v; ■i .. l■nt \fd: ■■ 1 V I '' 7. f i \ :{■ ■ / i-.c-' t J-4 - *4' V. ■ 31 -njTf i.«v-- Br' ..* ' ■" T " y 1' <•5 I- ■; • Figure 1.2:, Fibre Production ' 4 Self-lnUTUGliono.l}daie.T^ j f * Table 1.1; Machinery Used in Textile Fabric Production Production of Textile/Fabric Weaving Knitting Braiding ■ Air-jet ■ Warp knitting ■ Radial braiding NOTES ■ Rapier ■ Stitch-bonding ■ 3D-Rotary ' ■ Narrow fabric ■ Ultrasonic-tube­ braiding welding machine ■ Double-need bar Raschel 1.3.3 Identification of Fibres Burning Test: This test is helpful in identifying the quality of fibres used in the production of a fabric. Once fibres are identified it will help the buyer to choose as per requirement, and not be cheated by salesmen. The method used in the burning test is:- • First, take out a yarn from the fabric, • Second, burn one end of the yarn either with a match stick or burning candle. Third, check the following: 1. How the fibre catches fire? 2. Notice the type of flame and its colour. 3. Notice the smell after burning the fibre. 4. Check the ash left behind after burning the fibre. All the above points will help you to identify the quality of fibres used in the manufacturing of a piece of fabric, Table 1.2: Identification of Fibres Fibre Inflame Type of Flame Smell ASH Cotton and Catches fire Continues to Smell of Light feathery Rayon eqasily ’ burn with a burning ash bright yellow flame paper Silk and Does not Burnes with a Smell of Black Wool catch fire yellow flame, burning hair crushable • easily Does not bead continue to burn Nylon, Does not Shrinks away ' No definite Hard, Polyter catch fire from flame.
Recommended publications
  • Design by the Yard; Textile Printing from 800 to 1956
    INSTITUTION NOIiniliSNI_NVINOSHilWS S3 I a Vy a n_LI BRAR I ES SMITHS0N1AN_INSTITIJ S3iyvMan libraries Smithsonian institution NoiiniiiSNi nvinoshiiws S3iyv S3iyvaan libraries Smithsonian institution NoiiniiJ-SNi nvinoshiiws saiav l"'lNSTITUTION^NOIinillSNl"'NVINOSHiIWS S3 I MVy 8 ll'^LI B RAR I ES SMITHSONIAN INSTITI r- Z r- > Z r- z J_ ^__ "LIBRARIES Smithsonian institution NoiiniiiSNi nvinoshiiws S3IMV rs3 1 yvy an '5/ o ^INSTITUTION N0IiniliSNI_NVIN0SHilWS"S3 I H VM 8 IT^^LI B RAR I ES SMITHSONIANJNSTITl rS3iyvyan"LIBRARIES SMITHSONIAN^INSTITUTION NOIiniliSNI NVINOSHIIWS S3iav ^"institution NOIiniliSNI NviNOSHiiws S3iyvaan libraries Smithsonian instit 9'^S3iyvaan^LIBRARIEs'^SMITHS0NlAN INSTITUTION NOIifliliSNI NVINOSHilWs'^Sa ia\i IVA5>!> W MITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS S3ldVyan LI B R AR I ES SMITHSONI; Z > </> Z M Z ••, ^ ^ IVINOSHilWs'^S3iaVaan2LIBRARIES"'SMITHSONlAN2lNSTITUTION NOIiniliSNI_NVINOSHill JMITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS S3IMVHan LIBRARIES SMITHSONI jviNOSHiiws S3iavaan libraries Smithsonian institution NoiifiiiiSNi nvinoshii I ES SMITHSONI MITHSONIAN INSTITUTION NOIifliliSNI NVIN0SHilWS"'S3 I ava a n~LI B RAR < |pc 351 r; iJt ^11 < V JVIN0SHilWS^S3iavaan~'LIBRARIES^SMITHS0NIAN"'lNSTITUTI0N NOIiniliSNI^NVINOSHil — w ^ M := "' JMITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS S3iavaan LI B RAR I ES SMITHSONI ^^ Q X ' "^ — -«^ <n - ^ tn Z CO wiNOSHiiws S3iavaan libraries Smithsonian institution NoiiniiiSNi_NviNOSHii _l Z _l 2 -• ^ SMITHSONIAN INSTITUTION NOIiniliSNI NVINOSHilWS SSiavaail LIBRARIES SMITHSON NVINOSHilWS S3iavaan libraries Smithsonian institution NoiiniiisNi nvinoshi t'' 2 .... W 2 v^- Z <^^^x E . ^ ^-^ /Si«w*t DESIGN BY THE YARD TEXTILE PRINTING FROM 800 TO 1956 THE COOPER UNION MUSEUM FOR THE ARTS OF DECORATION NEW YORK ACKNOWLEDGMENT In assembling material for the exhibition, the Museum has received most helpful suggestions and information from the following, to whom are given most grateful thanks: Norman Berkowitz John A.
    [Show full text]
  • Art in America the EPIC BANAL
    Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed.
    [Show full text]
  • The Skjoldehamn Find in the Light of New Knowledge
    The Skjoldehamn find in the light of new knowledge. A discussion of the burial, the ethnic affiliation of the outfit, and the person's gender and social status. By Dan Halvard Løvlid 2010 English Translation by Carol Lynn © 2011 1 On the front page: The Skjoldehamn costume drawn by Berit Løvlid (left) and a Lule Sami costume exhibited on Norsk Folkemuseum from Tysfjord in Nordland in Norway (NFSA.3235) collected by the museum in 1953 (right). Photo: Dan Halvard Løvlid. Table of Contents 1 Introduction ............................................................................................................................................3 2 The grave................................................................................................................................................. 4 3 Sami? ......................................................................................................................................................6 3.1 Anthropological studies and DNA analysis. ..................................................................................6 3.2 Comparison with Sami costume traditions................................................................................... 7 3.2.1 The Sami culture areas ...............................................................................................................7 3.2.2 Sources .......................................................................................................................................8 3.2.3 Gjessing 's arguments against a Sami
    [Show full text]
  • The Diaries of Mariam Davis Sidebottom Houchens
    THE DIARIES OF MARIAM DAVIS SIDEBOTTOM HOUCHENS VOLUME 7 MAY 15, 1948-JUNE 9, 1957 Copyright 2015 © David P. Houchens TABLE OF CONTENTS VOLUME 7 Page Preface i Table of Contents ii Book 69- Saturday, May 15, 1948-Wednesday, July 7, 1948 1 Book 70- Thursday, July 8, 1948-Wednesday, September 8, 1948 25 Book 71- Thursday, September 9, 1948-Saturday, December 11, 1948 29 Book72- Sunday, December 12, 1948-Wednesday, January 26, 1949 32 Book 73- Thursday, January 27, 1949-Wednesday, February 23, 1949 46 Book 74- Thursday, February 24, 1949-Saturday, March 26, 1949 51 Book 75- Sunday, March 27, 1949-Saturday, April 23, 1949 55 Book 76- Sunday, April 24, 1949-Thursday, Friday July 1, 1949 61 Book 77- Saturday, July 2, 1949-Tuesday, August 30, 1949 68 Book 78- Wednesday, August 31, 1949-Tuesday, November 22, 1949 78 Book79- Wednesday, November 23, 1949-Sunday, February 12, 1950 85 Book 80- Monday, February 13, 1950-Saturday, April 22, 1950 92 Book 81- Sunday, April 23, 1950-Friday, June 30, 1950 97 Book 82- Saturday, July 1, 1950-Friday, September 29, 1950 104 Book 83- Saturday, September 30, 1950-Monday, January 8, 1951 113 Book 84- Tuesday, January 9, 1951-Sunday, February 18, 1951 117 Book 85- Sunday, February 18, 1951-Monday, May 7, 1951 125 Book 86- Monday, May 7, 1951-Saturday, June 16, 1951 132 Book 87- Sunday, June 17, 1951-Saturday 11, 1951 144 Book 88- Sunday, November 11, 1951-Saturday, March 22, 1952 150 Book 89- Saturday, March 22, 1952-Wednesday, July 9, 1952 155 ii Book 90- Thursday, July 10, 1952-Sunday, September 7, 1952 164
    [Show full text]
  • Tooth-Tool Use and Yarn Production in Norse Greenland
    TOOTH -TOOL USE AND YARN PRODUCTION IN NORSE GREENLAND G. Richard Scott University of Nevada Reno, Department of Anthropology/MS 096, Reno, NV 89557; [email protected] Ruth Burgett Jolie Department of Anthropology, University of New Mexico ABSTRACT During a dental study of medieval Norse skeletons from Greenland, Iceland, and Norway, a distinct pattern of wear was observed on twenty-two anterior teeth of twelve Greenlanders. Further examina- tion revealed that cultural notches were limited almost exclusively to settlement-period Greenlandic females interred at Thjodhild’s church ad( 1000–1150). The most likely explanation for this patterned wear revolves around the manner in which females manipulated woolen thread on their maxillary in- cisors and canines during the production of a coarse woolen cloth (frieze) that was generated in large amounts during the early medieval period for local consumption and export to Europe. keywords: teeth, abrasion, wool INTRODUCTION Anthropologists have long studied normal crown wear to As the most directly visible aspect of the skeletal sys- evaluate the diet and dietary behavior of earlier human tem, teeth are also subject to the vagaries of human cultur- populations (Hinton 1981, 1982; Kieser et al. 2001; Molnar al behavior (cf. Milner and Larsen 1991). For that reason, 1971, 1972; Molnar et al. 1983; Walker 1978; Walker and they are useful in bioarchaeological research for making Erlandson 1986). Several methods have been developed inferences on the behavior of past human populations. to score such wear (Brothwell 1963; Dreier 1994; Murphy Behaviorally induced alterations fall under four general 1959; Scott 1979; Smith 1984) with the primary empha- categories: (1) intentional mutilation; (2) unintentional sis on pattern of dentine exposure.
    [Show full text]
  • Along the Pacific
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-15-2009 All Along the Pacific Corina Brittleston Calsing University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Calsing, Corina Brittleston, "All Along the Pacific" (2009). University of New Orleans Theses and Dissertations. 928. https://scholarworks.uno.edu/td/928 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. All Along the Pacific A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Film, Theatre and Communication Arts By Corina Bittleston Calsing BA, English, Cal Poly San Luis Obispo May 2009 Copyright 2009, Corina Calsing ii Dedication This work is dedicated to all men in my family who are members of E Clampus Vitus. They instilled in me a love for the historical, the hysterical, and the bizarre.
    [Show full text]
  • Pennsylvania Folklife Vol. 36, No. 3 Michael Colby
    Ursinus College Digital Commons @ Ursinus College Pennsylvania Folklife Magazine Pennsylvania Folklife Society Collection Spring 1987 Pennsylvania Folklife Vol. 36, No. 3 Michael Colby Donald Graves Monica Pieper William T. Parsons Ursinus College Helen Urda Smith Follow this and additional works at: https://digitalcommons.ursinus.edu/pafolklifemag Part of the American Art and Architecture Commons, American Material Culture Commons, Christian Denominations and Sects Commons, Cultural History Commons, Ethnic Studies Commons, Fiber, Textile, and Weaving Arts Commons, Folklore Commons, Genealogy Commons, German Language and Literature Commons, Historic Preservation and Conservation Commons, History of Religion Commons, Linguistics Commons, and the Social and Cultural Anthropology Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Colby, Michael; Graves, Donald; Pieper, Monica; Parsons, William T.; and Smith, Helen Urda, "Pennsylvania Folklife Vol. 36, No. 3" (1987). Pennsylvania Folklife Magazine. 116. https://digitalcommons.ursinus.edu/pafolklifemag/116 This Book is brought to you for free and open access by the Pennsylvania Folklife Society Collection at Digital Commons @ Ursinus College. It has been accepted for inclusion in Pennsylvania Folklife Magazine by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. I------.w'l_____ -----,.-~ ~tnn~ lJ {vania oeoeoeoeoeoeoeoeoeoeo ul Ii e (tontril1utor~ MI C HAEL COLBY, a teacher in the Bethlehem A rea School District, a nd DO ALD G RAVES, a freela nce wri ter for the Bethlehem Globe­ Times a nd Early American Life magazine, are deeply in volved in 18th century life a nd traditions. T hey have bee n growing a nd ha nd -processing fl ax- spinning, dyeing a nd weaving the fi ber into cloth as was done by the settlers in colonial Pennsylva nia- a nd have been connected with the Jacobsburg Environmental Center a nd Historic Bethlehem, Inc.
    [Show full text]
  • Bed and Bath Essentials
    BED AND BATH ESSENTIALS Pillows, Sheets, Blankets, Towels and Other Textile Basics for Healthcare 1 MEDLINE Superior Quality and Value Enhancing Patient Satisfaction Medline Bed and Bath Essentials Where Innovation Never Sleeps. As one of the leading providers of textile products and solutions to the healthcare market, Medline never stops innovating. For more than 100 years, we’ve continually introduced cutting edge fabrics, products and services to help make you more efficient, cost effective, patient-centered and environmentally friendly. » INNOVATIONS THAT ADVANCE CARE: In this catalog, you will find the healthcare industry’s finest and broadest collection of quality pillows, blankets, sheets, towels and other textile necessities, including our latest innovations that focus on skin health, patient comfort and durability. Look for products with the lightbulb symbol to indicate our newest advancements. Innovation » OUR EXCLUSIVE FEELS LIKE HOME® COLLECTION: Indicated with the Feels Like Home® icon, these elegant sheets, ultra-soft blankets and plush towels are designed to pamper patients while enhancing the perception of your facility. Look for our newest item—the lightweight, two-tone spread blanket (page 27) that keeps patients warm without weighing them down. Feels Like Home® » PERFORMAX™ SUSTAINABLE TEXTILES: Engineered with advanced 100% polyester fabric, our new PerforMAX textiles are designed to look better and perform longer, even after repeated washings. PerforMAX products also have the greensmart logo to signify they have undergone a rigorous review for sustainability throughout the entire greensmart™ product lifecycle. Look for new PerforMAX products, including the LT Silvertouch underpad (page 34), Envelope Contour Sheets (page 22) and Spectrum Spread Blankets (page 28).
    [Show full text]
  • Raven Issue No. 11
    | Issue No. 11 | Everyone Shares In | 2 Sunbrella® 50th Anniversary Sunbrella®is a fabric for all Issue No. 11 times, and all lifestyles, from a pool-side cabana in the early 1960s to casual, yet elegant Fall 2010 décor inside the home today. Everyone Shares In Sunbrella 50th Anniversary Pages 2-3 Dear Readers, We hope and trust that this issue of the Raven magazine finds you with optimism and confidence for the future. Inside you will read about one of the most important reasons for our positive outlook – the 50th anniversary of the Sunbrella® brand, which will occur during 2011 and which we will begin to celebrate later this year. It was in 1961 that Glen Raven’s Roger Gant, Jr. and his team launched Sunbrella brand fabrics, which forever changed awning, marine and furniture markets. As we plan for the 50th anniversary of the Sunbrella brand, it is with a sense of sadness and loss over the death of Roger Gant, Jr. on July 26. Roger was the visionary who saw the potential for awning fabrics made with synthetic fibers and who pioneered our brand through its launch and early years of market acceptance. 2-3 We owe Roger a great debt of gratitude and are pleased to include a profile article in this issue. Countless companies have benefitted from the Sunbrella brand over the past 50 years, one of the newest of which is Coast New Zealand, which specializes in casual furniture and luggage. The 4-5 owners of Coast selected the Sunbrella brand from the very beginning because of its reputation for durability and easy care, an ideal complement to Coast products targeted to outdoor lifestyles.
    [Show full text]
  • Download Our Educational Materials
    2 Cotton: A Miraculous Fiber A Unique, Natural Fiber Cotton is a natural fiber with layers of highly organized cellulose surrounding a Even after 8,000 years, cotton remains Why we love Cotton hollow core. The pitch, or angle, of the cell the most miraculous fiber under the sun. Cotton is the most used fiber in the layers alternate, first one way then the No other single fiber comes close to dupli- world. It’s popular because it’s versatile. other, which accounts for cotton’s extraor- cating all the desirable characteristics It’s used in apparel, home furnishings, and dinary strength. combined in cotton. industrial and other consumer products. Recently, a science museum in Newark, Cotton is noted for its versatility, There isn’t a part of your day that you did- NJ, lifted a 3,500-pound car with seven appearance, performance, and above all n’t use something made from cotton. The pairs of denim jeans attached to the crane. else, its natural comfort. Cotton in today’s towel after your shower, the shirt and The hollowness and the layering of the fast-moving world is still nature’s wonder pants you put on, the seats in your car. cells also contribute to cotton’s ability fiber, providing thousands of useful prod- The money you used to buy a biscuit for readily to absorb water and to “wick” ucts and supporting millions of jobs. breakfast. All made from cotton. moisture away from the body. A 480 pound bale of cotton can produce: 1,200 men’s T-shirts, 3,000 baby diapers, 1,300 pairs of pillowcases, 690 terrycloth bath towels, more than 730 shirts or blouses, or 215 pairs of 100% Cotton, 100% Usable, men’s denim jeans.
    [Show full text]
  • B.Des. (Fashion Design)
    Faculty of Architecture and Planning, Integral University, Lucknow INTEGRAL UNIVERITY, LUCKNOW FACULTY OF ARCHITECTURE AND PLANNING B.Des. (Fashion Design) Scheme of Teaching, Examination & Syllabus (Session 2020-21) Faculty of Architecture and Planning, Integral University, Lucknow INTEGRAL UNIVERSITY, LUCKNOW B. DES. (Fashion Design) SCHEME OF TEACHING AND EXAMINATIONS B.Des.: I Semester w.e.f. 2020 -2021 Continuous Exam Teaching Exam & Subject Subject Assessments Examination Marks Time Subject Name Credits Sessional Code Category Hours/ Periods Marks (Hr) L Tu St/P Total T P/V Total BD101 PC Theory of Design-I 2 1 3 3 50 50 50 100 3 BD102 CF Ergonomics 2 1 3 3 50 50 50 100 3 BD103 CF Civilization Culture & Fashion 1 1 2 2 50 50 50 100 3 BD104 PD Communication skills 1 1 2 2 60 40 40 100 3 BD105 CF Sketching 1 2 3 3 60 40 40 100 - BD106 CF Visualization and Representation-I 1 4 5 3 60 40 40 100 - BD107 CF Model Making/ Workshop 1 3 4 3 60 40 40 100 - BD108 CF Basic Design-I 2 6 8 5 50 50 50 100 3 Total Credit’s Total 11 4 15 30 24 800 GRAND TOTAL Notes: A semester contains approximately of 16 working weeks (90 workdays) each. The examinations of all subjects are conducted at the end of the semester. The viva-voce and practical examinations of subjects are jointly conducted by two examiners: one internal and one external. Abbreviations: L = Lectures; Tu = Tutorial; St/P = Studio/Practical; T = Theory; P/V = Practical/Viva-voce, PC = Professional Core; CF = Core Foundation; DE = Departmental Elective; PD = Professional Development; HS = Human Sciences; AC = Applied Compulsory Course; BS = Building Sciences; OE = Other Departmental Elective; PE = Professional Elective Faculty of Architecture and Planning, Integral University, Lucknow INTEGRAL UNIVERSITY, LUCKNOW B.
    [Show full text]
  • Guidelines for 4-H Clothing Construction Projects
    Guidelines for 4-H Clothing Construction Projects The 4-H clothing construction program enables youth to develop the competencies, knowledge and skills necessary to create clothing they enjoy wearing. 4-H members can progress through skill levels at their own rate. In the Clothing and Textiles project, youth gain consumer skills in making, purchasing and caring for clothing and accessories. 4-H members can choose to sew for personal pleasure, to exhibit garments or accessories at fairs, to participate in Fashion Revue or judging events, to take part in field trips and tours, and to sew items for community service projects. The project can be taken independently, as part of a 4-H club, or as a family unit. Older, more experienced 4-H members in this project can serve as junior/teen leaders, helping plan programs and teaching others. Skill Level: Beginner (1st & 2nd Year Sewers) Suggested Projects Suggested Fabrics Knowledge & Skills Look for projects using no • Broadcloth • Basic sewing tools, pattern or very simple • Calico notions, and terms commercial patterns with straight • Denim (soft) • Sew on buttons, simple stitching and only a few pattern • Drill repairs pieces. • Duck • Basic hand stitching • Felt • Operating a sewing • Aprons • Gingham machine • Laundry bag • Kettle • Straight machine sewing • Square Pillows cloth/weavers • Selecting and pre-treating • Pin cushion • Muslin fabric • Tote • Poplin • Fabric grain lines, pattern bag layout • Pot holders • Pinning and Cutting • Placemats • Following directions • Washcloth slippers • Basic seam and seam finish • Stuffed animals • Gathers • Hand puppets • Machine hems • Needle book • Turning inside out • Assemble sewing kit/box • Pressing • Safety Skill Level: Beginner (1st & 2nd Year Sewers) Suggested Projects Suggested Fabrics Knowledge & Skills Look for easy patterns with All of previous All of previous level plus: mostly straight seams, facings, level plus: armholes, and neckline.
    [Show full text]