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A Special and Unusual Loom Frame from the First Half of the Nine
FINDING THE THREAD RESTORATION OF A PROFESSIONAL WEAVER'S LOOM Rabbit Goody A special and unusual loom frame from the first half of the nine teenth century now in the collection of the Ontario Agricultural Mu seum, Milton, Ontario,1 has provided an opportunity to examine some of the specialized equipment used by weavers in the nineteenth century to weave cloth with speed, intricate geometric patterns, and/or accommodate longer lengths of cloth. Surviving examples of cloth have made it apparent that trained weavers, weaving fancy cloth during the nineteenth century were using more complex equipment than that commonly associated with home textile produc tion. However, until now surviving examples of the equipment have been scarce. The museum's loom is one of a small number that can be linked to the production of the more complex cloths of this pe riod. At least, it has specialized equipment which professional weavers might choose to place on their looms. It is the most com plete example currently known. In their book, "Keep Me Warm One Night", Dorothy and Harold Burnham have identified this loom as being a professional weaver's loom because of its specialized features.2 It is being restored for the purpose of reproducing some of the more intricate cloth woven by professional weavers in the Niagara Peninsula. The survival of this loom frame, with its special features, has made it possible to set certain criteria for identifying other looms used by professionals and to corroborate the descrip tions of equipment and methods found in publications and manuscripts from the last half of the eighteenth century and early nineteenth century used to weave fancy cloth rapidly by profes sionals. -
Library Author List 12:2020
SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Abel, Isabel Multiple Harness Patterns Weaving Instruction Adelson, Laurie Weaving Tradition of Highland Bolivia Ethnic Textiles Adrosko, Rita Natural Dyes and Home Dyeing Dyeing Adrosko, Rita Natural Dyes in the United States Dyeing Ahnlund, Gunnila Vava Bilder (Swedish Tapestry) Ethnic Textiles Albers, Anni On Designing Design Albers, Anni On Weaving General Weaving Albers, Josef Interaction of Color Design Alderman, Sharon D. Handwoven, Tailormade Clothing Alderman, Sharon D. Handweaver's Notebook General Weaving Alderman, Sharon D. Mastering Weave Structures Weaving Patterns Alexander, Marthann Weaving Handcraft General Weaving Allard, Mary Rug Making Techniques and Design Rug Weaving Allen, Helen Louise American & European Hand Weaving General Weaving American Craft Museum Diane Itter: A retrospective Catalog American Tapestry American Tapestry Biennial I Tapestry Alliance American Tapestry American Tapestry Today Tapestry Alliance American Tapestry Panorama of Tapestry, Catalog Tapestry Alliance American-Scandinavian The Scandinavian Touch Ethnic Textiles Foundation Amos, Alden 101 Questions for Spinners Spinning 1 SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Amsden, Charles A. Navaho Weaving Navajo Weaving Anderson, Clarita Weave Structures Used In North Am. Coverlets Weave Structures Anderson, Marilyn Guatemalan Textiles Today Ethnic Textiles Anderson, Sarah The Spinner’s Book of Yarn Designs -
Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’S Cotton Frontier C.1890-1950
Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’s Cotton Frontier c.1890-1950 By Jack Southern A thesis submitted in partial fulfillment for the requirements for the degree of a PhD, at the University of Central Lancashire April 2016 1 i University of Central Lancashire STUDENT DECLARATION FORM I declare that whilst being registered as a candidate of the research degree, I have not been a registered candidate or enrolled student for another aware of the University or other academic or professional institution. I declare that no material contained in this thesis has been used for any other submission for an academic award and is solely my own work. Signature of Candidate ________________________________________________ Type of Award: Doctor of Philosophy School: Education and Social Sciences ii ABSTRACT This thesis explores the evolution of identity and community within north east Lancashire during a period when the area gained regional and national prominence through its involvement in the cotton industry. It examines how the overarching shared culture of the area could evolve under altering economic conditions, and how expressions of identity fluctuated through the cotton industry’s peak and decline. In effect, it explores how local populations could shape and be shaped by the cotton industry. By focusing on a compact area with diverse settlements, this thesis contributes to the wider understanding of what it was to live in an area dominated by a single industry. The complex legacy that the cotton industry’s decline has had is explored through a range of settlement types, from large town to small village. -
[email protected]
[email protected] http://ttusher.orgfree.com Textile manufacturing terminology The manufacture of textiles is one of the oldest of human technologies. In order to make textiles, the first requirement is a source of fibre from which a yarn can be made, primarily by spinning. (Both fibre and fiber are used in this article.) The yarn is processed by knitting or weaving, which turns yarn into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing. A__________________________________________________________________ Absorbency A measure of how much water a fabric can absorb. Acetate Acetate is a synthetic fiber. Acrylic Acrylic fiber is a synthetic polymer fiber that contains at least 85% acrylonitrile. Aida cloth Aida cloth is a coarse open-weave fabric traditionally used for cross-stitch. Alnage Alnage is the official supervision of the shape and quality of manufactured woolen cloth. Alpaca Alpaca is a name given to two distinct things. It is primarily a term applied to the wool of the Peruvian alpaca. It is, however, more broadly applied to a style of fabric originally made from alpaca fiber but now frequently made from a similar type of fiber. Angora Angora refers to the hair of either the Angora goat or the Angora rabbit, or the fabric made from Angora rabbit; see Angora wool. (Fabric made from angora goat is mohair.) Angora wool Angora wool is a generic term for either Mohair if the hair is from an Angora goat or Angora fabric if the hair is from an Angora rabbit. -
Electronic Report
Electronic Report 52 Bank Parade Burnley BB11 1TS Phone 01282 414649 / 458410 Our Ref: Talbot St/BB10 2HW/2017 Date: 19 July 2017 Steven Hartley Hartley Planning and Development Associates Swallow Barn Lower Chapel Hill Hurst Lane Rawtenstall BB4 8TB WALSHAW MILL, TALBOT STREET, BRIERCLIFFE, BURNLEY. BB10 2HW PRELIMINARY RISK ASSESSMENT (DESK STUDY) INTRODUCTION A residential development is proposed. The objective is to carry out a desk study, supplemented with a walk over survey, to form a Preliminary Risk Assessment to consider contamination, landfill gas and geotechnical issues. SITE DESCRIPTION The site is an almost rectangular plot, about 137 by 126 metres, located to the southwest of Talbot Street in Briercliffe and at OS Grid Reference 386492, 434915. A limited inspection on 4/7/17 by Mr S Gimeno (Geotechnician) showed the site to comprise a former cotton mill, now used for pharmaceutical manufacture, with yards to the east and south and a grass field to the west. The main building was a north light weaving shed and joined to the south was stone built with extensions and alterations. To the west was a portacabin style hard roof office probably built of timber. Just north was a fenced compound for aircon condenser units. In the southeast corner was a stone built electrical substation. In the northeast corner was a gas regulator box/building. An oil drum with hand pump was seen in the southeast corner. This is a residential area with houses on all sides, including gardens to the north, southeast and southwest. The area slopes down to the southwest at about 1 in 25. -
Simply Schools 2020–21
2020 Learning with Museums & –2021 Galleries across Lancashire www.simplyschools.org.uk Welcome to Welcome to the Simply Schools 2020–21 brochure, we are confident that you will find ideas and inspiration from our Heritage Learning site activities, CPD, loans boxes and outreach, and from those activities delivered by our wider museum partners. Heritage Learning is back for 2020/2021 It gives me the greatest pleasure to with new sessions, projects and announce that the Heritage Learning programmes. Last year the Heritage Team will be delivering the learning Learning Team delivered site sessions, programmes on behalf of the Harris outreach and loans boxes that engaged Museum, Art Gallery and Library in with over 35,000 school children Preston from September 2020. across Lancashire. We have once again David Brookhouse worked with schools on some amazing As part of the national DfE funded Heritage Learning Manager projects including ‘Lancashire Sparks’ Museums and Schools Programme, we an exploration of Lancashire’s intangible are always keen to work with teachers 01772 535075 heritage through clog dancing, music and schools to develop our learning and literacy. The TIME project continues offer. Our themes for this year are STEM, to work successfully with schools Literacy and teacher development. embedding the creative arts into the curriculum. Please contact us if you The funding for Heritage Learning comes would like more information about our from a de-delegated budget which range of new school projects. schools vote to continue each year. This funding allows the team to deliver Once again our teacher CPD, twilight award winning, high quality cultural and INSET programmes have grown from learning across Lancashire. -
Dark Age Tablet Weaving
Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in Europe and Britain in the first millenium AD and is an excellent craft for historical re-enactors as it is portable, interesting, little known nowadays and you can make beautiful bands to decorate your outfit. However, creating replicas of Dark Age bands is challenging. Many of the surviving historic bands are difficult to weave, and so most re-enactors either buy in tablet-weaving or weave simplified bands, and may use patterns and techniques that aren't appropriate to the Dark Ages. The aim of this document is to describe the characteristic styles and methods of Dark Age tablet- weaving. There is also information about materials, equipment and tablet-weaving techniques. Perhaps the most striking theme of the historic bands is inventiveness, and the advantage of the historic techniques is that they allow the weaver to create a far wider range of patterns than the modern methods, which were mostly developed in the 19th and 20th centuries as tablet-weaving was 'rediscovered' in Europe1. This document isn't exhaustive, and I recommend that the interested reader explore further patterns and techniques. There are many good patterns available online. Just remember, as I once read on the internet, the first instruction in tablet weaving is “remove the cat”. Please contact me with any comments or corrections. -
Basic of Textiles
BASIC OF TEXTILES BFA(F) 202 CC 5 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Fiber Study 5-64 2. Fiber and its Classification 65-175 3. Yarn and its Types 176-213 4. Fabric Manufacturing Techniques 214-260 5. Knitted 261-302 UNIT Fiber Study 1 NOTES FIBER STUDY STRUCTURE 1.1 Learning Objective 1.2 Introduction 1.3 Monomer, Polymer, Degree of polymerization 1.4 Student Activity 1.5 Properties of Fiber: Primary & Secondary 1.6 Summary 1.7 Glossary 1.8 Review Questions 1.1 LEARNING OBJECTIVE After studying this unit you should be able to: ● Describe the Natural Fiber. -
Education Teacher’S Kit
Industrial Heritage - The Textile Industry Education Teacher’s Kit Background There is archaeological evidence of textile production in Britain from the late-prehistoric period onwards. For many thousands of years wool was the staple textile product of Britain. The dominance of wool in the British textile industry changed rapidly during the eighteenth century with the development of mechanised silk production and then mechanised cotton production. By the mid-nineteenth century all four major branches of the textile industry (cotton, wool, flax, hemp and jute and silk) had been mechanised and the British landscape was dominated by over 10,000 mill buildings with their distinctive chimneys. Overseas competition led to a decline in the textile industry in the mid-twentieth century. Today woollen production is once again the dominant part of the sector together with artificial and man-made fibres, although output is much reduced from historic levels. Innovation Thomas Lombe’s silk mill, built in 1721, is regarded as the first factory-based textile mill in Britain. However, it was not until the handloom was developed following the introduction of John Kay’s flying shuttle in 1733 that other branches of the textile industry (notably cotton and wool) became increasingly mechanised. In the second half of the eighteenth century, a succession of major innovations including James Hargreaves’s spinning jenny (1764), Richard Arkwright’s water frame (1769), his carding engine (1775), and Samuel Crompton’s mule (1779), revolutionised the preparation and spinning of cotton and wool and led to the establishment of textile factories where several machines were housed under one roof. -
'Celtic' Clothing
‘Celtic’ Clothing (with Greek and Roman Influence) from the Iron Age-a Realistic View Based on What We Know What, When, Where and Why? Documentation and reproduction of period „Celtic‟ clothing for reenactment purposes is a subject which not only should be approached with caution, but also a difficult and sometimes seemingly impossible task if one aims for historically correct imitation. Based on limited textile finds through out the Celtic empire and coupled with historical commentary and art representations we can generate an educated generalized guess on what the Celtic people may have worn, but then this is only a guess. This representation is further clouded by regional differences both in necessity of certain dress and textile fiber availability. What we do know however is that the Celtic peoples as a whole delighted in color and costume documented not only by textile finds, but other costume finds and backed by historical commentary. In order to begin such a feat we first must understand who were the „Celts‟. The term „Celt‟ is derived from the Greek word „Keltoi‟ and is a general broad term applied to most of the European barbarians from the Middle Danube to the Atlantic. (Cunliffe 9) Julius Caesar, writing from the First Century BC states concerning the Gauls of France, „we call (them) Gauls though in their own language they are called Celts‟. While the terms Keltoi/Celtae and Gali/Galatae were used interchangeably by early writers the term „Celt‟ became the prominent label for these people during the Victorian period, a name which today not only is misleading but brings on romantic notions most of which are not even „Celtic‟ by any historical sense. -
On Some Iberian Unfired Pottery Sherds from the Late Iron Age (Second Century BC) Nicolas Frerebeau, Charlotte Sacilotto
On Some Iberian Unfired Pottery Sherds from the Late Iron Age (Second Century BC) Nicolas Frerebeau, Charlotte Sacilotto To cite this version: Nicolas Frerebeau, Charlotte Sacilotto. On Some Iberian Unfired Pottery Sherds from the Late Iron Age (Second Century BC). Alexis Gorgues; Katharina Rebay-Salisbury; Roderick B. Salisbury. Ma- terial Chains in Late Prehistoric Europe and the Mediterranean - Time, Space and Technologies of Production, 48, Ausonius Éditions, pp.157-169, 2017, Mémoires, 978-2-35613-194-2. hal-01711117 HAL Id: hal-01711117 https://hal.archives-ouvertes.fr/hal-01711117 Submitted on 25 Feb 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MATERIAL CHAINS IN LATE PREHISTORIC EUROPE AND THE MEDITERRANEAN - ausonius éditions - — Mémoires 48 — MATERIAL CHAINS IN LATE PREHISTORIC EUROPE AND THE MEDITERRANEAN Time, Space and Technologies of Production Edited by Alexis Gorgues, Katharina Rebay-Salisbury, Roderick B. Salisbury Published with the support of the Région Nouvelle Aquitaine — Bordeaux 2017 — Notice catalographique Gorgues, -
Remission of Duties & Taxes on Exported Products (Rodtep)Scheme
Remission of Duties & Taxes on Exported Products (RoDTEP) Scheme CA. Bhavesh T. Sorathiya B. T. SORATHIYA & CO. Chartered Accountants Address: Office No. 220, Heera Panna Complex, Dr. Yagnik Road, Rajkot Cont.: +91-281-2462838 www.cabtsc.com :INDEX: ❖ SILENT FEATURES OF THE SCHEME ❖ WHO IS NOT ELIGIBLE FOR THE SCHEME ❖ NATURE OF REBATE ❖ OTHER POINTS TO KEPT IN MIND ❖ NOTIFICATION NO.19/2015-2020 DT.17.08.2021 ❖ APPENDIX 4R (RATES OF RoDTEP) As shared with you earlier in our previous update on RODTEP, now Director General of Foreign Trade (DGFT) and Ministry of Finance (MoF) has issued final Notification stating rates and other provisions, guidelines on RoDTEP, same is discussed hereunder. With reference press note dated 31.12.2020 issued by CBIC on the new RoDTEP scheme being operationalized from 01.01.2021. Necessary changes in the System have also been made to accept and process RoDTEP claims. SILENT FEATURES OF THE SCHEME: ❖ The Scheme will take effect for Exports from 1st January 2021. However, effective date for export obligation under advance authorisation, export by 100% Export Oriented Units (EOU), export by Special Economic Zone (SEZ), export by Free Trade Zone will be decided later. ❖ The rebate would be claimed as a percentage of the Freight on Board (FOB) value of exports with value cap per unit of the exported product. ❖ The Scheme will be implemented with end-to-end digitization. ❖ RoDTEP rates will be reviewed annually and will be notified well in advance before the beginning of the Financial year. ❖ The Scheme will operate in Budgetary framework of each financial year and necessary calibrations and revisions will be made as and when required so that the projected remissions for each financial are managed within the approved budget of the Scheme.