On a sunny Saturday, her mother worked on a striped wool blanket as Ms. Stetca spun wool nearby.
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For instance, the handmade carpets being displayed are made in the old way, with hand-spun wool from sheep in Ghazni, a regional trade center.
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When issues came up, long meetings were held in the community center that could last into the early hours, as women hand-spun wool into yarn.
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From there it was an easy drive to Botiza, the home of Victoria Berbecaru, who is on the Unesco intangible list for her work reviving the art of weaving using hand-spun wool dyed naturally from things like leaves and nut shells.
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The fibre can be dyed at any time, but is often dyed before carding or after the yarn has been spun. Wool may be spun before or after washing, although excessive amounts of lanolin may make spinning difficult, especially when using a drop-spindle. Careless washing may cause felting. When done prior to spinning, this often leads to unusable wool fibre.
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One can see villages with terraced fields growing maize, millet, barley, etc. They breed domestic animals including yaks and sheep, and their clothes are made of spun wool. The Nga are more closely related to the Tagin both ethnically and linguistically than to Tibetans, but they claim to be a separate group, like the Mara who live in Limeking. However, both tribes acknowledge that they share a common ancestry with the Tagin.
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Muro tejido cuadriculado, 1970; 250 x 250 cm; wool and horsehair. The early period of de Amaral's oeuvre is characterised by visually relatively traditional tapestries, but already presenting the search for an individual language through formal experimentations. Since the mid60s, she worked mostly with hand-spun wool, cotton, linen, and dyes. Vivid colors and bold combinations and the exploration of the structure and edges of weaving characterize some of her small scale early work of this period.
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DOBAG is the Turkish acronym for "Doğal Boya Araştırma ve Geliştirme Projesi" - the Natural Dye Research and Development Project. The project aims at reviving the traditional Turkish art and craft of carpet weaving. It provides inhabitants of rural village in Anatolia – mostly female – with a regular source of income. The DOBAG initiative marks the return to the traditional rug production by using hand-spun wool dyed with natural colours, which was subsequently adopted in other rug-producing countries.
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The Fielding & Johnson Company was one of the first in Leicester to use steam engines in its factories. The factory in Bond Street spun wool sourced in England and later New Zealand and in 1861 two steam engines named 'Juno' and 'Jupiter' were installed to operate new 'Brookhouse' knitting frames. These two engines were not replaced until the 1940s. In 1862 the firm bought a second factory in Leicester, Abbey Mills, and in 1885 a third, Anker Mill in Nuneaton.
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This small factory was primarily a home-spun wool weaving and woodworking business. Seely employed many deaf persons to work in his factory; two of his own siblings, in fact, were deaf. He also acted as the architect and builder of his home "Overlook" (sometimes called "Seely's Castle")on Sunset Mountain overlooking Asheville. After Seely's death in March 1942 in Asheville, North Carolina, his widow, Evelyn Grove Seely, moved to the Battery Park Hotel in downtown Asheville. In 1949 Mrs.
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Calamanco (also calimanco, callimanco, or kalamink) is fabric with a glazed surface that was popular in Europe and the United States in the 18th and 19th centuries. It was typically made of worsted-spun wool yarn, and the glazing was achieved by calendaring (pressing the cloth between hot rollers), by surface-rubbing with a stone, or by applying wax to the surface. The name comes from a Spanish term for worsted wool. Calamanco goes back to the late 16th century but was most popular in the 18th and 19th centuries.
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Moreover, the opening of the Leicester to Swannington Railway in 1832 meant that the coal fields of Leicestershire were even better linked with the Soar and the Grand Union Canal, which extends as far as London. Frog Island is located at the epicentre of this connection, and as a result much of the island became highly industrialised in the nineteenth and twentieth centuries. By the mid-twentieth century there were several large mills on Frog Island. These manufactured clothing, machinery (particularly for the production of textiles) and materials demanded by the city's hosiery trade, such as spun wool and dyes.
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Marabou may be tied in as a substitute wing for colour and lifelike movement through the water. The head may be weighted or unweighted, according to the style of fishing, the target species and the intended imitation. The muddler has served for the basis of several patterns, including the Spuddler, Muddler Hopper, Mizzoulian Spook, Searcy Muddler, Keel Muddler, and so on, but even in its simplest and original form, it remains a very effective fly. Besides the traditional deer hair, many Muddlers are tied today with heads made of antelope, spun wool, dubbing, chenille, or other materials.
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The dam, about long, is an earth-fill structure faced in fieldstone and capped in 20th- century concrete, with a modern spillway. The tailrace is a trench lined with cut stone which exits from under the original mill building. The mill was established by Joseph W. Pearce, an English immigrant, and carded and spun wool. The March 11, 1916 Fibre & Faric , page 29, a trade publication, list William Waterhouse and the President of the Royal Chemical Co. and The Pawtuxet Valley Dyeing Co. The January 1918 edition of the trade publication "Textile Colorist", page 23, list the obituary for William Waterhouse and states that he was the president of The Pawtuxet Valley Dying Company beginning in 1907.
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Model of Navajo Loom, late 19th century, Brooklyn Museum In the late 17th century, the Navajo acquired the Iberian Churra, a breed of sheep, from Spanish explorers. These animals were developed into a unique breed by the Navajo, today called the Navajo-Churro. These sheep were well-suited to the climate in Navajo lands, and that produced a useful long- staple wool. Hand-spun wool from these animals was the main source of yarn for Navajo blankets until the 1860s, when the United States government forced the Navajo people to relocate at Bosque Redondo and seized their livestock. The 1869 peace treaty that allowed the Navajo to return to their traditional lands included a $30,000 settlement to replace their livestock.
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Many woollen manufacturers in this period followed a practice known as using "shoddy". This entailed pulling apart and recycling discarded woollen products such as knitted goods which would then be woven with newly spun wool. There was a demand for this product as it was inexpensive, but The Queensland Woollen Manufacturing Company did not want to be associated with such a means of woollen production, as their advertisement suggests. In 1881 additions were made to the mill. These were designed by influential Ipswich architect and businessman, Samuel Shenton, who was at the time a director of the mill - a position he held for many years (1875 to 1891). He was also Ipswich mayor for several years (1871, 1872 and 1889).
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McKay's earlier experimentations with the expressive qualities of reinforced concrete in the late fifties and early sixties provided the necessary understanding for integrating a contemporary material with timber that has been crafted using time honoured techniques. Cox recalls that the chapel's spire was so structurally unique incorporating a large scale timber structural joint, beyond the scope of calculations, that Shaw was never completely certain that the king pole would withstand being suspended over a void. Prior to any costing undertaken by a Quantity Surveyor, the architects undertook their own estimations of the first main contract works, in the order of 300,000 pounds. Philip Cox advised the commission of Margaret Grafton for the chapel's altar tapestry. Made of hand spun wool dyed with natural dyes, it took 18 months to complete.
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Attention to detail extended to every aspect of the interior finishes and the construction: each concrete roof tile of the spire was double wired and further fastened to the timber battens with two brass screws. The raw medieval character of the chapel's interior is reinforced by the furniture and furnishings specifically designed for the space, including the face brick lectern and communion table, and the Blackwood (Acacia melanoxlyon) framed chairs with woven leather webbing designed by Cox and McKay, the organ, and the tapestry hung behind the altar that depicts a passage from the Old Testament Isaiah. Created by Margaret Grafton, and woven of hand spun wool dyed with natural dyes, its warm colours and soft texture contrast with the raw Spartan interior. The marble commemorative tablet, designed by the architects, rests directly beneath the king post.
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