DOCSLIB.ORG

Woven Fabrics & Their Properties

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Woven Fabrics & Their Properties 2/20/2010 × How do fiber and fabric differ (one more time!) × What are the basic parts of a woven fabric × Whhbhat is the basic process o f weaving an d Woven Fabrics & Their the parts of the loom × What are the main basic weaves and how do Properties you determine them × What are the main fancy weaves, how are they made and how do you determine them × Fabric: Planar structure pliable enough to be made into three‐dimensional products. × Fabrication: Process of forming fabric from stttiarting mat tilerials. × Remember: a fiber is what it is made from; fabric refers to how it is made. × Freedom from defects, × Solutions: Films and foams. uniformity of structure & × Fibers: Felt and fiberwebs or nonwovens. appearance, performance × Yarns: Braid, knit, lace, woven, and many others. during production & use × Composite: Fabrics combined together (bonded, laminated, quilted); fabrics combined with × Visual or machine inspection solutions, fibers, and yarns. × Fabric grading: based on defect length & frequency × Performance evaluation based on end use needs 1 2/20/2010 × Two or more yarns interlaced at 90 degree angles. × Warp or ends: Yarns in fabric’ s lengthwise direction; threaded through loom. × Weft, Filling or picks: Yarns in fabric’s crosswise direction; inserted during weaving. Warp: parallel to selvage (Ú) × Weaving: Process of making fabric on a loom. Filling: perpendicular to selvage (Ù) × Most widely used method with many possibilities. × Fabrics ravel and fray and have grain. × Low elasticity × Same weave fabrics may vary by yarn size or twist, fiber, count, color, design, or finish. × Used in apparel, furnishings, & industrial products. × Warp beam: Warp yarns wound around large cylinder. × Warp: Lengthwise yarns threaded through loom. × Harness: Frame that holds heddles and controls basic weave. × Heddle: Wires through which warp is threaded; controls basic weaves. × Shed : SSdbhhidpace created by warp when some harnesses rise and others lower. 2 2/20/2010 × Shedding: Raising or lowering 1 or more harnesses in sequence to separate warp yarns to create shed. × Picking: Insertingggyg filling yarn through shed. × Reed or batten: Device pushes filling yarns in place. × Beating­up: Pushing filling yarn next to previous × Dent: Space in reed through which warp is threaded. filling yarn with reed. × Filling yarn insertion device: Related to loom type, × Take­up: Winding up finished fabric onto the shuttle, rapier, gripper, or jet, it carries filling through fabric beam. shed. × Filling: Yarns interlaced with warp to create fabric cloth. × Winding: Re‐packaging yarns for specific loom type; may increase twist or ply yarns. × Creeling: Yarn packages on large frame for wwdgowapbeainding on warp beam. × Warping or dressing the loom: Yarns threaded through heddles in specific harness (controls structure) and dents (controls density or count). × Patterning capabilities: Control of warp yarns to create woven‐in designs; dobby, jacquard, lappet, doup. × Computers & electronic monitors: Minimize hdhand opera tifl&tiidiidltions, flaws, & time; individual cont tlrol of warp yarns, quick style change. × Loom efficiency: Faster & more efficient filling insertion; warp take‐up/let‐off; devices speed up changing of warp. 3 2/20/2010 × Air jet: Jet of air inserts filling yarn in small shed; × Multi­width looms: Weave on side‐by‐side twin limited loom width; 1.5 times faster. (or more) warp beams; often for denim. × Rapier: Uses two small metal arms, one carries × Multiple shed: Forms more than one shed at a yarnyarn to center;center; otherother takestakes yarnyarn to otherother side;side; 2‐4 2 4 ttime;ime; 2 2 ttimesimes f faster;aster; limi limitedted appapplicationlication oonn ssimpleimple times faster. fabrics. × Water jet: Water jets insert filling yarn in small × Circular: Tubular woven fabric for bags, etc. shed; limited loom width; 2‐3 times faster. × Triaxial: Three yarn sets needed—two warp sets, × Projectile: Yarn carried across full width by one one filling set, interlace at 60 degree angle. tiny missile; 2‐4 times faster. × Noise from shuttle looms Double-Width × Water recycling for water jet looms × Energy use based on loom type Circular × Treatment of warp yarns with sizing and lubricants; reclaiming and recycling issues × Fabric quality improvements: fewer Triaxal seconds, less rework × Interlacing: Point where yarn changes its position from fabric’s surface to its underside or vice versa. × Filling yarns: Yarns inserted × Float: Point where a yarn crosses over more than one yarn at a through shed during weaving; time; in twills, satins, basket weaves, & fancy weaves. perpendicular to selvage; more stretch, path not as straight in fabric; more × Warp yarns: Yarns threaded through loom; parallel to selvage; crimp; more likely to be novelty or less stretch , straighter in fabric; less crimp; usually simple; crepe; llhlless regular with lower tpi; smaller & more regular with higher tpi; rarely novelty or crepe; larger; lower density. higher density. × Grain: Position of warp yarns to Float filling yarns; on­grain fabrics have yarns at right angles; better quality fabrics. × Fabric face and back × Fabric top and bottom 4 2/20/2010 × Yarns are not at right angles; lower quality fabric. × Skew: Filling yarns are not at a right angle across the fabric . × Bow: Filling yarns do not cross all warp yarns at the same angle; form dip or curve. × Count or density: Number of warp & filling yarns per square inch of gray goods; usually as warp X filling (e.g. 40 × Fabric width: Distance from selvage to selvage; X 50). steadily increasing for better economy. 2 2 × Balance: Ratio of one warp to filling; ratio of 1:1; × Fabric weight: Identified as oz/yd or g/m 2 unbalanced fabric has more of one set, i.e., 2:1 or 1:2. Ö Light weight (top weight): less than 4 oz/yd 2 × SSlelved ge: Edge of f ab ri c wh ere filli ng yarn returns i n a Ö Medium weight: between 4 and 6 oz/yd different shed or where filling yarn ends; selvage type Ö Heavy weight (bottom or suiting weight): more than determined by loom type. 6 oz/yd2 × Woven fabric properties: Related to count, balance, interlacing pattern, fiber content, yarn structure, & finishes. × Fabric names based on fabric structure, weight, yarn type, balance, and finishes. × Diagramming woven fabrics Ö Cross‐sectiilional view Ö Checkerboard pattern × Designators Ö Interlacing pattern Ö Yarn groupings: 2 X 2, 2 X 1, etc. 5 2/20/2010 × First basic weave × Yarns at right angles pass over and under each other. × Simplest of three basic weaves. × Balanced and unbalanced • Raveling related to count & yarn • Maximum number of interlacings cohesiveness • No technical face or back due to weave • Less absorbent (interesting effects with novelty yarns) • Used in apparel , furnishings , & industrial goods • Plain surface for printing & finishes • Weight dictates end use: lighter weights in • Wrinkles apparel & curtains; heavier weights in upholstery, draperies, & industrial goods × Plain weave fabric Ö Widest range of end uses; number of warp equals number of filling. Ö Lightweight: Very thin , light weight, transparent or semi‐transparent due to fine combed or filament yarns of strong fibers or low count or both; high count with very fine yarns. 6 2/20/2010 Õ Lightweight and sheer: ninon, georgette, chiffon, voile, organdy, and organza Õ Lightweight and opaque: slightly larger yarns; may have higher count; lawn, batiste, china silk, challis Challis Õ Low count sheers Organdy Voile Organza China Silk Lawn × Lawn × Medium weight: Most common for apparel. Ö Durable: widest range of types and uses and quality levels Ö Medium size yarns × Voile Ö Medium count Ö Medium weight range Ö Examples: print cloth, percale, plissé, embossed, chintz, polished cotton, true × Chiffon crepe, muslin, flannelette, gingham, chambray, taffeta Plisse Muslin × Chambray • Percale PlihdPolished Cotton Chintz Taffeta × Gingham Crepe 7 2/20/2010 × Heavy weight: Also known as bottom or suiting weight. Ö More durable Ö More resistant to wrinkling Flannel Ö Larger yarns Ö Heaviest Burlap Ö Ravels more if count is low Tweed Ö Examples crash, burlap, tweed, suiting, homespun, butcher rayon, osnaburg, flannel × Rib or Rep • Tweed Ö Balance is 1:2 or 2:1 or more. × Crash Ö Count is greater by 2‐3 times in one direction. Ö One set of yarns forms fabric surface (wear more likely on this set; slits may develop with × Flannel wear). Ö Slippage may occur with filament yarns; wear concentrates on one set of yarns. × Yarn size often differs between warp and filling. × Crepe de chine • Poplin Ö Light weight: not common; dimitycrepedechinedimity, crepe de chine Ö Medium weight: common; broadcloth, taffeta, shantung × Taffeta Ö Heavy weight: common; poplin, faille, flannelette, Bedford cord 8 2/20/2010 × Fabrics: × Second Basic Weave Ö Light weight: not common; dimity × Two or more yarns in warp or filling or both Ö Medium weight: oxford cloth, oxford chambray in one shed or forms one shed Ö Heavy weight: monk’s cloth, sailcloth, duck, × Fllblexible, wrinkl e resistant, snags easil y canvas × Types: Ö Full (basket in both directions) Ö Half (basket in warp or filling) Ö Partial (occasional basket feature) × Oxford Chambray × Third basic weave × Each warp or filling yarn floats across two or more filling or warp yarns with a ppgrogression of interlacing gy by one to the left or right to form a distinct line or wale; 2 up, 2 down or 2 up, 1 down most common. × Monk’s cloth • May have face/back and up/down orientation • Interesting surface and texture • Seldom
Load more

Recommended publications
  • 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 ...................................................................................................................
    [Show full text]
  • ', :':':;"Texa's- Agricultural , Ex-Ten '
    4> ~ -,' , :':':;"TEXA'S- AGRICULTURAL , EX-TEN ' . ... -:>-.~ -~•• ,....,~ hi.t~.' ~ ___ '>::"'" - 'J. E .. 'Hutchison, 'Director, College:.shlt~QP" Texas GRAHAM HARD NENA ROBERSON RHEBA MERLE BOYLES FANNIE BROWN EATON EXTENSION CLOTHING SPECIALISTS The A. and M. College of Texas THE CHARACTERISTICS OF FABRICS which . give 3. Fabrics made of chemically treated cotton, them the virtues of quick drying, crease re­ linen and rayon. The resin finishes are the most sistance, little or no ironing, keeping their orig­ commonly used. These finishes should last the inal shape and size during use and care, retaining normal life of a garment. a look of newness and fresh crispness after being worn and cleaned continuously also create sewing FABRIC SELECTION difficulties. The surface often is smoother and The best guides in the selection of quality harder which makes the fabric less pliable and fabrics are informative labels of reputable manu­ more difficult to handle. These qualities can facturers. Good quality finishes add to the cost cause seams to pucker. Even in the softest blends of fabrics, but compensate for the extra cost in there is a springiness which requires more care in durability and appearance. handling ease, as in the sleeve cap. Each fabric presents different problems. Look Wash-and-wear fabrics may be divided into at the fabric and feel it. Is it closely or loosely three groups: woven? Is it soft and firm, or stiff and wiry? 1. Fabrics woven or knitted from yarns of Will it fray? What style pattern do you have in 100 percent man-made fibers. These fabrics, if mind? properly finished, are highly crease resistant and The correctness of fabric grain is important keep their original shape and size during use and in sewing.
    [Show full text]
  • 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.
    [Show full text]
  • Finish That Seam Barbara Short Iowa State College
    Volume 30 Article 7 Number 5 The Iowa Homemaker vol.30, no.5 1950 Finish That Seam Barbara Short Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Short, Barbara (1950) "Finish That Seam," The Iowa Homemaker: Vol. 30 : No. 5 , Article 7. Available at: http://lib.dr.iastate.edu/homemaker/vol30/iss5/7 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Finish That Seam - But fi rst be sure the finish is the proper one for you r material. Here are the recent 1 findings of two textiles and I clothing graduate students. I I j I I J I I J by Barbara Short I J Technical Journalism Junior I I I J I I I > HEN your mother was a little girl, often seam­ I > j W stresses stayed in the house for a week to outfit "'--- I the family each year. Then the inside of a dress was just as finished as the outside. Those seamstresses took 1. Double-stitch finish; 2. Pinked finish; 3. Q,·er-cast edges. pains to finish each seam so that they could be sure it wouldn't ravel. Recent graduate research at Iowa State has taken guesswork out of seam finishing. Find­ Hiltbold points out that the ridge produced when ings will mean no more unnecessary sewing or hope­ the edge is turned shows on certain fabrics.
    [Show full text]
  • Weaving Technology: Advances and Challenges Ii
    Volume3, Issue 1, Summer 2003 WEAVING TECHNOLOGY: ADVANCES AND CHALLENGES II Abdelfattah M. Seyam College of Textiles, N. C. State University Raleigh, NC, USA ABSTRACT This paper reviews the recent advances in weaving industry and addresses the challenges that face the weaving industry. The paper sheds the light on how the weaving machine manufacturers and woven fabric producers might strengthen the weaving industry by further advance the technology and taking advantages of the current and new advances in weaving technologies. KEYWORDS: Weaving, Automation, Jacquard, Pattern Change. INTRODUCTION and how the weaving machine manufacturers and woven fabric producers Recently weaving machine producers might strengthen the weaving industry by introduced to the woven fabric further advance the technology and taking manufacturers a sizeable number of advantages of the current and new advances technological advances. Examples of such in weaving technologies and supporting advances are higher speeds than seen before, systems. a higher level of automation, a new Jacquard shedding concept, waste reduction, and on- ADVANCES IN WEAVING line quality monitoring. These advances may enable the developed nations to drastically Weaving Speeds lower the labor cost and may be able to At recent machinery shows (ITMA’ 99, compete in the commodity fabric markets. ATME-I’ 2001), weaving machine Despite these significant development in manufacturers showed a broad range of weaving, weavers in the developed and machines with higher speed and rate of developing nations are faced with serious filling insertion (RFI) than seen before. The competition from other fabric forming fabric quality, which is significantly systems such as needlepunching and impacted by efficiency, is a must for the hydroentanglement nonwoven technologies.
    [Show full text]
  • Specialized Sewing Machine Operator
    PARTICIPANT HANDBOOK Language: Apparel English Specialized Sewing Machine Operator Fruits and VegetablesSpecialized Processing Sewing Machine Operator SPECIALIZED SEWING MACHINE OPERATOR औ फल और ल र और र र ल फल और , और र फल और फ र र र र औ फल , और ल र , और , फ र, और फ ल - फल , र , र , र और ल ___________________________________________________________________________ ल ___ 1 1 फल फ र र और ल ल र र र और र र और और र र 12 Fruits and VegetablesSpecialized Processing Sewing Machine Operator Table of Contents Sr. No. Chapter Name Page No. 1. Introductio t Stitchi pparel Sector 4-13 2. Carry t fferent ypes of titches usin pecializ 14-108 Sewin achine 3. Different ypes f titches i pecialize ewi 109-167 machine 4. Achiev uality i ewi Work 168-218 5. Maintai Work re, Tools n Machines 219-244 औ 6. Maintai Healthy, afety a ecurity t Workplace 245-281 फल और ल र और र र ल फल और , और र फल और फ र र र र औ फल , और ल र , और , फ र, और फ ल - फल , र , र , र और ल ___________________________________________________________________________ ल ___ 2 2 फल फ र र और ल ल र र र और र र और और र र 12 Fruits and VegetablesSpecialized Processing Sewing Machine Operator Chapter 1 Introduction to Stitching and Apparel Sector औ फल और ल र और र र ल फल और , और र फल और फ र र र र औ फल , और ल र , और , फ र, और फ ल - फल , र , र , र और ल ___________________________________________________________________________ ल ___ 3 3 फल फ र र और ल ल र र र और र र और और र र 12 Fruits and VegetablesSpecialized Processing Sewing Machine Operator Learning Outcome: After attendin he ession, trainees oul be able o: Understa th titchin an pparel ndustry n ndi Lear about h different oles f ewi achin perator Pre Session Activity This ctivity he form f ―Flash Card‖ session.
    [Show full text]
  • Roundup Giant Drill Bit Reaches Bottom of Escape Hole
    ..--'.■I- - :i: n'- y 'r \ 'f ■itti Arwag* Daily Net Press Ron T h e W «B th«r Vor ttke Week Ended raramal o f D. « . WmUimr B n s a a August S4, IM S ■ Clear and eool again toolglit. 13,521 Low 48 Is SO. Tuesday mm aj imd Member at the Audit plrassnt. High near W. Bwresu of Obvulstlaa , M aneh^ter-^A City o f ViUage Charm (assstfied AdserlMng m b Fug* 16) PRICE SEVEN CENTS' ▼OL. LXXXU, NO. 278 (SIXTEEN PAGES) MANCHESTER, CONN., MONDAlT, AUGUST 26, 1963 City af Contrasts Scene of March plex of greenery and, marble, a the same tinve. Although the crime lems. Most of these committees there without intermittent or bil­ EDITOR'S NOTE — The nation’s ious fever.’’ attention.. focuses Wednesday on monument that looks east to the has received wide and often lurid are ruled by Southerners. Some Capitol, north to the White House' publicity, it differs llttie from residents say these congressmen Like India's New Delhi and Washington when thousands of Brazil’s Brasilia. Washington is a civil lights advocates mass to west to the Lincoln Memorial and crime rates in other big cities have no sympathy for a 67 per south to the JTefferson Memorial of America. Washington is ninth cent Negro city with Integrated city created as a capital, with no dramatize the struggle for Negro other reason for life. It does not rights. The city that awaits them and the Tidal Basin rimmed with in size with a population of 764,- schools w d restaurants and is sketched In the following ar­ cherry trees.
    [Show full text]
  • Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept
    DOCUMENT RESUME ED 048 223 SP 007 137 TITLE Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept. of Education, Toronto. PUB LATE 67 NOTE 34p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS Clothing Instruction, *Curriculum Guides, Distributive Education, *Grade 11, *Grade 12, *Hcme Economics, Interior Design, *Marketing, Merchandising, Textiles Instruction AESTRACT GRADES OR AGES: Grades 11 and 12. SUBJECT MATTER: Fashicn arts and marketing. ORGANIZATION AND PHkSTCAL APPEARANCE: The guide is divided into two main sections, one for fashion arts and one for marketing, each of which is further subdivided into sections fcr grade 11 and grade 12. Each of these subdivisions contains from three to six subject units. The guide is cffset printed and staple-todnd with a paper cover. Oi:IJECTIVE3 AND ACTIVITIES' Each unit contains a short list of objectives, a suggested time allotment, and a list of topics to he covered. There is only occasional mention of activities which can he used in studying these topics. INSTRUCTIONAL MATERIALS: Each unit contains lists of books which relate either to the unit as a whole or to subtopics within the unit. In addition, appendixes contain a detailed list of equipment for the fashion arts course and a two-page billiography. STUDENT A. ,'SSMENT:No provision. (RT) U $ DEPARTMENT OF hEALTH EOUCATION & WELFARE OFFICE OF THIS DOCUMENTEOUCATION HAS BEEN REPRO DUCED EXACT' VAS RECEIVED THE PERSON OR FROM INAnNO IT POINTSORGANIZATION ()RIG IONS STATED OF VIEW OR DO NUT OPIN REPRESENT OFFICIAL NECESSARILY CATION
    [Show full text]
  • PDF File Generated From
    OCCASION This publication has been made available to the public on the occasion of the 50th anniversary of the United Nations Industrial Development Organisation. DISCLAIMER This document has been produced without formal United Nations editing. The designations employed and the presentation of the material in this document do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations Industrial Development Organization (UNIDO) concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries, or its economic system or degree of development. Designations such as “developed”, “industrialized” and “developing” are intended for statistical convenience and do not necessarily express a judgment about the stage reached by a particular country or area in the development process. Mention of firm names or commercial products does not constitute an endorsement by UNIDO. FAIR USE POLICY Any part of this publication may be quoted and referenced for educational and research purposes without additional permission from UNIDO. However, those who make use of quoting and referencing this publication are requested to follow the Fair Use Policy of giving due credit to UNIDO. CONTACT Please contact [email protected] for further information concerning UNIDO publications. For more information about UNIDO, please visit us at www.unido.org UNITED NATIONS INDUSTRIAL DEVELOPMENT ORGANIZATION Vienna International Centre, P.O. Box 300, 1400 Vienna, Austria Tel: (+43-1) 26026-0 · www.unido.org · [email protected] RESTltlCTED IP.III>/Sm.A/1061 26 SeptaltJer 1988 f 10b~-E aaGniU.: :oG.ISH URGENT ASSISTANCE 'l'O THE ARGENTIRE \IOOL INDUSTRY SI/ARG/86/836/11-03 THE ARGENTINE REPUBLIC -· Technical report: Finishing of wool and wool blends* Prepared for the Governaent of the Argentine Republic by the United N•tions Industrial Development Organization.
    [Show full text]
  • Historic Costuming Presented by Jill Harrison
    Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs.
    [Show full text]
  • California and the Fiber Art Revolution
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 California and the Fiber Art Revolution Suzanne Baizerman Oakland Museum of California, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Baizerman, Suzanne, "California and the Fiber Art Revolution" (2004). Textile Society of America Symposium Proceedings. 449. https://digitalcommons.unl.edu/tsaconf/449 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. California and the Fiber Art Revolution Suzanne Baizerman Imogene Gieling Curator of Crafts and Decorative Arts Oakland Museum of California Oakland, CA 510-238-3005 [email protected] In the 1960s and ‘70s, California artists participated in and influenced an international revolution in fiber art. The California Design (CD) exhibitions, a series held at the Pasadena Art Museum from 1955 to 1971 (and at another venue in 1976) captured the form and spirit of the transition from handwoven, designer textiles to two dimensional fiber art and sculpture.1 Initially, the California Design exhibits brought together manufactured and one-of-a kind hand-crafted objects, akin to the Good Design exhibitions at the Museum of Modern Art in New York City.
    [Show full text]
  • Young Adult Realistic Fiction Book List
    Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her.
    [Show full text]